Northern bridge beatrice jarvis by Beatrice Jarvis

‘ To dance is human, and humanity almost universally expresses itself in dance. Dance interweaves with other aspects of human life, such as communication and learning, belief systems, social realizations and political dynamics, loving and fighting, and urbanization and change, and evolutionary development of the human species. When dance is surprised for moral, religious or political reasons, it raises, phoenix like to assert the essence of humanity. Dance appears primary among aesthetic forms and, the instrument of dance, the human body, contributes to other forms, which use its spatial, temporal and kinetic elements. Such dance dynamics preserve in the broad spectrum of non dance aesthetic phenomena.’ Hanna. L. J (1979)

Application for Northern Bridge, 2016: The Baltic Beatrice Jarvis 1

Name: Beatrice Jarvis Faculty: Art, Design and the Built Environment. Supervisors: Professor Paul Seawright and Professor Karen Fleming. Further Supervisor: Professor Steven Spier ( Kingston University) Year of commencement of PHD: 2011 Title of PhD: Dancing Place: Embodied Urban Narrative and the Choreographic Workshop in Post Conflict Landscape. Title of Presentation: The Choreography of Research: Performing Practice. Dancing towards practice based action research. Abstract ( 300 words): This presentation incorporates sustained practice-‐based interdisciplinary field work research to investigate how urban space is used to develop personal geographies of the city that allow space to become place. Presenting specific international performance works developed from performance traces of my socio-‐ethno choreographic research from Bucharest and Northern-‐Ireland, it reflects upon the landscape of the city as an archive for embodied memory. Integrating practices of choreography, performance, town-‐planning, and architectural theory as a framework for knowledge transfer; exploring how materials gathered through performance can function as knowledge base for interdisciplinary exchange. Exploring global resonances within my performance research; this presentation describes multiple applications of choreography community engagement to encourage new cross-‐community dialogs. The body in the city acts a vessel, anchor and archive; forming routes and navigations, which can be notated as embodied spatial practice. Reflecting upon works created with a series of movement scores and psychogeographical mapping workshops; I will present fragments of an archive which has generated a series of international performance responses to explore how the city functions as a studio and canvas for the choreographies of daily life. Exploring the position of researcher within action based site-‐specific performance interdisciplinary practice, this research presents potential dilemmas which arise during fieldwork and research participation representation. Investigating the position of performance facilitator, active researcher and dynamic artistic evaluator I draw from my position as choreographer to develop collaborative research lexicons and social platforms in the city and beyond. This paper will show how far trans-‐disciplinary performance processes can enable participants to have responsible relationships to their terrain; using the platform of expanded choreography to explore the role of memory and personal narrative as key to understanding landscape; expanding the potential of practice based research as a social resource to re-‐examine the perspective of the individual body and collective social movement within urban terrains. Keywords: Interdisciplinary, practice based research, choreography, collaboration, cultural geography, counter cartography, visual sociology, representation, the body, socio-‐technical,

PAPER: When you close your eyes and think of the part of your city, your place, your site, find where you feel most safe, reflect carefully, allow your body to soften, to become soothed in your memory, what space comes to mind? What is the texture of that place, the feel and the sound, now, what movement best describes that place? Can you move that place? Close your eyes and allow your body to feel that place. Allow your body to feel comfortable, allow your body to speak.

This paper is entitled: The Choreography of Research: Performing Practice. Dancing towards practice based action research.

Peggy Phelan writes: ‘ Performance’s only life is the present. Performance cannot be saved, recorded or documented or otherwise participate in the circulation of representation of representations. Once it does so, it becomes something other than performance. To the degree that that performance attempts to enter into the economy of reproduction it betrays and lessens the promise of its own ontology.’ 1

Perhaps this is an excuse.

I have read it many times and in many essays. Almost over used perhaps, yet somehow still steadfast and resolute in resolve. Perhaps more relevant to this today is how, when performance enters into a state, other then performance, in the dilution and representation of the moment of the real, I can ask, what 1

Phelan. P ( 1993) Unmarked. The Politics of Performance. Routledge. New York and London

then can this ‘other’ become? Can performance become a tool for the deconstruction and application of memory to generate cartographies of a shadow city which can no longer be seen?

This research began with a series of broad questions which my 3 case studies sought to resolve, address and expand:

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Can creative choreographic material developed from the experience of landscape become an archive of that landscape?

