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Alice Neusiedler: so I will jump right into it and presenting a paper today which is part of my ongoing Phd research and still a working progress. So I'm very much looking forward to all your comments.

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Alice Neusiedler: I'm going to talk about participation as an organizational principle in the fields of visual art dance and theatre. And more precisely, I will argue that the notion of participation is hyper prominent in many fields. In practice, how participation is organized differs widely, and that brings some challenges. If you want to understand what's going on.

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Alice Neusiedler: I will propose you for different narratives which are just lean on in their projects. And what we can learn from this narrative for social critique and organizing for solidarity.

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Alice Neusiedler: I will start with what I believe is a basic condition for these kinds of practices. In her 2,003 essay regarding the pain of others, the office of Z. Undergrad.

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Alice Neusiedler: No, we should be taking for granted when the subject is looking at another people's pain. Participation in the art field has been treated as a positive strategy of inclusion. In practice this led to increasing numbers of projects which advocated for marginalized groups in society, or against representational norms in the art for involving formally excluded actors into art production itself.

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Alice Neusiedler: for instance, in her 2,010 in a 10 year project immigrants movement international. The artist, Tanya Pogeva, initiated a community space in the New Yorka district Queens, which is known for a high population of first-generation immigrants.

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Alice Neusiedler: The project provided a meeting point for inhabitants of the area launched English classes, rehearsal spaces for local dance groups, initiated collaborations with other artists and organizations

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Alice Neusiedler: mit Ctl. And the dance choreographer, Douglas Ellis initiated the Dennis Project habitat, which involves 120 performers, professionals and lay people of different Hs body types and abilities into a six-week rehearsal and 4 public performances. This is just a few examples of how participatory art projects involve actors in a shared project. 2.

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An intervening society through leaning on participation as an organizational principle.

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Alice Neusiedler: Recently we can see an increasing engagement with participative practices aiming at involving formally excluded actors themselves into their representation

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Alice Neusiedler: in the art world. A participatory turn and cultural funding in many Western countries has been stated. For example, the you 2,018 new agenda for culture criteria. But also when you look at several private funding organizations in the United States you find similar trends, and these projects differ in how they use participation.

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Alice Neusiedler: participate. If art projects, targets, different topics, such as housing, living conditions and neighborhoods, health generals, youth, discrimination experiences display body norms and modes of representation, etc.

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Alice Neusiedler: Mostly they have a critical stance to social conditions and some kind of social justice orientation.

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Alice Neusiedler: They differ, for instance, in how they conceptualize participants, how long they are, if and with which institutions they collaborate, how they find the participants, etc. brief. Not only can we find a pro diversity in artistic practices of participation. They also differ in the understanding of participation and in the modes of involving others in the artwork.

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Alice Neusiedler: So when we think about the notion of participation, we are immediately confronted with the broadness. This notion so what does participation in

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Alice Neusiedler: the communications

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Alice Neusiedler: participation as the involvement of formally excluded actors into collective practices, and which includes practices of Co. Deciding on and with technologies, content people and organizational policy

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Alice Neusiedler: participation in the arts as in other fields, is associated with a general hope and social change for learning and empowering, and the chance of developing new practical knowledge because they involve actors who have been excluded from some kind of practices before, for instance.

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Alice Neusiedler: support us, argue that participative art practices can empower people by enforcing identity. Formation have positive effects on social distribution and equality through the disruptive power of normative settings and foster dialogue exchange between people.

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Alice Neusiedler: However, there has been quite some critique of participatory attempts to participation has been criticized for being a burden when responsibilities are shifted to participants for undermining professionals, atomic autonomy and for the risk to use participants as material without making a change for them.

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Alice Neusiedler: Although these perspectives are without that important. These arguments for and against participative practices tend to either. understand the involvement of new actors as per se innovative or focus on essentialist f effects of these collaborations.

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Alice Neusiedler: As we saw participatory art projects work with very different means and strategies. So we seem to be confronted with some kind of misalignment of criteria where we want to evaluate participation.

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Alice Neusiedler: Yet we know little about how those projects differ in formulating social critique, and how they construct a shared position when they organize with participation.

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Alice Neusiedler: This dilemma is my starting point for this paper, and to gain a better idea of what those kinds of projects actually do I? Excellent.

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Alice Neusiedler: which narratives of participation are mobilized in contemporary participants of our projects. How do this narrative relate to social critique? And to answer these questions? I look at participatory projects in dance, theater and visual arts in North and Western and Eastern Europe within the last 15 years.

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Alice Neusiedler: and I built my analysis on a database of 145 projects.

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Alice Neusiedler: where I collected publicly available documents from artists and institution websites. Additionally, I conducted 21 open interviews with artists and participants who took part in such projects, and I connected several epigraphic field nodes from taking part in performances as audience.

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Alice Neusiedler: So I looked at places which made narratives of participation there. Similarities and differences especially visible. So I looked at official press pictures. visual communication of art organizations carries as other as as as for other organizations, cultural narratives which they display to a public

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Alice Neusiedler: as images work on a different central level than text. We can gain insights in social imaginaries which they lean, on which otherwise would remain implicit.

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Alice Neusiedler: Visuals are prominent and relevant parts of contemporary society which are linked to visual cultures and therefore interlinked with social life

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Alice Neusiedler: for organizations, images can give hints to narratives of organizational identities and values.

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Alice Neusiedler: I started with a detailed reading of single images, densified emerging narratives through other project descriptions on websites and other documents, and abstracted these stories for shared elements. So basically, I'm assuming in and out single images and their context to unpack narratives of participation which I draw on

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Alice Neusiedler: what I found on our one. May 4. Main narratives of how participatory art projects formulate social critique, and relate to actors and themes in their projects.

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Alice Neusiedler: for now I call them flesh

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Alice Neusiedler: touching environments, reporting infrastructures and shared competences.

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Alice Neusiedler: I unpack this narrative in regards to the aesthetic strategy, the modes of connection they call upon to tensions this modes of of critique entails, and the question just invites us to ask for evaluating participatory projects.

