Farewell, Augusto Boal

In loving memory of Augusto Boal, 1931-2009

Rio de Janerio, May 4, 2009:

Brothers and sisters in arms, companions in the struggle

Our beloved comrade Augusto Boal, that tireless sower of seeds, who travelled the four corners of the earth scattering the seed of the Theatre of the Oppressed, is on yet another journey. He set off in the early hours of the second of May. He spent the First of May, May day, in a vigil of solidarity with the workers fighting for a fairer and happier world, a world of solidarity.

He set off on this special journey, for which reason he was not able to be physcially present at any event. But, as was his habit, he lived,, loved and worked to the last drop of his energy, leaving ready (for publication) the new version of his book, The Aesthetics of the Oppressed. He also left express instructions that no event should be cancelled because of his absence. ’Isnt that the very point of Multiplication?“

Yesterday, on the third of May, we held a farewell ceremony . His cremation of his body marked the start of a new phase of the Theatre of the Oppressed, in the physical absence of the Master himself. We wept, we talked, we sang. Celse Frateschi declaimed, beautifully, a passage from Arena Conta Zumbi. We sang a song written bz Nuno Arcanjo. And Cecilia Boal, with all her strength and vitality, told the world that her husband should be remembered as the warrior that he always was. We dried our tears and acclaimed Boal,s leaving.

His body has gone, but not his presence! Probably, this Saturday, the 9th of May, we will ratify his presence with a homage, at the Centre of the Theatre of the Oppressed. We will celebrate the life, the struggle, the productivity, the work of Augusto Boal and the continuity of that work.

It will not be easy to follow our Master, Partner, Friend and Comrade in the Struggle. But what has ever been easy in the trajectory of the Theatre of the Oppressed?

Ethics and Solidarity will be our foundations and our guides. Multiplication will be our strategy. And our goal will remain the mounting of concrete social actions to bring about the transformation of oppressive realities.

Viva Augusto Boal

Barbara Santos, 4 may 2009

CTO Rio

Childhood, Art, & Healing

"If we want to look at children's drawing with pleasure and profit, we must first silence our wishes and requirements about form and content and gratefully take what they have to offer... The arm is the maximum freedom of the child, their free choice of expression according to their mood.... Everything must be left to the child. At most, they should be given a subject, an impulse." -Friedl Dicker Brandeis

Today, I was browsing in a book store and came across Art, Music, and Education as Strategies for Survival: Thereseinstadt 1941-1945.

This volume collects six new essays spanning a variety of disciplines, as well as memoirs and related source materials, on the history and the arts of the Theresienstadt ghetto from 1941 to 1945. The book was assembled with the cooperation of the Jewish Museum in Prague, the Simon Wiesenthal Museum of Tolerance in Los Angeles, the United States Holocaust Memorial Museum in Washington, D.C., the Leo Baeck Institute in New York, and others.

Featured throughout the book is the work of Friedl Dicker-Brandeis, a multitalented Bauhaus artist, who produced work in theater, architecture, textiles, graphic design, drawing, painting, and sculpture. In 1934, Dicker-Brandeis was arrested by the Gestapo for anti-Fascist activities and fled to Prague, where she taught art classes for Jewish refugees. In 1942 she was sent to the Theresienstadt ghetto. While there, she secretly taught art to the children, gifting them with the tools for the expression of their fears of hunger, disease, and death within their midst. Dicker-Brandeis and thirty of her students perished in the gas chambers of Auschwitz in 1944. Before she was shipped out, however, she hid thousands of works of child art within the walls of Theresienstadt, preserving for posterity a powerful and enduring indictment of the horrors of genocide.

The story of Dicker-Brandeis and her work gives me chills. Her insight on childhood & art is eloquent and rich:

“Why do adults want to make children be like themselves as quickly as possible?… Childhood is not a preliminary, immature stage on the way to adulthood. By prescribing the path to children, we are leading them away from their own creative abilities and we lead ourselves away from understanding the nature of these abilities.”

Play!

A new study from the Alliance for Childhood: Crisis in Kindergarten: Why Children Need to Play in School.

New research shows that many kindergartens spend 2 to 3 hours per day instructing and testing children in literacy and math—with only 30 minutes per day or less for play. In some kindergartens there is no playtime at all. The same didactic, test-driven approach is entering preschools. But these methods, which are not well grounded in research, are not yielding long-term gains. Meanwhile, behavioral problems and preschool expulsion, especially for boys, are soaring.

View the 8-page summary.

It's a great resource for drama educators!

