Beautiful Dreamer

This year I've been thinking a lot about the idealistic, dreamy side of me (which informs and inspires much of my creative work), and the ways it might have happy experiences when coming into contact with the challenges of daily life. I suspect there would be many people who might suggest that I could be more realistic in my expectations, perhaps, or more understanding of the different kinds of very real limitiations that impact the existence of a freelance artist. There can be a lot of tension in that equation accompanied by a reluctant feeling that reality will win out at some point. But what if the solution actually lay in relying even more on the imagination and the world of ideas? Not just my own, but of the people all around me?

I've just had an essay published by Currency House Press. It's called Democracy versus Creativity in Australian Classical Music, and in the paper I propose some new ways of engaging people with the arts in general, but in this case, with classical music. I was talking about the paper with some lovely friends of mine today, and one of them asked me what the title meant. It was a little bit like one of those moments in a Woody Allen movie where someone has just said something very heartfelt and passionate and the other character says, 'but what does that even mean?'

The title of the paper refers to the Australian Government's Creative Nation cultural policy document from 1994 which outlined a vision of excellent creators – artists – making work that would be available to everyone - appreciators. Artists and arts organisations would be responsible for both the quality of the art product and democratic access to it.

I think this has caused two things to happen:

1. Is that our own traditions together with the idea of democratic access to the arts has focussed our creativity within classical music in very specific directions which are out of touch with contemporary culture. That's frustrating because many people have worked very hard to cater to the appreciator and through this to generate a feeling of the arts being something that we can all connect with and through somehow.

2. In catering for the appreciator in people, we have limited the development of techniques that reach out to the inner creator or artist in people. We are all creative, in a thousand little ways, every day. We are also often great collaborators – but we do this in the private realm rather than in public life.

Creating opportunities and experiences for appreciators (audiences), where they can spend a bit of time considering things from the perspective of the creator...that’s where the real value of the artist lies in our society.

The future of the world will increasingly be based on ideas and the value of those ideas. Artists have an important role in society because they often approach things in unique ways and they bring quite particular and valuable insights to many different situations. A society of spectators alone will not find solutions to the challenges that we currently face, not only in terms of maintaining traditions of art making like classical music, but also in preserving our planet. Giving people the opportunity to discover the creative, collaborative aspect of themselves through new kinds of arts encounters is the way to bring wonderful art forms like classical music back into people’s lives in a much more powerful way than simply getting someone to buy a ticket. My own creative work increasing focusses on this area of connecting artists and artforms with new audiences of creator/appreciators - check out Polyartistry's Polyopera project with Opera Australia to see our team in action, creating experimental video operas with people from all over Sydney. So here's to all those beautiful dreamers out there...I'm looking forward to meeting you soon.