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Abstract
This paper draws on my own recent experience of local artistic engagement with the British government's counter-terrorism strategy, Prevent(ing Violent Extremism). Not in My Name uses verbatim theatre techniques to negotiate dialogue within and across communities around a controversial agenda, and has received national acclaim for its innovative response to a pressing political concern. Revisiting Theodor Adorno's fluctuating pronouncements on the dialectical tension between the inadequacy and yet indispensability of culture beyond Auschwitz, this paper explores the creative and ethical dilemmas embedded within a contemporary artistic response to recent terrorist atrocity. Through examining both the moral responsibilities of community engagement and the ambiguities of theatrical representation in relation to acts of remembered rather than imagined terror, this paper highlights the shared vulnerabilities of precipitated interaction between commissioned artists and audiences deemed ‘at risk’ of potential radicalisation. The paper consequently argues for further consideration to be given to the development of an appropriate ethical dimension to support and challenge the aesthetic choices of artists engaging directly with Prevent or other comparable counter-terrorism agendas.
Notes
1. With reference to a progression of Arts Council press releases in anticipation of and response to central funding cuts between February and April 2009.
2. See, in particular, Learning Together to be Safe (Department of Children, Schools and Families Citation2008).
3. This comment is derived from my recent observation of application and distribution processes for Prevent-related funding in these regions, which may or may not be typical of a wider profile. In the interests of discretion I will not identify specific companies; the point is raised as an ethical concern.
4. The others are Pursue, Prepare and Protect.
5. In the course of researching this paper, I undertook a series of interviews with funding providers, artistic partners and project participants from which I have derived any otherwise unattributed comments or observations.
6. Not in My Name was commissioned by, and has been developed in continuous partnership with, the counter-terrorism branch of the Lancashire Constabulary.
7. Ed Balls MP, Secretary of State for Children, Schools and Families, 17 November 2009. Ministerial address: Learning together to be safe toolkit: ‘one year on’ conference, in London.
8. Silence can undeniably be a potent form of resistance. However, as all research meetings were voluntarily attended by well-briefed eventual contributors to Not in My Name, resistance here was more clearly exemplified by those few who declined their invitations to take part rather than those who sometimes struggled to articulate their feelings in interview. Given the potential racial controversies that I have acknowledged around the Prevent agenda, it is worth noting that no member of the local Muslim community refused to participate in this particular project; overt resistance was apparent from some elected representatives of the British National Party (BNP).
9. Andrew Raffle has been the producer of Not in My Name from its first production; we are both co-directors of Theatre Veritae – currently producing, and supporting activity around the play, within a number of regions. Raffle is also artistic producer of Fuse: New Theatre of Young People, a more recent partner for the delivery and development of Not in My Name in Merseyside and Cheshire.
10. This claim is based upon the previous practical experience of working closely with Rob Swain (formerly Cheeseman's associate director), as well as more occasionally alongside Cheeseman, and learning from them their principles of documentary construction.
11. This statement is supported by ongoing feedback, provided by Theatre Veritae's non-artistic partners, most especially regarding further collaborative community activities that have been generated as a direct and positive response to the play.
12. This practice has also been observed throughout the development of Not in My Name.
13. A relevant and much publicised example is the antagonistic relationship that has recently developed between Burnley and Mixed Up North (Robin Soans, 2009).
14. Examples of these include Britz (Peter Kosminsky, 2007) and A Jihad for Love (Parvez Sharma, 2007).
15. This is a Muslim theophoric name meaning both ‘witness’ and ‘martyr’; the pronunciation used in the play (Sha-HEED) emphasises the latter.
16. This artistic problem was admirably solved by designer Jonny Quick through the creative and symbolic deployment of wheeled frames with removable sheeting.
17. All quoted audience responses are taken from an evaluation report compiled by Theatre Veritae following a local tour of Not in My Name in 2009. Selections from this report can be found at http://www.lancashire.police.uk/admin/uploads/attachment/NIMN%20Draft%20Evaluation%20Summary.pdf.
18. Feedback undertaken with young audiences has revealed that Shahid is in fact the character with whom the greatest percentage have identified, which is most typically articulated through empathy with his frustration at not being listened to.
19. The deviation that I am referring to in this section is specifically from those who may support and argue in favour of violent extremism, from any political perspective; to date, we have encountered no significant post-show problems. However, as aspirations for community engagement around Not in My Name become increasingly ambitious, this is an area in which we, as artists, feel particularly vulnerable and remain mindful and cautious.
20. In practical response, a range of supplementary workshops for young people, teachers, support staff and communities will shortly be developed by Theatre Veritae in partnership with Fuse: New Theatre for Young People; whilst aspiring to develop confidence around continuing exploration of the issues within the play, there is still some way to go in addressing the political point which underlies this concern.