Other books on play that I recommend:

• Free Play: Improvisation in Life and Art by Stephen Nachmanovitch
• Deep Play by Diane Ackerman
• Dorothy Heathcote: Drama as a Learning Medium by Betty Jane Wagner

Issue of Rethinking Schools focuses on Duncan

The spring issue of Rethinking Schools focuses on Arne Duncan. There's also "Silenced in the Classroom," an article on the Kahlil hibran International Academy in Brooklyn, and Deborah Meier's "Reinventing Schools That Keep Teachers in Teaching."

Get this book: Studio Thinking

Studio Thinking: The Real Benefits of Arts Education is a great book for any arts educator (across disciplines). Created by Harvard's Project Zero, The Studio Thinking Framework includes 8 Habits of Mind:

1. Develop Craft
2. Engage & Persist
3. Envision
4. Express
5. Observe
6. Reflect
7. Stretch & Explore
8. Understand the Art World

Lucia Brawley on Arts Education & Social Justice

Luci Brawley has a great article on Huffington Post about arts education: Mordecai's Metamorphosis: Why Arts Education is a Matter of Social Justice and Why it will Save the World.

My musician friend, Derrick Ashong - who was born in Ghana, raised between the U.S. and Middle East, went to Harvard, and now speaks internationally on the nexus of art, justice and peace - says:

People often forget that at it's heart, artistry is human communication taken to the highest possible levels. The power in art lies not only in its ability to inspire, but also in its capacity to expand the boundaries and quality of other forms of communication. The truly educated person does not consume art as a mean of diversion from the world but rather as a tool for learning how to better engage it.

Check out Part 2 of the article as well.

Voicing Pain: Students at a Queens School Talk About Immigration

Students at the International High School work with Judith Sloan, creator of “Yo Miss! Teaching Inside the Cultural Divide” and EarSay to create a performance piece based on the immigration experiences of their families. (See the full NY Times article.)

Sandup, 14, said speaking his lines made him proud. “It feels like I’m telling the public how I’ve been struggling,” he said.

He pointed to a favorite line: “My homeland screams, ‘Don’t forget me!’ My new life says, ‘Come and get me!’ ”

He said he and other Nepali teenagers spend a lot of time speaking English and having fun, not thinking much about what their parents went through to bring them here.

“I don’t want to forget,” he said.

Teens Re-Writing America Through Poetry

Brave New Voices documentary series on HBO follows teenagers creating and performing their original poetry in this teen poetry slam championship. On the HBO website you can watch the first episode and see performances of the teens' amazing works. B. Yung of Team New York City writes:

I can't stomach being whipped or stripped because of the color of my skin so every time I write a slave poem my paper bleeds.

More and more, I think poetry is such an amazing and liberating tool for expression and a great entry point to creating theatre--particularly physical theatre and movement pieces.

April: Happy Poetry Month

I've been reading Jonathan Kozol's Letters to a Young Teacher (which I highly recommend). He references a Yevgeny Yevtushenko poem that I find to be quite beautiful and profound. In today's schools, we often "choose" not to approach particular subjects or even affirm or believe that the troubles our students and their communities face a real and legitimate. Perhaps these are lies of omission. Something to think about...

Lies

Telling lies to the young is wrong.
Proving to them that lies are true is wrong.
Telling that god’s in his heaven
And all’s well with the world is wrong.
The young know what you mean. The young are people.
Tell them the difficulties can’t be counted,
And let them see not only what will be
But see with clarity these present times.
Say obstacles exist they must encounter
Sorrow happens, hardship happens.
To hell with it. Who never knew
The price of happiness will not be happy.
Forgive no error you recognize,
It will repeat itself, increase,
And afterwards our pupils
Will not forgive in us what we forgave.

Looking for meaningful children's books?

The Jane Addams Childrens Book Awards are given annually by the Jane Addams Peace Association to children's books that promote peace and social justice. It's an excellent list of books. I know I often have trouble finding children's literature with a social justice foundation.

One book that caught my eye:

Poems to Dream Together=Poemas Para Soñar Juntos, written by Francisco X. Alarcón, illustrated by Paula Barragán, and published by Lee and Low Books, Inc., has been named an honor book in the Books for Younger Children category. In nineteen short and heartfelt poems in Spanish and English, Alarcón encourages and inspires us to dream alone and to work and dream together, as families and communities, in order to make our hopes for a better world come true. The stylized paintings of Paula Barragán colorfully extend and interpret the theme.

