Grasslands (eng)

sponding to the »music of what happens« (What’s the finest music in the world?
asks the mythical Irish giant Finn McCool, »the music of what happens, that is
the finest music in the world)«.
Whilst practical creative ideas were suggested by villagers themselves – becoming
active artists in the process – the book makes sure we understand this
was not easy. There was a natural caution, resistance even, to professional artists
coming in.
Accounts of the process are inspiringly honest, teaching us about the careful
practice and art of collaboration. We must stay with difficulty; come out of our
comfort bubbles to be patient, persevere, see clearly, listen and sometimes accept
others’ ways of seeing. A recognition of creative interdependence develops over
the course of practical work to be done. There is respect, learning, forgiveness.
Things turn out better than hoped.
There is collective rather than competitive working; pride; a lived ownership
of Grasslands and above all, helpfulness as people work to find creative solutions
- like painting in the rain together. Liminal space opens up, where nothing’s fixed
and anything becomes possible. It is from these experiences and rehearsals of
social connection, over time that different futures could emerge. »We’ve something
to share again« says one person and another: »We can make things happen
ourselves«.
Artists light a touch paper for us to see things differently; tapping deeply into
values of connection, story, place and meaning. Grasslands shows artists can be
circuit breakers; disrupting the status quo to make space to engage people collectively
at an imaginative level.
»Art takes nothing from the world« says the poet Gary Synder »it is a gift
and an exchange. It leaves the world nourished«.
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