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How is the experience of the landscape translated into the actions and reactions of the body?

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Can a choreographer create a choreographic process which enables dancers and non- dancers to actively deconstruct their experience of their environment?

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Will the outcome reflect the landscape in which the body is submerged or will the product which emerges become a personal narrative?

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How can a choreographer deal with systems of representation?

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Can site-specific performance become a social medium for the study of the political and cultural shifts of embodied terrain?

The research in the broadest sense is the interaction between choreography and everyday life. It contributes to this field by exploring this interaction/relationship in post conflict cities to address these questions through workshops directly involving distinctive groups of participants over an extended period.

This research methodology developed out of a series of independent workshops ( this was a lab I have set up called Practicing Space) applied to 3 case study locations using expanded choreography to incorporate writing, photography and environmental observation developed into a group workshop method to review everyday relationships to the post- conflict landscapes of the study locations, City of Derry, Bucharest and Berlin, with the selected groups. Working with all ages and demographics, this research strived to explore the concept of representation and collectivity as well as the individual body in society.

These case studies demonstrated how expanded choreography can function as a social apparatus linking body, space, action and place through the choreographic process. This required synergy between language, movement, reception and affect that enabled effective communication on many levels between researcher and participant. The symbiosis between language, movement and experience allows a way for sustained and in-depth choreographic enquiry.

Nietzsche implores: ‘Value! Don’t evaluate!’ He proposes we conceive of value as a differential vector in the process of creation. Valuing is a form of prearticulation tantamount to the incipient process of creation. It underscores the force of expression. In language, valuation is how words are culled from the nexus, their enunciation always coupled with their force of expression. Foregrounding valuation within language emphasizes the amodal relays which make words felt.’ 2

Manning. E ( 2009) Relationscapes. Movement, Art, Philosophy. MIT Press. Massachusetts. P218

This research has explored the potential of choreography to function as social apparatus and an expanded discipline to deconstruct the experience of the individual in relation to the everyday experience of post conflict landscape.

In Berlin; choreography became a tool to reflect ephemeral geographies In Bucharest; choreography became a methodology to explore the body in society as public conduit. In City of Derry; choreography became a mechanism to explore dualistic narratives of landscape.

This research directly used the body a mechanism to understand the realities of the post conflict landscape. There was a strong need within this research to focus on the everyday quotidian experience of landscape rather than returning continually to the conflict itself as seems to happen in a lot of post conflict research. I was keen to ensure I had direct and personal connections with each research location; specifically City of Derry and could utilize my own life world to directly enhance my contextual awareness. By situating this research very much in the everyday and the present; although exploring the body as archive; the concept of this research was to enrich current experience the landscape with memory and empower participants to feel more connected to their everyday geographies of the city.

Though rooted in choreography this work spanned the disciplines of sociology, anthropology and urban geography to explore how far the body can function as archive and conduit within the post conflict landscape. Its

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focus was to explore how far the choreographic workshop could function as platform for relationship to landscape.

With regard to ‘the workshop’ Richard Sennett is a key source indicating the workshop as a space of committed exchange: ‘these strategies consist of Restoration, Remediation or reconfiguration. The first is governed by the object’s original state, the second substitute’s better parts or materials while preserving an old form, the third re-imagines the form and use of the object in the course of fixing it. All repair strategies depend on an initial judgment that what is broken needs to be fixed… Cooperation is not like the hermit objects, once damaged beyond recovery, as we have seen, it sources, both genetic and in early human development- is instead enduring: they admit repair.’ 3

The literature review and contextual research was founded upon developments from 1960’ s USA focusing specifically on the work of Trisha Brown. Robert Dunn, Steve Paxton, Ruth Emerson and Anna Halprin. These practitioners enabled specific shifts to occur in public reception of choreography such as movement of everyday life; the city as stimulus and the body as social conduit. All of these artists sought to readdress the conditions necessary for performance to emerge; to study and elevate the practice of every life and its movements to a higher level of understanding and social application. Their works enabled a new way to experience the everyday ; exploring the space between art and life; using a range of spaces, variations in audience experience, heightened kinesthetic response, and a key awareness of social and political awareness within practice.

Sennett, R. (2012) Together. The Rituals, Pleasures and Politics of Cooperation. Penguin Books, London. p212

This research then moved to explore site specific practitioners who have expanded the field of choreography to enable specific shifts within site specific practice: Hunter, Pearson, Kwan and Wilkie provide three examples of current theorists and practitioners who explore how performance plays role within an active engagement with place.