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Alice Neusiedler: So I will give you a brief insight into this 4 narratives.

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Alice Neusiedler:  Starting from the interpretation of single images, I became aware of representations of other worlds, ornaments, merging bodies, as well as the the depiction of observing audiences within n. Of people.

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So the reading of flesh started to manifest.

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Alice Neusiedler: and as a mode of how a new Venus gets created in some of those projects

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Alice Neusiedler: the notion of flash. Let us think about how we start to embody a new mode of being together, but also points us to the tension of joy in pain.

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Alice Neusiedler: Flesh relates to a feminist critique of roles of the ones who gaze into one's case at.

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Alice Neusiedler: If this mode of critique is the what the projects apply, we have to look more into the ambivalent representations of the we and I when evaluating it, the authority of who arranges actors who becomes constructed as part of the same scenic choreography, and the ambulance is within.

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Alice Neusiedler: So I started to search for these representations in other images, and densified the narrative of flesh. I identified the participatory artistic practice of connecting or reconnecting.

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Alice Neusiedler: and it tells a mode of relating which is collective icing.

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Alice Neusiedler: We can find several rents, references to the notion of flesh, and philosophical political aesthetic fury, pointing out the body bodily and potentially hurtful lot of relating. For example, Jean ignore Cisco

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Alice Neusiedler: as such. It also has has been a notion of critique which captures exploitative modes of casing. When you think of feminist critique, of male case and a critique of

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Alice Neusiedler: the idea of need, etc. Scholars have pointed us to the attention of desire and pain in regard to fleshly relations

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Alice Neusiedler: for ideas of participation. The narrative of flesh works relations to each other, which lean on bodily encounters, but also carry the danger of exploited relations

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Alice Neusiedler: relating to to existing critique of flesh. This narrative refers to tensions in regards to felt weness, feminist, body, critique, desire and pain, the tension of domesticating and uncontrollability, and the idea of other worlds

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Alice Neusiedler: leaning on this theoretical reflections for participation. This narrative of flesh provokes to question the character of collect, devising and connection between people. We can ask, How much can the individual, how much do they merge with the masses, but also who becomes an audience? Are we voice, or do we become become aware of our non involvement? What kind of world do they create.

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Alice Neusiedler: The second narrative I found I call touching environments

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Alice Neusiedler: in these representations. of participatory collaborations to focus shifts to places, scenes and geographies, while bodies of participants step to the background.

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Alice Neusiedler: They tend to give us an idea of the location and the setting in which something happens

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Alice Neusiedler: as a strategy of participatory artistic practice. These projects work in the mode of tracing, for instance, how people move in water, how living places are located, and depictions of natural elements of environment.

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Alice Neusiedler: theyial things which have been there which are independent of the participatory intervention

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Alice Neusiedler: for practices of relating. In this project. They communicate a practice of voicing, of bringing something to the surface for being in touch with them.

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Alice Neusiedler: In regard to existing modes of critique and relating, they recall the role of deputy and the question of the something behind the scenes they evoked, tens of possibilities of moving and leaving and immobility they relate to space as actors, and deal with the speechless

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Alice Neusiedler: for participation. This narrative of touching environments provokes questions of the power of the invisible artists and a potentially strong artistic vision. Questions like do actors, remain invisible, our participants just material. And the question, if those projects provide new readings of how we can act in this spaces, how do they intervene in modes of perception.

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Alice Neusiedler: The further there is about reporting in a reported infrastructure

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Alice Neusiedler: these categories of narratives focus on actors, practices either in planning or collective action. we see people in conversation, often sitting on tables, we see people from behind. We see objects in construction of planning devices.

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Alice Neusiedler: Sometimes the images themselves step into the background, and verbal descriptions and manifestos, for for instance, become more important.

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Alice Neusiedler: A website reporting these projects often show several people in action and re, how they relate to each other

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Alice Neusiedler: the participatory artistic practices here is providing providing of new infrastructures of spaces and encounters. One could nearly say that in these kinds of depictions. The artwork seems to step into the background

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Alice Neusiedler: for how to relate to each other in these projects it seems to work in mode of empowering

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Alice Neusiedler: in regard to previously existing modes of critique, they have all questions of providing unity or disruption, enabling access to places or new means of expression

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Alice Neusiedler: for participation. This narrative of touching environments provokes questions such as, how our connections with other institutions established? what actions a participant setting? How do artists organize this spaces, and what groups are invited or not? Who talks?

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Alice Neusiedler: The last narrative I want to talk about is shared competences also. Here the focus lies on act actors in action.

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Alice Neusiedler: The way they are depicted reminds more of a cast sometimes even resemble screenshots of a play.

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Alice Neusiedler: This narrative brings into the foreground the artistic strategy of correlating collaborators, or a relation between artists and participants in the mode of training.

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Alice Neusiedler: It reminds of existing debates and critiques of employer employee relationships of power distributions for decision making and debates of how one becomes included

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Alice Neusiedler: for participation. This narrative of shared competences provokes questions such as what roles to participant Tech on in corporate collaborations. How do actors become members which skills to act as contribute to the collaboration?

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Alice Neusiedler: So to sum up.

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Alice Neusiedler: images communicate on another level than the text, and that is simultaneously together with other data sources, we can learn from them the narratives of participation. which kind of narratives? this projects a red for 2. So I found this 4 different types of narratives, and each of them points to different forms of social critique. And with this forms, with how we can think of the relationship between the I and the we in this context.

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Alice Neusiedler: and how participation as immersive form of becoming involved is conceptualized

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Alice Neusiedler: learning more about this. Narratives can help us to evoluate participatory art projects more adequately and hopefully provide some ground for a long debate about their potential, but also their challenges.

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Alice Neusiedler: Thank you very much.

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Thank you for being also on time, and thank you for this interesting

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 presentation. I would like to have all the questions at the end.

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So we now go on with the other presentations.

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and then at the end we will have some space for discussion. So I called then the next presenter.

