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| Tony Gee |
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  Registered Member #2 Joined: Wed 08 Dec 2004, 09:55AMPosts: 177 | running the creative input at Plymouth Freshers Week, there were many poignant moments. the young woman who stayed for four hours and made a model of Mount fuji with her hopes and dreams in Japanese, all the wonderful messages in different language but, casting my mind back, the moment that sticks out was the dutch student who did not want to leave and , as she walked away, kept looking back and, as one of the leading artists said, you could see she wanted to make further contact with the people she had been working with...that was hard to watch. I loved watching the guys paint oon the mural and seeing the wall of hand-printed-postacrds to send home just grow and the student coming up at the end and asking: is this a club? can we do this every week? It SO CLEAR that antidote to the booze culture that is so prevalent needs putting in place imaginatively and urgently | ||
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| Tony Gee |
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| Registered Member #2 Joined: Wed 08 Dec 2004, 09:55AMPosts: 177 | Karen, Roz , Kate M.F.COMPANY WORKSHOP NARRATIVE: KEY POINTS. 9<> 26/11/08. Every workshop tells a story, but MFWC is a bit more than that. Beginning an ongoing dialogue with the workshop process is like the beginning of a Universe. Creating the narrative of w’shop is about who?when?how?why? with? Delivery of the w’shop is about reading the situation, prospecting & sifting for the story. In shaping the threads we crystallise the experience & start another Universe. Key points, process & product become a hymn sheet for working artists to keep as template that can be used towards & to deliver each w’shop’s finale. PROCESS: We visualised that the following key points ( in no special order ) were linked like a chain or like the rings of the Olympics symbol, with links into arrows, leading to The Narrative Arc ( A Skeletal Structure ). · The Individual & input · The Unknown · Our Creative input · The needs of the participant & commissioner · Our intention as Creatives · Enabling participation & expression · Acknowledgement of participant’s stories · Participation devices · Giving them; skills, tools, support, inspiration, confidence & a step by step process that unlocks both overall process & individual expressions. · The relationship between key points PRODUCT: · Sense of ‘wow’ for commissioners, audience & most importantly, the participants · Pride & Achievment, Self-esteem & Worth · Health & Safety · Artists skills & experience & confidence in each other. · Flexability · Quality & evidence of professionalism · Defined finale/finish. NARRATIVE: Skeletal structure is a narrative arc, via the unknown, but using the process. A resonance of symbolism rooted within traditional, cultural stories & creation myths. Participants become part of ongoing new strands of old stories. A sense of place for participants…..” Far & Wide Creation myths turned 100’s of children into blobs of illumination!” Kate, Roz & Karen. | ||
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| Tony Gee |
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| Registered Member #2 Joined: Wed 08 Dec 2004, 09:55AMPosts: 177 | Notes from Claire, Rich and Gordon The Narrative Workshop Preparation of Resources Quality of Delivery BRINGING IT HOME Attention to what is being expressed Willingness to adapt and include Remaining true to their stories Clarity of vision and a clear line of communication into delivery | ||
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| Tony Gee |
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| Registered Member #2 Joined: Wed 08 Dec 2004, 09:55AMPosts: 177 | SHAPING NARRATIVE in A WORKSHOP First of all we talked about the narratives we BRING into a workshop then we talked about EXTRACTING narratives within a workshop. From this discussion we drew principles for SHAPING narrative as the culmination of a workshop. The principles we drew are: 1. The workshop leader needs to be flexible to what ensues from their original intent in order to be a clear channel from which the narrative can develop and a story can be born. 2. Then the individual elements that arise can be woven into a collective telling. 3. In order to this the workshop leader needs to pay close attention to what is expressed as well as what is verbally articulated. 4. This process is about attending to the new ‘creature’ that is created during the workshop and understanding its nature. 5. There is often a discernible point in the workshop process – a saturation point in which the participants are ready to move from playing and exploring into shaping a new structure. 6. Part of evidencing the whole workshop in the final piece is to show the craft of the artists as facilitators and artists because the final showing is about everybody as participant and its quality rests on the facilitator’s skills. The artists’ involvement in the final presentation is a matter of fine judgement. 7. The final part of a workshop is a microcosm of the whole event that reflects and reveals the narrative arc of the workshops. At its best it is a revelatory mirror for the participants. 8. The final piece crystallises to the participants that they can achieve things beyond their own self-expectations and engenders feelings in the participants of Pride, Self Worth and Self Esteem. 9. The aim is in the end to structure a revelation - A lot of the skill in shaping the final presentation lies in the decision of what to draw attention to, how to do it and in what order to put these elements together so that new meaning is made from what has happened in the workshop. 10. The search is for a resonant metaphor/symbol/image that illuminates the process. 11. This symbol often manifests in the workshop from the least likely place, the leftfield element, or the least expected person – sometimes it is like a satellite from another galaxy. 12. Fundamental to the whole process is ownership from within the group – the power comes from being with each other not from imposing upon or dominance over. 13. The final presentation has to allow the audience in by being recognisable so that it becomes a shared experience for all present. Then it affirms and validates the achievements of the participants. 14. Shaping story from a workshop’s narrative requires clarity of vision and a clear line of direction to pilot the process of the participating delivering this final phase. 15. All of these elements are dependent on a strong creative and collective process. | ||
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| kate green |
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 Registered Member #10 Joined: Sun 12 Dec 2004, 09:55PMPosts: 33 | A team of us have just completed a three day experience with ten young people from Paignton Community college as part of the Aim Higher programme of activities. We regularly work with groups funded by the aim higher initiative and always get the most fantastic outcomes. Taking ten students out of their school environment and submersing them in a new space with a team of artists from many different disciplines with a huge resource of inspiring materials provides a rich, fertile bed from which to grow their ideas, confidence, self esteem and aspirations for their own futures. The experience this week was intense and magical. Children who teaching assistants described to us as "shut down" were excited and inspired to create beautiful artworks, experimental sculptures, ambitious animations, beautifully woven stories, professional quality personal logos, affirming personal photo collages, and confident drama performances. We watched them shine and revel in the new connections that they could make with adults who were there to help them create and who worked with them as equals. "I wish we could come here every day, i dont normally go to my lessons if i can help it"one girl said to me. My answer was "i wish you could come here every day too" For the children who come on these projects it is a space for them to fly and achieve outside the boundaries and restrictions of the education system that does not suit them. "We are constantly trying to knock square pegs into round holes" one teaching assistant commented when she explained how amazing it was to see those labelled as under achievers, over achieving. During the three days with us they could just be square pegs in square holes and recieve the encouragement they needed to explore, experiment and create amazing things. | ||
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