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Profile of interdisciplinary practice in St. John's, Newfoundland

CONTEXT

“Interdisciplinary practice is inevitable. It is about being responsive to a changing world. We are reactive to what is happening to the art world nationally and internationally while remaining committed to our own unique voice and culture”. –St. John’s artist, Andrea Cooper

The increasing movement towards interdisciplinary methodologies in the arts is a trend that continues to proliferate in all regions across Canada. In both urban and rural centres, artists are experimenting with new and innovative modes of expression, crossing boundaries, cross-fertilizing genres and creating their own wholly unique forms and content.

According to the Inter-Arts Office: A Four Year Review Report- 1999-2003, the three largest centres of inter-arts activity in Canada are Montreal, Vancouver and Toronto [1]. This is not a surprising demographic, considering that the majority of Canadian artists reside in major urban centres. In a large city, artists are typically supported by a strong cultural infrastructure, have exposure to larger core audiences, and wider access to critical feedback. Yet despite these advantages, there are some notable smaller communities that have made a mark on the Canadian interdisciplinary arts scene with their own distinctive inter-arts practices [2] .

Off to the far edge of North America, the city of St. John’s, Newfoundland has positioned itself as a region on the cutting-edge of the Canadian inter-arts scene. With a population of just over 155 000 and a considerably small arts community, the city has managed to generate a rich and diverse body of interdisciplinary and cross-collaborative work. In St. John’s there exists a creative interdisciplinary energy that is entirely unique. It is one that has been carved out of its geography, its history, and its cultural traditions. Common themes and aesthetics are difficult to identify, however a rich sense of place and a strong sense of identity seem to connect these artists. This profile explores these characteristics in detail and examines the geographical, cultural and historical features that define the inter-arts scene in St. John’s.

HISTORY

Art on the Edge

“In St. John’s we have a great environment for exchange. We are always collaborating.  Part of that is the closeness of our community, but part of it is the economic reality.” –St. John’s artist, Liz Pickard

Interdisciplinary practice in St. John’s is not a contemporary phenomenon, but has a history deeply rooted in Newfoundland’s cultural and historical landscape. In terms of geography, Newfoundland is among Canada’s most isolated regions, located far off to the northeastern corner of the continent. Not only is the province physically separated from its counterparts, it also has a history that is perhaps more distinct than that of any part of Canada. As the very last province to join Confederation in 1949, Newfoundland has remained remarkably aware of its history and heritage and has maintained a strong sense of civic pride and identity.

So, how do these factors relate to the active level of inter-arts activity in St. John’s? In isolated and small communities, there is a co-dependence and collective spirit among artists that is less likely to exist in the same way in large urban centres. Likewise, in St. John’s, many artists are naturally compelled to work collectively, exchange ideas and merge disciplines. This also stems from the economic reality of living in St. John’s, where resources are limited and jobs are scare. Many islanders, artists included, are continuing to leave their homes for larger cities and better opportunities. This reality is reflected in Newfoundland’s population, which has been consistently shrinking over the years [3]. Artists who choose to stay and make a career in St. John’s do so for many different reasons. One main reason is that the city has a remarkably engaging and supportive arts community. There is a shared bond between artists and a common desire to come together, create together and learn from one another.

Traditional Roots

“Traditional Newfoundland culture was rural, co-operative and demanded a diverse skill set from individuals and communities. Fishers cut wood, built houses and stages, made boats, nets and gear to harvest fish, and develop multiple skills which would now likely be called interdisciplinary.” -St. John’s artist, Pam Hall

In St. John’s, the foundation of cross-disciplinary collaboration and interdisciplinary practice is built upon a strong tradition of co-operative community work.  Traditionally, Newfoundlanders worked collectively and developed intricate social relationships among their community. This was necessary in order to survive the geographical and economic forces that made living in Newfoundland a challenge. As a result of those challenges, many Newfoundlanders became multitaskers, learning as many skills as possible to contribute to the betterment of the community. This mentality has remained intrinsic to contemporary Newfoundland culture and to the inter-arts scene in particular.

A history of folk tradition in Newfoundland has also influenced the face of interdisciplinary practice in St. John’s.  Originating mainly in Europe, these traditions and customs placed a strong value on the performing arts through song, oral literature, music and dance. These performative elements still remain a fundamental component to the interdisciplinary work being produced in St. John’s. This is exemplified in the collaborative work of artists like Liz Pickard and Anne Troake, where elements of dance, movement and theatre are fused together to create innovative performances pieces.

Cultural Renaissance

“As a Newfoundland interdisciplinary artist, I have a strong sense of my culture and geography as a source. I don’t mean a source of content. It is a sense of rootedness in the people and place that I come from” -St. John’s artist, Lori Clarke

In the late 1960’s and 1970’s, Newfoundland experienced a cultural renaissance that saw a reawakening of Newfoundland customs and cultural traditions. Led by a small group of artists and intellectuals, this cultural revival placed an importance on exploring Newfoundland’s identity, its relationship to Confederation, and the personal histories of its people. This was especially apparent in the professional theatre scene, with the establishment of companies like The Mummer’s Troupe, The Newfoundland Travelling Theatre Company and CODCO. CODO, in particular, greatly influenced the performing arts scene in Newfoundland and brought international acclaim and recognition back home. Touring all over North America and as far as England, CODCO’s plays were satirical in content, dark humored, and playfully witty. They dealt with a variety of themes including politics, culture and the human condition. Incorporating traditional performative elements with contemporary practices, CODCO’s theatrical style fused together song, dance, music, sketch comedy and multi-media.

