Mountains of Practice
by Gini Dickinson
Preface
Ettienne Wenger-Trayner has spent much of his career focusing on the concept of Communities of Practice as systems where learners go through peripheral participation to become masters of a practice (Lave & Wenger, 1991). In his more recent collaborative work he goes on to describe a ‘‘landscape of practice’ consisting of a complex system of communities of practice and the boundaries between them’ (Wenger-Trayner et al., 2014), as a better way to understand a more commonly used term ‘body of knowledge’. They ‘introduce the concept of knowledgeability’ which ‘manifests in a person’s relations to a multiplicity of practices across the landscape’ and state that ‘these practices may be significant in constituting an identity of knowledgeability, if identification is understood as something that is modulated across the whole landscape.’ This is interchangeable between professional practices and personal. In this little story book I look at my personal landscape of practice (LoP), different communities of practice (CoPs) I have been a part of, and how they have crossed over to form my own knowledgeability and identity.
Here is the story of a little Bean This little Bean, she was very keen. She travelled the mountains, so wild and green, Then returned to the studio to paint what was seen. These are my mountains of practice. Here you see an overview; the three largest mountains that have had the greatest influence, Goldsmiths, Ginibeanifairy and Jura (from bottom to top). I've traversed them all in wildly different ways, ups and downs, side to sides and journeys in between. Follow me through the mountains to see how they have led to where I stand.
Gulley of Goldsmiths I steadily climbed up the slope of Goldsmiths joint honors degree. It began with a shallow incline up from City & Guilds as I found my feet. Then, a steep run between 2nd and 3rd years Berlin, the Marquis and friends met along the way. At the peak my degree show, a cairn built, a collection of my learnings. Swiftly followed by a dark thunderstorm and George’s death.
Wading through the post graduate artist community with PACT and the Marquis in my first aid kit. I took a long curling journey from London to Edinburgh bringing some clearer skies. New friends, new experiences, opening my mind beyond London town.
Summer sun came with a jaunt over the hills in Galicia. Some April showers at the start as I settled in soon produced a rainbow and a bright sun, warm with love and learning.
Suddenly, another stumble, down the ravine cut in the hillside of my Spanish family. Return to home. Reset.
From a fresh space, a need for calm, my hands were free to explore. We traversed, exploring new techniques. Dipping my toe in new experience, cautiously, still shadowed by a cloud.
There were many grey days with the sun trying to peak through.
In this open plane I could begin to plot my route working to my own pace. With comfort and support I turned over mystery rocks and found precious buds with unknown potential.
Ginibeanifairy Moors I followed some signs and soon saw a ray of sun in the distance. Telling me to take that road back up North, and to Jura, with unknown peaks to climb.
Paps of Jura I jumped into Jura island life and the community that surrounds it. I began splashing about in the Loch of life – coastguards, art club, singing – and felt I was settling into my home valley. Ups and downs with each incoming storm, a side effect of living amongst the sea.
Many experiences communicating and connecting with people opened my heart and mind.
The Ginibeanifairy business began to form into a peak, with many outcrops and steep faces requiring ropes, mapping a long journey of learning and discovery from the online community I had previously dipped my toe in.
With Covid came a gathering storm. I attempted to protect myself with friends, SO:AR and consulting the old map, reconnecting with my learning but the weather really came in, I could no longer see, I called in rescue from Ginibeanifairy mountain to newer, fresh pastures of this MA.
I now consolidate all my past maps to take a look at what to take forward with me from what I learnt of the old mountains.