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which will be talking about embodied archives of down syndrome making cultural histories, and Belinda Johnson is, thank you.

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From the Mit University of Australia.

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Hi, everyone and

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Possibly the the first thing you'll notice is that we've changed the title of our paper, and there's actually really good reason related to the project, and what we found that meant we had to change it. We went into this project, thinking that it would be great to make

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an embodied archive of down syndrome as a way of occupying digital spaces for bodies that are often experienced experience of Asia and being hidden in society.

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But what we discovered was a much more complex and challenging

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experience of technology in in in the process of trying to achieve dance activism.

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So it's based on the work I've been doing with Anna Hicky. Moody.

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Anna is. She's just now started as the professor of Intersectional Humanities at Manuth in Ireland, and she's globally recognized for creative research methods with young people and other marginalized social groups.

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And also

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previously, before she became an academic, she was actually a a choreographer and a performer with restless dance theatre, which is

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a company for dancers with them without disability.

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So me. I'm Belinda Johnson, and the last few years I've predominantly been doing work around critical disability studies.

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 I am, and often focused on down syndrome. I also dance in lots of different settings around Melbourne.

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as does my daughter, who is 10, and she has down syndrome. So you can see how we're all coming together here for this project. for this particular project. We teamed up with Stephanie Andrews, who's a digital artist and lecturer at our Mit, and also Paul Richard, who's a

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a media lecturer and a filmmaker.

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Hmm.

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I can't get this slide to change

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having this.

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Oh, okay.

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all right. So our starting point is that we're really interested in how dance can operate as activism for marginalized bodies, particularly people who have intellectual disability. And so I think the question we ask is, whose bodies get to be a aesthetic.

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And I think this is a sub question from the

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posthuman feminists. movement ideas around that Humanism, of course, set up the idea of the rational, the rational human, as as the of the the only way of being human, which of include, of course, excluded a lot of

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people from the category of being human. So Posthuman feminism is trying to break that down. And I guess, reconnect with all different types of people as as human, and also look to those groups as actually holding a lot of knowledge and hope about the future for all of us.

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So the second point to make under this is is that creative practice can be spaces where cracks can form in discourse. So they often have that psycho emotional, so

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quality to the space Artistic practices are often sites for challenging social assumptions and social orders, so they actually fit really well with As being sites for for marginalized social groups to to claim sort of presence and to establish themselves as as legitimate holders. Of knowledge.

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 So we can see this dynamic in outsider art.

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And Petra Kuppers is the great writer about disability performance, who's written a lot about this topic as well.

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So dance in particular focuses on what bodies are able to do and communicate.

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And in the ableest project we can understand, dance has traditionally, when you think of something like ballet, being a site of compulsory able-bodiedness, where the idea of the abled as being species typical and having perfect bodies is put on display as a

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a performance of elite bodies and a celebration of perfection

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at the same time. modern dance and contemporary dance has really challenged these ideas of of dances as an elite space. And so instead, we see this rising potency of of dance as activism which can actually unsettle these types of assumptions about perfect perfect dances, dancing bodies.

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Another thing about dance that I think really brings it. makes it a great activist domain for people with intellectual disabilities. So dance is an expression of human experience. of the human condition. it's often done in collect collectively. There's often a relational collaboration of bodies in in a dance performance.

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and it also decenters verbal language as being the predominant way of communicating and expressing legitimate human experiences.

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so we see that dance is potentially has

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power as a public pedagogy, that it can be a radical, a site of radical hope.

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 where the empathic experience between the viewer and the dancer can create sort of unsettling ideas of change.

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All right.

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It is funny. One of the points I'm making is around the agency of technology. I feel like I am performing that.  okay, so the possibilities of dance capture.

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So for this particular project, we're looking at the idea of whose bodies can occupy these new digital domains of dance.

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dance film has a long history, of course.

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yeah. Like, like many things during the COVID-19 pandemic, we've seen this real acceleration of digital expressions of dance as part of that posthuman turn to for the of the technological having a greater presence in in shaking.

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so who we are.

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So we see things like motion capture, virtual reality, volumetric data, captor, heat, sensor technologies being used in creative work.

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And these images are a wonderful project

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of heat sensors being used in a dance performance, and it was a performance to capture the experience of nurses during the pandemic.

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And so through these technologies, there's these new digital landscapes

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as political spaces.

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But I think what's what

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added to this, beyond the the live dance performance is that it has an archive archival impact. So there's something in what's being captured whose bodies are being captured as marking a particular historical moment. in creative work, and are there whose bodies are missing from these sort of digital works that are being captured?

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And 1 point we really wanted to make that our work. We weren't seeking to make a dance film. We're making using dance as a methodology and using it as a research data.

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So what I'm going to do, actually.

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 I'm going to show you one clip from our

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take it up

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from our work.

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This is Maria

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and Maria just was

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so. But what I'll do I'll turn down the volume, and you can maybe watch the clip as I talk to you a bit more about what we were doing, and why

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so?

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 the field work? We had 4 dance young dances with down syndrome. Ranging in age from 14 to 18 And then we had 3 other dads of participants. One was out in an industry partner from a dance company. One was a colleague and one with me.

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and

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we The dance workshop was run by Anna and basically she used methods of reverse integration. whereby dances without disability

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are challenged to take on and respond to the body movements of the dancers with disability, whose bodies and ways of of moving ways of being are centered in the workshop.

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 okay? So there was sort of a whole lot of insights that came out of the of the clip.

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So there was a real awareness drawing from new materialism of how the setting shaped us as performers in the space. So there was the presence of the equipment. There was

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3 3 sort of cameras set up. There was Stephanie trying to do the the motion capture around us. And she described it, felt like she was engaged in a second choreography where she was trying to move around the space and around the dances to capture us.

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 basically, the dynamics of working together, we compressed like, so what ordinarily would be maybe a 3 to 6 month project into 3 h. And this is our little dance clip that we ended up making And so I think from it, what we can start to see

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is not a completed project of us achieving an integrated culture of down syndrome in the practice, but I think there are moments of You know she's the language from affects days like shimmers or emergencies where you can actually see it starting to happen in the clip

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 for me.

