{"id":4969,"date":"2012-07-02T20:09:00","date_gmt":"2012-07-02T18:09:00","guid":{"rendered":""},"modified":"2020-09-06T18:59:09","modified_gmt":"2020-09-06T16:59:09","slug":"conferencia-richard-bouchard","status":"publish","type":"post","link":"https:\/\/www.teiamoner.net\/en\/conferencia-richard-bouchard\/","title":{"rendered":"Lecture by Richard Bouchard."},"content":{"rendered":"
\nIII International Conference on Education and Puppets<\/div>\n
\nLecture by Richard Bouchard. Quebec.<\/span><\/div>\n
\n<\/div>\n
\nHow much emotions and puppets favor recovery.<\/span><\/div>\n
\n
\n<\/b><\/span><\/div>\n
\n
\nGood morning all,<\/span><\/span><\/div>\n<\/div>\n
\n
\nIn
\n First of all, I want to thank Teia Moner for inviting me to
\nto attend the III International Day of Education and Puppets. I hope
\nmay my words interest and inspire you in your work.
\n I must point out, however, that I feel very humble when it comes to work
\nart\u00edstic dels artistes espanyols i catalans. To me they are a great source
\nof inspiration.<\/span><\/span><\/div>\n<\/div>\n
\n
\nI hope
\n may my lecture help you better understand why and how
\n"Emotion and puppets" can allow a person to recover
\nwhich participates in the social integration of ENAM.<\/span><\/span><\/div>\n
\n
\n<\/span><\/span>
\n<\/span><\/span><\/div>\n
\n<\/div>\n
\n
\n<\/span><\/span>
\n<\/span><\/span>I will start by introducing myself and summarizing my life<\/span><\/div>\n<\/div>\n
\n
\nI started doing a lot of amateur theater at the multipurpose school in 1973. I was a teenager.<\/span><\/span><\/div>\n<\/div>\n
\n
\nI made my first puppet in 1978.<\/span><\/span><\/div>\n<\/div>\n
\n
\nIn
\n at that time, I integrated two puppets into a show with one
\nanother person, \u201cTalaboumdi\u00e9\u201d. Then I did some research
\nto build puppets with a wire structure. May be
\nyou will know Mr. Boudrias, I built it in 1981, he is the age of
\nmy son Samuel. Boudrias is still active. And that's how it all went
\nstart with the puppets.<\/span><\/span><\/div>\n<\/div>\n
\n
\nEm
\n I became a puppeteer quickly after that. In the year 80-83,
\n I participated in the creation of three puppet shows with the
\nstudents at the University of Quebec in Chicoutimi: The celebration on
\n1980, Beauty and the Beast 1981, Now! If I were a monster<\/span><\/span><\/div>\n<\/div>\n
\n
\nJo
\n was a founding member of the Puppet Company \u201cWe, the little ones
\nmonsters \u201din 1981. The company became in 1883 the Center
\nPopular of the puppet of the region of Saguenay \u201dI was director
\nof this company until 1990. In 1990, I helped create the
\nENAM. (The National Puppet Theater Education School). I will
\nto assume the position of general and artistic director until the present time.<\/span><\/span><\/div>\n<\/div>\n
\n
\n
\n<\/span>
\n<\/span><\/div>\n
\n<\/div>\n
\n
\n<\/span>
\n<\/span>The haunted sea. 1981<\/b><\/span><\/div>\n<\/div>\n
\n
\nWith
\n therapy and puppets in 1981 I lived a very rich experience in
\nthe development and creation of an extracurricular activity during
\n20 weeks with a group of 23 young people. Two-thirds of that group were
\nvery badly considered, by problems in the primary school of Sant
\nFeliu-d'Otis, located on the outskirts of the village.<\/span><\/span><\/div>\n<\/div>\n
\n
\nHe
\n project had a great impact in this rural area. I explain
\nthis project because this is my first intervention and
\nprobably the closest thing to what we do today at ENAM. It was one
\namazing learning experience for me and young people. In that
\n moment, I realized that the puppets were conducive to the
\nproblem solving in a social context. It was hard for
\nthese children. There was the chameleon effect. The young people were in areas
\nrural, courts and labeled. An example. The haunted sea was one
\nstory created from scratch by young people. The King of the waters, was
\nplayed by a young man who had repeated in primary school, the third, the
\nfourth and fifth. He was 14 years old and still in elementary school. He