This research ventured outside of the realm of choreographic theory to address topics within anthropology, sociology, urban research and ecology to generate specific frameworks relevant to this research and relate them (and their benefits) directly back to choreographic research. This began with the work of Hewitt who defined social choreography as

‘A tradition of thinking about social order that derives its ideals from the aesthetic realm and seeks to instill that order directly at the level of the body. In its most explicit form, this tradition has observed the dynamic choreographic configurations produced in dance and sought to apply those forms to the broader social and political sphere. Accordingly, such social choreographies ascribe a fundamental role to the aesthetic in its formulation of the political.’ 4

Hewitt expanded on this idea ‘What I am calling ‘choreography’ is not just a way of thinking about social order, it has also been a way of thinking about the relationships of aesthetics to politics.’5 This led to consideration of how choreography can exist as vehicle for socio cultural commentary and a dialogue in which the body acts as a punctum for the existing social and cultural framework. 4

Hewitt. A. (2005) (2005) Social Choreography. Ideology as Performance in Dance and Every Day Movement.. Duke University Press. Durham P 12 and 73 5 Hewitt. A (2005)op cit. P11

The body becomes the ultimate tool within this framework of exploration; not as trained or non-trained dancer but within its locality and utilizing its existing capacity to explore its social position. The issue was whether choreography creates a process that enables the body to become an active constituent within existing cultural contexts or whether choreography distances the body from existing social schemas. This research utilized the body as site for the enactment of the social order in which it exists, an act of conscious reflection and integration with a social order that facilitates autobiographical framing of the scenario in which the body exists. Leigh Foster’s Choreographing Empathy helped focus this aspect.

‘Choreography is not just another of the things we “do” to bodies but also a reflection on, an enactment of how bodies “do” things and on the work an artwork performs. Social choreography exists not as parallel to the operation of social norms and strictures, nor is it entirely subject to those strictures; it serves ‘catacritically’ we might say to bring them into being.’ 6

In each city the research has sought to reflect upon the same research considerations:

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The self in the city (researcher/ participant kinesthetic and anatomical awareness training)

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Forming encounters to develop networks of participants (how to engage with the body in the city)

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Use of the same performance scores in each city to generate a choreographic vocabulary data bank (also serving as a frame work for understanding the physical and social structure of the city and

Hewitt. A (2005)op cit. P19

although I am not seeking to ‘compare’ studies, these exercises enable some reflection as to the landscapes themselves) -‐

Development of a core working group (temporary or long term)

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Imitation and implementation of workshop structure

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Interviews with all participants as to their relationship with the process, the city, to choreography and to their longer term aims in relation to the outcome of the research process

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Archive of all documentation process (developed into small scale exhibitions of reflections of process and engagement)

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Evaluation of the process through performance and texts.

This basic structure for research engagement shifted according to the social and cultural climate of each city, becoming the choreographic score for the researcher’s encounter with the landscape, a social pathway through the practicalities, ethics, and social realities of seeing the city as platform for performance and developing a practice which relied on exploration of the city for choreographic outcomes.

This research has created a specific form of methodology which I have called: Soma-Humanist Methodology; this reflects upon the role of the body within direct social agency and explores the position of the body through a non judgmental framework observation of simple quotidian movement leading to greater awareness of habitual actions which form the embodied narrative of post conflict urban spaces.

(Shift from Atget / Nicholson and walking / photography to Todd and Fluke as movement of everyday life and 4 dignities practice: PS LAB as example (simple repeated gestures of public urban spaces to create vocab; How far

the sensory experience of the urban terrain can develop a heightened response to landscape; highly unique embodied spatial response to intricacies of urban life using the body as archive and conduit)

Empowerment, agency, ownership and awareness: how does a choreographer loose control of their craft within the urban space : allowing the workshop to take its own form and thus become a true reflection of time and space.

A tacit embodied knowledge base was formed of each location and using group enquiry as Phenomenological method; this research explored the body as porous vessel capable and responsive to the demands of its environment.

“ … Explaining this work is like trying to explain how a strawberry tastes to someone who has never tasted as strawberry.” Gertrud Falke-Heller I9807

This research developed a specific approach to ‘ reading’ and writing the experience of the city as an embodied spatial practice. Through the creation, implementation and evaluation of a dynamic series of choreographic, cartographic and visual practice workshops this research created a platform in which participants can deconstruct the environment in which they live, to construct a more active role of being in time and space.

