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DoesanewPerformingArtsPrecinctmakeChristchurchamorevibrant,diversecity?

June2016.

WhenthePerformingArtsPrecinct(PAP)wasfirstproposedtotheBlueprintteam,in

itsfirstweekonthejobin2012,itgaveaforewarningoftheproblemsthatwoulddevelop

withtheprocessimposedbythegovernment.

AcolleaguefromArtsVoiceChristchurchandIhadbeeninvitedtopresentproposals

to the Blueprint group based around a concept called the River of Arts – a series of

interconnectedartsprojectsandeventsthatwoundthemselvesthroughthecityliketheriver

atitscentre.ThewellspringforthisconceptwasthetransitionalArtsCircus,avillageofsmall

tomediumsizetemporaryvenuesthatwouldhostarangeofartsorganisations, fromthe

conventionaltotheexperimental,combiningwithacentralmarket,hospitalityandeducation

(http://www.thegym.org.nz/arts-circus.html - image below of the original Arts Circus

concept,designers:GeorgeParker,JasonMillandSamMartin).

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TheideahadwonfavourwiththeChristchurchCityCouncil(CCC)throughitsinitial‘Sharean

Idea’processandwaspraisedbydisasterrecoveryexpertsattheInternationalSpeakerSeries

in2011andbyvisitingurbandesignspecialistssuchasMelbourne’sDavidYencken.Itwas

seenasatangiblewaytokick-startlifeinthecityandfocusthenewenergythathademerged

post-quakes.

However, before we presented this idea to the Blueprint team, the CCC

representatives,withanideaproposedbyCreativeNewZealand(CNZ),presentedanewplan

for what they were calling at the time ‘Court Plus’. Having caught wind of the plan for

precincts,itseemsthatCNZfeltthiswasthebestwaytogetanartsprojectfrontandcentre

intherebuild,despitethefactthatitrepresentedexactlywhatthelocalartscommunityhad

arguedagainst.ButitmadetotalsensetotheBlueprintteamchargedwithdesigninganew

cityin100days,andtheyleaptonthechancetoprovideafurtherrationalefortheproposed

conventionalcentre–tohaveaneighbouringartsprecincttoentertainout-of-townguests.

Bythetimewecametopresentourownproposalitwasclearthatwhatwehadto

saywasfallingondeafears.IwrotealettertotheBlueprintteamthatnightfurtherexplaining

the rationale for a project such as the Arts Circus. Principally, it related to providing an

alternativetothelargerorganisationsinthecity.Beforetheearthquakes,thelackofsupport

fororganisationsandartistsprovidinggenuinealternativestothemainstreamhadseenan

exodusofnotonlytalentedestablishedandemergingartistsbutofyoungpeopleingeneral.

Herewasachancetoavoidareturntothestatusquoanteandprovideagenuinealternative

that could encourage talent to stay in the city, attract talent to the city and excite local

audiences.

Amajordifferencewiththe‘CourtPlus’proposal(laternamedthePAP)wasthata

projectliketheArtsCircuswasdesignedtotieintootherpartsofthenewcityemergingsuch

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asRe:StartandEPIC.Whilehostinglocalfestivalsthatcouldfosterlocaltalentandexperience

(notalwaysafeatureofthecity’sfestivalsinthepast),italsoproposedneweventssuchas

theFestivalofTemporaryArchitecture(laterFESTA),whichcouldbranchoutfromitsbaseto

engageandenlivendifferentpartsofthecityviacollaborationsbetweenartists,architects,

designersandbusiness.Itcouldalsoprovideabasefor,orbeaneighbourto,theproposed

inter-universityprojectdubbedtheNewZealandCentreforUrbanResilience.Sitednextto

thehistoricOdeonTheatre,theArtsCircuswouldworkwiththatbuildingasatransitional

venueonthewaytoitsfullrestoration.

AlthoughmentionedintheoriginalCERA/CCDUrecoveryplan,theArtsCircuslostits

potentialsiteastheBlueprintteammovedthepiecesarounditsnewmapofthecity(ECAN

nowsitswheretheArtsCircuswasproposedtostand).TheprojectstagnatedasCERA/CCDU

begantheprocesstoimplementthe‘permanentplan’,anditwouldhavediedhadnotthe

newArtsCentremanagementhelpedkeeptheethosoftheprojectalive.(Imagebelow:Arts

CircusMarkII:JasonMillconceptforacontainervenueinMarketSquare).

