V International Puppet and Education Day 2015

PROGRAM OF THE DAY 2015

MATI

9:30        Preamble by Dra. Èlia López.
 

Teacher of Infant and Primary Education, Psychopedagogue and Doctor
by the University of Barcelona. She is a teacher in the Department
DOE (Didactics and Educational Organization) of the University of
Barcelona. He combines his teaching work with training,
advice and research on emotional education. Is
member of the GROP, Orientation Research Group
Psychopedagogical.

elialopez@ub.edu
 
10:00     From shadow to color; the puppet, an emotional support
 
Lecture by Richard Bouchard, Quebec. Canada.
General and artistic director of ÉNAM (National School for Education
with the puppet). Member of RIMES (International Network
Puppets, Education and Health).

In the workshops of the ENAM puppet work program, the
puppet becomes a double that bears the suffering of the
person who creates it, who manipulates it and gives it life.

 074dir-enam@csrsaguenay.qc.ca

10:45 Open turn of words


11:00 Rest


11:30    Creating is an act of resistance

 
Lecture by Eleni Papageorgiou, Greece.
Psychologist, Pedagogue and Arterapist. Trainer in mediation and
puppet in the EPPS (Practical School of Social Services) in Cergy
Pontise. France. Mask and drama trainer in the Puzzle,
Nord-Pas-de-Calais Art Therapy Association in Lille. France.
He has also trained people interested in setting up workshops
therapeutic.

mario_eleni@hotmail.com

12:15 Open turn of words

12:30   Presentation of experiences and materials
Activities performed with puppets everywhere.
 

1. Rosario Alarcón. Puppeteer and art therapist.
Transform personal history with the help of puppets.
The Cardboard Theater. Andalusia and resident in France.

theater.carton@gmail.com

2. Jonathan Sánchez. Master. Art and Creativity: The alter
ego through the puppets of Paul Klee.
Roc Alabernt School.
Terrace. 
sa.jonathan@gmail.com

 

Where the light does not shine
maybe light the shadow.

Roberto Juarroz
1.   
PRESENTATION

I would like to start with a table that defines the theme of this congress: Senecio
by Paul Klee. This painting is more than a painting depicting an anthropomorphic image.
It is a work that almost reaches abstraction but without completely despising it
figurative. It is a statement of intent, where the human face arises
schematic, divided into colored rectangles as if it were the suit of a
Harlequin but placed on an appearance mask, the being behind the
mascara, a picture of the faces. The Self and its alter ego.

2.   
ALTER EGO

From the great superheroes and superheroines to the darkest
villains such as Darth Vader and the protagonist of Breakind Bad, have
been bearers and banners of the alter ego. Examples like Bruce wayne / batman, Spiderman / Peter
Parker, Bruce Baner / hulk, Toni stark / ironman, Supergirl / Linda Lee, Wonder
woman / Diana Prince perfectly illustrate this idea. Even some of them,
the already mentioned, Darth Vader or Walter White / Heisenberg of Breaking bad, se
they finally became their own alter ego.

3.   
ART AND CREATIVITY: THE ALTER EGO THROUGH THE
PAUL KLEE PUPPETS.

3.1.       
Paul
Klee and his puppets

And why Paul Klee? First nuance that puppets, their creation and
representation provoke a parallel existence where the imagination does
possible the coexistence of the improbable with the "real" and the tangible. Paul Klee
he puts the unconscious and emotion before reason, because he advocates above all for him
unfiltered art of reason, of educated celebrity and full of homogenizing modeling,
which condition and often kill the creativity inherent in every being.

Puppet theater is a metaphor for the world. And the puppet can be a
conscious alter ego (as we know it) or a pure alter ego, a new production,
singular from an idea that is dressed, that conforms and finally
acquires sense of being. Of pure art.