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I had to do a lot of reflecting on it. I had very modernist sensibilities while I was engaged in the dance that I wanted to meet the directive of the choreographer.

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and in my due I work

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So I found that very stressful sean who's my dad's duo partner there?

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His primary vision was to engage with me on a connect with me on on a human social level.

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and

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I found, like watching the clip, the moments where I actually surrender to that the moments that glow in the clip. So that's the moments where we start to actually achieve

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the goal of the practice.

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 and so, looking at the film, what I now see is I actually have a different effective experience to when I was actually in it, which is interesting.

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And what I see is that

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it was the intention that actually became the dynamic of this of this work and this clip.

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So In the last few minutes.

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I'll quickly tell you about some of our theoretical ideas.

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So there were sort of 2 big theoretical ideas that we've drawn out of the work. So the first one is the idea of creating a more than human workshop. So it's the idea that the space, the technicians, the technologies, were actually all part of this workshop event.

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And then the the second concept which then sits around that is that we became an expanded dance body.

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And by that I mean, it's not just as a group of 6 dancers in the clip that we were a dance body. Although that that was true.

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There was also this sort of tentacular effect, as we were doing the dance, looping sort of outwards from the space the parents were waiting outside with their intensified sort of hopes and trust. but there was also

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there's sort of the traces of brutal institutionalization and Eurasia. There was the emergence of news, sort of cultures of disability arts. So all of these sort of practices, all of these things going on in the world in the history was sort of looping out of that workshop and became part of our expanded dance body.

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Ultimately we would say that there was

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we. We? I don't have any motion capture to show you, because it sort of failed.

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It's really interesting to think that through, because Stephanie tried to use least invasive methods as she could.

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But ultimately the technology was very demanding. And this is where you know, it had agency. It was really

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the technology meant that we had to be in that black digital media room, you know. It's very heavy and dark, and you don't see dance studios like that. You know, we wanted a dance studio with Wooden's front floors and and the rest

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But ultimately even that wasn't enough for the motion capture. It wanted us singly to be responding. it! It almost wanted to break down that that expanded social body. So it's left us.

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It's great. I'm on the last flight. And so it's left us with a couple of questions around anti-appressive capture of dance.

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So these new technologies, I think there's often a real excitement around these new forms of capture. What we can do, you know, capturing the internals of the body?

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animating bodies in digital domains, all these sorts of things. But ultimately there's a real danger that these new technologies are going to reproduce the same errors that have pre existed. You know that we're trying to actually challenge and get rid of

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a second point was realization that the editing and the capture processes

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it needs to be really, consciously embedded with disability activism. So it it can't be sort of treated as a secondary thing just to bring someone in and capture what you're doing. It has to be really thought through 250.

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And so in terms of thinking what what next? In modes of capture with for dance activism, we're sort of thinking that perhaps the possibilities more lie with getting people with intellectual disability down syndrome

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to have control over the technology as well. So it's much more the culture of disability and down syndrome that we create in the space

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also radiates out to capture the technological part as well.

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So thank you.

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Yeah.

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thank you for this

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vibrant presentation. And we go on. So with the next presentation.

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Sarah, lighting, seek up.

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Oh, I cannot. Okay. They do it yourself. In online communities of independent songwriters, and Carl Anasine from Griffith University of Australia.

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We have 15 min. and I'll try to finish on time.

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Yeah. But she, while she's doing it, thank you very much for coming here today. Before I start I would like to acknowledge a traditional custodians of this land where we are conducting the activity.

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There were in Jerry, people of the Colon nation. I also extend this respect and

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acknowledgment to the Cumbria people of the Uganda language group from the so-called Cold Coast Queensland, where I am conducting my research. My Phd.

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Well, thank you very much. Well, this is Rc. 37. But I am putting this one here because they gave me the bursary to be able to come here. But thank you also to Rc. 37 for this session, of course. Yeah. So my name is, Carl. These QR codes here. You can scan them even later.

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just to boost my ego as an academic and as an artist, I guess. yeah. So this presentation, if ever I won't be able to finish the time you can also access this article, which was published in the book, we're thinking music business.

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I'm edited by Guy Moreo, Daniel Orgrad, and Peter Schmuck. so we already know this. The the Cov United Pandemic

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messed up everything in the world, including, and of course, arts and the music industry. But in all, in many of these things that were published in in in relation to how it messed up the music industry. Most of the things are talking about. the

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the mainstream music industry, for instance, however, not much is known about independent musicians. And when I say music industry here, I'm talking about recorded music and live music industries.

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When you say recorded music industry, there is always a songwriter and or artist bands. And then there's producer coming up with the songs and publishing it and putting it out on whatever media you have there. This is the traditional one. But now, of course, you can see different intermediaries as well, such as the distributors that will allow you to put your song on spotify and other media there outside the the

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publishing industry.

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But when I talk about live music as well, this is, on the other hand, involves other people, such as the live production crew, professional other professional services and everything. But in in this models they always talk about again. The the mainstream music industry where Many of the independent musicians are

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kind of left out as well. So especially during the pandemic. There are.

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There's a limited study on the experiences of independent and amateur songwriters and musicians.

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Independent music or musicians is a very ambiguous term, because it talks. It can talk about genre. I can talk about practices, about people as well, and scenes. But the the main gist of when you talk about independent music is.

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it's always it's almost always compared to its binary form, which is the mainstream which is sort of considered as an evil corporation. Where? Artists do not have this independence of creating or putting out creative activities as they should be doing.

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Some of you are somehow I don't

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also subscribe to the idea of this binary, but it's important to put it out there just to show what independent music is all about. But the the idea of independent

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music or music scenes or independence in terms of the music industry. is rooted in the Diy approach, or do it yourself. Approach where music production rests in the hands of these artists, and not being part of the the mainstream major labels, such as

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Universal Warner and Sony the Big 3. They used to be Big 5.