Awesome Resource for Lesson Plans

Check out Educators for Social Responsibility's Connected and Respected: Lessons From the Resolving Conflict Creatively Program, an elementary curriculum on conflict resolution and social and emotional learning.

Chekhov on Love & Theatre

“The essence of our profession… is to give. What is it that we in the theater give? … We give our body, voice, feelings, will, imagination – we give a form of pulsating art to life itself; we give it to our characters and we give it to our audiences. Nothing, absolutely nothing remains for us save the pleasure of having given pleasure. And yet it is only by this miraculous process that our love grows and our talent is fulfilled and replenished."

The World Becomes What You Teach

On Leaving the Theatre

Do not leave the theatre satisfied
Do not be reconciled
Have you been entertained?
Laughter that’s not also an idea
Is cruel

Have you been touched?
Sympathy that’s not also an action
Corrodes
To make the play the writer used god’s scissors
Whose was the pattern?
The actors rehearsed with care

Have they moulded you to their shape?
Has the lighting man blinded you?
The designer dressed your ego?

You cannot live on our wax fruit
Leave the theatre hungry
For change

Making Room for Hope... The New York State Literary Center

Check out the website. The founder and leader of this organization, Dale Davis, is truly a force in the teaching artist field. The work of the youth and young men in correctional facilities with which NYSLC works is moving, strong, and breathtaking....

I Want To Write
By Miguel

I want to write to turn insanity into clarity,
write to a convict on death row
and have tears roll off his cheeks.
I want my words to reach the inner
chambers of a frozen heart and let it thaw.
I want to write to a woman who has seen it all
and had enough hardships and turn them into soft voyages.
If I could, I would write to life and
let it know
it's playing a novice while it's a pro
in a game only itself knows.
I wish I could write to who I was four
years ago
to say: take it slowly, cuz if not...well you already know.
I want to write words to express
all of the stress you gain from such a test
of having your freedom taken away
by no other than yourself.
I want to write for help but I'm scared of
the one who will send it.
I want to write to a young mother
to let her see how much harder I made her
stay here,
but still she WILL reap the benefits
you can only gain from having kids.
I just want to write until carpal tunnel takes
over my wrist...and hard,
and I'll either become left handed or the
loudest man
to say what I have to say
because the world is my stand.
I want to write...

What I Have to Say
By Rodney

I apologize,
I apologize
for leaving my loved ones behind.

I am a young Black man who has been in the system too long.

I was searching.
I was searching.
I was searching for freedom,
but I never found where it was at.
It was lost.
Will I find it?

Somebody has to hear my story.

Service-Learning and Human Rights Guide - Free!

Human Rights Education Associates has published Human Rights and Service-Learning: Lesson Plans and Projects. The lesson plans touch on five human rights topic areas: environment, poverty, discrimination, children's rights to education and health, and law and justice. The full text is available for free in a pdf format. It's very detailed, with some interesting concepts, lesson plans, and activities to pick and choose from.

New Book: Applied Theatre Reader

Check out the new Applied Theatre Reader--an awesome resource on the field that includes the writings of bell hooks, Augusto Boal, Henry Giroux, Jan Cohen-Cruz, Paulo Freire...and the list goes on and on...

Augusto Boal on World Theatre Day

March 27 is World Theatre Day. Augusto Boal writes the 2009 message. He comments: "Theatre is the Hidden Truth." Some excerpts below:

All human societies are “spectacular” in their daily life and produce “spectacles” at special moments. They are “spectacular” as a form of social organization and produce “spectacles” like the one you have come to see.
....

One of the main functions of our art is to make people sensitive to the “spectacles” of daily life in which the actors are their own spectators, performances in which the stage and the stalls coincide. We are all artists. By doing theatre, we learn to see what is obvious but what we usually can’t see because we are only used to looking at it. What is familiar to us becomes unseen: doing theatre throws light on the stage of daily life.
....

When we look beyond appearances, we see oppressors and oppressed people, in all societies, ethnic groups, genders, social classes and casts; we see an unfair and cruel world. We have to create another world because we know it is possible. But it is up to us to build this other world with our hands and by acting on the stage and in our own life.

Participate in the “spectacle” which is about to begin and once you are back home, with your friends act your own plays and look at what you were never able to see: that which is obvious. Theatre is not just an event; it is a way of life!

We are all actors: being a citizen is not living in society, it is changing it.