Communities of Practice footprints Art schools/ education journey: Like many I experienced life-affirming changes at university. I entered a CoP, fluid and transient by nature, that helped form tacit knowledge for my future in the arts, and life. M. Fenton Creevy et al. recognize practice-based education as CoPs here: ‘In this chapter we focus on students who imagine themselves on trajectories which intersect an academic community but soon pass beyond it. They are visitors, but there are different kinds of visitors. Some have low levels of participation engaging in only superficial ways with local practices; their identities are hardly changed by the experience and the academic world remains a foreign country to them. We have labelled these ‘tourists’. Other visitors have a higher level of participation, engaging with the meaning of local practices in ways which have implications for their own identity, while nonetheless recognizing that they are ‘passing through’ and unlikely to become fully assimilated. We have labelled these ‘sojourners’. Of course, some students do see themselves on an inward-bound trajectory to the heart of the academic community, going on to take a PhD and pursue an academic career, but these are a minority and not our focus in this chapter.’ (2014) They use the example of trainee nurses. I draw on my own experience of an arts course, I myself a ‘sojourner’, or perhaps a ‘marginal’ (with an imagined trajectory of low participation inside the academic community, high would be leading to a PhD). ‘The crucial distinction, … between the inbound member of the community and the sojourner is their imagined trajectory and the context it bestows for their engagement and alignment with the practices of the community.’ Within art colleges generally there is strong engagement; most tutors are industry professionals, and a high proportion of students are headed on a similar imagined trajectory. Art is also inherently emotional, meaning many students are very engaged and passionate tutors respond well. In my experience, studying on a joint honours Fine Art and Art History (FAAH) course (a balanced mix of theory and practice) and an Art Foundation course, I have seen the close group work and bonds that form in studio practice. And, on the theorybased side, differing levels of engagement from students with multiple imagined trajectories. Our FAAH course had a small course-only studio building, a wonderful community feeling developed over the years as we became comfortable in the building and familiar with the teaching staff (both of which changed in my second year of a three year course). We noted how well this affected the students in years below us who formed even stronger bonds and made more confident work because of it. On the other hand, our Art History lectures were with the full Art History student body, most of whom were not taking joint honours. I remember a stark comparative example; one girl, from a wealthy family who are involved in the arts, clearly had an imagined trajectory into the arts, studied very hard, received top marks throughout the course and finished with a first; another girl, from a small town, with an uncertain trajectory joined because it seemed like an interesting course, struggled with handins for two years and eventually left the university. The Art History side of the course didn’t have the same level of support from peers and staff that M. Fenton O’Creevey et al. go on to say is essential in overcoming difficulties. The privilege of having our own building on the FAAH course was a great asset in giving the students a sense of place and ownership. In line with the new staff and premises my second year was transformative. I developed a unique painting process and style that changed my identity as an artist and is still how I paint today. ‘The sojourner, unlike the tourist, is involved in identity work.’ I gained confidence as an artist and learnt how to speak art theory, whilst also being strongly influenced by people in the wider academic community, on personal and practice levels. I sojourned and continued with studio practice after my time there. Dagenham Mural (2014): In my second year I had the opportunity to work with artist, Chad McCail, on painting the Valence House Museum mural. My first experience with professional art in practice and
with community facing work, the experience has had more subconscious influence than I realized. Firstly, in Chad’s artistic approach, gathering community stories and experiences to form a story line for the mural, ‘the idea behind this mural was that it would return public art to the fore, while creating tangible links between artists and communities.’ (Valence house, 2014) He aimed to connect to real people and represent their history, something I hope to do in my future work. Secondly in the way we worked to make it, we had a small, temporary community. There were two paid assistants - myself and an Eritrean refugee - and a few volunteers who were mainly elderly women. We all worked in overalls, in October, rain or shine. By the end we formed a fond group, it was enlightening to work with people outside my university community. Online Small Business: Today many small businesses grow using the internet, especially social media apps. Through the crossover of a family group, artistic background and rising visibility of crafters online I decided to try embroidery in March 2017. I wanted something creative to do whilst relaxing. I learnt quickly, found it easier to draw realistically than with a pen or pencil and embroidered my first scenic hoop in May that year. I spent that Summer in Galicia, subconsciously absorbing embroidery from Instagram and discovering more current feminist craft-artists. When