Convener(s): William Wong Participants: Jacqui Beckford, Jeni Draper, Jude Kelly, Kerry Brabant, Gareth Corke, Jamie Smith, Jenny Sealey, Tiffany Ball, Richard , Jim Pope, Anna Newell, David Grant, John Hoggarth, Katherine Lanprell, Yumi Yokoyama.

Summary of discussion, conclusions and/or recommendations:

Is there currently one in practice, or in development in the UK or elsewhere? Need for it? Who is it for? Should we bother? Is there a gap? Visions for its structure, form, practices, productions & impact. Is it a space or an organisation? What would it create or change that is missing at present? Distinctions?

In Belfast, complete fluidity (TIE, Community & Mainstream) Dundee, Scotland – Rep Co., dance and community; three in one with ongoing commitment. Futures London – Community arts theatre in Deptford, sought £40K funding from Arts Council; but told only to apply for tranche of £5K. Compartmentalisation by funding institutions. Crossing boundaries, breaking down barriers. Gateways to facilitate participation. Excellence and managing perception crucial. Share what? Value systems, current practices.

Radical theatre – challenging beliefs and perceptions. Actors from the community vs. drama school trained actors. Making work. Angelico in rural context. Theatre by the community for the community. Can you start a movement? Cardboard Citizens’ work – Communities may wish not to perform continuously. Clash could be good. NYT’s role and remit.

Ownership – experiences in Victoria, Australia. Model of what is working between Melbourne and Sydney. Actors work with untrained individuals; audiences with everyone knowing someone. Why the above not working in the UK – youth theatre at local level, barriers with adults, ‘professional’ storytelling only and passive experiences from TV and films. Audience Development Contextualising community work – e.g. refugees, asylum seekers – profiling Successful best practices: Community Arts Forum Belfast ( Innovation through Partnership