“You’ve shared an experience that was extraordinary”: on the importance of public art

The Sultan’s Elephant marches through London, 2006. Image: Getty.

“Culture plays a vital role in bringing people from all backgrounds together. And I want every Londoner to have the opportunity to access culture on their doorstep.”

As someone who runs a performing arts centre in Stratford, east London this statement from London’s Mayor Sadiq Khan is something that resonates deeply. In spite of the incredible cultural offer that exists in this city and the audiences that flock to enjoy it, my experience has taught me that it is only through a localised or ‘doorstep’ offer that it is truly possible to engage people “from all backgrounds”.

We have found that performances in outdoor public spaces have the greatest reach in drawing people together. These outdoor events can be affronting, disruptive, intriguing and joyful. This is the type of art that you can just happen upon, and as a result the audience is always a random coming together of individuals across class, gender, ethnicity, age, and (dis)ability.

Part of the exhilaration of this (often unexpected) experience is that you share it with strangers. In a big city, when it feels difficult to smile or even acknowledge someone that you don’t know, suddenly you’ve shared an experience that was extraordinary.

As well as building and unifying communities, studies have also shown the link between culture/art and health. However, the recent Creative Health report by the All-Party Parliamentary Group also made plain that engagement with publicly funded art is relatively low amongst those who are economically and socially disadvantaged. While there are multiple reasons for this, bringing artistic performances to peoples’ doorsteps not only allows us to come together through joyful and inspiring experiences: it is also a vital investment in the health of our communities.

Of course there are many examples of incredible spectacles taking place in the city centre. The unforgettable Sultan’s Elephant, nine months after the 7/7 bombings, brought people together to marvel at something fantastical and transformative. I remember watching it, mesmerised, in Horse Guard’s Parade.

Putting outdoor spectacles in less grand corners of the city is important. It brings outstanding experiences to where Londoners live. It makes a statement that our neighbourhood and our community is worthy of something remarkable too.


Arts centres have a duty to serve their communities: it’s one of the things that differentiates them from commercial theatres. They are community hubs that play a civic role in neighbourhoods, and they should serve the whole community, not just a sub-section of theatregoers. But no matter how diverse the range of work presented and the breadth of access and cultural learning programmes, there are always invisible barriers to entering cultural institutions. Outside the building, the opportunities to reach new audiences and make unexpected connections between people are vast. 

The nature of outdoor work, particularly in more residential areas, means that these unexpected connections are integral to the success of the events. We presented some large scale aerial circus performances in a park in North Woolwich last summer as part of a community festival. The work involved building a huge aerial truss – from which the artists hang their equipment, ropes, hoops, silks, and so on – in a park with no infrastructure for live performance.

Through getting to know the regular users of the park, our performers were able to use a bowling green club-house for dressing rooms, and the members of the club then came along to the performance. They felt an ownership of the event having met and helped out the performers. Without investing in these relationships with local people, we would simply be imposing ourselves on a space that isn’t ours. Local communities need to be part of the experience from start to finish and seen as more than just a prospective audience.

Presenting outdoor work often means you can give a platform to local artists and support existing projects, inviting community groups to perform and making technical equipment and expertise available to support them.

Working in an arts centre, you are continually surprised by who walks into your building because of the range of work you present. By taking work outside our building we can engage with people who normally wouldn’t cross the threshold. We live in increasingly challenging political, social and economic times and the bonds within communities are vital. Putting art on doorsteps of people regardless of their backgrounds, that connects us through joy and inspiration, has an important place in nurturing our society.

Tania Wilmer is director of the Stratford Circus Arts Centre, east London.

 
 
 
 

The media scumbag’s route of choice: A personal history of London’s C2 bus

A C2 bus at Parliament Hill. Image: David Howard/Wikimedia Commons.

London’s C2 bus route, which runs from Parliament Hill, by Hampstead Heath, down to Conduit Street, just off Regent Street, is one of the bus routes recently earmarked for the chop. It has oft been noted that, of all the routes recently pencilled in for cancellation after a consultation late last year, it was the one most likely to survive, for the simple reason that it links liberal suburban north London with BBC Broadcasting House and Soho; it’s thus the route most likely to be used by people who can convince someone to let them report on its imminent demise.