I returned home I made my first boobie t-shirt. Soon commissions started to come in, from friends and customers at the pub. Thanks to a break-up I became stronger in expressing my feminist values and ventured to a few markets over the festive season, along the way starting on marketing my own Instagram account. My business grew organically over the years as I learnt from other online businesses, initially on the periphery and moving toward a more central role (Wenger, 1998)(Dickinson, 2020). I learnt by watching and doing, testing what works with influence from my peers. Ginibeanifairy looks very different now than it did at the beginning, I have picked up new and grown with the business, my identity moulding with the community (Fenton O’Creevey et al., 2014). Unfortunately however I can’t help but feel I held something back from the business, learning to run your own business is very challenging, rewarding also, but having realized I have held some of my identity from the Jura community, I might have inadvertently hidden it from myself and my customers. Cyber-feminist theorists (Miguel, 2018) saw the internet as a potential tool for female empowerment, feminist small businesses make a good argument for this on Instagram and other social media apps. I touched upon this in my previous assignment (Dickinson, 2020), online communities and learning have been an integral part of my growth as a feminist business owner. I now intend to bring all my learning together and recent realisations to create the business I want mine to be. Pubs/catering: I spent many years working in hospitality – pubs, event catering, a whisky distillery. They are great places to learn team work and improve sociability beyond your social ‘set’ (something very useful when moving to a small community like Jura). ‘Bourdieau is particularly concerned to stress the practical mastery of the rules of the game and the effortless performance of rules without the recognition that such rules are being followed. The rules emerge from the ebb and flow of practice and are inherent in the relations that operate in a particular field.’ (Mutch, 2003) Mutch is referencing pub managers, I was never a manager but learnt how to manage a pub bar and in turn developed particular embodied knowledge and habitus. Knowing the drunk ones, the dangerous one, who to serve and when to turn the music down. These could be more formally put into learning to read a room, body language, and conversing well with strangers. My longest held bar job was at an old-school Irish boozer opposite the university, most of us working there were young female students, a couple of young men, the Irish landlord and a few of his generation doing the day shifts. This created a family atmosphere on the staff with masters at the core and active learners with incentives to work well (tied to emotional attachment and pride in it being the best pub in the area) but no real hopes to move to the core, happy as active members. When looking at
the comparison of teams and CoPs (Cox, 2005) it’s hard to place, it sits somewhere between CoP and professional practice – relationships are formed around practice and clients, and when forming goals you are responsible to clients, profession and your team. Mutch compared pub managers to CoPs, highlighting the embodied knowledge and habitus developed in the practice he states is built around a familial, relaxed atmosphere. This is relevant to my example but in being a lower member of the team I experienced ‘learning by doing’ (Wenger, 1998), responsible to a manager, not solely to benefit the practice. In my most recent bar experience I found myself getting frustrated at moments I now see were down to different levels of embodied knowledge. When other staff thought it was heaving (this Jura pub had nothing on my London workplace) or ignored the signs of a good night, or one tipping over to bad. They hadn’t the same embodied knowledge because many people go to island pubs for the island experience, or were more interested in the hotelier side of the job, not keen or in the knowhow to creating a great pub atmosphere. Interestingly, the Jura Hotel & Pub, is where two CoPs collide under one roof, owned by the same couple. A couple who wish to have a pleasant life on the island with their young family making a decent income from the hotel. The pub is sometimes a nuisance, it doesn’t bring in much profit, it brings late nights and less desirable clientele. To run a quiet, boutique-esque hotel you don’t want rowdy pubgoers up till 2 in the morning. For one to succeed they must dampen the other which in turn has dampened the pub spirit and atmosphere of an island social hub. The observation, as a sojourner (Fenton O’Creevey et al., 2014), of situations like this has given me empathy for both sides. Feeling loyalty to my employers I wanted to understand why some members of the community were feeling let down. Through conversation with islanders I have learnt some island history, how they felt a sense of misguided ownership towards the pub because the last owners didn’t need the profit. Having lost that they lost agency of an important social place and blamed the new owners. Unpleasant attitudes developed and the new owners became less interested in upkeeping the atmosphere. I mention this because it has given me some understanding of my community and tools for managing facilitation in the future. PACT Coffee: Post university I worked in a factory packing mail order coffee. This was in a typical team structure with managers assigning roles and monitoring progress. We worked towards daily targets but most team members had very little incentive to improve (Cox, 2005). This meant there was low morale amongst the team and jobs