\n paper I had chosen was the largest with over 100 replicas. It goes
\nto do so and he left at the end of the project. Then he had
\nanother vision of his life and the life of his father he had
\nproblems with alcohol. A psychologist followed him up and helped him
\n succeed in school.<\/span><\/span><\/div>\n<\/div>\n
\n
\nI have been giving workshops in schools for a period of 20 years.<\/span><\/span><\/div>\n<\/div>\n
\n
\nI will
\n make a three-month stay in the shadow theater in 1982 a
\nthe International Puppet Institute in Charleville-Mezieres, a
\nFrance. I did another set design course in 1989 with Peter Matasek
\nDrak Theater, Czechoslovakia.<\/span><\/span><\/div>\n<\/div>\n
\n
\ntoo
\n in 1982, I realized the existence of the symposium \u201cPuppet and
\nTherapy \u201dat the Charleville-Mezieres World Festival in France.<\/span><\/span><\/div>\n<\/div>\n
\n
\nENAM was created in 1990 to work with this approach.<\/span><\/span><\/div>\n<\/div>\n
\n
\nNo
\n however, in the 1990s, I found myself in ambivalence.
\nI didn't know what role a puppeteer should play in "therapy." No
\n as an educator, but what role should the puppeteer really play
\n in a psychiatric institution? Give tips on how to create puppets,
\ncharacters and put those characters in the stories?<\/span><\/span><\/div>\n<\/div>\n
\n
\nA
\n little by little I came to understand. In fact, our job is not to do it
\n what psychiatrists do is not, the patient is already receiving this service.
\n We do not do what psychologists do, we do the opposite. We offer for the
\nmental health a service that uses a medium, "the puppet" to promote
\nthe recovery and social integration of people with disabilities
\nmental health and with severe limitations for employment.<\/span><\/span><\/div>\n<\/div>\n
\n
\nHe
\n world of puppet theater is becoming a place of development
\ncreative and very rich experimentation in terms of learning for the
\nparticipants. The intensity experienced in this program, the picture
\nprofessional and stable, the rich emotions generated by the discoveries
\n of cultural and social success, and all these factors stimulate and help
\n to the person to have a greater autonomy and recovery.<\/span><\/span><\/div>\n<\/div>\n
\n
\nHe
\n my self-taught background quickly made me understand the role of
\nthe excitement in the theater and in our health intervention program
\nmental.<\/span><\/span><\/div>\n
\n
\n<\/span><\/span><\/div>\n<\/div>\n
\n
\n
\n
\n
\nEmotions and puppets<\/b><\/span><\/span><\/div>\n<\/div>\n<\/div>\n
\n
\n
\n
\n<\/span><\/div>\n<\/div>\n<\/div>\n
\n
\n
\nWe start from the premise that we are beings with emotions and emotions can build or destroy us.<\/span><\/span><\/div>\n<\/div>\n<\/div>\n
\n
\n
\nNow
\n let's take a look at the ENAM program. It is important to understand the
\ncontext of this program to get a better view of ours
\npractice and how this service works.<\/span><\/span><\/div>\n<\/div>\n
\n
\n
\n<\/span><\/span><\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n
\nENAM presentation<\/b><\/span><\/div>\n
\n
\n
\n
\n
\n
\n<\/span><\/div>\n<\/div>\n
\n
\nPresentation
\n of the ENAM. Synthesis of Eva Lamoureux (Cultural Researcher of the
\nQuebec Mediation University in Montreal) and Marcelle Dub\u00e9
\n(Social Researcher at the Labor University of Qu\u00e9bec a
\nChicoutimi)<\/i><\/span><\/span><\/div>\n<\/div>\n
\n
\n
\n<\/i><\/span><\/span><\/div>\n<\/div>\n
\n
\nIn
\n At present, research and evaluation of the program are being carried out
\nof the ENAM with the researchers of this university and of the UQAM.<\/span><\/span><\/div>\n<\/div>\n
\n
\nI decided to take this presentation to make the synthesis of ENAM.<\/span><\/span><\/div>\n<\/div>\n
\n
\nENAM
\n is a non-profit organization located in Chicoutimi. Her
\nmission is to promote puppet theater as a means of communication for
\n to social integration, welfare and education. This organization
\nworks with participants who have mental health problems,
\nphysical or intellectual disabilities. Works with a package of
