First of all, I want to thank Teia Moner for inviting me to
to attend the III International Day of Education and Puppets. I hope
may my words interest and inspire you in your work.
I must point out, however, that I feel very humble when it comes to work
artístic dels artistes espanyols i catalans. To me they are a great source
may my lecture help you better understand why and how
"Emotion and puppets" can allow a person to recover
which participates in the social integration of ENAM.
I will start by introducing myself and summarizing my life
at that time, I integrated two puppets into a show with one
another person, “Talaboumdié”. Then I did some research
to build puppets with a wire structure. May be
you will know Mr. Boudrias, I built it in 1981, he is the age of
my son Samuel. Boudrias is still active. And that's how it all went
start with the puppets.
I became a puppeteer quickly after that. In the year 80-83,
I participated in the creation of three puppet shows with the
students at the University of Quebec in Chicoutimi: The celebration on
1980, Beauty and the Beast 1981, Now! If I were a monster
was a founding member of the Puppet Company “We, the little ones
monsters ”in 1981. The company became in 1883 the Center
Popular of the puppet of the region of Saguenay ”I was director
of this company until 1990. In 1990, I helped create the
ENAM. (The National Puppet Theater Education School). I will
to assume the position of general and artistic director until the present time.
The haunted sea. 1981
therapy and puppets in 1981 I lived a very rich experience in
the development and creation of an extracurricular activity during
20 weeks with a group of 23 young people. Two-thirds of that group were
very badly considered, by problems in the primary school of Sant
Feliu-d'Otis, located on the outskirts of the village.
project had a great impact in this rural area. I explain
this project because this is my first intervention and
probably the closest thing to what we do today at ENAM. It was one
amazing learning experience for me and young people. In that
moment, I realized that the puppets were conducive to the
problem solving in a social context. It was hard for
these children. There was the chameleon effect. The young people were in areas
rural, courts and labeled. An example. The haunted sea was one
story created from scratch by young people. The King of the waters, was
played by a young man who had repeated in primary school, the third, the
fourth and fifth. He was 14 years old and still in elementary school. He
paper I had chosen was the largest with over 100 replicas. It goes
to do so and he left at the end of the project. Then he had
another vision of his life and the life of his father he had
problems with alcohol. A psychologist followed him up and helped him
succeed in school.
make a three-month stay in the shadow theater in 1982 a
the International Puppet Institute in Charleville-Mezieres, a
France. I did another set design course in 1989 with Peter Matasek
Drak Theater, Czechoslovakia.
in 1982, I realized the existence of the symposium “Puppet and
Therapy ”at the Charleville-Mezieres World Festival in France.
however, in the 1990s, I found myself in ambivalence.
I didn't know what role a puppeteer should play in "therapy." No
as an educator, but what role should the puppeteer really play
in a psychiatric institution? Give tips on how to create puppets,
characters and put those characters in the stories?
little by little I came to understand. In fact, our job is not to do it
what psychiatrists do is not, the patient is already receiving this service.
We do not do what psychologists do, we do the opposite. We offer for the
mental health a service that uses a medium, "the puppet" to promote
the recovery and social integration of people with disabilities
mental health and with severe limitations for employment.
world of puppet theater is becoming a place of development
creative and very rich experimentation in terms of learning for the
participants. The intensity experienced in this program, the picture
professional and stable, the rich emotions generated by the discoveries
of cultural and social success, and all these factors stimulate and help
to the person to have a greater autonomy and recovery.
my self-taught background quickly made me understand the role of
the excitement in the theater and in our health intervention program
let's take a look at the ENAM program. It is important to understand the
context of this program to get a better view of ours
practice and how this service works.
of the ENAM. Synthesis of Eva Lamoureux (Cultural Researcher of the
Quebec Mediation University in Montreal) and Marcelle Dubé
(Social Researcher at the Labor University of Québec a
At present, research and evaluation of the program are being carried out
of the ENAM with the researchers of this university and of the UQAM.
is a non-profit organization located in Chicoutimi. Her
mission is to promote puppet theater as a means of communication for
to social integration, welfare and education. This organization
works with participants who have mental health problems,
physical or intellectual disabilities. Works with a package of
funding that involves multiple contributions. Use a strategy
original in the intervention and for which there are few evaluation tools.
in 1990, the National School of Puppet Education (ENAM) is one
non-profit community located in the city of Chicoutimi. Her
mission is to promote the use of puppets as a means of communication for
social integration of welfare and education. The puppet is seen as
a multidisciplinary mobilization tool, including techniques
related to the visual arts, theater, and storytelling.
