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I can only speak for myself, but the concept never arrives fully formed out of nowhere.

I can never put my finger on one thing, it’s usually one tiny thing that drops into place to make sense of the rest, but on top of many other things. The other things could be other people (I think a lot about other people and how they tick) or conversations, or things I read, and bear witness to. To bear witness seems the right phrase over watch or see, more active that passive.

The way a song is written can be a sort of shorthand for this, a modelling: sometimes you wake up all Paul McCartney, with Yesterday in your head, but mostly it is piecemeal. A title. A sentence. A chorus, a melody, a hook… can arrive in any order. These ingredients can hang around for years until they find the right mates…

It’s the same with visual art concepts. They sit around a while just waiting for the right seasoning to bring them to life. I’ve learned to trust this process.

I’m not quite sure when the phrase “The Tenth Woman” first appeared in my mind. I used it in a previous post on 3rd May.

I always said about “nine women” that “we are all in there somewhere”. It was a truth, but not the whole picture. Certainly in it’s latest showing, I started to think more deeply that it was more than that. I started to look at exactly how much of these stories were mine, or had been filtered through my own mind… other lives interpreted through my lens, or just plain old me. I came to the conclusion that the work was deeper than I was, or had acknowledged at the time of making. Now the work is made, I look at women rather more carefully. And I am certainly looking at myself more carefully. This might seem a bit of an ego trip, but I hope not. It’s just that I’m the woman I know best.

What I’m thinking is that The Tenth Woman is a thing, a concept, a title… it might end up being a piece of work, or might end up just being the way I go about the work – a newly awakened methodology. It isn’t fully formed yet… but I’m inhabiting it. I also feel it is perhaps something I can invite other women to inhabit. Perhaps I might write a manifesto! (Hahahaha).

I have recently seen other women, strong, creative, amazing women brought down by a little negative comment that becomes outrageously enormous, because it happens to have pressed a particularly sensitive button. I suppose I’m suggesting that if my manifesto begins:

1. I Shall Take Ownership Of All My Own Buttons

Then maybe it won’t be so easy for other people to surprise us and derail the positive thinking?

“Why don’t you dye your hair?”
“You could do with losing weight”
“You should get in with those people, they’re doing it right”
“Aren’t you a bit old to be singing in pubs?”

2. I Shall Address My Own Sensitivities And Then Tell Them All To Fuck Off.

I think, being The Tenth Woman means owning yourself, and doing whatever the hell it is that makes you purr.

So, sisters… A Call To Arms: Be The Tenth Woman.


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Everything is different…

Chalk and cheese!

My voice works.

Back to the usual set.

I feel in charge of what’s happening.

My bra is under wraps, under control.

The sound is good.

The environment is good.

The audience is mixed gender, race, age… and religion I think… in that I know my religion is historical, and others’ is present…

They have come to this place, specifically for this event, to listen.

The last one is the one that makes the most difference.

Obviously.

I don’t think Tuesday was good for me, other than it made me stronger in appreciating what works best for me/us. We have good songs with complicated lyrics and unusual premise… with weird and wonderful chords and tricky bits and beautiful driving rhythms that lead to somewhere you didn’t expect to go. These songs deserve a bit of respect from us, let alone the audience. If we don’t value them, who else will?

Thursday was the best gig yet I think. Maybe that is because Tuesday felt so awful?


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The Experience in question is the pub open mic night. The variables in play are those of an adjusted set list due to illness… I’ve had a really bad sore throat and cold which meant my bandmates stepped in to make sure I only sang every other song as lead vocalist, and that the more demanding of our songs were omitted from the set. Logistically, this meant that due to the space restrictions of the venue, although I was placed “up front” I wasn’t necessarily always the one addressing the audience as I am most of the time.
I am a relatively inexperienced “front woman”. I haven’t done many live gigs, and this was only the second one in a pub. I’m willing to keep an open mind about pub gigs, due to this inexperience, but so far, I’m not convinced it’s right for me.

Being the front person of the band feels – sometimes – like a weight. Not always. And I am not apportioning blame, it’s just how I feel. I do actually like it for the most part, I like talking to the audience and enjoy them talking back. So far it has been polite and fun! I am aware that I am the one presenting the band, and that I should do so responsibly… mwah hahaaaaa!