\nfunding that involves multiple contributions. Use a strategy
\noriginal in the intervention and for which there are few evaluation tools.<\/span><\/span><\/div>\n<\/div>\n
\n
\nFounded
\n in 1990, the National School of Puppet Education (ENAM) is one
\nnon-profit community located in the city of Chicoutimi. Her
\n mission is to promote the use of puppets as a means of communication for
\n social integration of welfare and education. The puppet is seen as
\na multidisciplinary mobilization tool, including techniques
\nrelated to the visual arts, theater, and storytelling.<\/span><\/span><\/div>\n<\/div>\n
\n
\nDes
\n As of August 2009, ENAM has a pilot project for a period of five
\nyears, which is carried out in cooperation with the Regional Directorate of Employment
\nof Quebec. It's called "puppets to tell" and the program allows one
\nfifty participants to attend. "It simply came to our notice then
\npeople who suffer from serious mental health problems and are helped to
\n better channel the wide range of emotions they experience every day.
\nENAM directs its actions to promote and develop the
\npersonal autonomy and the power of the person. ENAM also oversees the
\nsocial integration of participants with a variety of means of
\ncommunication and learning. People participate and work on creation
\n of the theater of in all the stages (to write parodies of his
\nexperiences, creating puppets, voice recording, playing in front of a
\naudience, etc.), singing in the choir, attending various events
\ncultural, etc.<\/span><\/span><\/div>\n<\/div>\n
\n
\nThe approach
\n original and unique, involves the organization of many associations
\nbetween the Department of Labor and Social Solidarity, the
\nAdult Education Center-Laure Conan, Health and Services Agency
\nHumans, the city of Saguenay and the Ministry of Culture, Communications and
\n Status of Women (Program 21).<\/span><\/span><\/div>\n<\/div>\n
\n
\nHe
\n participants attending this program are ages included
\nbetween 18 and 60 (26 women and 24 men in 2011\/2012). They have problems with
\nmental health or physical or intellectual disabilities. They are
\nrecognized by the government as \u201cunfit for work\u201d. The work team of
\nENAM currently consists of eleven people, including two
\nteachers and a professional from the Rives-du-Saguenay school board
\n(Laure Conan School, Adult Education Center).<\/span><\/span><\/div>\n
\n
\n<\/span><\/span><\/div>\n<\/div>\n
\n
\n
\n
\nThe aim of the ENAM<\/b><\/span><\/span><\/div>\n<\/div>\n<\/div>\n
\n
\n
\n
\n<\/b><\/span><\/span><\/div>\n<\/div>\n<\/div>\n
\n
\n
\nThis one
\n is a graphical representation of the program and the overall approach of the
\nENAM. Let's take a look at the community collaboration program.<\/span><\/span><\/div>\n
\n
\n<\/span><\/span><\/div>\n<\/div>\n<\/div>\n
\n
\n
\n<\/span><\/span><\/div>\n<\/div>\n
\n<\/span><\/div>\n
\n
\n
\n<\/span><\/span><\/div>\n<\/div>\n
\n
\n
\n
\nThe body
\n uses a complex creation \/ intervention strategy that is based on
\n four axes of diversified action: axis of health (well-being), one axis
\ncultural (art and creation), axis of education (training) and the axis of work
\n(integration).<\/span><\/span><\/span><\/div>\n<\/div>\n<\/div>\n
\n
\n
\nThey are
\n organized to produce an original, coherent and unified intervention,
\n but the goals are varied: to promote a better balance and
\nwelfare, social integration and formal and informal learning and a
\napproach to art and culture, all with artistic means,
\nfavoring the expression of the participants (first inside
\ndeveloping creativity and acting abroad),
\nacting together and developing social relations (workshops and
\nactivities that offer both the experience of group work and
\n a space for socialization, fighting against the forms of
\nmarginalization and exclusion that each person lives), and creating (choice of
\nthemes, the creation of characters and puppets, elaboration of the format and
\nperforming the interpretation of stories and drawings). <\/span><\/span><\/span><\/p>\n

