Hillcrest SPLAT project
Teacher: Jim Cameron
Creative Partner: Susan Diab
Participants: Yr 8 and Yr 9
Approach of Creative Partner
My approach has been to try to encourage a situation where the students take ownership of the project to work towards them assisting them to the position where they might become student researchers. I have worked with Jim Cameron in co-operative dialogue to foster an atmosphere of friendship and lively energy where creative thinking might flow and ideas be generated by us all as a team. An important aspect has been to build trust amongst all members of the group (adults and students together) and to allow for a degree of playfulness that might liberate thoughts. The students have all volunteered to take part in the process and so were not selected in any way.
I would like to try to describe my involvement in this project in terms of my own art practice. This is important for me to do because I am employed by Creative Partnerships and the School as a ‘Creative Partner’ and beginning to elucidate what has been significant to my contribution to SPLAT about my being an artist and what my experience of SPLAT might feed back into my work as an artist will help me to understand better what my role has been in the project and might, in addition, add to the understanding in general of what a practising artist can bring to this sort of project. Firstly, I’d like to describe what a ‘practising artist’ is. A ‘practising artist’ is an artist who is engaged in a creative process of making artwork, exhibiting that work and who engages in the art system of working with galleries (public or commercial), museums or other places in which art is shown or takes place. My approach to making work is what brought me to be working with Hillcrest on SPLAT in the first place. I was approached by Cindy of CP to work with Hillcrest on a project about student voice and students as researchers because I have a track record of working with groups of people around ideas with a view to encouraging empowerment and creative process. I see it as my job to bring to the project ways of being, thinking and ‘working’ (in inverted commas because it might not always look like ‘work’ e.g. game playing is not usually viewed as work). I am not an artist known for making a particular kind of art product or for working with a particular medium, yet I have a practice which I could describe as ideas-driven and working towards social change from the inside out, although that makes it sound really boring. I might call what I do an attempt to allow the human to flourish within the institutions and structures with which we all have to engage throughout our lives. Everything is institutionalized currently from language to shopping. Everything has recognizable ways of being done and we perform the correct ways readily and mostly without question because if we don’t there are consequences, difficulties or interruptions, which for the most part, daily life does not have the space to accommodate. An artist who has a practice might have a mental or physical space (or both of these kinds of spaces) in their working life where they can allow thinking and creative things to happen that have no tune to follow but their own. A studio is the typical designated place to allow this to happen. A process that happens in this space might look like this: you do something actual like draw something on a piece of paper then you pin that on the wall. Then you sit down and look at it. Then you notice the word that you pinned to the wall the week before because it is next to the drawing. Then you discover a relationship between the drawing and the word and an idea comes to mind for a sculpture you could make so you think about that for a while and perhaps draw it. Then you realize you need a cup of tea so you go to make one and when you are waiting for the kettle to boil, someone comes out and says hello and you have a chat about something and then those thoughts go back into your studio space along with the cup of tea. This process whatever it looks like has to fit within the demands of daily life such as earning a living and relationships with others such as family, friends and colleagues. But as much as is possible, the process is allowed its own rhythm and momentum. It’s not really the same as planning, it’s not like carrying out an idea, it is in itself something disobedient and self-assured. It is very like a pre-socialised human. That is not to say it is animal, although that is part of it. But it creates its own laws and that is why it is so exciting and attractive.
So, the purpose of providing this description in this kind of document is to indicate that this document itself is not necessarily any particular kind of document anyway. It’s not really a report, it doesn’t give findings and results. It’s neither poetry nor fiction. It does what it wants and what it likes, it tries to capture some of what I have done with SPLAT but it digresses and follows a dynamic of its own. And the other purpose of this description is to try to give an indication of how I have worked with SPLAT. It is only now that I am doing this piece of writing that I realize that my engagement with SPLAT has actually been rather true to who I am as an artist and this is much to the credit of the group and Jim. In other words I have felt safe and supported in the SPLAT group and I surmise that other SPLAT members have also felt like this - it’s at least likely if I do. I have made plans for sessions, I have been distracted by my imagined need to ‘produce art’, I have been deeply unsure of loads of things at every stage. It has felt difficult and unknown and it has caused me worry, much as studio practice does. And it has come to this point without a recognizable outcome that can go on the wall and look like art. (I always think that art that looks like Art is well dodgy anyway).