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These these companies combine themselves together. but more, for instance.

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gave some characteristics of the of the Diy approach being used by the independent music scene, for instance, smaller and operational size, fewer artists, if ever they are managing artists. And this is for the alternative market. However, this is where the part that I'm saying it's quite, quite blurred in terms of the distinction between the 2 now, because even mainstream labels are

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exploring the alternative markets as well in the Philippines. One of the

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seminar works on independent music and digital technology was by Monica. She this was only published like a few years ago. However, she looked mainly into the independent scene in Manila, which is the capital of the Philippines, where well, Manila is the center, and everything is there.

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neglecting, then the independent music scene in other parts of the Philippines. The Philippines has 7,100 islands and 200, almost 200 languages. So it's not just Manila that represents the independent music scene, for instance. And also

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this scene extends beyond, and I'm using the the word seen loosely, very loosely here. as she used it as well. this extends beyond the physical and geographical, which also exists online as well. that's why not too many studies have been conducted about this Sir Kit or senior communities, yet especially during the pandemic, and this is still worth

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understanding further. But for me, I focus on the use of social media and digital technologies in this, this space or this phenomenon

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in.

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when I talk about digital spaces and communities. I talk about trans local virtual community combining the idea of trans low quality and the virtual networks communities. Specifically, in this paper, I focus on 3 communities. Some writer society. I, Pm, and F. I. A. These are some of the biggest communities on Facebook right now. there is no person in the the the groups

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that are who are

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members, or at least working in the mainstream industry, who are part of these groups. But this group is growing, and specifically, I

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try to understand and analyze the posts and comments during the covid restrictions in the Philippines.

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So what did you find out? This goes straight here as communities of practice

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in terms of support, learning, and collaboration, so as a support, they shared their concerns, problems, and topics that sustain. But they do this in constant interaction with each other and in the group.

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So for instance, in this case, an exam. As an example, you can't read it because it's too small, and of course Many of the words there are in Filipino. But for example, this one, a member asked, how do you cope during the times that you thought that your song is already so great.

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And then you find out later that your audience was not impressed.

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So it's kind of asking for mental health support in coping with this

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vulnerability and the weakness that they recognize about their sons as well. And when I talk about support here. This is broadly conceived, because it can be

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from as simple as just giving likes or comments, or you know, giving these inputs on about their concerns, such as that one

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and even putting out songs on spotify. And just, you know, streaming the songs. This is A broadly conceived notion of support, but more specifically as well. They use this as communities of practice in terms of learning, so as a collective activity to support and develop each other's works and skills. So, for example, in this case.

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someone, a member of the group

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gave some tips and steps about putting out your songs on spotify

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which not too many people, especially in the indie and amateur songwriting groups, don't know how to do.

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yeah. And this things that we learn from them doesn't only stop with, you know, some writing, but also troubleshooting of equipment. So if there's someone who has throwable making their speakers work, for instance, or the interface work. Then someone would pitch in and give some of their what they know, and then people will learn together about with that

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as a community of practice in collaboration, it talks about production and consumption, which is a manifestation of the Filipino by enhance period, which is camaraderie and community engagement. And this becomes a space for collaboration and co production which is not seeing most of the time in the producer, consumer or patron.

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client relations in the major up with the major labels. So in in this case we appreciate and respect the musical stats, regardless of their styles and diversity from different parts of the Philippines. So these communities of practice become.

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they become space for a precision and respect for diversity. So one of the things that, for example, that they were able to come up with

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on

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little bit more.

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you

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for it.

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the you

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myself. I

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so you can see how Diy, very diy the sound even, and the the the space that they were doing it, the video. It's not even 4 K or whatever format you have there. But This is the way that they collaborated and came up with things here. And This is what I refer to as Diy d, I. O, now we go. We go to the Di O thing here.

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So the typical process of the things that they did or they were doing here was, you know, write the song, record the song in a demo form and then post it on

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the Facebook music community and then eventually get some feedback from there, making the clean recording of the song eventually and They sometimes send it to other people who have the expertise of mixing and mastering the songs, which is again a form of collaboration.

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and eventually sending it to spotify, or whatever platforms you have there. But the final product would also go back to the community as a way for them to to listen to it and show it. So there are some Covid albums even for this during this time. So well, we don't have time to to listen to all these albums, but I can send them to you if you are interested.

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So in this case I. We are applying the Diy approach, or do it, or self approach, which is being used in independent music since, and which is a manifestation of the collective striving of the control of the outputs and networking between the the members of the community, because they produce their own music with whatever resources that they have, which is a manifestation of self sufficiency.

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in in coming up with these things that they are doing in terms of independent music, which is also a demonstration of their collective self-sufficiency, which is now what I refer to as the Dio Approach, or do it ourselves, because in the Philippines we talk about surrealing Zika.

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roughly, roughly translated to self-reliance, but a self here is embedded with the word rely. But who do you rely on. Who do you rely from? It's the community that I am arguing with here. also the self here S. Really is not only about myself as individual. But we are talking about Saudi. We we have this call award called sailing Atin, which I think is us ours. So

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it's extending to the community as well, because we will only be the ones helping each other during this time as well. And these are some of the words and sentences phrases that came up with my interactions with them as well. But one of the most specific things that we do as communities is the playlist curation? I don't know, you know.

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almost there. Yeah. So this is a very specific way of increasing number, and streams in on spotify. And this is a manifestation as well of circ convention, of the music industry, because we are working working away. And through the cracks of the algorithmic patterns of spotify. So some of the examples here are this one. I even was.

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got, you know, got some benefits about this. I released my song on Brisbane based distributor. And it wasn't getting any streams before. But now it's got 10,000 streams because of this community, right? So I'm just gonna skip this one. yeah. So Filipino, independent musicians use these communities. So

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I'm timing myself as well yeah, as a community of practice. But again, this is not only as an individual, but also expands towards the collective, which is also being done as a form of sales development, and as a networking and collaboration with other independent musicians during the pandemic. yeah, thank you very much for listening. And have a good day.