ENAM
\n it becomes a \u201cplace to live\u201d (Mannoni 1970), as it stimulates the
\nregeneration, self-esteem, in short, gives meaning to the life of the
\npeople coming together.<\/span><\/span><\/span><\/div>\n<\/div>\n<\/div>\n

\n
\n
\n
\n<\/span><\/span><\/div>\n<\/div>\n<\/div>\n
\n
\n
\nThe research adopted in the approach and practices of ENAM is based on three main theoretical sources:<\/span><\/span><\/span> <\/span><\/span><\/span><\/p>\n

1.
\n First, alternative mental health practices since
\nthe participants live with difficulties at this level and the
\npractice is characterized as a \u201ccomprehensive approach\u201d (RRASMQ 2005,
\n1999, Corin, Poirel and Rodr\u00edguez 2011)<\/span><\/span><\/span><\/p>\n

2. Then, in the field of cultural mediation and community art as ENAM closely intertwines, art and culture and,<\/span><\/span><\/span> <\/span><\/span><\/span><\/p>\n

3. in the field of participatory evaluation methodology in a context of cultural mediation.<\/span><\/span><\/span><\/div>\n<\/div>\n<\/div>\n

\n
\n
\n
\n<\/span><\/span><\/span><\/div>\n<\/div>\n<\/div>\n
\n
\n
\nLes
\n alternative mental health practices, such as that developed in Quebec
\nin several alternative resources, since the 1980s, they presented a
\nPerson-centered \u201cholistic approach\u201d, providing more support
\npersonalized anchored in a living environment in which he sees himself as an actor
\n of his destiny, in short as a "subject", who is recovering the
\npower over all aspects of his life (Touraine and Khosrokhavar
\n2000).<\/span><\/span><\/span><\/div>\n<\/div>\n<\/div>\n
\n
\n
\nThis
\n approach contrasts sharply with biomedical-type practices that
\n have been proposed to address mental health issues.<\/span><\/span><\/span><\/div>\n<\/div>\n<\/div>\n
\n
\n
\nLike this,
\n the principles that emerge from this \u201ccomprehensive approach\u201d are focused
\nin \u201cwhat the person wants internally, the connection with others based
\n in voluntary respect and equality, in the global conception of
\nthe individual and not as a fragmented view of him based on his own
\nneeds and their deficits, in the ability to regain control
\n about his life and in consolidating good practice in the heart
\nof the community \u201d(RRASMQ 2006, p. 3)<\/span><\/span><\/span><\/div>\n<\/div>\n<\/div>\n
\n
\n
\nA
\n more than all these elements that characterize the basis of practice
\nof the intervention, the \u201ccomprehensive approach\u201d also takes into account the
\nperson globally, paying attention to all the dimensions that the
\nmake up (his career in life, values, gender, the
\nculture, socio-economic conditions, etc.), trying to understand
\nwhat the problem is and discovering its potential and strengths
\nsame. In short, \u201cvariety, diversity and pluralism, the
\ncreativity and flexibility and autonomy \u201dare the colors they dye
\nthe practices of this approach (RRASMQ 2006, p. 10).<\/span><\/span><\/span><\/div>\n<\/div>\n<\/div>\n
\n
\n
\n<\/span><\/span>
\n<\/span><\/span><\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n
\n<\/div>\n
\n<\/div>\n

<\/p>","protected":false},"excerpt":{"rendered":"

III International Conference Education and puppets Richard Bouchard Conference. Quebec. ... <\/p>\n

Keep readingLecture by Richard Bouchard.<\/span><\/a><\/p>","protected":false},"author":3,"featured_media":4970,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[118,123,141,166,111],"_links":{"self":[{"href":"https:\/\/www.teiamoner.net\/en\/wp-json\/wp\/v2\/posts\/4969"}],"collection":[{"href":"https:\/\/www.teiamoner.net\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.teiamoner.net\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.teiamoner.net\/en\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/www.teiamoner.net\/en\/wp-json\/wp\/v2\/comments?post=4969"}],"version-history":[{"count":1,"href":"https:\/\/www.teiamoner.net\/en\/wp-json\/wp\/v2\/posts\/4969\/revisions"}],"predecessor-version":[{"id":4973,"href":"https:\/\/www.teiamoner.net\/en\/wp-json\/wp\/v2\/posts\/4969\/revisions\/4973"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.teiamoner.net\/en\/wp-json\/wp\/v2\/media\/4970"}],"wp:attachment":[{"href":"https:\/\/www.teiamoner.net\/en\/wp-json\/wp\/v2\/media?parent=4969"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.teiamoner.net\/en\/wp-json\/wp\/v2\/categories?post=4969"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.teiamoner.net\/en\/wp-json\/wp\/v2\/tags?post=4969"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}