So – what’s so great about Open Space?

I hate networking.

I absolutely detest having to ‘work a room’. I don’t think I’m alone in this. Just because you work in the arts – and I was an actor in an earlier life – people assume you’re great at it. I’m not.

Now don’t get me wrong; I love meeting and talking with people, I’m a social animal, so it’s not the conversation I don’t enjoy. It’s the false hierarchy – the  moment the person you’ve just introduced yourself to takes a look at your name badge and decides if you or your organisation are of any value to their career and therefore worthy of their time. It’s the glancing over your shoulder, perusing the room behind you to see if there’s anyone more useful to talk to. We’ve all been there – we may have (and I do include myself in this) committed these crimes against others ourselves at a conference or networking event.

So, what’s the alternative? How can we meet and discuss issues with each other as equals? How can we avoid echo chambers? How do we make sure that it isn’t just the largest organisations that make the decisions for an entire cultural infrastructure?

Open Space.

I first encountered it at an event almost 15 years ago called Devoted and Disgruntled. A friend had told me about the theatre company Improbable running this national, yearly event designed to bring together people in the arts to work on the problems facing us,  and to find possible solutions for or at least an understanding of those issues.

I wasn’t sure it was for me, aren’t all these events the same? But this really wasn’t. For a start there were no name badges, no formal introductions where we’re all expected to list our organisations’ ‘greatest hits’; and whilst some people knew each other, there was a majority who didn’t. That first experience of Open Space was transformative for me – the fact that anyone can call a session to discuss what’s important to them, that you can leave a session – even your own – at  any time , that you can drop in on any number of conversations with people at the top of their organisation or peak of their career to those just starting out, was wonderful.

I have met collaborators, made friends and had three Proteus productions ‘born’ in Open Space sessions over the years. In fact, at the last national Devoted and Disgruntled Open Space held earlier this year, my daughters came along with me – the eldest called a session, my youngest sat next to the Artistic Director of the Royal Shakespeare Company and talked about her experiences this year auditioning for drama school  – where else could that happen?

When Open Space sessions are held to focus on specific issues, the resulting discussions can provide a deeper set of data than any expensive consultation. The  sessions called tell you immediately what is playing on the minds of those present, the content of those sessions can provide possible solutions and action plans co-created by people who would never normally be in other types of working groups. Encountering those working in other art forms or in heritage settings is a rare pleasure for most of us, and to have the opportunity to understand how the entire cultural ecosystem of Hampshire works at this Open Space is going to be invaluable as we collaborate on designing what the cultural future can and should look like.

Open Space is really the only mechanism I know that can simultaneously take the temperature, diagnose the problems and offer possible solutions and alternative futures with practical actions attached: in one event.  This is a moment where we can shape the future together. The oncoming changes – a new mayor for Hampshire and local government reorganisation – are watershed moments for culture in this region. We often say we don’t have enough influence with local government or in policy, that decisions are made without heritage or artists around the table – this is where we can set the agenda for once and ensure all our voices are heard.

So that’s what is so great about Open Space.