3.2.       
Activity

The activity starts from the puppets made by Paul Klee for his
son. From the puppets of Paul Klee it is intended to capture, understand and
express emotions and feelings. Klee
he made about 50 puppets but only 30 of them survive. If the
Paul Klee puppets impress, if they move and excite it is because of innocence
and significance of its realization, elaborated from the creativity
pure of the artist who accesses the children's world and his literature and penetrates the magical world (sometimes ironic
and happily and in others sadly) without intending to model and transform it
by the vision of the adult and full of prejudices about who is determined to be the
children's world.

Paul Klee puppets are made and made with all kinds of
materials, recovered here and there or from traces. For its preparation it used
from plaster, to stone cardboard, matchboxes, old plugs, etc. Las
I painted their heads with delicate or gloomy colors depending on the
nature and / or character of the character. The clothes are also made to
from scraps and fabrics of other uses and finished in “clumsy and little
polished ”.

Its objectives were:

Ø  Self-expression of emotions

o  
Aspects
subjective

o  
Exchange
thoughts

Ø  Create and "give life".

In the same way we have made the puppets from everything
type of material reused. The
Creation sequence followed the following steps:

- We think what a character
we want to create.

- We give it character and
personality.

- We conceptualize how
we want it to be, what material we want and what accessories we will put on it.

- We make the head.

- We choose the clothes and adapt them
to our character (trimming, hooking, painting…)

- We give it a name
characteristic of our puppet.

The role of the teacher at all times has to be that of a facilitator. But
alternative materials, propose different types of heads, and help
in the preparation and elaboration since some tools are not of use
school (silicone, some glue, cutter,…).

It is important to remember that you do not have to intervene in the creative process
manipulating student decision making.

Once all the puppets were finished, a work was done
literacy on the one hand and emotions on the other. The activities
carried out have been the following:

- Write the name of the
character.

- Describe the character.

- Compare the same typologies
of characters establishing analogies and differences.

- Creating stories a
from their characters.

- Perceive the emotion of the
puppet: How are you?

- Try to establish why
so is the puppet (creating a kind of vital record of the character).

- Classify the puppets
according to your emotions.

- Put us in the place of the
puppet. Role playing.

3. Núria Mestres. Puppeteer and art therapist. The puppet:
hunter of unconscious actions. Creative process with a
group of disabled from individual construction
of a puppet. 
nurmestres@gmail.com

 

In communication I go
talk about the experience gained in an art therapy workshop with a small group of users with problems of
mental health, participants knew each other but did not work
together and the need to increase their socialization was asked, as a result I proposed the use
of puppet art as a means of artistic expression. My art therapy work
 follows Jean’s line of work
Pierre Klein, French psychoanalyst, creator of INECAT, research space
and training in art therapy in Paris.

The art of the puppet
involves multidisciplinary creative work. There is a part of plastic elaboration, one
narrative part, with verbal language or not, and an experiential part where necessary
represent what has been created. In this last part it is necessary to see if it is necessary
or not presenting it to an audience. The audience is a staple in front of one
show, without an audience there can be no representation but it is not always
can show an audience a work of art therapy.

I explained
the structure of the work sessions developed during the workshop:

1-We started each session with body work. The puppet forms
part of the manipulator, as such the puppeteer must be aware of his
movements, and therefore of his body. This principle became a ritual
which we repeated every day. It helped me to cut the daily life of users,
as they cut with what they usually did in that space. And it served me well
also to build a secure working group based on cohesion exercises
of groups. When working in a group, it is necessary to create a safe space
where users can work freely and where the process of
individual creation as the collective. Body exercises serve as well
to create group cohesion and create a sense of group belonging,
facilitating collective creation.

2-The second part of the workshop was dedicated to the process
individual creative, where each user goes
create your puppet. The puppets were made of paper and evolved
over 30 two-hour work sessions. What is interesting is that
since each user is a world, so many different puppets appeared and
singular as users were. 
            
