Today is the final day of my residency at Dance City in Newcastle. Well, technically it’s “tomorrow” because I’m cheating and writing this a day earlier to save time for the looming deadline of Friday’s “sharing”. In Hink’s Five Facets model of creative processes, Assaying is followed by Articulating. ‘Articulating’ is the stage where the work becomes known, established, defined. But it simply doesn’t feel right to suggest that this is where I’m at. It feels impossible to know what a work is until it’s been “seen”. Which is why I’m skipping to Outwarding and placing Articulating aside for the final evaluation.
I normally find sharings more terrifying than performances. The work is always messy and unfinished and there really is no hiding behind stage lighting. The bare bones are revealed for… dare I say it… judgement..? And it’s all of you out there that people are watching, in-between lunch and a cup of tea.
This is where I’ve found Hink’s description of Outwarding most useful. He frames it as a part of the process, a chance to see “if the work lives beyond me and brings liveness to others”. The idea of empowering artists to gain and manage useful feedback in a way that supports their process, is well-known in the dance world, thanks to the excellent work of Liz Lerman and her Critical Response Process. But Hink’s poses questions that highlight the process of Outwarding itself:
Is it important to you that your work is seen?
If so, do you have a more precise sense of what it might be like for it to be seen more? What might come from that for you?
And do you have a sense about who you would like to see your work?
If so, how can I introduce this work to its right audience? How can I help it find its lovers?”
Whilst sitting in another artist’s sharing yesterday, I realised the importance of this last question. A member of the marketing team, sitting in on the sharing, offered her description of the work that we had just seen. Not in a judgemental way, but as a means of explaining the importance of clearly articulating the work so that it found its right audience. I had never considered this before. I just thought, and still do to some extent, that good work is just good work. But of course it’s pretty hard to know whether something is actually good or not. All we can know is that we’ve put something out there. In Seth Godin’s words:
Here, I made this. I hope it changes you.”