felt tediously long. It taught me some business skills, useful for my own business later, and good teamwork, managing group dynamics and feelings. I also learnt to deal with long stretches of tedious work and met women who were integral to my empowerment journey. They showed me women can do big physical challenges and introduced me to influential podcasts. Seeing as it was a coffee factory I saw here more clearly than in other positions the importance of every member of the team, the learnt ways of navigating the job and the wellbeing activities (Lave & Wenger, 1991). Morale was upheld by regular coffee breaks, Friday drinks, free sessions at the bouldering gym next door and soon lots of group gatherings out of work. A successful CoP is upheld by everyone feeling valued and nourished. Jura: The island community follows the CoP pathway of going from newcomer (islanders call them incomers) to core members of the community, learning via LPP (Wenger, 1998). From experience you can easily become an active member of the community and be welcomed into the middle group by engaging enthusiastically. However there is some contention over how long and what it takes for you to become an ‘islander’. Many people have lived on the island for >10 years and are very involved but are still seen as incomers by some more long-standing members who seem to have forgotten that they too
were once incomers. They forget the inevitable transformation of a place, resisting change, because their island identity is so closely tied to how the place was. This causes some friction between community members (also tied to birthplace and inter-British nationality identity) making it more desirable to be in the active group than the perceived core earned by time. Many challenges come with island life. To overcome these challenges people come together, sharing vital knowledge and skills, to help each other survive and thrive. In the chapter ‘Students at the Academic workplace’ it is identified that ‘challenges, and sometimes difficult and adverse conditions, made them (the students) more resilient and determined to succeed.’ (Fenton-O’Creevy et al., 2014) And that in ‘negotiating challenges to identity (with support from peers and mentors) … that they developed their emerging identities as nurses.’ Islands are often referred to as resilient, sometimes to the community’s displeasure, as it implies they are often asked to ‘recover from difficult conditions’ ( Oxford English Dictionary). Islanders don’t generally see their lives as full of difficult conditions, in my experience they view ‘challenges’ as part of life, an accepted aspect of living in a place they love. These challenges help to bring islanders together, sharing knowledge on how to overcome a challenge strengthens your identity as someone who can and wants to put up with these things to be an islander, with the added sense of community that comes with shared knowledge. From being in this community I have nurtured talents and developed new skills and some of this ‘resilience’. I now light my fire daily to keep my house warm, when I moved to the island I knew how, but wasn’t very good at lighting a fire, and I have many friends from earlier in life who would be astounded at not having heat at the touch of a button. Perhaps unfussiness or resourcefulness are better ways to describe the mindset of an islander. My identity has evolved and grown since living on the island; I arrived a young artist, working in the pub, cousin of the young doctor, it was a fresh start where people knew nothing about me so I could be whoever I wanted to be. I subconsciously attempted to hide parts of me, out of embarrassment. I am from the South of England, have had an upper-middle class upbringing and went to private school. I studied at Goldsmiths, a very left-wing institution where I saw how and why many people hate the Tories and can be quick to judge any association with that class. Since then I have harboured some shame for parts of my upbringing, not wanting people to judge me as selfish or dissociated, in reality I have sojourned many lifestyles and consider myself empathetic. However, in moving to the island I tried to downplay my background, aware of the class-divide and the added tension of class related Anglophobia. I also tried to downplay my feminist values. I suppose at first, I didn’t expect to be here for long so didn’t want to be ‘the feminist’ and accused of preaching. After being on the island a while people began mentioning my ‘Pussy Patches’ and I realised everyone has easy access to Instagram. Suddenly some autonomy over what I choose to share with my community was questioned. I went on to sell boobie t-shirts at craft fairs but didn’t shout too loud. I now see the huge effect this has had on my sense of identity within the community, and it has changed how I behave with my business. I have seen how ‘developing identity in a new community involves the difficult process of negotiating the extent to which aspects of identity formed elsewhere are expressible in the new context’(Fenton O’Creevey, Dimitriadis & Scobie, 2014). ‘This … is a consequence of multimembership’ and it is in tackling these boundaries that we find our own knowledgeability.’ Now I have found a boundary I put in place I will work harder to reinstate my feminist voice and use it to bring the kind of empowerment to the island that I bring to my customers. Added confusion to my identity has come with the recent breakdown of a relationship I was in for most of my time on Jura. I now see the identity I had connected to the island is not entirely true to myself. I bent myself in more ways than mentioned and with reflection and exercises like this I am figuring out what my true identity is.
