Background | Hope and Expectations | Context

About

Background

As interdisciplinary collaboration emerges as a vital linchpin in an increasingly interconnected world, the role of Creative Producer is coming to the fore.

For many, having self-defined as a Creative Producer or developed a Creative Producing practice independently, we are now looking for community and collective identity. During a six-week program, Nicholas Medvescek and Lizzie Crouch led an international cohort of 22 emerging and established practitioners from different sectors and cultures, with different abilities and lived experience. We critically reflected on our role, and we collectively co-authored this manifesto for Creative Producing.

About the Team of 22

Hope & Expectations

Many of us came to this program seeking a supportive, caring, and critical community. We hoped to learn from each other and examine our practice through diverse perspectives. Through these lenses, we looked to refine our practices and challenge current production models that reinforce dominant perspectives.

Socially and commercially, there is often only a vague understanding about the work that we do. When creative labour is frequently under-valued, this often makes our work invisible. Through forming this community, and finding convergences and divergences, we hope to make our work visible so we can enact positive cultural change, and strive towards inclusive, equitable futures.

Context

We are a hugely diverse international group. However, we can not speak for everyone and everything. We can only speak to the lived experiences, cultures, abilities, and values that we have as a cohort of twenty-two humans.

Despite the benefits of digital tools, and the ability to come together in space in the virtual realm, we acknowledge that these technologies shaped our interactions and processes. They privilege some while limiting others, and we lacked the basic human contexts that in-person collaboration can give us.

There is never enough time to fall down rabbit holes, to dive deeper, to connect and understand each other, but we are proud of what we have achieved within such limitations. The program pulled apart our lived experiences, explored the processes and values that connected us, reflected on frameworks used in our practice, and considered the impact of our practice. In this process, we have found rich convergences, and richer divergences within the group.

This manifesto captures a moment in time. We acknowledge it is not perfect, and these words and graphs are only the start of its journey. As we ask ourselves how we continue to evolve as a community, we look forward to how our words and exploration manifest in new context and forms—inside and outside this initial group.

We invite you to take these words, and do with them what you will. Find yourself in them, critique them, manifest them, take them into your communities and explore them in different contexts. Far from being fixed proclamations, they invite dialogue—and we welcome and seek further discourse.

Background

As interdisciplinary collaboration emerges as a vital linchpin in an increasingly interconnected world, the role of Creative Producer is coming to the fore.

For many, having self-defined as a Creative Producer, or developed a Creative Producing practice independently, we are now looking for community and collective identity. During a six week program, Nicholas Medvescek and Lizzie Crouch led an international cohort of twenty-two emerging and established practitioners from different sectors and cultures, with different abilities and lived experience. We critically reflected on our role, and we collectively co-authored this manifesto for Creative Producing.

Hope and Expectations

Many of us came to this program seeking a supportive, caring, and critical community. We hoped to learn from each other and examine our practice through diverse perspectives. Through these lenses, we looked to refine our practices and challenge current production models that reinforce dominant perspectives.

Socially and commercially, there is often only a vague understanding about the work that we do. When creative labour is frequently under-valued, this often makes our work invisible. Through forming this community, and finding convergences and divergences, we hope to make our work visible so we can enact positive cultural change, and strive towards inclusive, equitable futures.

Context

We are a hugely diverse international group. However, we can not speak for everyone and everything. We can only speak to the lived experiences, cultures, abilities, and values that we have as a cohort of twenty-two humans.

Despite the benefits of digital tools, and the ability to come together in space in the virtual realm, we acknowledge that these technologies shaped our interactions and processes. They privilege some while limiting others, and we lacked the basic human contexts that in-person collaboration can give us.

There is never enough time to fall down rabbit holes, to dive deeper, to connect and understand each other, but we are proud of what we have achieved within such limitations. The program pulled apart our lived experiences, explored the processes and values that connected us, reflected on frameworks used in our practice, and considered the impact of our practice. In this process, we have found rich convergences, and richer divergences within the group. 

This manifesto captures a moment in time. We acknowledge it is not perfect, and these words and graphs are only the start of its journey. As we ask ourselves how we continue to evolve as a community, we look forward to how our words and exploration manifest in new context and forms—inside and outside this initial group.

We invite you to take these words, and do with them what you will. Find yourself in them, critique them, manifest them, take them into your communities and explore them in different contexts. Far from being fixed proclamations, they invite dialogue—and we welcome and seek further discourse.

Manifesto

Convergence

In this moment we, an international cohort of twenty-two humans, believe:
CREATIVE PRODUCERS DON’T JUST ADD VALUE TO A PROJECT, THEY ADD VALUES TO A PROCESS

Divergences

We, an international cohort of twenty-two humans, contain multitudes that cannot be reduced to a common denominator.

As we say in our introduction, this manifesto captures a moment in time. This graph shows data that was generated during this moment. It was used as a tool for understanding important points of convergence and divergence. But this process was limited by time, personal capacity and technological access. It therefore may not depict a full or final representation of a person’s identity, values or beliefs.

During our six weeks together, it became clear we, an international cohort of twenty-two humans, contain multitudes that cannot be reduced to a common denominator. While there are clear ties that bind us together, we differ in our approaches and identities, and so it was equally important for us to map the negative space between us and celebrate our heterogeneity.