Loukes. R (2004) Body Awareness in Performer Training: The Hidden Legacy of Gertrud Falke-‐Hetter (1891-‐1984) in Dance Research Journal, Vol. 39, No. 1 (Summer, 2007), pp. 75-‐95

The choreographic practices initiated for this research were designed to explore a richer and wider sense of what is going on in urban lives, how the city functions as the stage and studio on which the movements and psychologies of everyday existence are acted out, seeking through observation and engagement to create the sense of who we are and what is happening to us as we move from ourselves and into engagement with what is around us. To live well can be an art that grows from how fully we perceive and inhabit our worlds and our ability to respond creatively to what we sense each day. Our sense of being alive for each moment depends on our capacity to play and imagine what there is and to meet events with flexibility, curiosity, wonder, humor and passion. Yet all too often we live with a sense of being cut off from our bodies, our immediate senses are muffled, narrowed and distanced, and how we really feel lies hidden. This somatic based embodied research practice was designed to reignite that connection, it formed the basis of a search that would enable each day to become more enriching as we begin simply to attune to both our bodies and each other and the place we are in.

Bio: Beatrice Jarvis is an urban space creative facilitator, choreographer and researcher, and founder of the Urban Research Forum and The Living Collective. As a dance artist, she works in Romania, Gaza, Berlin, Germany and Northern Ireland to generate large-‐scale and site specific choreographic works to explore the social power and potential of embodied movement practices. Her socio-‐choreographic research has been profiled within Pina Bausch Symposium, Bauhaus-‐Universität Weimar, dOCUMENTA (13), The National School of Art Bucharest, Galway Dance Festival, Goldsmiths CUCR Tate, and AAG 2013. Her commissions include GroundWorks Jerwood Space, Steven Lawrence Center and EGFK Berlin. Beatrice utilizes key concepts of choreography and visual arts methodologies with the intention to develop, original doctoral research on the connections between choreography, dance and urban cultures developing heightened socio-‐cultural responses to the urban realm. Her practice merges essential dance techniques of somatic practice in a sociological framework of critical perspectives, cultivating a unique stance point to practice based research and the role of the body as archive and conduit in society. Beatrice is lectured at various dance, art and architecture departments in London and wider afield in Europe (LSBU & AAIS, The Bucharest National University of Arts) developing a platform for the conceptual and physical integration of dance, sociology and choreography leading to practical social creative implementation and curation. Beatrice is keen to create platforms social interaction using urban wastelands, conflict zones and areas of social and cultural transformation and reflections on urban habitation as a creative resource. Beatrice received distinction for her MA in Photography and Urban Cultures affiliated by Arts and Humanities Research Council within the Department of Visual Sociology at, Goldsmiths and has recently completed her Practice Based PhD with her PhD at University of Ulster ( Belfast School of Art); fusing a strong mixture of practice, research, experimentation and exploration to create a unique approach to urban socio-‐choreographic research. As founder of Urban Research Forum Beatrice has united performers, artists, architects, urban designers, cultural researchers, sociologists, anthropologists imternationally through her successful research platform exploring transdisplinary methodology to research the body’s relationship to place. This is conducted through workshops, performances and exhibitions. Collaboration, discourse and intellectual inquiry are seminal to her constant sense of enquiry. Her practice has been profiled within dOCUMENTA (13), (Kassel) Pina Bausch Symposium, (London), The School of Art in Bucharest and various spaces in Berlin; including VITal, C|O, and Zentrum. She has presented her research: ‘Das Duet des Leibes und der Stadt. Berlin. Verschieben Stadt’ at Annual Association of Geographers Annual Meeting: LA; exploring the position of the body as social and political archive. Her dance research has been profiled at Urban Encounters Tate Britain 2014, Critical Costume (Helsinki 2015) The Playhouse; Derry (Present), Bauhaus-‐Universität; Weimar, Birkbeck College; University of London, DRFI 4th International Conference 2012; Urban Photo Fest; Irish Association of Geographers: Annual Conference 2013: National University of Ireland, Galway, Aarhus School of Architecture 2014, Bucharest School of Art, Terror and the Tour and Galway Dance Festival and most recently she has been commissioned as site artist in residence of Groundwork May 2015. Her most recent publication is released by BlackDog in 2016. Her commissions include Jerwood Space, Steven Lawrence Center, Groundwords and EGFK. She is dance artist in residence for Dance Limerick from September 2016. For further examples of current work please see the following links: Creative City life: http://beatricejarvis.net/ Urban Research, Workshop templates; Selected Writing: http://issuu.com/urbanresearchforum Documentation: http://www.blurb.com/user/bj87 City as Studio: http://urbanorganics.cultura3.net/Resources/media/promo.mov For more information please see http://www.egfk.org/egfk/beatrice-‐jarvis/ Specific case study examples: Lest we should forget http://www.blurb.com/b/1273324-‐lest-‐we-‐should-‐forget?ce=blurb_ew&utm_source=widget ·∙ Northern Ireland Cartography Project: AHRC: CollectingTrails http://www.blurb.com/b/1518505-‐collecting-‐ trails?ce=blurb_ew&utm_source=widget ·∙ Heygate Estate/Elephant and Castle: http://vimeo.com/26177151 password: city http://issuu.com/urbanresearchforum/docs/towards_embodied_methodology?mode=window&viewMode=singlePage ·∙ Deptford Study for Steven Lawrence Centre: http://issuu.com/urbanresearchforum/docs/exhibition_catalouge_practising_space/3 and http://www.practisingspace.com/events-‐and-‐exhibitions.php ·∙ Bucharest Study for local government AHRC: Dansul Objectul din Bucuresti LaBomba http://www.blurb.com/bookstore/invited/1015638/a8bd37a9fad73767cb13edef857dba7d