 

He
puppet is an open door to the world of fantasy, it brings us closer to ours
childhood and gives us access to the imaginary world, where everything we think can be possible.
It makes it easier for us to work from the association of ideas, of images hidden in the
our head, to rescue dreams, reproduce them, or transform them. In short we
facilitates a process of symbolization.

 

3- In the third part of the session we did group work again, where the
created characters interact with each other, looking for common spaces. The puppet
as a constructed figure he already has an elaborate part of each, but in giving it
life through movement, becomes a metaphor for life itself. In those
moments we have the power to recreate a world to our size. It is in these
moments when we position ourselves according to our needs. Children use play as an element to organize the world and how
through knowledge and learning. The psychoanalyst D. Winnicott[1]
used the game as a basic element in his methodology in working with
children. The author tells us about the existence of the transactional object, an element that
he uses the baby to realize himself and everything other than him, however
the author goes further and speaks of the presence of this transactional object,
which varies as such but which it maintains
the function of organizing the child's self and opens up a creative play space that
will use it in different areas and that
it will serve you as a tool for lifelong evolution. I see the puppet in
this part of the workshop as a transactional element rather than a process of transformation
which promotes a new positioning, helps to reorganize the self and
provides greater security and
autonomy.

Each user developed their work in
starting from their needs, so there were so many approaches
as users. The puppet as a symbol can become a form of expression
indirect of an unconscious idea, a place to place conflicts or desires and
thus allowing oneself to re-experience it in another way. The representation
artistic, in this case the puppet, facilitates communication to different
levels, and can help clarify emotions especially those that are
difficult to put into words. It is always easier and harmless to talk through
of an object that in any case represents only aspects of oneself.

What always surprises me, and still does today, is the fact that the puppet always goes
related to smiling, for both adults and children. The puppet is one
mechanism that transports us to childhood, to the possibility of play. I think
that the puppet as a decorative object is often no big deal but to which
comes to life through play and the puppeteer's movement, the puppet becomes one
very powerful tool, which dominates and can often say everything a person does not
you can never tell because after all it is nothing more than an object, a piece of cloth and
of cardboard, an inanimate piece of wood.


4. Ruth Revaliente and Marta Torrico. Teachers. The double
and the shadows. Cooperative work between P5 and 6th
of the Palau School.
Palau-solità and Plegamans.

5. Esther Prim and Teresa Forcada. Puppeteer and teacher.
Round trip boxes (from me to us).

 teresaforcada3@yahoo.es
 eprim.t@gmail.com

Describe your journey and you will become universal
Round trip boxes. From the self to us.

Welcome and welcome to
Round trip boxes, from the self to us.
We have carried out this project through a training course, “Emotional reception strategies for an intercultural school”, organized by the Department of Education and with the participation of both primary and secondary school educators. .
The basis of the experience is fully experiential. We like to say that they work like a succession of concentric waves: Our box invites course participants to make their own and finally they encourage their students to build their own.
We have been doing this for three years and we are very happy with the results.
We have found that experience
- Generates listening spaces,
- Provides expression tools, objects and their words
- It means reflection on oneself and the relationship with others,
- It allows to share in the classroom the experiences of the students.
- Improves individual and group self-esteem.
- Cohesion the class group,
- Generates respect both when students explain and when they listen to classmates.
- Awakens the sense of intimacy of the group, what is spoken there, is from there.
And here we offer a sample of the metaphors that have emerged among all students. We are sure that without this work they would not have expressed it.



In relation to the experience of emigrating, we have been told:
Sandy loam. When I was told we were leaving, the world collapsed
Car with tears. When I left my village my friends said goodbye to me and I was very sad.
Two yellow apples and one red. When I arrived I felt different as well.
Adhesive tape that covers the mouth. About the language, a girl said, I felt that way.
Box with two doors. One girl said, "Learning a language is like going in one door and out the other."