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 okay.

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so thank you. And we go now to the last presentation, which is

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Yaka Primarak from the Institute for Development and International Relations in Croatia. The limits of project work cultural labor in the midst of the pandemic.

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Thank you.

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Thank you very much. Yes, of course. Thank you very much for coming to this presentation. I hope I'm going to.

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We do the justice for the technical issues. So we're going to zoom in now to another part of the globe to Croatia, another country of

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islands as well, not 7,000, but 1,000, and the context will be the same. The covid pandemic

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And

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slightly. A similar part of the sector here. I'm going to talk about the independent cultural sector, civil society organization sector in in Croatia.

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One of the first things that kind of happened during the during the pandemic was also bringing up the the solidarity within our research community, especially those researchers from the South East Europe dealing with the cultural sector.

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And we started to do several research projects dealing with the cultural sector. So during this research period, we did several surveys and online interviews

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within which we reflected the strengthening of the solidarity of the cultural sector within South East Europe, not only among the Ngos, but professional associations

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and cultural workers, and during that time. At the beginning the first wave there was this notion, if you also remember, the atmosphere of the new and more sustainable approach to cultural sector is needed.

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that it was based on the market, logic, and etc. However, the crisis also at that time highlighted the problems of the cultural sector.

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not only in South Eastern Europe, but generally in the globe, and several different measures have been developed during that time, but that, when analysed over really reflecting the existing political conjectures in research country.

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but nevertheless, in the second and the third wave. What has been indicated? Kind of as distance, initial enthusiasm, that the need for the change of the paradigm has to be has to be made has been gradually lost, and the position of the artists and culture workers has been further further marginalized.

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There has been a limited influence of international foundations, and we talk on the sector in this region. So we kind of decided also, during that time

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that for the understanding, the overall understanding of the sector, one has to go more deeply into its sub sectors. So within one of the research projects for a Creation Science Foundation that has dealt with the social resilience of Croatian society

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in the midst, and we were optimistic at time, aftermath of the covid pandemic. We executed also the qualitative part of the research that has been that has been devoted to civil society organisations in Croatia in general, and within it. We have done a specific research part

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on a contemporary arts and culture organisations, civil society organizations. So this is just

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overview of the methodology that we used in the semi structured interviews throughout the throughout the Croatia, and what we did was the semantic analysis of these interviews, as they were done mainly with the expert and mainly leaders of the society organisations. We we treated them as as expert interviews.

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The theoretical framework for the interpretation of of the data was based on the concept of the organisational resilience as developed further by or and collaborators which actually defines the organisational resilience as the ability of social organisations to provide relevant help to their users.

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The organisational resilience is based on leadership, resources, organisational culture, resilience plans. And we're mental scanning innovative practices and learning organisational change management. So while taking this theoretical framework, we done the thematic analysis as as noted.

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and we discover the 3 interpretative axes of organisational resilience for the for interpreting civil society, organisational situation in Croatia. So the first one is the normalisation of crisis. The second one is the established micro practices of resilience, and the third one deals with the new micro practices of resilience.

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So when we are talking about the normalization of crisis for civil society organization in contemporary arts and culture. When looking at the interviews on our qualitative data, our respondents note how this crisis, the covid crisis

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has been just one of the crisis that they have encountered throughout their work, so that they basically are working during their whole time in the crisis mode of operation.

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And this crisis mode of operation is based mainly based on the financial insecurity that is the key element of fragility. In these organisations. The project financing has been taken. One of the problematic areas

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for work in the Cso's in culture. Although we know that the project financing and project to project work is not only specific for independent culture sector. But the sector in general and in as one of the other problems occurring in this context is that the organisations are seen as service providers.

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and that who are adapting their focus or focus of their work to the funding calls that are available. And in this way they are losing their advocacy role, which is the main, actually a point and core of their organizations.

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The other axis of an interpretation that we have seen that they have been already established micro-practices of resilience within the work of these organizations. And what kind of these micro practices

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are seen? This is the financial savviness and getting by financially. That is a characteristic of work in this sector. Then there is the already known for those of you, of course, who are dealing with creative Labour

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research on the dedication of one's work, of the passion of enthusiastic and loving, of about work which is seen as an important building block of resilience. In this organisation

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organisations. One have also established these practices and organisational resilience is that these these organisations have stable teams. They have good interperson interpersonal relations. And

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what is also characteristic is that they already have a good established international or national networking and connectivity within within the sector.

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The third Axis that we discovered are the new micro-practices of resilience that have been developed during the during the pandemic. Mainly when we're talking about these new practices, they are connected to the move, to the digital sphere that has been characteristic at the at the beginning, especially of of of the of the pandemic, of the closures of the lockdowns.

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and what has been discovered within the interviews that this transfer to digital has been made at the expense of both the material and the labour resources of the organisations.

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There has been not any additional funding for the turn to the, to the digital, but the the the workers themselves had to find a way to to to to transfer their activities to the digital spheres, one of the other set of new practices. Have been the intensification of.

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and actually the diversification of collaborations and networking during the pandemic in various solidarity practices occur across the sector within other sectors, either nationally or internationally, and there have been different initiatives connected to labour rights

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in the arts and cultural sector, not only in Croatia, but in other countries in the region, such as in Slovenia and Serbia. What we discovered as the consequences of the independent cultural sector's long term resilient behaviour is that within

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that the the cultural organizations in civil society sector

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are are among the smallest ones, and this this adds an additional layer of to their fragility. These are considered microorganisations. When you look at the civil society sector in general. In Croatia these are organisations

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where there are around 10 workers. But in cultural sectors this amounts to around 4 workers. So these are really micro or organisations which kind of when you look at the cultural sector in general, in in cultural industries sector, we are also talking about micro enterprises. So it's it's kind of simple.

