I feel slightly embarrassed about using a film about cuddly animals and a fairground soundtrack to broach the subject of transdisciplinary practice, but I have to say it illustrates partnership working between genres rather well. As we all know, art is often grounded in the concept of play, which liberates us to explore new ways of working and operating. We often find ourselves shoe-horned into a niche, and once there, it can be tricky to step out into other worlds, and we get trapped inside our own rooms. It’s quite comfortable in htere – after all – we know the rules of our own area of specialism, we are networked, and familiar with the languages we use to communicate.
But what happens if we step outside, slam the door and go and knock on a strangers door? Can it work? Will our creativity be subsumed by the knowledge of the other? Will we be able to communicate? Neither children or other young animals worry about these things. Then when they grow up, they begin to be sensitive of difference.
Picasso strove to return to a childs viewpoint in his work, as did many others. Paul Klee talked of taking a line for a walk. As adults, when we work with non-art partners, we ar eopen to the possibility of re-engaging with the pleasures and surprises of playing with others who have different ideas. And benefit from it enormously.
So apologies for the frivolous movie, but it did inspire me to write, which is always a good thing. I hope.
Carolyn Black 