‘Socially engaged’ art practice
There is a term used now to describe a particular kind of artist. It is ‘socially engaged’. I have never used this term about myself but it has been used by others about what I do. I don’t like the term primarily because I did not invent it myself to describe what I do and because it was put onto me by others. You have to remain suspicious about such ready catch-all epithets. Why? Because how do I know that what you mean by it is what I mean in what I do? I am not even sure I know myself what I mean by what I do. And if I am to become a socially-engaged artist then what else do I have to take on or be able to do that I don’t currently? When I hear these terms I like to turn them into their opposites and imagine what that might look like. What does the ‘anti-socially disengaged’ artist do? I think my earliest memory of coming across the word ‘engagement’ (other than meaning that you were going to get married) was when I was sixteen. I can remember it very well. I was lying on my bed in my bedroom at home and reading a short guide to ‘Existentialism’. It was a book mainly about Jean-Paul Sartre and was one of those general, concise guides that claimed to tell you everything you needed to pass your exams. I was riveted. ‘Engagement’ (pronounced ‘en-gage-ment’ with a French accent) was something to do with being involved with society in a critically conscious way. I remember the bit about someone (was it Sartre himself?) describing the way in which French waiters play the role of the French waiter and at that moment I realized something about existing in society: that there are so many roles we can fit ourselves into and the trick is to resist them. It was my first pointer towards unconventionality with all its delicious and exotic lure. Later, at university I read Brecht’s notes on theatre and discovered that he had an ideal way for his actors to act: in the third person. He wanted them, if I understood correctly, to deliberately maintain a separation between themselves and their character so that the audience was not fooled into thinking that the characters were real but could tell that it was an actor playing a role. This was because BB* wanted the audience to view the action on stage with a critical awareness, to remain questioning and not to be lured into a passive state, absorbing what they are seeing as entertainment alone. (That is why he allowed smoking in the theatre because he associated it with being intellectual and radical). I don’t want to act the role of the ‘socially-engaged artist’ because it has too many implications. Would it mean I have to come out as a socialist, lay my cards on the table, be immune for ever to The Market? Take your labels off me. I won’t have them.
*I long for the day when the first thing that anyone will think of when they hear BB is Bertolt Brecht and not Big Brother.
How we have worked on SPLAT
Working on SPLAT, we have not worked in a systematic way nor have we come up with a set of results. The form of this work has been the process itself and the potential that that yields for the project to go further. How and whether the project proceeds is of the utmost importance because it will be the indication of whether the energy generated by my involvement in it has been sufficient to allow the work to continue within the setting in which it has been taking place: the school which is hoping to effect change. Much of what has happened has been ephemeral and has had to be ‘caught’ as evidence from the air, in words or ideas that have been expressed by the participants, by exchanged looks, by what we have observed in how the students are with each other. I have documented the process as it has gone along and have a motley assortment of visual, aural and written proof that something has happened.
Outcome
I would like to avoid the appearance of a resolved outcome at this stage of the project because even though my involvement in the project (i.e. my contracted period) is coming to an end, the project itself, under Jim’s leadership is ongoing. It is tempting to put together a package that makes it look as if the project has ‘succeeded’ by presenting a set of outcomes. However, where possible, I would like, for the sake of the project, not to do this. The outcomes may instead be best described as current potential.
The current potential of the project may unfold as any of the following:
Students becoming researchers once they have grasped the notion of constructive criticism and have got used to how to give feedback that is not based around personalities and instead reflects what they think works well in the teaching environment and what doesn’t.
