Issue 84 / Dec 2017/Jan 2018

ROYAL LIVERPOOL PHILHARMONIC ORCHESTRA
& THE BOOTLEG BEATLES
For all the creativity of the arts, their structures can seem
very formal. It has become a cultural expectation that
paintings are for galleries, drama for theatres. And
while established institutions play an important role
in showcasing talent, they’re not without their problems. Many
people perceive these as spaces for observation only – look, but
don’t touch. How then can the demographics who, statistically,
do not engage with these institutions discover what participating
in the arts can offer them? The answer lies in a different kind
of organisation: user-led, community-based places, where
exploration and discovery can happen organically.
Luckily for us, we have two such places at the heart of our
city. The clash in architectural styles of THE BLACK-E and THE
FLORRIE belies a mutual passion for community-driven arts
projects that is central to both institutions.
The mission of The Black-E, the neo-classical building perched
on the junction of Great George Street and Nelson Street, is best
explained in the words of its founder, Bill Harpe. “When we
started, we were virtually the only organisation who were saying
‘arts and community’, saying ‘participation’. People don’t just
come in to look, they come in to do.” In 2018 the organisation will
celebrate its 50th anniversary – making it the oldest community
arts centre in the UK – and this mission has never changed. Come
into the gallery space and you’ll find work by the internationally
renowned artist Judy Chicago, displayed alongside pieces made by
the local community.
But The Black-E team are particularly proud of their youth
programme. Alongside work with specific disenfranchised groups
such as children with neurological conditions, the centre hosts a
range of workshops and activities that all young people can access
for free. Free, and no obligation, are important here. As Deputy
Director Maria Paule tells me, “The kind of young people we get
at our door are young people who really are maybe not sure about
where they want to go in life... they’ve maybe lost their focus a little
bit. And then they come here and they find something that they’re
interested in.”
These young people may initially visit out of curiosity about
what the building is, but it’s this open-door model that keeps
them coming back. It’s a relaxed environment with no obligations
or expectations. “We will have the table tennis, will have other
activities,” explains Paule, “but we’ll have a dance class going on
next door. So, we’re not forcing young people to get involved with
these arts activities. They can come here and if they just want to sit
here and or have a conversation, they can do that. And eventually,
it becomes their home.” It’s a policy which believes in the power
of the arts to improve lives – but also in the will and potential of
young people to engage by themselves.
The Black-E’s programmes can have a major impact on their
participants. Take the Justified Ancients Of Mu Mu hellraiser Bill
Drummond who, to Bill Harpe’s surprise, recently divulged a
personal connection to the project. Drummond told Harpe that,
“after a little while of volunteering at The Black-E, I thought ‘College
Of Art’s a waste of time isn’t it?’. So, I gave up College Of Art and
started promoting music. So, The Black-E changed my life.” This
legacy is still part of The Black-E’s present – Paule tells me about
one recent alumni who, after being inspired by the centre’s circus
skills workshops, is now studying the subject at university. And
regularly returning to volunteer, where her passion started, to be
part of the community which will keep inspiring future generations.
Little more than a mile away from The Black-E on Mill Street,
The Florrie also has its roots in youth engagement. Indeed, this
was the very purpose behind its foundation as The Florence
Institute in 1889 – to be “an acceptable place of recreation and
instruction for the poor and working boys of this district of the city”.
But that original incarnation of The Florrie closed in the 1980s, to
be reborn in 2012 in the same grand, flame-coloured Jacobean
building, designated as a place ‘for everyone’.
In some ways The Florrie’s strength lies in being less of an
organiser than a facilitator. Most activities are volunteer-run, with
the ideas for activities coming directly from users. CEO Anne
Lundon explains that “we use our space and resources to help
people who want to make things happen. It makes people feel like
they belong. Giving people artistic freedom to share their skills and
“People don’t
just come in
to look, they
come in to do”
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In her second look at the role arts centres play in our communities,
Julia Johnson focuses on two institutions – THE BLACK-E
and THE FLORRIE – that have user-led art at their core.
passions allows us to make things happen in the building.”
This passion for the projects is shared by Community Coordinator,
Timothy Tierney. In conversation about The Florrie’s
mission, he constantly uses the word “empowering”. It’s something
he takes his own inspiration from: “People just giving opportunities
to others... it’s empowered me into feeling anything is possible.”
Tierney give the example of how this is put into practice in his own
guitar group. With participants ranging in age from 13 to 70, he
encourages them to learn from one another as much as from him.
It’s a perfect example of the driving force of this organisation. It’s not
background or money that count (all activities at The Florrie are, like
those of The Black-E, free), but enthusiasm. And when The Florrie is
even an inspiration to high fashion house Valentino, visitors can start
to understand where this enthusiasm may take you.
Even if you’re not local to The Florrie, you’ve still likely visited
or heard of their programme of art exhibitions and music events.
This new artistic strategy has been pursued with particular
gusto for the past year. Knowing that “music is a massive part
of Liverpool heritage… it’s in our blood,” it’s recently hosted
exhibitions of the work of punk artist Jamie Reid, a photographic
exhibition of The La’s and served as a major venue in the Justified
Ancients Of Mu Mu’s Welcome To The Dark Ages event. Indeed,
The Florrie is another place that seems to have a particular
significance for the JAMS – Jimmy Cauty recently gave his touring
ADP Riot Tour installation as a permanent donation. Future
projects include a major exhibition of work by Roger Dean, and the
development of the performance space to provide an ever-better
experience for artists and visitors. These events bring arts to the
community but also, by appealing to a wide audience, potentially a
new community to the building. And who knows what innovations
that community may bring with it?
Access to, and time for, the arts is increasingly becoming
a premium commodity. Opportunities for participation may
be available in all the major institutions, but you’ll only know
about these if you already interested, which leaves many people
underserved. This is why centres like The Florrie and The Black-E,
and their work on broadening access to diverse activities, are so
essential. By responding directly to what the community wants
and needs, they are giving people the chance to feel genuinely
connected with the arts, in a way which just may change lives. !
Words: Julia Johnson / messylines.com
Illustration: Jemma Timberlake / jemmatimberlake.co.uk
theblack-e.co.uk
theflorrie.org
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