Emma Nutland, 26 January 2014

Hopefully a full report will follow but I am currently against the clock to catch a train so

here is the top ten learning points from the session! In no particular order!

1.) Live art is happening for and with children and young people but not necessarily

under that title. Its participatory performance or immersive experiences etc. Is it too

‘sexy’ to be calling some work live art?!

2.) Companies like Junction 25 in Glasgow have agency over their work; in contrast to

some companies which it may be an adults perception of childhood. How much

agency do the teenagers in

(http://www.ontroerendgoed.be/en/projecten/once-and-for-all/) Ontroerend goed’s

piece have over their words and actions? Unleashed at the Barbican was a reference

point of a large-scale piece with young people but it lacked a legacy for the

performers. How can artists ensure exit strategies for their projects with young


3.) Live art for younger audiences in happening more organically over in parts of

Europe. Challenging pieces with risk and investment. Are we too invested in safeguarding

against risk?

4.) There is a huge range of possibilities for live art for children under the age of 5’s.

Sensory, non-linear… there is probably a lot of performance art existing that is

accessible to a lot wider audience.

5.) Companies like Mammalian Diving Reflex and their piece Haircuts by Children.

Shifting the power between adults and children and challenging living in Adultism

society. Where the majority of rules and experiences are built for children as ‘Adults in

Training’ How can performance outwith the traditional constructs of children’s theatre

start to revolt against this?

6.) Where to find live artists interested in making their work open to young audiences.

Starting conversations about live art and it’s history as part of the curriculum and in

Fine Art and performance degrees.

7.) How can we reach teenagers and bridge gaps to adult festivals etc? Could live art

enable difficult conversations about sexuality, gender, and ethnicity? Is it important for

children to see bodies, and experience touch during their childhood before everything

in their field of reference becomes about sexualised bodies?

8.) Theatre companies such as Punchdrunk have a progressive and exciting

enrichment programme happening in schools that could potentially come under the

umbrella of live art. Aby Conway Home Sweet Home – touring to schools

9.) We need to deal with the LIVE element of art with young people, keep connecting

people. Experimentation and Play. Creative exchanges. Touch and play is so

important! Celebrating what it is to be 7 when you are 7 years old!

10.) How to sustain artists working with young people and nurture and encourage new

relationships. Summer schools are happening but not very well known.

Many thanks to all that attended!

[email protected]


theatre for young people, young people, Live Art, Young People, Children, children,

teenagers, live art