Last night, because of not feeling 100%, and still feeling that I had no instrument to hide behind, I was more conscious of myself than I usually am. This has thrown out some interesting points for discussion perhaps – feel free to join in.

The open mic night is a predominantly male province in terms of participants and audience. I counted only three women in the audience last night. All of whom were with men, and one of those left before our set began. The other men came individually, in pairs and in groups. Some were noisy. I was the only woman performing again (as mentioned in a previous post).

I am not often these days conscious of my physical self in a space. The area for performers was small. Good job we like each other, and have good standards of personal hygiene. But these guys are used to me, they know me pretty well now I think. I was more conscious of how I present. I acknowledge that I am a middle aged, grey haired, overweight woman. Mutton dressed not perhaps as lamb but hopefully as mutton with interesting seasoning and tasty gravy? I feel a contrast between myself and my band members who always look effortlessly cool. T-shirt, shirt, jeans. A uniform of sorts? (Cue teasing for almost matching checked shirts from Andy and Ian) I agonised, for a while, about what to wear, especially in new venue with an unknown audience. I want to present as someone worthy of interest for half an hour. I want to be interesting, rather than overtly attractive perhaps? My selection of clothing is important to me. My visual art work largely consists of garments and what they say. My short sleeved dress has printed teacups and pots and cakes to reinforce the stereotype! It is knee length and so I wear leggings and comfy purple boots with it. This is because having bare legs is too much, especially as I have visible cleavage too. I’ve been warned the venue is hot, so have not worn my usual t shirt under the dress. From my own vantage point I can see my bra. It occurs to me that anyone standing close enough, over about 5’5” tall can too. I become conscious…suddenly hyper-conscious of this. Does my consciousness show? Are the audience conscious of my self-consciousness? This thankfully fleeting thought makes me stumble over my song introduction, and having spent ages making sure my curly grey hair is perfectly arranged, I proceed to nervously wrestle my fingers though it, to make sure that by the end of the set I look like a hedge. I am who I am.

There is a tension between not dressing up, but dressing to perform, to present… the presentation is read more immediately than the lyrics or even the music? I perform, yes, but as myself?

If being part of The Sitting Room is part of my art practice (and it is) then I should scrutinise my choices in the same way.

Some people might say I’m over-thinking this. But actually over-thinking this is my job as an artist. Isn’t it? I am here to observe, question and comment. My work as visual artist, performer or writer is created from those observations and subsequent questions and comments.
The acknowledgement of privilege, The aspect of the male gaze, gender roles, equality, performance and the presenting of the group are all up for questioning here.
I notice the audience demographic every time I perform. I prefer diversity. An apparently single-group audience makes me uncomfortable. I am affected… but I don’t think it goes both ways.
I notice, and am grateful for the support and protection of my fellow band members: checking my voice; instructing the sound man, plying me with drinks; walking me back to my car; or giving me lifts so I don’t have to drive if I’m not feeling too well. I am simultaneously irritated by the societal need for it… but it is a fact of the relationship between us, I’m thankful, and I make note of how it makes me behave, I make note of how our behaviour impacts on each other. (I fight an urge to cut patches out of their shirts and stitch the pieces to my dress…)

I know that I feel differently about things to my fellow band members, for a variety of reasons, but gender is at the top of the list. I feel this way because I am a woman, definitely. I also know I feel like this because of the lack of experience. I do not know what it is like to look at me for half an hour, listening, watching… I have no idea what my performance looks like, only what it feels like. I try very hard to work well for these people, to do my best and not let them down. They are talented, lovely people who deserve the best representation, whose work deserves the best representation.
We haven’t been doing this for long. Feedback is generally good, musically, lyrically, and we give off a good vibe I think, because we have a good working relationship based on mutual respect, kindness, laughter and democracy. I think this shows.

In reading this through before posting, I am not sure that I have really captured what I’m thinking, whether I am being clear. But I’m going to post it anyway, to record these immediate feelings of nervousness, self-consciousness, inadequacy…and of a real present need to do it regardless. I’m posting it because I am The Tenth Woman. Because I’m going to carry on doing it anyway. If I don’t do these things who will, and if I don’t do them now, then when?