It was theatre companies like CODCO that helped to revitalize Newfoundland’s collective mentality and express it in innovative and modern ways. Interdisciplinary and cross-disciplinary practice at this time became all the more prevalent in Newfoundland. According to Ken Murphy, Program Manager of The Newfoundland and Labrador Arts Council, it was a time when “Actors wrote, dancers became filmmakers, visual artists became musicians, and musicians acted.”

Cultural Infrastructure

“There is little investment within our community. It is expensive to get on and off the island. It is hard to make a living. What is exhilarating and exciting is the level of engagement and support from the community itself – you always have back up.” -St. John’s artist, Andrea Cooper

In the 1980’s, the art scene in Newfoundland continued to thrive with the establishment of the Newfoundland and Labrador Arts Council. During this time, several artist-run spaces and collectives emerged in St. John’s, like the Rising Tide Theatre and Eastern Edge Gallery. These bodies provided an infrastructure for interdisciplinary artists that had previously been non-existent.  One of the most significant developments in the inter-arts scene was the creation of the Resource Centre for the Arts, an umbrella organization with four major divisions: the RCA Neighborhood Dance Works, the RCA Visual Art Gallery, the RCA Theatre Company, and RCA Operations. As a multidisciplinary space with reasonably priced rental fees, RCA became a meeting ground for artists interested in producing experimental work. It also became a hub of cross-disciplinary collaboration, as artists formed close relationships with one another, exchanged ideas, and experimented with different artistic mediums. Also significant was the initiation of the Sound Symposium in 1983, which still continues to this to day to bring together artists, dancers, filmmakers and musicians for a two week long festival in celebration of sound.

Although cultural bodies like these have had a profound impact on the inter-arts scene in St. John’s, there still remains no formal infrastructure in place for inter-artists. In terms of art education, there are no institutions in St. John’s that provide valuable critical discourse surrounding interdisciplinary practice. Memorial University of Newfoundland, the largest University in Atlantic Canada, does not even have a Fine Arts Program in St. John’s. BFA programs can be found at Grenfell College, but these programs are mainly traditional in focus and do not encourage interdisciplinary exploration. Grenfell College is also located outside of St. John’s in Corner Brook, which is equivalent to the distance from Toronto to Montreal. Sadly this has caused many young artists to leave Newfoundland and pursue their education and artistic careers elsewhere.

For inter-artists living and working in St. John’s, the challenge often lies in finding enough funding to produce their projects. A major barrier that has been identified by interdisciplinary artists is the culture and tourism industry espoused by the provincial government. In order to attract tourists and promote economic development for the province, money tends to be funneled to traditional culture rather than contemporary culture. Performances of local history and folklore have now become popular in the province, including dinner theatre, and local festivals. This has ultimately proved to be a major challenge for artists working outside conventional mediums whose work is not always saleable. 

Fortunately there exist a few progressive organizations in St. John’s that have sprouted in the last decade. These organizations have committed themselves to supporting and producing innovative interdisciplinary work across the province. To name a few, Gutsink Productions Inc was established in 2001 by dancer and chorographer Sarah Joy Stoker.  As an interdisciplinary company, Gutsink promotes the production of contemporary performance in the medium of dance, music, video and installation work. Similarly, The Festival of New Dance encourages interdisciplinary work that pushes and breaks boundaries. Held every summer, the Festival showcases and celebrates the most innovative and outstanding performance work across the country right in the city of St. John’s. In 2002, St. John’s artist’s Lori Clarke, Liz Pickard, and Andrea Cooper established Edge Intermedia in response to a growing awareness and interest in digital/electronic media in the contemporary arts. In partnership with Easter Edge Gallery, Edge Intermedia plays a critical role in the creation and dissemination of electronic and computer based work, providing technical and human resources for new media artists.

CONCLUSION

Despite the challenges that many artists in St. John’s face, the future appears to be a brighter one. With the emergence of progressive organizations and collectives in the city, it is hoped that positive changes will result in a stronger infrastructure for interdisciplinary artists. The need for ongoing dialogue and discourse on an international scale is critical to connecting St. John’s artists, curators and organizations into a formal network and support system. In 2002, the Resource Centre for the Arts held a two-day symposium that addressed issues surrounding interdisciplinary practice and new media in St. John’s. The symposium was called “Shifting Practice” and it gave the opportunity for artists and arts professionals in the community to come together and discuss the growing movement towards interdisciplinary practice in Atlantic Canada. It is important that conferences and symposiums like “Shifting Practice” continue to occur in the city, as they are instrumental in sustaining positive and critical dialogue among the arts community. Only through a collective effort can changes be made in order to maintain and nourish St. John’s truly dynamic and unique inter-arts scene.

Thanks

The Canada Council would like to graciously thank the following people for their time and commitment to the creation of this profile: Lois Brown, Lori Clarke, Andrea Cooper, Pam Hall, Ken Murphy, Liz Pickard and Sarah Stoker.

Bibliography

Newfoundland and Labrador Heritage Website                             http://www.heritage.nf.ca/home.html

The Inter-Arts Office: A Four-Year Overview Report – 1999-2003

Internet links

Government of Newfoundland and Labrador                  http://www.heritage.nf.ca/home.html

Resource Centre for the Arts                                             www.rca.nf.ca

Newfoundland and Labrador Arts Council                     www.nlac.nf.ca

Art Gallery of Newfoundland and Labrador / The Rooms                           

http://www.therooms.ca/artgallery/

Lori Clarke ― Somalore Series                                           www.somalore.com