Women and Power (The Book and Beyond) The book deals with Power through Voice and Speech - the missing voice does not hold power. The female voice is described through history as shrill and annoying. We should all be aware of language and speech (Constant apologising is unnecessary!) It is suggested you all make Dutch friends, who will teach you that being direct does not equal being rude... Do we attribute feminine and masculine qualities to adjectives? Should we all be aware of that?In Titus Andronicus, a woman's tongue and hands are cut so she can no longer speak the truth: there is power in a woman's speech that is threateningThe #MeToo conversation, does it alienate allies? We ask ourselves "How can you not get this?" But does the conversation need to be inclusive? Like racism is a white person's issue, is sexism a men's issue? The intersectionality of women, mean that there are many shades of feminism.Bell Hook: We need to empower ourselves. How do we advocate for ourselves? Are we ALL trapped in patriarchy?Women in politics seem to adopt/ work within the patriarchal system (Mary Beard gives examples of power dressing, adjusting one's voice) We need to recognice our own unconscious bias and mind the splintering of feminism: everyone can 'fight' in their own way.In groups of POC women, can there be space for male voices? Or do we empower the women to then pass on their power in their own networks.eTwo different strands: Creating a new system vs. infiltrating the system.Both need to co-exist, an awareness of the bigger picture is needed: if a child is educated in one way, a feminist household cannot just balance that.MB states we need to decouple Power and Male. See Power as a verb, like the women who created the Black Lives Matter movement: power is for the collective rather than for celebration of the individualWe need to rethink and redefine Power.Where does Trans come in to this? Is this conversation too binary? If we redefine Power, the binary element will disappear.A study on stress in humans showed different effects on men and women: Men went into Fight/Flight and Women into Tend/ Befriend. But is that societal?Passing on the Power is important, take it to your network, empower them so they can pass it on?Big and Small initiatives need to co-exist and do their own thing, on their own level and support each other.State intervention can be useful (the change in attitude on plastic bags by introducing a 5p charge) so awareness and education is important. Young people see 18 as an age of legal drinking... even though they can VOTE.This kind of education might not be in the interest to those in power. Are we apathetic because we feel powerless? (What good did the Iraq march do?)Yet mass movement and protest need to be persistent and we need to sustain protest on different levels. The women in Iceland went on strike and changed legislation. Corbyn got people talking about politics: we need to keep the conversation going outside of election timeWomen in language break barriers/glass ceilings: are they always on the outside of power? (MB)Apparently Hillary Clinton had an actual glass ceiling coming down if she had won (art in politics)We need to look at the commercial value and stop this ZeroSum thinking: There is enough pie for everyone.Patriarchy harms men: so would it be loss of power or simply change?Redistributing power: people are comfortable in their lives and thus complacent. Emphasising the Gains and a positive conversation, stressing benefits (like parental leave) are seen as most effective to get change.We need to keep seeing these stories, they need to reflect what we want to see - that is what we as artists can do. If these stories are not told, then the conversation will be kept hidden and not discussed in bigger circles.How can we make These Stories (aka Feminism) accessible without alienating an audience through blame and anger? We need to build an artist's confidence to tell the story, not all unconscious bias is unfounded. Do we need to be more careful with our depicting of the White Middle Class Straight Male - probably not.Simultaneously we need to listen: the Brexit surprise happened because of everyone living in their own bubbles.If we are truly reflective of society: where does this disconnect to our audience come from? Beware The Echo Chamber: - Think about where to put on your show, though there are challenges to get your stories there.Diversify your funding: think as an entrepreneur. The Arts Council is Dead. Don't Get Squeezed Out. Empower Yourselves.Political Funding vs Unethical funding: ACE belongs to us like NHS, is not blameless, part of a system. Is it the System we are trying to Break?Think about connecting to smaller businessesCreate Genuine CollaborationsCreate that Community!We need to choose to change but acknowledge the risk that this brings.Reframe Money and Lead The Conversation.What do we do with Sexism and Patriarchy embedded in the art? (Shakespeare/Opera/ The Little Mermaid/ Friends!)Can they be redeemed? Yes - Reframe them and relate them to the Now.Take the best parts, retell the storiesTheatre Derby uses Big Commercial Shows to fund/ introduce Small Alternative showsIn Opera there are problems because of scores and traditional audiences. Can there be context in programmes? A Eurotrash director is one who needs to present an Opera the new-fangled way.Emma Rice dismissal from The Globe is an example of the modern Shakespeare backlashDon't Censor: Create Conversation. Contextualise rather than presenting a classic as High Art sec.In Germany there is a eugenisis (?) of controversial people's statues being taken down. Better would be the Counter Memorial Impulse (Henstra) by putting other statues up, you contextualise the old ones.Like Katie Mitchell who makes conscious choices working with classics: we all need to take our own responsibility in our practice, in our networks in our lives.Avoid the Highlander effect: #spoileralert, to the film where Immortals live on but only one can ruleThere is no need to compete: we all carry the responsibility to create change in our own circles.