“ One of the things that you learn about working with real life issues is that it can be transformative. You work with an issue because it is unresolved and through the dance we hope to discover new possibilities. It is not about the dances, it is not about the interpretation of a theme, and it is real. And by doing it you are getting to a different place with the issue and with your life. The dance changes the dancer. The purpose of the dance is to create change. That’s is why we started to use the word ritual. To distinguish from dance or entertainment, dance as spectacle. Not that it is not spectacle or that is not entertaining, but that is not its purpose, and that is very important for me.’ (Anna Halprin)

ADDITIONAL SUPPORTING INFORMATION THE FOLLOWING PAGES ARE FOR REFERENCE ONLY

“How do we develop new forms of art that are focused on the shaping of our lives from a more holistic perspective, and how do we teach this expanded understanding of art?”

( Shelly Sacks: Social Sculpture and New Organs of Perception:New practices and new pedagogy for a humane and ecologically viable future)

Personal context | towards a social art As an addition to the requested abstract for Northern Bridge I am very keen to present to UU why I am so keen to take part in this event and would be very keen to organize a follow up event at UU to ensure the dialog returns back to the research department. I see this as a unique opportunity to critically explore the social position of creative practice; explore Beuys’s notions that interdisciplinary creative practices can allow us ‘to develop a connective way of being in the world,’ As a potential attendee and speaker to this event; I am keen to become an active participant seeking to re-‐consider and re-‐evaluate my own attitude towards their practice and research, with the intention to explore how my own practice may become more socially expanded, under the frame work of global resonances using creative action and practice to further explore the potential wider qualitative value schema of their creative practice. ‘The task of sociology is to provide a diagnosis of the social world and how it is organized; but also; it involves listening to what goes on behind the public façade, attending to ways that people achieve a ‘bit of humanness in a world become inhuman.’8 I would like to utilise this event to raise the issue; can creative material become social resource? If sociology is the understanding of daily life, and forms of creative practice can articulate a wider social dialogue and comprehension; then does this allow such practices to become a ‘sociological resource’? Neither sociology nor art practices can be divorced from the realities of daily life -‐ the issue rests in how such structures nor interactions are re-‐ presented and explored. The whole heartedly engaged researcher and artist finds in their discipline and the fruits of their research a means to navigate a route through the world. The complex relationship between sociology, and the sociological function of the arts as a mechanism to cultivate particular stands of social value and hence become socially useful product and development mechanism. Yet such social ‘usefulness’ can mean that the actual art work itself becomes a secondary concern which may contradictory to the intentions of the maker; as Zolberg problematises ‘Because of sociologists concern with the social, the art works themselves become lost in the search for understanding society and end up as virtual by-‐products.’9 As Becker alerts; ‘All artistic work, like all human activity, involves the joint activity of a number, often a large number of people.’10 The complex matrix network of societal interaction which allows an art work to form; be received and reviewed is expansive; notions of the individual become redundant; as seminal to a project’ success is the network by which it is supported. However as Becker suggests such a complex network should not detract from the significance of the initial conception of an artwork; ‘The artist thus works in the center of a network of cooperating people, all of whose work is essential to the final outcome.’ 11 Such a perspective of collective authorship facilitates a vision of artistic production with minimal preoccupation with authenticity and ownership; due to the collaborative structure of production such a concept is particularly useful when exploring the potential for social and physical change as a direct and indirect result of artistic documentation and