So it would come as no surprise that former Guardian editor Alan Rusbridger took to the Camden New Journal when the consultation began, arguing that it would be a disservice to the local community to discontinue a route where you can always get a seat – seemingly missing the point that the fact you can always get a seat is not a great sign of the route’s usefulness.

It wasn’t always that way. When I left university in 2000, and moved from accommodation near college to up to a rented shared house in N6, the C2 was my bus. I commuted to Soho for sixteen years: for more than a decade from flats around the Swain’s Lane roundabout, and for five years from Kentish Town. While my place of work bounced around from Golden Square to Lexington Street to Great Marlborough, it was always the most convenient way to get to, and from, work; especially given the difference between bus and tube prices.

So when it comes to the C2 I’ve seen it, I’ve done it, and bought the bus pass. And by bus pass, I mean those little paper ones that still existed at the beginning of this century. Not just before contactless, but before Oyster cards.

More importantly, it was before London buses operated a single zone. There was an outer zone, and an inner zone, with different prices. To travel from one zone to another cost £1.30, meaning an all cash commute was £2.60, whereas a paper bus pass was £2.00. That made it worth your while to divert to an early opening newsagents on your way to the bus stop (GK, in my case), even if you only got two buses a day.

It’s a measure of how greatly London’s buses have improved over the last twenty years, since first brought under control of the mayoralty, that pretty much everything about this anecdotage, including the prices, seems faintly mad. But there’s more: back when I started getting that bus down to Stop N, literally at the very end of the route, the C2 used single decker buses with a single door. It’s an appalling design for use in a crowded city, which meant most of any journey was, for most passengers, spent fighting your way up and down the middle of the bus to find a seat, and then back again to get off; or – and this was more likely – fighting your way up the bus to get into standing space the driver insisted was there, before fighting your way, etc.

Such buses – and in my former life in the English Midlands I went to school on one of these buses every day – are perfectly functional where bus stops are infrequent and buses rarely standing room only. But running through Camden Town at rush hour, they’re wholly unfit for purpose.

A Citypacer. Image: RXUYDC/Wikimedia Commons.

It could have been worse. I didn’t know this at the time, but a few years before the C2 route had been run using Optare City Pacers. Those are, let us be frank, not really buses at all, but minibuses. That’s something the reveals the C2’s origins, as a hopper route to the west end largely intended for the daytime use of Gospel Oak’s pensioners in the years immediately before bus privatisation. (The C11 has a similar origin, taking the same constituency from Archway to England’s Lane.)

Once responsibility for London Buses was moved to the newly established mayoralty, things improved dramatically. Under Ken Livingstone it went double decker in 2005, and 24 hour in 2007. Under Boris Johnson it was extended from its once, and future, terminus of Conduit Street to Victoria Station, swallowing up the cancelled sections of the 8 bus; this extension was quietly disposed of a few years later, once it was clear no one would notice. (I did.)


In those years I must have taken a C2 the best part of ten thousand times; but for all the years when I wouldn’t have been able to live without the C2, times have reduced its utility, and not just for me. I’m now a 214 sort of guy: these days the top chunk of the C2 route is duplicated exactly by that other bus, which starts up in Highgate Village and, once it gets to Swain’s Lane, follows the same path until the fork of Kentish Town Road and Royal College Street, opposite the long defunct South Kentish Town tube station.

From a few hundred metres below that point, at Camden Gardens, stop C, the 88 starts. That duplicates the rest of the C2’s route, with the exception of the run down Albany Street and onto Great Portland, for much of which the C2 is the only bus.

So the C2, old friend that it is, is pretty redundant in the age of the hopper fare, which allows you to change buses without paying a second fare. That’s even more true now the C2’s otherwise un-serviced stops are being giving over to a re-routed 88, which will pick up the C2’s most northern leg, by not finishing at Camden Gardens anymore and instead going all the way to Parliament Hill Fields. Which will be nice for it.

All this, however, ignores the best reason for getting rid of the C2 (or rather for merging it with the 88, which is what’s actually happening): that first character. The letter. Who wants a bus route with a letter in front of it when even half the night buses don’t have the N anymore? It’s relic of the route’s aforementioned origins as a ‘Camdenhopper’.

That C is twenty five years past its own utility. It’s just untidy. City Metric hates that sort of thing. Get rid.