Fast-forwardfouryearsandaglossydocumentdescribingtheproposednewPAPwas

released in February 2016: https://www.ccc.govt.nz/assets/Documents/The-Rebuild/Arts-

Culture/VisionForThePerformingArtsPrecinctWEB.pdf. It reflects the problematic thinking

thathasmarredsomuchofChristchurch’sregenerationandtheroleoftheartswithinit.

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Thedocumentbeginswithaclearinsistencethattheartshaveplayedanimportant

roleinthecity’srecovery.ItgoesontostatethatthenumberonedriverforthePAPisthe

“new artistic identity” that has emerged post-quake, a more experimental, innovative

approachthatshouldbeembeddedinthenewcity.

However,alistofthoseconsultedrevealsthatbesidesthelargerplayers–theCourt,

theCSOandtheMusicCentre–thoseorganisationsandartistscurrentlyinvolvedincreating

experimentalcontemporaryworkwereexcludedfromtheconsultation.Apparently, itwas

thelargerorganisationsthatinsistedonthisnewexperimentalculturebeingtotheforefront

ofthedocument,whichisgreat.ButitdefieslogicthattheCCC“strategicartsadvisor”didn’t

include any of the working companies or artists that could speak exactly to how a

contemporaryapproachcouldcontributetotherevitalisationofthecity.Thereasonasto

whythesepeoplewereexcludedremainsunanswered.

AlsomissingareimportantorganisationssuchastheArtsFestivalandtheArtsCentre.

Thisisespeciallystrangeinthecaseofthelatterasitsownvisiondocument(developedby

thesameauthorofthePAPdocument)featurescontemporaryperformancespacesasacore

partofitsfutureplans.ThishasalreadybegunwithmyowncompanyFreeTheatreandour

workinTheGymintheArtsCentre,thefirstarts-basedresidencyintheArtsCentreandthe

firstprofessionaltheatreorganisationtoreturntothecentralcityinSeptember2014.The

ArtsCentreandFreeTheatre’splanstodevelopthiscontemporaryperformanceprojectin

theArtsCentreisnotmentionedanywhereinthePAPdocument.

When theatre organisations includingmy ownwere finally invited to take part in

conversations around the PAP with CCC staff in May this year, it was with a view to

ascertaininghowwemightuseanew“blackbox”theatreproposedfortheprecinct.Whenit

wassuggestedthatthiswasacaseofthecartleadingthehorse–thatthereneededtobea

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considerationofthegroupsactuallyworkinginChristchurchandhowtheyoperatebefore

jumpingaheadtonewbuildings–theresponsewasthatthePAPdocumenthadbeenwritten

tokeepthepoliticianshappy(aspartofthecost-shareagreementprocess)andthatthefocus

shouldnowbeonhowwecouldbepartoftheprecinctandmakeitwork.

ItwasalsosuggestedthatavenuesreportcommissionedbytheMinistryforCulture

andHeritage(MCH)in2015wascurrentlybeingupdatedtoincludea“marketanalysis”.That

is,astock-takeoftheorganisationswithinandoutsideChristchurchthatwouldhirevenues

likethe“blackbox”theatre.Theproblemwiththisretrospectiveapproachisthatitismore

anexerciseinrationalisingpre-exitingplanstobuildbuildingsaccordingtooldnotionsofthe

artsratherthanaconsiderationofwhatwillbestservetheaimsofcreatingavibrant,diverse,

contemporaryculturethatbenefitsthesocialandeconomiclifeofthecity.

While ithasnotbeenestablishedwhowouldrunthis“blackbox”venueorhow it

wouldoperate,itiscleartoseethatthisvenuewouldbemoresuitedtotouringcompanies

with pre-existing work with little concern or awareness of how to foster local groups to

developworkthatcouldachievethenumberonedriverforthePAP.Thereseemedtobelittle

awareness that an artist-driven “black box” theatre had already commenced in the Arts

CentrewithTheGym.(Imagesbelow:Kafka’sAmerika2014;Footprints/Tapuwae2015).