Inclusive of quote from Ardent. Men in Dark Times. P 23. Sourced in Back. L. ( 2007) The Art of Listening. Berg. New York P 167 Zolberg. V. ( 1990 ) Constructing a Sociology of the Arts. Cambridge University Press. Cambridge. P 54 10 Becker. H. ( 1984) Art Worlds. University of California Press. California. P1 11 Becker. H. ( 1984) Art Worlds. University of California Press. California. P25 8 9

intervention. The social chain by which an object/ artwork will be manifested and reviewed cannot be divorced from the process by which it is initially conceived. Landry’s ideas of ‘creative action’ to enable a sense of the ‘creative city’12to form are relevant here -‐ ‘Culture can also strengthen social cohesion, increase personal confidence and improve life skills, improve people’s mental and physical well being and strengthen peoples’ capability to act as democratic citizens and develop new training and routines.’13 If such ideas can be successfully applied to review of action-‐led research and art practices as social research; the potential for their cultural value index14 is dramatically increased. ‘The reader, viewer or audience is actively involved in the construction of art work and without the act of reception / consumption, the cultural product is incomplete.’15 I would like the event to address the following matters to further research at UU and within Northern Bridge; • How far can creative practices serve as a method of socio-‐political communication? • Can teaching and various processes of knowledge transfer develop tangible works of art in themselves? • How far can socially engaged practices allow subsequent audiences to develop modes of cultural understanding? • How can multidisciplinary arts practices and site projects formulate a sociological knowledge base, which can be used as source material for subsequent application beyond the boundaries of arts practices? • How can social and ecological engagement within creative practices stabilize the position of the arts as tool for cultural understanding, which also function in an economically viable fashion? • With the notion; ‘practice-‐based strategies for coming closer to our own lives and the world around us: listening and hearing strategies; strategies for uncovering agendas, for shifting attention; strategies for encountering our values, our attitudes and our presuppositions; strategies for entering what is difficult and for discovering what each person feels needs addressing’ what are the potential practice based research methodologies the socially engaged practioner should explore? • How can the socially engaged schema of intentionality by which an artist has created their objet (material/embodied/ephemeral) be fully determined by the receiver? How do concepts of social sculpture become fully embodied with both ideology and practice? What are the potential ‘gaps’ which may appear in this dialog between process and product? • Can creative action stimulate social reconciliation? • Can an image function as a mode of activism? • Can creative activities facillate a voice for the politically ‘unheard’?

Term coined from title; Landry. C. ( 2000) The Creative City. A toolkit for Urban Innovation. Comedia Publishing. London. Landry. C. ( 2000) The Creative City. A toolkit for Urban Innovation. Comedia Publishing. London. P 9 14 Reflective of review from: DCMS ( 2009) Working paper 8: Understanding and measuring the value of engaging in sport and culture The Culture and Sport Evidence program ( CASE) Research aided by Evidence for Policy and Practice Information and Co-ordinating Centre. The EPPI-Centre is part of the Social Science Research Unit, Institute of Education, University of London. This list the; ‘outcomes of engagement in culture and sport. The result of a stakeholder engagement exercise as the following: International reputation, Option to use, Existence value, Bequest value, Self-identity, Shared experience, National pride, Community-identity, Social capital, Community cohesion, Citizenship, Continuity with the past, Knowledge of culture, Understanding others’ cultures, Reduced crime, Enjoyment, Diversion and release, Escape, Solace / consolation, Inspiration, Expression, Creativity, Innovation, Health, Skills / competence Productivity, Income, Employment, Achievement, Self esteem, Excellence.’ These are listed in Box 2 of page 8 of this paper. This paper is now available 15 Wolfe. J. ( 1984) The Social Production of Art. New York University Press. New York. P93 12 13