If I were 22: Leo Kay

I’d ignore other people’s concepts of what an ‘artist’ should be

No-one else will legitimize you. The legitimization of the role of the ‘artist’ is a political act. In the UK the artist is not given a position of status. They have been bestowed the attributes of someone who engages in a luxury act, not important to the development of society; willing to work for a pittance, self-financing, or if ‘lucky’, placed in an elitist position. The only way they gain status is through corrupting their art, through commercialization, through servicing production-driven materialism and entertainment.

But that’s not to say entertainment is wrong or doesn’t hold artistry within it! The system we live in does not want to give status to those who journey out of the system, attempting to bring back to the masses news of other ways of being. These individuals are dangerous to the status quo, so in general they are degraded, stripped of a valid position or financial remuneration.

I wouldn’t shy away from introducing myself as an artist

There are many reasons why, at 22, I preferred to introduce myself as an actor, a facilitator of young people’s performance processes, a theatre teacher, but NOT an artist:

• I wanted to seem useful and art was presented as frivolous and indulgent.
• I was insecure about my self-worth and art didn’t hold any status in relation to this.
• I didn’t want to be judged as a privileged middle class artist.

I was brought up by strong socialist parents and whilst they encouraged creative expression, I found myself pursuing creative roles, where I could see some measurable societal benefit.

I’d recognise that being an artist is an act of political resistance

I’ve always believed that artistic/creative expression is vital for personal and societal wellbeing, as well as being a necessary tool for societal analysis, evaluation and transformation. However, it’s only in very recent years that I have decided to own the label of ‘artist’. By owning this, I recognise it as a political stance in resistance to the tsunami of capitalist doctrine, which states that the only things of value are those that can be monetised; that the most important projection of future worth is growth; that we are individual and separate and therefore have less responsibility for ‘other’ than we do for ourselves.

I’d search out ugly truths

If I were able to give advice to myself aged 22 I would say: do not be seduced by beautiful lies, search out ugly truths, take more risks and elevate the role of artistic expression. It is only through pushing at the envelop that we can attempt to eventually open ourselves to new, more positive possibilities of co-existing with all that constitutes the world in which live. 

The Spinning Wheel is the culmination of three years of collaboration between myself, Baba Israel and Yako 440 (with invaluable contribution from Richard Ramchurn and Talvin Wilks). It is a heady fusion of storytelling, projection mapping, hip hop, jazz and spoken word. The politics discussed in the work include those discussed above. In its form and content it attempts to break down the separation between humans in the space, between artist and audience, between races and cultures. At the same time it shows the ugly frustration that many feel within these alienating urban environments we call home and which so many are being pushed out of.

I’d prioritising being physically and mentally well

For you to reach your politicised, creative potential you need to be well. You need to understand the relationship between physical and mental health. I’d say meditate; being disciplined is not ‘square’, it creates space to create. Wake up and do something physical and something meditative every day. It will save you from yourself.

Leo Kay is a performer and theatremaker whose work sits between theatre and live-art, with a focus on autobiographical performance. He is Artistic Director and founding member, alongside producer Anna Smith, of London-based Unfinished Business.
www.thisisunfinished.com