Provocation: WHERE IS RADICAL WORK?
Proposed by Nenagh Watson
Notes written by contributors and collated by Nenagh Watson
I’m aware this reflects my memory and maybe not everyone will agree with my interpretation so apologies if I have coloured the reading – however, you are free to upload your comments too.

Those attending included; two curious alumni Dix and Hector, Sarah Wright, Sue Buckmaster, Diana Baillis (Black Cat), & Daniel Lempen.
Important: We didn’t write our names down so if I’ve missed anyone out please add your name as people merge in my memory with the other provocations I went to!

There are web links within the text but they are not linked directly and will need cut & paste in browser?

General discussion about festivals being the best place to show radical work. Radical was seen as pushing the boundaries of puppetry. Sue made the comment that ‘radical usually means ‘no sell’, but the flip side is its creation is not motivated by money. I said that when l started out in the 80’s l did so from the premise that l had nothing so l had nothing to lose so l really went for it creating work for an adult audience, establishing doo-cot (1989 – 2007). Eventually doo-cot generated interest and ACE funding however, to be reliant on funding makes you vulnerable as funding can & was eventually withdrawn. But doo-cot gained at least six years as a Revenue Client of ACE with substantial funding gaining a reputation as ‘Britian’s most innovated puppet company’. Sue made the point that the economic and political climate today equals a recognition that everyone’s funding is volatile.
(5) Facebook
A couple of participants shared memories of radical work that had inspired them. Neville Trantor’s Manipulator Underdog’ 1980’s was totally inspiring for Dani who saw the show in 1986 in Charliville, his enthusiasm and passion for it still spoke volumes and it totally inspired him to begin working with puppets.
Neville Tranter Underdog Boy Meets His Mother Again Bing Videos
Steve Wright was another name proffered as a radical in terms of content and audience reach.
Steve Wright (@steve_the_puppeteer) • Instagram photos and videos
Dix talked about KLF & their ongoing Death Ritual (which includes buying a ticket for an event in 300 years’ time, you pass it on through the generations of your family/friemds), she saw this in terms of an example of giving ‘Hope’ and therefore saw it as an example of radical work?

MuMufication - KLF ONLINE

Merseyside park to host bizarre 'Day of the Dead' event where people build pyramid from human ashes - Liverpool Echo

Sue posed the question ‘How do women puppeteers manage to create radical work’ and gave the example of Nina Conti as someone pushing boundaries.
https://www.youtube.com/channel/UCZJQEUWX2pk_aNCjMKpFBTg

Dix drew a big circle on the paper to illustrate her point that it’s the main cultural stream with smaller circles being satellites, she placed radical bouncing between the large & smaller circles. The way she explained her diagram prompted me to share a situation where l was employed within a care home as an Activities Coordinator and l took in some of my puppets made out of discarded umbrellas. One in particular l had used a lot of waste materials within its construction. One resident was absolutely horrified and insulted that I was employed by the care home and showing them ‘rubbish’. It eventually snowballed and led to my resignation – but it illustrated her point as I was in my circle (radical work for an adult audience) and collided with the resident’s circle (stereo typical view on what constitutes a puppet) and the ‘radical’ was a total mismatch and back fired, although I do add the majority of residents enjoyed the puppets. This led onto a discussion about finding or creating radical audiences – performing within marginalized places e.g. prisons.

The discussion moved to safe and supportive places to incubate radical work. Sue mentioned
Lesser Good Idea - SouthAfrica https://lessgoodidea.com with other participants mentioning;
Westflugel - Leipzig Germany https://www.westfluegel.de/en/
Robo Doc Festival Amsterdam https://www.amsterdam.info/events/robodock/

BAC was mentioned several times as historically supporting radical work. Likewise, London Mime Festival. It was acknowledged that we need a venue that would support a radical puppet festival!
The idea of using unused spaces (empty shops) in which to create and present work was also voiced.

‘Are radical artists at the top or bottom of our imagined hierarchy?’

People in despair – motived by self – this was I think relating to ‘just do it’ – driven by sheer self-motivation and deep passion for creating work that you are driven to do!

‘Is radical dated?’ Certainly, it seemed that it was radical work that had inspired contemporary work that was more conventionally commercial and acceptable to the market place. Sue Buckmaster’s Theatre Rites is the only puppet company that is in receipt of ACE National Portfolio funding, this is a staggering indictment as to the status of UK Puppetry.

Collaboration of different artforms seemed to be a good working ground for producing radical work. It is significant that Dix is creating work which is improvised with Jazz musicians. She is also in discussion with organizers of Raves. This was a significant departure from David Micklem’s premise that puppetry should align itself with theatre.

Radical = work that makes people angry – by its nature of being radical it’s going to divide audiences!