As of August 2009, ENAM has a pilot project for a period of five
years, which is carried out in cooperation with the Regional Directorate of Employment
of Quebec. It's called "puppets to tell" and the program allows one
fifty participants to attend. "It simply came to our notice then
people who suffer from serious mental health problems and are helped to
better channel the wide range of emotions they experience every day.
ENAM directs its actions to promote and develop the
personal autonomy and the power of the person. ENAM also oversees the
social integration of participants with a variety of means of
communication and learning. People participate and work on creation
of the theater of in all the stages (to write parodies of his
experiences, creating puppets, voice recording, playing in front of a
audience, etc.), singing in the choir, attending various events
original and unique, involves the organization of many associations
between the Department of Labor and Social Solidarity, the
Adult Education Center-Laure Conan, Health and Services Agency
Humans, the city of Saguenay and the Ministry of Culture, Communications and
Status of Women (Program 21).
participants attending this program are ages included
between 18 and 60 (26 women and 24 men in 2011/2012). They have problems with
mental health or physical or intellectual disabilities. They are
recognized by the government as “unfit for work”. The work team of
ENAM currently consists of eleven people, including two
teachers and a professional from the Rives-du-Saguenay school board
(Laure Conan School, Adult Education Center).
is a graphical representation of the program and the overall approach of the
ENAM. Let's take a look at the community collaboration program.
uses a complex creation / intervention strategy that is based on
four axes of diversified action: axis of health (well-being), one axis
cultural (art and creation), axis of education (training) and the axis of work
organized to produce an original, coherent and unified intervention,
but the goals are varied: to promote a better balance and
welfare, social integration and formal and informal learning and a
approach to art and culture, all with artistic means,
favoring the expression of the participants (first inside
developing creativity and acting abroad),
acting together and developing social relations (workshops and
activities that offer both the experience of group work and
a space for socialization, fighting against the forms of
marginalization and exclusion that each person lives), and creating (choice of
themes, the creation of characters and puppets, elaboration of the format and
performing the interpretation of stories and drawings).
it becomes a “place to live” (Mannoni 1970), as it stimulates the
regeneration, self-esteem, in short, gives meaning to the life of the
people coming together.
First, alternative mental health practices since
the participants live with difficulties at this level and the
practice is characterized as a “comprehensive approach” (RRASMQ 2005,
1999, Corin, Poirel and Rodríguez 2011)
2. Then, in the field of cultural mediation and community art as ENAM closely intertwines, art and culture and,
3. in the field of participatory evaluation methodology in a context of cultural mediation.
alternative mental health practices, such as that developed in Quebec
in several alternative resources, since the 1980s, they presented a
Person-centered “holistic approach”, providing more support
personalized anchored in a living environment in which he sees himself as an actor
of his destiny, in short as a "subject", who is recovering the
power over all aspects of his life (Touraine and Khosrokhavar
approach contrasts sharply with biomedical-type practices that
have been proposed to address mental health issues.
the principles that emerge from this “comprehensive approach” are focused
in “what the person wants internally, the connection with others based
in voluntary respect and equality, in the global conception of
the individual and not as a fragmented view of him based on his own
needs and their deficits, in the ability to regain control
about his life and in consolidating good practice in the heart
of the community ”(RRASMQ 2006, p. 3)
more than all these elements that characterize the basis of practice
of the intervention, the “comprehensive approach” also takes into account the
person globally, paying attention to all the dimensions that the
make up (his career in life, values, gender, the
culture, socio-economic conditions, etc.), trying to understand
what the problem is and discovering its potential and strengths
same. In short, “variety, diversity and pluralism, the
creativity and flexibility and autonomy ”are the colors they dye
the practices of this approach (RRASMQ 2006, p. 10).