Explanation
During the project there has been an ongoing discussion about students going into lessons in order to observe classes, what goes on, what works well and what works less well. They have been given diaries in which to record their findings. This process has started but only just. It has been necessary to have a lot of discussion with the students about how destructive it is to attack a teacher’s teaching methods or to criticize their personality or behaviour. In order for this part of the research to work, there must be developed a situation of trust between the teachers and the students. Teachers must feel assured that the observation process as carried out by students is going to reflect aspects of their teaching in a constructive way. Otherwise, they are going to feel in an ‘unsafe’ position and uncomfortable about their roles as teachers. Students have to understand how to analyse the classroom situation and how to record what they observe in a non-judgemental and neutral manner. At this stage of the process this point has not been reached. It might be reached if more work is done towards dealing with their overt criticism of certain teachers.
It appears that the reason students want to attack teachers’ personalities and teaching methods in a confrontational manner is that they feel generally badly treated themselves. A space might be opened up to them in which they are permitted to say all the things they need to say about what happens in their school day, a confidential space beyond which there will be a) no detrimental consequences to them as a result of what they report b) no continuation of this free off-loading by them into the school environment. This might be achieved by the introduction of a peer counseling system. Off-loading the ways in which they feel belittled and attacked personally (whether or not this has actually happened) might clear their minds of the need to carry this set of feelings into their research. If they have two clearly defined spaces, one where they can say whatever they like TO EACH OTHER about what it is like to be them and one in which they are recording what they observe about class events and the effectiveness of teaching, they may begin to be able to distinguish between personal feelings and objective analysis of a situation. This is just one idea of how to encourage the development of objective observational ability. Any number of other ways of achieving this are possible and these can be developed, experimented with and reflected upon in the SPLAT group with the students at the helm guiding the ideas generated according to their experience.
Empowerment
It was reported to me in the staff room one day by a teacher that a SPLAT member had come into her lesson and kept his coat on. It is a school rule that coats must be removed in class. When she asked him to remove it he objected saying that it was cold in the room. The teacher seemed in her manner of describing this incident to be implying that SPLAT was having a detrimental effect on this particular student’s behaviour. It was suggested that he is not normally like this. I insisted to the teacher and to another who was listening that Jim Cameron had made it very clear to the students in the SPLAT group that taking part in SPLAT did not make them exempt from school rules. I felt at that moment that it was my duty to defend SPLAT (for the sake of the project) and in doing so was diverted away from what might have been a much more interesting discussion and which only occurred to me, later, when I was on my own and thinking. I realized that this incident was perhaps an indication that SPLAT was empowering that student to challenge a rule that at that moment was working counter to his human needs: to not be cold. Since it had been indicated to me that his behaviour was an effect of his participation in SPLAT I had been led to this reflection. However, there is, of course, no way of knowing whether he acted in that manner, to challenge the teacher’s authority, at that moment, out of a sense of increased empowerment or just because he was feeling unprepared on that day to abide by school rules.
As we have run SPLAT so far there has been ample time allowed for reflection on the process. In fact, it might be said that the project is based around reflection, the SPLAT group a sort of high-action action learning set. I suggest that the way in which the effectiveness of and the way forward for a project like SPLAT can best be determined is by recording, somehow, all incidents such as the one above in order to discuss them, learn from them and move on with increased insight and awareness. The difficulty of enabling this process will be finding the time to bring affected parties together to do so within the tight school schedule and alongside all the other demands on teachers’ and students’ time. However it must be said that the whole point of SPLAT or at least, the way in which it becomes real lies in examining the places where the separate cogs of SPLAT and school overlap, particularly where there is resulting friction. I would argue that the friction is the exciting bit, the place where change might happen. For change to result from this a willingness is needed to look at the points of friction with the eyes of an interested scientist examining the results of a chemical reaction and seeing what needs to be done next. A project like SPLAT, if it is going to be effective, cannot happen without a reaction and work needs to be done to make sure that all parties are in a position to want to take the change beyond the immediate reaction to the next step. School staff at every level need to be involved actively in the project. They all need to have the opportunity to take part in a SPLAT group: there needs to be an atmosphere generated whereby everyone recognizes that we are all in the same boat. The project can only succeed if it is viewed by all holistically. If time and availability are prohibiting factors then the schedule needs to be changed to make people available to engage in the discussion.