We’ve imagined the key concepts that emerged during the program as a constellation of nodes. The connections between these nodes show where we each find alignment with concepts.

While some nodes have many connections and show the places where the cohort converges, an equally powerful number have only a few. These soft connections form discursive relationships or stand alone entirely.

This map illustrates the dynamic tension in our community. The same force that attracts us to points of convergence also spins off our divergent perspectives. The nuance in the space between is what creates the unique context for this particular collective and the manifesto it has produced.

Meet Our Team

an international cohort of twenty-two emerging and established practitioners from different sectors and cultures, with different abilities and lived experience

Headshot of Nicholas Medvescek in black and white
United States

Nicholas Medvesck

Headshot of Lizzie Crouch looking downwards in black and white
Great Britain

Lizzie Crouch

Headshot of Kavita Gonsalves in black and white
Australia

Kavita Gonsalves

Headshot of Christiana Kazakou wearing a hat
Great Britain

Christiana Kazakou

Headshot of Ravin Raori in black and white
Great Britain

Ravin Raori

Headshot of Madhushree Kamak in black and white
India

Madhushree Kamak

Headshot of Ana Prendes
Gijón, Spain; based in London

Ana Prendes

    Headshot of Zeynep Birsel in black and white
    Netherlands

    Zeynep Birsel

    Headshot of Cui Yin Mok
    Singapore

    Cui Yin Mok

    Headshot of Matt Gingold holding a kitchen spoon with holes over one eye
    Australia

    Matt Gingold

    headshot of Ilona Puskas looking to the side with her hand under her chin
    Hungary

    Ilona Puskas

    Headshot of Allison Costa dancing with one arm extended to the camera and the other extended behind her head
    United States

    Allison Costa

    Headshot of Justin Berry in black and white
    United States

    Justin Berry

    Headshot of Mark Bolotin, in front of a device with the word"evolution" on it and with multiple tubes coming from it, one going to Mark and the others going to different cut out heads floating around Mark
    Australia

    Mark Bolotin

    Headshot of Komal Jain
    India

    Komal Jain

    Headshot of Viviana Quea surounded by trees
    Austria

    Viviana Quea Acosta

    Headshot of Ilya Szilak
    United States

    Ilya Szilak

    Headshot of Kofi Oduro looking down in black and white
    Canada

    Kofi Oduro

    Headshot of Kazz Morohashi looking to the side in black and white
    Great Britain

    Kazz Morohashi

    Headshot of Hyash Tanmoy
    India

    Hyash Tanmoy

    Headshot of Maria Kuzmina facing the side in black and white
    Russia

    Maria Kuzmina

    Headshot of Robin Reid
    United States

    Robin Reid

    CPP introduced me to diverse creative practitioners from around the world, which I wouldn’t have had the opportunity to meet otherwise.

    The discussions and exercises made me realise more concretely, the similarities and dissimilarities that we have in our practices and approaches. This only made it evident for us to build support structures and resources for our individual and collective creative producing practice.

    Anonymous
    Program Participant

    I was inspired to be a part of an international group that shared ideas and reflected on our practices and methods. And I feel that the 'mutualist' association not only reflects on our shared interests and fascinating perspectives, but that our conversations broaden the concept of creative production beyond borders and boundaries through collective thinking and action.

    Regardless of geopolitical issues, I believe that 'sharing is caring,' and this was undoubtedly one of the most significant lessons learned during the covid era with further collaborations to follow.

    Anonymous
    Program Participant

    I remember mumbling something about why I am here and what do I expect… the truth is, I stepped into the CP Program with absolutely no idea as to what to expect and stepped out with possibilities, "other"s and everything in between.

    The process of collective building through recursive undoings, and the interaction with this amazing group of progressive thinkers enriched me in so many ways. I am only glad that it did not end there.

    Zeynep Birsel
    Program participant

    The biggest impact was having fun, inspiring and ego-less conversations at a deep level with thoughtful people. The ideas that were shared helped me to broaden my own perspectives and develop a stronger sense of trust in people, the process and collaboration. Simple practises, such as starting the session with land acknowledgement, to thoughts around mutualism have really opened up my way of thinking, which inevitably has influenced the direction of my own interaction design practice. I'm just so glad that the conversation remains ongoing and it's not a project that came and went!

    Kazz Morohashi
    Program Participant

    The CP program made me reflect on the values that guide my practice and revisit my methods and goals through the valuable and sometimes challenging discussions and exercises. These have been undoubtedly very valuable tools for my individual practice.

    Collectively, the online (and already offline!) community that Lizzie and Nick created is a very inspiring space, where its diversity of backgrounds and experiences are its most enriching characteristic.

    However, it also opened my mind to the precarity of this profession and how many of us face the same daily challenges. I look forward to working on our shared goals and seeing how we collectively build a framework and structure for ourselves and incoming creative producers.

    Anonymous
    Program Participant

    Being part of the program allowed me to think of my skill set differently. It allowed me to see that I could bring the creative producing mindset that I use in my own artistic practice to other people's projects. Shortly after completing the Ars Electronica program, I was commissioned by the Oregon Shakespeare Festival to work with choreographer and artist Raja Feather Kelly to realize his first VR performance. In fact, I brought so much value to the project that Raja gave me a co-directing as well as a creative producing credit.

    Illya Szilak
    Program Participant

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