And once they have arrived, it is necessary to integrate:
Antenna that stretches. It was getting better
Suck-suck. I felt protected by the teacher like a chewing gum inside a sucker.
Colored glasses. Things are as they look.
Milestones of infinite paths, alphabets of emotions here and there, to talk and help build the common space of "us"
The objects that we have been saving in the box, and that we will now show you, will be used to present the topics that we deal with in our course-project.
One of the central axes is language
Says Jesus Tuson, in "This is (and is not) that"
Some people give you an acorn to make you shit an oak.
There are people who drown in a glass of water, there are even those who want the moon in a cove.
These are absurd sentences, although grammatically they are well constructed. But when we use them we are sure that we will be understood, it is because their meaning is hidden, it goes underneath.
This means that we have entered the world of metaphor.


The other basic issue is emotions
Frida Khalo says we can change pain for color.
Therefore:
yellow can be madness and joy, joy of living.
the green, envy and tenderness, hope, healing.
the blue, coldness, loneliness and purity, love.
black… Frida Khalo says that black does not exist.
the red rage and revolution, courage, passion.
The situation we are talking about is interculturality, hence cultural and linguistic diversity
Earth! Earth!
For more distant
a sailing lover,
I would never forget you again
Caetano Veloso

A very important issue is reception
Juli Palou and Jaume Cela say:
True hospitality shakes the cozy, just as it does when there is real educational action. In this type of action no one is left unscathed. "
We welcome, then, the specific person, their face, their voice and their history. You have to let yourself be welcomed by the one you welcome. And letting yourself be welcomed implies that their presence permeates you.
A very present feeling is the migratory mourning…
Manuel Rivas says in “La mano del emigrante”,
If we combine attachment and loss, like one who brings together two hemispheres, the result is longing, or his sister nostalgia, two precious and carnal words, so manipulated by the topic. The world, in its true form, that is, as an emotional geography, is also made up of those two hemispheres. Human life moves between Attachment and Loss.
And the last topic we deal with is dialogue
Diu Montaigne:
Half of the word belongs to the one who utters it, the other half belongs to the one who hears it "
To you, who be, I invite you to find things with the transcendental beauty, as I find them, and you will have the poem.
The eyes and ears of the poet, 1961, Joan Brossa

Already in more general issues we have been told about insecurity
Transparent box: a boy said: "It was as if they didn't see me"
Pedres: A girl who had been bullied said: “This is me, this is the pressure on my group. I wanted to protect myself in isolation, but it didn't work and I had to change schools. "
About support and guidance ideas:
Flashlight and key. One child said, "My mother guides me, my father opens doors for me."
Blackboard: A girl carried these three words on a blackboard: thank you, sorry, I love you. He said, "Even if you try, they won't be erased."
About health, and therefore empathy
Red balloon. One boy said, "My sister's health was flowing like air." Luckily he was healed.
Well and flower coming out. One child spoke of his sister's anorexia: “I was in a dark well, with my help and everyone's was able to get out.
To end with an image of trust, very poetic
Paper boat. A boy says: "Humanity is fragile… but we never sink."

6. Teia Moner. Teacher, pedagogue therapist, puppeteer i
magician. Mourning and its projection.
Palau-solità and Plegamans.

teiamoner@gmail.com

13:45 Open turn of words


AFTERNOON 

16:00 Simultaneous construction and manipulation workshop
puppets.


Richard Bouchard, (Canada)


Eleni Papagéorgiou. (Greece)

 
19:00 Visit to the Santa Mònica Arts Exhibition: “Figures of the
splitting.
Puppets, machines and threads. ”


19:30 Closing ceremony. Action by the Association
IMAGINA Theater Group with the show “Zapatillas
yellow ”.


IMAGINE is an amateur theater group formed in 1998
as a therapeutic and psychosocial rehabilitation project and that has been
driven by the community services of the Order of Sisters
Hospitals of Benito Menni of Sant Boi de Llobregat.
It is currently an autonomous group managed by the members themselves.



 




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