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What? What was one of the additional aspects of specific safety, of of the work in this sector that workers don't see that their work is accepted, that their work is

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recognised, and in the policy and politics circles, what can be seen is that their work is marginalised on a different level by different cultural

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stakeholders, not only during the pandemic, but throughout the years. Such a position, together with the financial instability working per charity is causing some of the workers who are working in the sector for some time in their weariness, and the sectoral fatigue and the wanting of the exiting of the sector

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and what has been expressed in the interviews that basically this covid pandemic has not been used as an as an opportunity to make changes in the sector.

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So to kind of conclude, the covid pandemic has changed the framework of labouring and civil society sector in general, there is the limited space for topics that are outside of the scope of the pandemic.

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The right together and work with users is limited, and the working conditions of civil society organisations that provide various social, educational, and advocacy advocacy services have changed.

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The research data shows that the civil society organisation in Croatia have a remarkable level of organisation and resilience that has been developed throughout last about 20 years. So these are the established micropractices of resilience that I talked before, and in cultural sector. In particular, there is the structural difference between the public, private and civil society sector

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in culture, where a blueprint for a different impact of negative consequences of pandemic on the working of conditions of cultural workers are a bit different between these sub sectors, that

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and so to say, that the civil society organizations in contemporary art and culture, even in pre-pandemic times, worked in more fragile circumstances than in other sub sectors, and during the pandemic these circumstances have been amplified. So the results of our research show that there are the traps of flexibility, of

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and of resilience due to a neuro-iberal projectification of the sector and crisis has been used. As for further marginal utilisation of civil society, sector, especially its vocacy role, and this opened up the the question of the limits of resilience, of civil society organisations

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and of self-exploitation, of of cultural workers. What the analysis of arts and cultural civil society or organizations also show is the unrecognition of the long-term work

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of the organisations of the contact that they are producing through this work, and which has put these organisations within the context of pandemic, of questions, of further functioning, actually of the sector. So the question that rises is whether the crisis is a tipping point of no.

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So the fragility of these microorganisations with really well worn workers taken down by the structural factors that are not prone to independent cultural saying, these are the policy

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framework that I mentioned, and in particular, that are not oriented to civil society, or in general, and in and to cultural organisations in particular.

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In the context of a country on the European Semit periphery, it really opens up the questions of actual future

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of this sector in a general. So I would like to thank you for your attention, and I'm here for your questions. Thank you.

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So thank you to all of you presenting, and I would open the floor for discussion. If there are any questions, comment. If anybody wants to say something, even to each other, of course you can.

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You can ask questions.

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Okay.

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Hey? Hi! Everyone on. Thanks thanks to the panel for the really fascinating presentations. I have a question for Karl Johnson. I I love your study of musicians as someone who studies the culture industry myself, I was struck by the importance of the playlist in basically helping musicians and get an audience. I I was wondering from your experience.

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how important do musicians take this to be? And who are the people that decide like

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who gets to which songs who gets to be on the playlist and so on.

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We can not. So thank you for that question. Yeah,

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I'm currently writing this article, and I hope to finish it by next week.

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But yeah, playlist curation is a very important thing for. especially for independent musicians.

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And this specific thing that I was talking about here is a very specialized thing that they do.

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which is.

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someone comes up with a playlist. This someone can be anyone. But we. We know this person in the industry as gatekeepers, right? So this is a gatekeeper, but in terms. But he or she is a gatekeeper in terms of just

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curating the playlist. This person doesn't even get paid for this one. that's why I'm I'm putting it in the community context, because there are also playlists that as for payment from people who want to become to be part of the playlist now,

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this display playlists are

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well. This is run by bots, for example, so that this can be streamed by more people

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in different countries. But the the playlist that I'm talking about is just run by the members of these Facebook music communities as well, but this is important for them, because it allows them to communicate as well with other

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European independent musicians. And now we see the the extension of this through live music again, as as live music is coming back to you, you know, to the scene, and I've been looking. I've been seeing this members of the community

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getting together in venues and playing together as well, which they never knew each other before the pandemic. And this is one of the ways that community is becoming important as well, and relating to the playlist. Now, as I've mentioned, I also got. I was also part of those playlists. And my, my streams just shoot out. Okay, sure. But I'm still not I. I wasn't able to mention that. But

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the sustainability of this plane is still not not not that good, because, for instance.

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I'm gonna reveal it. Now. I just got $7 for that whole thing for the for the 10,000 streams, for example. So you cannot really take sustainability in terms of that. But,

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what's the other one, I answered. Whoever is in charge of that playlist? That's the second question, right? So this is just a person who is passionate about coming up with a way for independent musicians to be together. I can even make my own playlist and then call musicians to contribute. So what happened to me was.

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I just knew of this person, and then I messaged him. Can I join the playlist? Sure, as long as it fits with the theme of the playlist. He was making Christian rock playlists before, and then he just decided to just make playlist for independent musicians, whatever genre that would be. And then I still submit it. And then he put the playlist there. But there is a requirement there you need. This is now that the

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the trick and the trick of the thing. I don't know if I should reveal this, but we should be streaming the whole thing

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3 times most at most every day.

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so that it? we. We really need to get that stream every day, and then we play it. And then because if you have 50 people in the playlist, and then 50 people will swim 50 songs. Then that's going to be a lot which will also accumulate together in the

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you know, as as streaming, and followers as well numbers the metrics. And so that's how we circumvent the music industry as I was mentioning. Thank you very much for that question. Hope I answered it. We can discuss it further later.

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Any other question command.

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Ok. I have one question. In the meanwhile, if you can think about it. I have one question for Alice. No, I, Sidler.

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You have to unmute, otherwise we will not here. And my question is this, you presented this work on participation. And then you had some. Let's say I wouldn't say models, but proposals for participation and critique also to this kind of participation, I would like to know if this applies because you did it on the arts right?

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And I would like to know if you were thinking about, if this kind of critique or

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proposals can apply also at large to participation in general. So let's say, citizenship participation.