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ThislackofawarenessandflawedanalysiswasevidentwhentheMCHvenuesreport

wasreleasedlastyear.Withouttalkingtothoseactuallyworkingontheground,wenowface

the rather crazy situation of having a plethora of presentation venues, run by venue

managers,andalackofplacestodevelopwork.1BuildinganentirelynewPAPwithpublic

fundsmeans that the roleof theArtsCentre isbeingdisplaced, a site that canprovidea

diversity of small to medium spaces in which a myriad of organisations and artists can

collaboratetodevelopandpresentwork.Beingabletoworkwithfestivalsandlike-minded

businesseswillmeantheArtsCentrehasthepossibilityofbeingatrulyexcitinghubofartistic

excellenceforthenewcity.

However,itwillbetothedetrimentofamorediverse,sustainableculturalecosystem

iftheduplicationwiththePAPandothervenuesisallowedtogoahead.Theperformingarts

1TheproposedstudiosfortheMetropolitanSportsFacilityaredesignedmorefordanceandlikewisedividedevelopmentandpresentation.

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workdifferentlytothevisualarts.Performingartistsneedspaceandpurpose-builtfacilities

to collaborate and experiment. The benefit of providing such space and facilities is that

experiencedartistscanworkalongsideemergingartiststocreatetrulyinter-disciplinarynew

work, building a conversation, a continuum, with multiple opportunities for education

outcomesandculturalandartisticdiversity.Itisfarlessexpensivethanbuildinganentirely

newbuildinginthePAPashasbeenillustratedwiththerelativelycheapcreationofTheGym

asacontemporaryperformancespaceintheArtsCentre.(Imagebelow:TheMauricioKagel

Project,presentedasawork-in-developmentatthe2015ChristchurchArtsFestival).

WhatwehaveshownwithTheGymiswhatispossiblewithanartist-drivenspacethat

hasafocusoncontemporaryperformanceintheArtsCentre.Designingaflexiblespacewith

anonusonlightandsound,wehavebeenabletoprovideuniqueexperiencesthatengage

audiencesinimmersiveenvironments.DevelopingacentralFreeTheatreprogrammeofnew

inter-disciplinaryworks–UbuNights,Kafka’sAmerika, Footprints/Tapuwae,TheMauricio

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Kagel Project, Frankenstein – we have engaged artists in theatre, classical music,

contemporary music, visual arts, sound art, kapa haka, circo-arts, opera and interactive

technologies.(Imagebelow:Frankenstein,June2016).

Our growing Education Programme, which offers students NCEA-related opportunities in

moderntheatrethatnoothercompanycanprovide,tiesintotheseprojectsbysharingwhat

weareexploringinthedevelopmentof inter-disciplinaryprojectsandlearningfromthose

workshopstowardsthedevelopmentofnewwork.2(Imagesbelow:KidsFest2016).

2FreeTheatreboastsanextraordinarilyexperiencedcoreensemble.ItsArtisticDirectorisalsoanAssociateProfessorandfourofitsmembersarePhD’swithafifthcurrentlycompletingadoctorate.Basedonsignificantexperienceincreatinguniquecontemporarytheatre,allhavetaughtextensivelyattertiaryandsecondarylevels.ThisexperienceisbetterunderstoodontheinternationalcontemporaryartsscenewhereFreeTheatreregularlypresentsitsworkatconferencesandininternationalpublications.

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Around this central programme, we have been able to provide an exciting space with

excellent facilities for festivals andevents, including theArts Festival (2015), the Jazzand

Blues Festival (2015&2016), andadiversityof corporateevents thatprovideadifferent

appreciationoftheartsroleinmakingthecityaninterestingplacetobein.(Imagebelow:

2016CavellLeitchNZJazzandBluesFestivalatTheGym).

Wehavedevelopedcollaborationswithlocalbusinessesthatequallyshareadesireforthe

citytoprovideapointofdifferencetothesuburbsandmallsthatencircletheinnercity.

WiththesupportofCCC,CNZandtheRataFoundationandarangeofsponsorsand

in-kindsupporterswehaveestablishedacontemporaryprojectintheArtsCentrethatcan

helpachievetheaimsofamorevibrant,diversecity.Itwouldbeawasteoftime,money,

talentandexpertisetosimplyignorethisinfavourofaproject“tokeepthepoliticianshappy”.

Sowhatwewouldpropose is this: forget the ideaofaPAPascurrentlyproposed.

Undertake a proper analysis of the current landscape that is artistically focussed andnot

simplycommercially-driven.