Tunesnight: Every Tuesday evening one Jura resident, Giles Perring, opens his doors to anyone on the island who wants to sing. I began attending within a week of being on the island and it helped to shape my experience of living here. We all gather in the old schoolhouse (his home) with a cup of liquorice tea and sing for a couple of hours. The sheer joy we feel in the room together and for hours afterwards is indescribable, none of us think we are ‘singers’ but there is no judgement or competition in the room, it’s a truly safe space. I mention it because it instilled confidence in me (It might follow some sort of CoP structure by people learning on the periphery, improving by doing, but we are most certainly led by Giles) and plays into the idea of the island as a CoP, displaying a specific response to ‘resilience’ that is borne into islanders. Through attending Tunesnight my singing improved and I joined a local band (Under the Influence), performing gigs and being paid for it, something I had never dreamt of before moving to the island. This plays into an idea that the resourcefulness islanders develop brings talents forward and unexpected opportunities arise. New aspects of identity are formed from the multimembership (Fenton O’Creevey et al., 2014) that is available in geographically isolated locations. More so perhaps than places with more competition or ‘more to do’ where, from experience, you feel less inclined to get involved with things that aren’t already a hobby or interest, you also spend more time travelling to and from places and are often require less connection to your community. HMCG: The Coastguard is an institutional team organized by the government. This follows a more structured team approach than a CoP (Cox, 2005). However, on the ground level it can feel akin to a CoP, especially in the small team I am a part of. In the training process you learn together, taught by your SCOO and gain opportunities to ascend through the team, taking on more responsibilities, and eventually paid roles. Roles and relationships are determined by the organization as are goals and strict reporting processes but teamwork and participatory learning are strongly encouraged. I have learnt manual skills to help mitigate disasters and deal with potential scenarios. It has taught me to work within a team of people who are out-with my peers, and to work on ‘soft skills’ (personable communication with casualties). I also now know a series of response sequences to disaster situations, however they are within a specific system of ‘tickbox’ exercises so fall out of the CoP structure. SO:AR: A collective of artists, activists, professionals and organisors. The culmination of all the great things I have found on the island: friendship, creativity and joy for life. We came together with a shared desire to work as creative practitioners, sharing our skillsets to improve the creative landscape of the island. We have been funded to facilitate a series of workshops, hopefully the beginning of many. I plan to use all I have learnt to share the learning and empowerment I have experienced. UHI: I have returned to education, consolidating learning from art and life experience. This course is helping to build the toolkit I need to bring empowerment and my love of art and life to other people, in a responsible, reflective way. We have a small CoP forming, we will all be sojourners (Fenton O’Creevey et al., 2014) but I have the feeling that many will continue to connect and work together as we move into the community of likeminded socially engaged creative practitioners. Home: Your childhood home, perhaps the first CoP; where you learn how to speak, how to walk, how to behave, love and be loved. So much of a person’s identity and characteristics are formed in the early years, by those who raise you. Having now returned twice, after big life changes, I see the importance of taking the time (if you have the chance) to re-evaluate who you are and what you want to be, by connecting where you have come from. (Bourdieau, 1984). I also recognise my privilege in having a space to return to in my Mother’s home and the security in sense of self that can bolster.