PS If you are a rare woman attending a gig, and feel that you shouldn’t be able to see my underwear from where you are sat, please take me to one side and gently tell me so!


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AUDIOBLOG – Please click here

I know I don’t usually have such a gap between blog posts, but if you have read the previous one, you will probably understand why I haven’t written!

It’s great, being given funding to realise an idea, but getting the “yes” is also a bit scary! Scary because I feel we have an obligation to deliver… not just for ACE, but also the team we have gathered around us. If you’d like to follow the project please visit :

https://museumforobjectresearch.wordpress.com

Sonia and I have spent the last couple of weeks, as well as getting over the shock, plotting and planning, writing lists of jobs, arranging meetings, visiting venues… there’s lots to do, but at least now we have the money to do it. Thank you Arts Council! We are discovering new ways to work harmoniously, and it feels good. We are an effective partnership I think!

meanwhile…

In another part of my brain is music.

The Sitting Room – my glorious band of songwriters, singers, musicians, and all round lovely people to be with – are recording four songs for a small cd/ep type thing. Having honed the songs by performing them as often as we could squeeze in, we chose four to record with the equally marvellous Dan Whitehouse (you may remember his part in the whole nine women thing?)


We had two days in the recording studio, with the highly sensitive and critical ears of Dan. Each song was looked at in detail, one had a significant rearrangement, and is all the better for it. And THIS… this exploration, critique, play, delving and diving in, this careful, detailed listening and discussion to me is worth the world. I know that other artists and musicians will understand the brilliance of such scrutiny? It can be exhausting, is completely absorbing and leaves no head-space for anything else. But I feel the love in the room… laughter, joy in the art of making something the best you can make it. Singing in harmony, both literally and metaphorically, is just fabulous. There is a light-hearted seriousness here in this group of people, born out of respect and kindness and a common goal. I feel humbled and privileged in their company.


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AUDIOBLOG – Please click here

The spirits have been lifted these past couple of weeks by art-related events, topped off with icing and cherry by the Arts Council saying yes to our funding bid for The Museum of Object Research.

By “we” I mean Sonia Boué and myself…

The original Museum blog was on a-n and gathered a conversation about it, a bunch of artists contributed to the discussion and the short story is, over a very long lunch in Leamington Spa, Sonia and I decided it would be great to make it real.

The funding is to research and develop the idea so that we have the tools, information and all the nuts and bolts in place to make another bid later on. This is a large undertaking, larger than either of us first imagined over the carrot cake and tea that sustained us from lunchtime through the afternoon…

Anyway… a few days later, the enormity of the task before us has sunk in. But I tell you what, I am so excited! This feels like a proper thing! We have gathered an amazing team of artists around us, who will make it meaty, meaningful, and most of all, REAL.

We have already started transferring the blog to a more accessible, trackable, website, so please do join in as the conversation progresses.

This “yes” also means I have a few successful bids under my belt now, either as partner and co-writer, access support person, artist, and advisor. 100% in fact. A fact I find truly astonishing. It appears I am quite good at this. Those years of writing for so many formal and informal reasons has stood me in good stead it seems. I can write succinctly and I can tell a story. The news of this success has reached many ears, and a couple of people have asked me to help them in their bid.

So here I am, weirdly, setting out my stall in a market I didn’t expect! Yes, I can help. But my time is my livelihood now, so I must charge. My attitude towards this is conflicted… of course I must charge, artists must be paid for work, skills and expertise, in whatever field they can. But also, I know that artists are not paid fairly, so they are not always in a position to pay for help… but it has to start somewhere, right? And I know that this service is actually valuable. A well written bid can make the difference between paying the bills or not. I know this because that is how I live myself. It is worth putting hours (days, weeks, months) into an application for funding, because then I can work on what I want to, what is important to me, knowing I am being paid, rather than hawking myself about for badly paid work I don’t really want to do… anyway, you know what I mean.

So… among the preparatory work and researching and developing, I am now available for helping with Arts Council Funding Applications. I have a diary, I can do planning, me!


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