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IfoneoftheaimsforCCCandCNZistogettheCourtTheatrebackintotownthen

focusonhowthatmightbeachievedratherthantryingtofulfilanabstractideaofaprecinct

thatwillwastemoneyonvenuesthatcannotbeusedbylocalpractitionerstodevelopwork.

Thatbeingsaid,ifonegoalisworkingouthowtopositiontheCourtTheatreinthe

artistic landscape of the new Christchurch, a vibrant ecosystem will be completely

underminedbyusingpublicfundstobuildittwotheatresascurrentlyproposed.TheCourt

claimsthatitssecondtheatre,knownasTheForge,wouldbeabaseforexperimentalwork.

This claim has always been a source of frustration to groups that genuinely provide

alternativesbutfindthemselvescompetingforfundingwithatheatrethatpresentsaslightly

differentshadetoCourtOne.Thesecondtheatrepreviouslysatidleformuchofthetimeat

theoldCourtsiteintheArtsCentre.TheCourt,acommercialtheatreasopposedtoanart

theatre,alreadyextractsahugeamountofpublicfundsontopofitssignificantsponsorship.

RatherthanbuildingtwotheatresfortheCourt,publicfundingshouldberedistributedtothe

diversity of performing arts groups that provide genuine alternatives. This is desperately

needed as groups such as the Free Theatre and the Auriclewho have played a role and

bringinglifebacktotheinnercitystruggletosurvive.

Supportingthesealternativesistothebenefitofamorevibrant,diverseculture.These

groupsandartistspushtheboundariesofwhatispossible,providinganoutletforinnovative

artistsandaudiencesofcontemporaryperformance,buildingnewaudiencesandallowing

themainstreamtofollowwithgreaterroomtopresentworkthatistrulycontemporary.The

currentmodelfortheCourtTheatreis19thcenturytheatre,basedaroundthereproduction

ofasolitarydramatictext,withaprocessthatseesthecreationofanaturalisticset,theactors

learninglines,blockingoutmovementsandthenpresentingaseason.Theaimistoimitate

anideaofEnglishtheatreforaconservativeaudience.

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True contemporary work tends towards the inter-disciplinary. Collaborators from

different disciplines and backgrounds devise entirely new work from a diversity of texts

(literary,artistic,political)orcompletelyrethinkclassicworksforacontemporaryaudience.

Assuch,thecreationofnewworkhappensoveralongerperiodoftimeandleadstounique

experiencesforlocalaudiences.WiththeatrebeingthemostconservativeoftheartsinNew

Zealand,theexperimentaloravant-gardehereisseenasaspacefortheyoungtoblowoff

steambeforejoiningthemainstream.Butculturesthattrulyvalueadiverse,vibranturban

sociallifeseethesearttheatresasakeypartoftheecosystem,pushingtheboundarieswith

workthatisrelevanttothetimeandplace–thisisasmuchofaneconomicbenefittovisitors

totheconventionalcentreasaone-stopshopinaperformingartsprecinctcaneverbe.

TheArtsCentreistheperfectsiteforsuchactivities.Withitsrestorationandrecovery

plan looking forward to the century unfolding, itmakes sense to find away to ensconce

organisations, artists and activities that can experiment to provide truly contemporary

practices.Combiningthebestofoldandnew,theArtsCentrecan,muchaswasproposed

withtheArtsCircus,provideabasefromwhichartistscanenliventhecity.(Imagesbelow:

FreeTheatre’sCanterburyTalesforFESTA2013).

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Withacentralindoormarketthatcanalsobeusedforadiversityofperformances,arangeof

hospitalityprovidersthatareempathetictothesite’suniqueheritageandartistic,cultural

andeducationalaims,theArtsCentrecanbuildontheextraordinaryrestorationprocessthat

hastakenplace.Butwithoutaclearstrategydevisedbetweenartists,theArtsCentreandkey

playerssuchasCCCandCNZ,anextraordinaryopportunitywillbesquandered.WithCCCand

CNZstafffirmlyfixingtheirgazeonthePAPwithoutthebasisofcleararts-basedstrategy,we

facetheprospectofcontinuingtolosethetalentthatcouldmakethisthevibrant,diverse

citywealldreamabout.

Dr George Parker / Free Theatre Christchurch The Gym / The Arts Centre / Worcester Boulevard, Christchurch / New Zealand PO Box 2736 / www.freetheatre.org.nz / +64 22 395 4037