Dancing Democracy

Why should our children bend the knee in that fastidious and servile dance, the Minuet, or twirl in the mazes of the false sentimentality of the Waltz? Rather let them come forth with great strides, leaps and bounds, with lifted forehead and far-spread arms, to dance the language of our Pioneers, the Fortitude of our heroes, the Justice, Kindness, Purity of our statesmen, and all the inspired love and tenderness of our Mothers. When the American children dance in this way, it will make of them beautiful beings, worthy of the name of the Greatest Democracy.

That will be America Dancing.

-Isadora Duncan, American dancer & choreographer

Poverty, Education, Eco-Justice and More

The Winter 09 issue of the Journal of Educational Controversy focuses on The Hidden Dimensions of Poverty: Rethinking Poverty and Education. Mohammad Yunus, Nobel Peace Prize recipient and founder of the Grameen Bank, has written the prologue.

Poverty is not created by poor people; rather, it is created by institutions and policies that we have built up. In order to tackle poverty, we have to go back to the drawing board, and redesign our concepts, our policies, our institutions. My experience has taught me that poor people are as hard working, as talented as any other human beings. They are not lazy or unskilled or inefficient, as people tend to think. They just never get the opportunity to tap their own potential. An effective poverty reduction program is one that allows the poor person to unleash his or her potential. Microcredit is one way of doing that.

So is education. Yunus speaks about our acceptance of the idea that some people will always be poor. He argues:

What we want and how we get it depends on our mindsets. It is extremely difficult to change mindsets once they are formed. We create a world in accordance with our frame of mind. We need to invent ways to change our perspective continually and reconfigure our mindset quickly as new knowledge emerges. We can reconfigure our world if we can reconfigure our way of thinking. This is where education, one that encourages us to challenge conventional wisdom, can try to play a significant role. I believe even the biggest problem can be cracked by a small, well-designed intervention. That is where our creativity comes in.

Creativity does not only help us to invent solutions or well-designed interventions. The most important part of creativity is the important part it plays in our ability to imagine a different world--to imagine, to hope, and to believe that another way of being with people and with the world can exist. (This is why fostering imagination and creativity--via the arts, especially--is so important...rather than only encouraging and rewarding rigid adherence to existing routines and structures.)

Other interesting stuff:

In "Poverty and Class: Discussing the Undiscussible," John Korsmos encourages dialogue and listening to understand the experience of struggling community members. He asks: "What would happen if we knew each other?"

C.A. Bowers talks about "Rethinking Social Justice Issues Within an Eco-Justice Conceptual and Moral Framework," commenting on unspoken cultural commons that need to be addressed within curricula:

The starting point in a commons-oriented curriculum is to have students conduct a survey of their local cultural commons, as well as the aspects of the larger cultural commons that they have a right (in spite of past exclusions) to participate in. The survey should involve learning who the elders and mentors are, who the keepers of the community memory are, what forms of cultural commons activities exist—such as playing chess, painting, writing poetry, musical performances, gardening, working with wood and metal, volunteerism, and political action groups. In a word, the survey should cover the activities and relationships within the community that are less reliant upon a money economy—and that lead to the development of skills and interests that contribute to a less damaging ecological footprint.

And much more..

Herbert Kohl on Surveillance and Education

Herbert Kohl has a great article entitled "The Educational Panopticon" in Teachers College Journal. You must be a subscriber to read the article, but here are some of the key parts:

People who insult and denigrate teachers by forcing scripted curriculum on them are perfectly aware that they are forcing teachers to act against their conscience and students to close down their minds. What must be raised and answered for is the moral cost of creating joyless schools that resemble panopticons.

I find it painful to write about education these days. I began teaching in 1962 and after about one semester realized that I would have to become engaged in school reform if I was to teach well and be of use to my students. This engagement has continued for forty-six years and yet I still encounter schools that are as repressive and ineffective as they were forty-six years ago. Sometimes I even encounter situations, which are even more depressing that any I remember.

Recently a friend and I visited a middle school in the Bay Area. It was lunchtime and the students were lined up outside of the cafeteria. I noticed that they all had their arms folded over their chests with their hands clutching their shoulders. My friend got really upset and suggested we leave immediately. I asked her what was wrong, and she told me that the lunch line was identical to lunch lines she observed when she visited prisons. The inmates were required to hold their arms that way to prevent them from touching each other or carrying anything into the dining hall. Later I asked a teacher at the school about the rationale for having the students line up in that way, and he gave me the same reason. According to him, the students, all of whom were either black or Latino, had to be kept from touching each other or fooling around on the lunch line and besides, he commented, “it’s also good education for their future.”

