Cultural segmentation ? A nurturing space

African, Caribbean and Asian artists in England often find it hard to get their work recognised by the mainstream, yet showcases of this work are often criticised for segregating such work. Samenua Sesher defends the concept of the showcase and explores the complex issues facing artists in the market for culturally diverse work.
Within our society, cultural value judgements exist that need debunking once and for all. These judgements are that art not already being consumed by the mainstream, made by non-European artists, or made away from the European gaze, is inferior. This thinking is rooted in a culture that imposes value judgements on ?difference? where a European aesthetic is the barometer of superiority and taste. This leaves non-European arts and often artists in the position of the exotic ?other? at best, and the misunderstood and marginalised at worst. As a result, the artistic market place is a restrictive environment, where competition for cultural value is fierce. It is difficult, for example, to foresee a time when hip hop will be viewed on the same artistic standard a Picasso painting. There are Black artists who have transcended the exotic ? Akram Khan, Chris Ofili and Salman Rushdie to name three ? but the list in 2005 is not as long as it should be.

Creating a market place

All artists resist labels and culturally diverse artists are no different; most do not like being grouped by their ethnicity. However, all market places are segmented into style and genre and this is increasingly the case with all areas of art and media. This segmentation in a market economy operates on a supply and demand basis. If venues say they want to programme the work of culturally diverse performing artists and they are not sure where to source it, and those same artists are struggling to book tours for their work, a showcase can provide a business-to-business solution. A showcase profiling culturally diverse artists segments a section of the art world. But it also makes these artists easily accessible to programmers and simultaneously provides a valuable boost in profile for the artists involved.

Creating space

At its best, this country provides a supportive environment for artists. There is still a degree of dignity in artistic poverty. There is a proliferation of space in which to consume and appreciate art, and some recognition of artistic achievement. Artists need both physical and psychological space. Agendas and issues can crowd out that psychological space, while prejudice and exclusivity can block access to physical space. For artists to make work that stimulates, provokes and excites they must have the freedom to mine the depths of their own truth. African, Asian and Caribbean artists do this in the knowledge that their work may be widely appreciated but condemned by elements of their own community ? or that it may be pounced on as they become the flavour of the month or they open a window of funding opportunity for a large organisation.

Support

Where is their freedom to create when they are hijacked by so many agendas? Are you betraying your race/culture/ heritage when you refuse to be consumed, or identified with it? Are you betraying your race/culture/ heritage when you portray the negative elements of that culture or individuals? How do you create with the knowledge that you don?t have the power to prevent your art from being seen as an anthropological study if it is vaguely traditional, a sociological education if it is political, or a community cohesion project if it is popular? For many diverse communities choosing art as a career is still rare and courageous. These artists deserve our support in whatever way we can give it, and if they require a segregated space to create away from the burden of issues, then that segregation should not be seen as negative but as nurturing. In these uncertain political times, we should applaud any space for culturally diverse artists to flourish, not as cultural representatives but as artists, some of whom may choose to represent.

Samenua Sesher, Director, decibel legacy

decibel was a short-term Arts Council England initiative that ran from May 2003 to March 2004 with the long-term aim to support and raise the profile of African, Caribbean and Asian artists in England. This was done through showcasing, dialogue, publication and strategic intervention. decibel legacy is continuing the work of decibel, ensuring that Arts Council England remains firm in its commitment to put diversity at the heart of its work. For more details about decibel and the decibel xtrax showcase, contact Tania Wilmer, Decibel t: 020 7973 6470; e: [email protected]