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Alice Neusiedler: Thank you. thank you for that question. yes. So I in my study. I particularly look at visual accents and and theater also, because I think

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Alice Neusiedler: this kind of shop was within the arts. merch in the way and the way, what what kind of practices they use also in regard to what kind of prices they get the cross sector. But I I do think that participation as organizational principle. I I hope that this kind of findings translate to other sectors. At least it's a strong motivation, I think, like

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Alice Neusiedler: one major points that help me think through it is this what's going on in regard to participation in in the social work. And and this kind of care sectors where, with activation, paradigms, etc. And I think, especially in regard to critique, there's also a lot going on in in this kind of other fields, like, for example, about extra mining. What kind of burden comes

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Alice Neusiedler: with that? I choose to zoom in into art as a practice also as a kind of an affirmative case.

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Alice Neusiedler: because I think what is a particularly interesting with the outfield is that they, in opposite to other fields, also have to kind of display. They differences they work with, and also the kind of deal with the power relations in like some kind of

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Alice Neusiedler: maybe not responsibility, but towards the potential audience. And I think this kind of dynamics less present in in many other areas. But I think like this demand and and nearly an imperative for participation is very present in that. It feels like, I'm thinking of planning and community involvement in regard to

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Alice Neusiedler: local decisions. yeah. okay.

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thank you. Thank you.

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Any other question comment.

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I really like, I really enjoyed your presentation. And I mean.

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maybe this is a an obvious thought. But It so really reminded, like the rise of the sort of nineties.

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aesthetics and and ways of doing things that have have clearly come come back at the moment, and that whole Diy into music thing.

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you know, in in my experience it was the ninetys that really

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started that in in, you know, Australia. And you know the Us. And with grunge music and that sort of thing. So I was just really interested. I was wondering, when I was seeing your presentation.

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whether that also had happened in the Philippines in the Ninetys? Or is it something that has

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has been a more recent sort of arrival? Culturally? Yeah.

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thanks for that question. Yeah. In the ninetys.

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Well, the thing is again, it's the Philippines to speak, even though it looks small in the map. I lived and race and born. I was raised and born in in the northern part of the Philippines, which is very rural as well. So I really don't know specifically what was happening in the in Manila back then, but I was. I'm a 90 s. Kid as well. So

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the things that were happening in in in terms of the Diy approach. I, as far as I know they were happening then as well. but this was also the boom of mainstream music, rock music, and alternative music in the Philippines. Which is this? Which are the things that I grew up with? yeah. But in terms of

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this, this was happening during the time. But then, of course, technology was not the same then, but we were doing that. Did the ay, approach that we were doing back then was, you know, cassette tapes? Yeah. So we were using cassette names to to record our songs. and then rewind it until it. You know it gets destroyed.

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The film, at least. Yeah. So those are the ninetys approaches that we were doing at my end. But also the communities of punk

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communities of Scott communities of rock and mental were still going to to its peak. It was still down there and then eventually, in 2,008, it it exploded. But I think the main difference now is because of, you know again, social media. allowing it to come back again.

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but the technology of cassettes, for instance, it's it cannot redefine them anymore. So there are different ways now. But I think the Diy approach that is being done now is.

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which is also evident during the pandemic is the accessibility of like music interface recording interface microphones. And those things, however, I would like to emphasize that the the the Philippines is also

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a underdeveloped country, which means that not too many of the musicians are able to access this, this this equipment as well, so they still need to depend on someone to be able to come up with these outputs. So as well as what you've heard of the quality of the song that I've played a while back. For example.

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yeah, help to answer your question. But thank you very much. Okay. I think we have also a question from Alice. Right?

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Alice Neusiedler: yes, if I can. I would like to ask a question to I found your presentation super interesting, and I was wondering if you could say a little bit more about what this cultural civil organizations that you're looking at do, and also like what kind of differences they deal with in this challenges. And maybe also, if there are some who suffered more than others.

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because I'm just thinking about a text, a lot. And I know it's a very different cultural organization. But about

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Alice Neusiedler: also how art organizations? and artists. in what we call, for example, pro share privileged depending on their position in like the cultural field.

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Alice Neusiedler: So I would like to know a little bit more about this connections.

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Yeah, thank you. Thank you very much for your question. well, regards to the, to the type of work that they're doing. It's it's very diverse, because we're dealing with different sub sectors, either dance music, theater, or fine arts. So it is

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diverse in their approach. And what is very specific of this sector. It has been developed from the ninetys as kind of a critic

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of then established established culture and kind of the national identification of the of the cultural sector in during the war times. So these independent cultural organisations have been kind of developed

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as a critique to the then established cultural cultural sector, and in this way they have been always the ones who are critiquing the established notions and of the cultural sector. So this is

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there are differences between them. Of course there are bigger organisations, and they are smaller, even more fragile organisations. Some of them are very, very even known internationally within the European circles. So there are, maybe as kind of you questions some of the hierarchies between them.

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but all together looking, they are very much the ones who are critiquing the current situation in the cultural sector and cultural policy in in Croatia, on different different. So fields.

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Alice Neusiedler: I hope I answered your question. Thank you.

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So

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any comment? Okay.

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a question for Belinda and maybe Alice could jump in as well

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is what you did in terms of methodology. Do you consider it

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as performative ethnography or other ethnography? Or how is it different or similar

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with this methodology?

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Yeah, good question.

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I think we just conceptualize it more as dance methodology, like creative practice.

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As the methodology. So

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 I mean it. It definitely has ethnographic dimensions to it, because it's sort of understanding sort of

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particular social group.

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 and

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as as sort of a a culture in a group. but yeah, in terms of how we've sort of described it. It's more just

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creative practice methodology, I guess. So it's sort of simpler than that.

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yes.

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okay. So if

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we finished our question, I thank all of you for presenting, and we will see us in the next session.

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So 1 1

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one thing I have to say, all the for every session is that this evening, after the last session, the last session will be between 5, 30, and 7, 20,

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right after this last

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session. Here, of course, in 206, where we did all the sociology of the arts.

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the research committee there will be the business meeting. So you're all invited to join.

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so that we can also involve new members and new ideas in the group. Okay, thank you very much.