I observed a similar phenomenon in an elementary school a few weeks ago, only this time it was a class of second graders required to walk to the playground with their arms folded across their chests. The rationale I was given by an administrator was the same though without the cynical aside. In both instances the official reason for the policy was that it was part of the school’s zero tolerance policy.

The majority of schools don’t resort to such methods of behavioral control and do sanction some informal movement of youngsters from place to place. However, the notion of control and surveillance is pervasive these days. I believe that the consequence of scripted curriculum, teacher accountability, continuous monitoring of student performance, high stakes testing, and punishment for not reaching external standards is that schools become educational panopticons, that is, total control and surveillance communities dedicated to undermining the imagination, creativity, intelligence, and autonomy of students and teachers.

“Panopticon” was the name given by the British philosopher and legal theorist Jeremy Bentham to a prison he designed during the 1780s. Essentially it consisted of prisoners’ cells built in a circle around a surveillance core in the middle. The idea was to provide complete monitoring of prisoners at all times by guards within the core. Prisoners were unable to see into the core and therefore could not actually tell whether they were being observed or not. The motive for this was to create an environment where the prisoners would internalize and accept the idea of total and continuous surveillance whether or not it was actually happening. It was an attempt to use the physical environment as an instrument of intimidation and mind control.

The French philosopher Michel Foucault extended the use of “panopticon” to characterize social institutions such as prisons, hospitals, mental asylums, and schools which institutionalize constant surveillance and exert mind control, often without the knowledge or awareness of the people being controlled. When I talk about an educational panopticon I mean a system in which teachers and students are under constant scrutiny, allowed no choice over what is learned or taught, evaluated continuously, and punished for what is considered inadequate performance. In this context students and teachers are forced to live in a constant state of anxiety, self-doubt, wariness, anomie, and even suppressed rage.

Consider the following characteristics of schooling that I mentioned above: scripted curriculum, teacher accountability, continuous monitoring of student performance, high stakes testing, and punishment for not meeting external standards. Scripted curriculum turns teachers into mechanical delivery systems. Most teachers I know try to revolt against them, but they have to face what are called “the Open Court police” – people who wander the halls of schools checking that teachers are on exactly the mandated page, asking set questions rather than discussing ideas or texts, and accepting only the answers provided by the teachers’ booklet. Though those monitors obviously can’t check all the classes at all the times they induce a state of anxiety since they can enter any classroom at any time without even knocking. This aspect of the panopticon contributes to the erosion of self-respect and pride in one’s work by treating teachers as objects with no independent educational knowledge and judgment of their own.


The irony is that even with the imposition of so-called “teacher-proof” curriculum, teachers are evaluated on the effectiveness of their student’s performance on tests relating to material they have no control over. No one evaluates Open Court or other such curriculum when students fail. It is the powerless “proofed” teachers who take the hit. This is morally reprehensible and yet the question of the values underlying this kind of teaching and evaluation is neglected when experts discuss educational issues.

Teachers under surveillance are also the agents of surveillance since they are expected to do continuous monitoring of their students’ progress. Continuous monitoring implies that learning takes place in measurable increments and that constant testing somehow contributes to enhanced performance. Whether it does or not, it reinforces educational practice which has no space for conversation, exploration, or the personalization of learning. The classroom becomes a humanly impoverished environment, a sanitized place where students’ personality, charm, and ingenuity have no place. Morally it contributes to depriving the young of opportunities for the development of their minds. Fortunately there are many subversive teachers who work in the service of their students and according to their own conscience rather than submit to the coercive education they are expected to provide.

Add high stakes testing and school-wide punishment for failure and you have even greater weapons of control and coercion. Student and parent anxiety is increased; teachers, being judged themselves by the results of the tests, have incentives to press and pressure their students to perform or even in some cases encourage them to be absent on testing days. Because of no tolerance and no exceptions policies, students who just can’t do well because of disabilities that are no fault of their own, or students who don’t speak English, are forced to take tests they know they will fail. Setting students up to fail is simply immoral, and yet there is surprisingly little outcry about this attack on these young people’s very being.

When I bring up these moral issues to educators who consider themselves reformers in the spirit of No Child Left Behind, they usually acknowledge these “unfortunate” things can happen but that they are unintended consequences of a program designed to get every child performing to high standards. That is not the case. These alienating immoral practices are intended consequences. People who make and administer high stakes tests know the moral and personal costs of subjecting all students to them. People who insult and denigrate teachers by forcing scripted curriculum on them are perfectly aware that they are forcing teachers to act against their conscience and students to close down their minds. What must be raised and answered for is the moral cost of creating joyless schools that resemble panopticons.