Event footprints Berlin 2015: My second summer at university I set my sights on Berlin. Having wanted to return since my foundation year I never thought I was ‘cool’ (or committed) enough to make it happen. I proved myself wrong, simply emailing a few galleries in the city asking for an internship resulted in 3 months in the city with Galerie Rolando Anselmi. What a transformative 3 months, I learnt to live by myself in a city. I learnt to explore like le flaneur (Baudelaire, 1863), using my own instincts and psychic geography to navigate. I began riding a bike in the city (a useful stepping stone to London) and brushed up on my German skills from school. With a preference for soft lines and lack of alternatives I began to use my body as a subject. This empowered me to see beauty in all bodies and continues to inform my creative production. Of course, I also learnt to work in a gallery, making press releases and specific files, setup and takedown of a show. Finally, I learnt it was not the artistic career I wanted to have, I am grateful to have realized that early on. I was a tourist in the city and the gallery, I adore Berlin and hoped to return to live, a theme I will see repeated. Steve Edwards 2015: When I was about 20, a modern art gallery opened in my hometown. They sold Pure Evil prints (my best friend’s low-key punk art collector Dad’s favourite), Peter Blake and Steve Edwards – who would become my personal favourite. I loved his style of energetic cityscape lino prints, beautiful colours, staccato architectural lines and organic movement in the river or sky. Having dabbled in lino printing myself I was curious. I went straight to the artist (back when I thought artists were inaccessible celebrities) and ended up buying one of his prints. Because I showed keen interest he invited me to his studio and taught me his lino-etching technique. A new technique under my belt helped drive my style into a fluid figurative abstraction. I learnt putting yourself out there can really work out in your favour. Jon at AP Fitzpatrick 2015: One tutorial my tutor suggested I explore a new art shop. So off I headed out to an awkward spot in East London. I never expected to discover so much at AP Fitzpatrick, the man who served me was very helpful and chatty and became very influential on my painting style. I went with the desire to make my own paints and use colour in the priming of my canvas, he showed me new materials that bore an entirely new technique and informed my way of making from then on. I also gained a new friend who I visited for tips and advice many times while in London. Again, stepping out my comfort zone worked out in my best interest. Both of these show one on one brief master-apprentice relationships (Downey, 2014), playing into strengths of the artist community, where people want to help and support younger creatives. Cycle London to Edinburgh 2017: After the death of a friend I was feeling at a loss in postgraduate life. Inspired by my brother and aforementioned fellow coffee packers I decided to take on a great challenge and cycle from London to Edinburgh, raising money in George’s memory. I really didn’t think much of it when deciding to do it, I knew these other women doing adventurous things, my brother had done similar things many times so why not I. However, when prepping to go, the awe of so many people took me by surprise, the fear in my Mother and the impress of all the people I met along the way. I proved again I have the determination to complete a challenge and saw beautiful rural places that would continue to inspire me. It also kick-started a love of physical activities which would lead on to completing the Jura Fell Race and joining the Wild Swimming Club, both surrounded by familial CoPs. Galicia 2017: With little childcare experience or Spanish speaking, I became an au pair for the Summer in rural Spain. I was welcomed with open arms by the family and saw a whole new lifestyle. In the 3
months I was there I learnt Spanish, I learnt about rurality in a different country and a little more about what I wanted out of life. In teaching myself Spanish, I proved to myself I could do something if I put my mind to it and I could withstand some extremely awkward situations where I literally couldn’t join in conversation. In watching this family I knew what is important to me, cherishing the beauty in everyday life and celebrating the small parts of our cultures that we don’t see in museums or history books. Mundane practices and local treasures keep people alive. Local Childcare 2020: When thinking of a time I have felt like a ‘fish out of water’, the opposite of being so comfortable you do not feel the weight of the water (Bourdieau, 1984) I immediately think of when I began childcare. I have found myself learning with the children and steadily gaining confidence, forgetting fears of getting something wrong and just being myself with them. Whilst looking after children I have realized I enjoy observing where behaviours come from and how the children interact. It inspires me to continue involving people in my research projects.
Stonewall This is my stonewall, built along the path as I gather skills and values for my future to be built on. My ground stones, my privileges, what all the rest has been built on top of.
empathy confidence
painting
love
support
choice
educatio
ion
determination sociability
endurance
active
comfort
Afterword Looking across my Landscape of Practice I can see journeys I have taken and important things I have learnt along the way. Running through are themes of the body, landscape/place and their connections. Seeing my experiences through a distanced lens has allowed me to realise what I want to take from them all to the next mountain. I want to use tools of empowerment I have experienced and used in my business to empower others in similar ways I have been empowered. Using place and landscape as subjects to nurture creativity. This is a very overarching Landscape, perhaps were I to look more currently, and closer I would delve deeper into all the island activities, the beauty of our swimming and running clubs, the future of SO:AR. Unfortunately however, being in the pandemic has brought a halt to a lot of these things and the benefit for me in this exercise has been that of reflecting back, seeing where I picked up important skills. In doing so I can look forward to where I want to go and what I want to do with them. Time and time again I have fallen for a place, thinking it to be the place I am meant to settle. I love to explore and I love to connect. On Jura, I have found both in abundance, although some people view isolation as a trapping, I see an opportunity to explore a place in depth, building strong connections and discovering more about life. This MA sits perfectly with the chance to reflect on what and why I have done things and where I want to go with my learnings.
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