Outdoor art is always political- ? It changes spaces, challenges perception and can be used to carry messages corporate or otherwise, we focus on the otherwise

So how can we make work that is attractive , to audiences m promoters but carries a message in a non didactic manner. so when we try to add purpose to our context what it still has to be accessible by ensuring a high quality experience that makes think in a lateral way, and still remain flexible to changing space, environment and audience. Outdoors are diverse and work needs to encourage diversity and reach the match the diversity of the audience. ( including those with different political outlook than our own)

Can meaningful work appeal to promoters and funders and is this a changing landscape. I.e are promoters and funders willing to take the same risks as the artists. Outdoor arts including political ( non commercial ) i.e people that have to use their art to make a political statement. e.g eco warriors , clay people from Brazil. Can this work exist in its own right as entertainment.

More recently Arts has become commodified and arts have to react to the business climate and be business savvy to be able to exist. Is a simple option to make work that's entertaining but not meaningful. e.g will you more work /money if you avoid the issues

How we fund ourselves to give the time required to make thoughtful work. Are you more likely to get funding for meaningful work ( mixed opinion) Who is it that sets the agenda The Booker the company or the audience or the bookers perception of what an audience would like. How many experienced promoters understand that work with meaning is actually more interesting. How there perceptions and make them understand what makes quality outdoor work i.e content, style and meaning. or do we just make compromise i.e customer led performance

Does commissioning mean that that the commissioning bodies have control over the content. Frances Bacon ;The job of the artists is to deepen the mystery. We take this to mean not making didactic work but exploring a situation rather than giving answers Can work of meaning be translated from indoors to outdoors.

A lot of Contemporary Theatre strives to have a message but there seems to be less of this outdoors. Giving a meaning requires a great deal of time and research to still make accessible work with purpose and how can we create this time for artists? The older members of the group suggested that outdoor arts has been dumbed down and is less political and more entertainment orientated and more difficult to create and that younger people just want to have a good time and don't want to be bothered by politics.

So do younger artists understand the connection between outdoor arts and politics and the opportunity the outdoors give to make your own little changes to make the world a better place. Should be highlighted in educational institutions e.g Winchester where they run the outdoor arts degree course. Now the world is in crisis and we in all walks of life we need to react and aim to change. its is everyone's responsibility in all walks of life and we a unique opportunity. There is a history of outdoors as rebellion having significant effect on implementing change which needs reigniting in the next generation.

Our group Jo Kessel James McPherson Ali Williams PhilHayes Richard Headon Mel Emma David