What SPLAT is, how the group works
SPLAT takes its cue from the student group as it exists on any one day.
Invariably, the make up of the group differs each time we meet due to a range of factors: whether students have exams, other lessons they do not want to miss, sports fixtures and so on. One time a student was missing because he had just been punched by another boy.
Someone came into the classroom and said that C_____ had just been beaten up. I was really shocked but soon noticed that no one was reacting very much. It was only afterwards that I realized that I had found it odd that no one had reacted. The mood seemed to be to keep our attention off this fact and carry on with the session. I sensed that Jim was not wanting this incident to affect what were going to do next since I was presenting some activities to the students and I think he was just trying to be courteous and ensure that my work was not too disrupted by this incident. I, however, noticed how fond I was of the student and that I was worried about him. I wanted us all to go and see if he was all right. Of course, this is not something I would have advocated even if I’d realized it at the time. He was probably in good hands and being taken care of. However, it taught me two things: that SPLAT has the dimension of being a caring supportive group and that the timetable of any session, even a SPLAT session, within the structure of the day is adhered to.
Usually, either Jim or I or both of us have planned what we are going to do in a session. And usually we do what we have planned. However, the plan is not the most important determining factor in what we do. The sessions start with students coming in and sitting where they like. The group does not comprise more than around 12 students so the room is not filled and we tend to congregate around the area where most seem to be sitting. It’s all very relaxed and usually settles into some sort of beginning when people are ready, have made jokes, chatted, punched each other playfully (they do this a lot, it’s a sign of affection, I’ve concluded. I was punched one day, on the arm, by one of the girls and it felt as if I’d been accepted, at last, into the group).
Games
Games play a big role. We might begin with a game. One day we played games all day because one game seemed to move us into another. Or we might do something that seems more like ‘work’ then play some games afterwards. Games are hugely popular because they are fun and they provide a very good arena for experimenting with listening and expressing oneself. I have tried always to suggest we play games that are directly connected to listening, of which many already exist. So we have played Whispers (where one person whispers something into their neighbours ear and this gets passed round the group until it gets back to the beginning and we see if the words have changed. These often become bawdy and this is in fact probably why people enjoy this game so much. See Dealing with Obscenity below.)
We have also played Simon says, Fruit salad, Charades and a movement game where people take turns to call out instructions directing the others’ movements. We have also played word association and telling a story around the circle. Students have had attempts at inventing games, this is rather less successful and the games have tended to fall apart quite quickly. When these games are played, Jim and I take part as full participants. All these games are useful ways of practising listening and speaking. They generate a lot of laughter, playfulness and group cohesion. Everyone seems to get on well during them and they are a great outlet for the students’ energy. When possible we have reflected on a game and why it works, or which skills it allows us to practise.
Who’s in charge?
When Jim and I want to get a particular piece of work done, some authority is imposed on the group. I try to get people’s attention in a rather unsuccessful way by raising my voice a bit, but not too much because I dislike doing this and am not trained in how to do this in the way teachers are. Jim is much more successful at getting everyone’s attention. They are used to his voice and take him more seriously when he asserts himself to the whole group. He always does this in a friendly and gentle manner and it does not alter the mood of the group, which then continues in the friendly way in which it usually runs. I have spent a lot of time on the SPLAT project continually asking students for ideas about what we could do on the project and we have been able to carry out some, but not all of these wishes. Opening up the possibility of playing games in a session is a good because the students become very vocal about which games they would like to play. I see the group as a place to practise speaking and to learn more about speaking and listening and to treat others’ views with respect. A system of ‘passing the conch’ (a VHS videotape) works effectively at encouraging only one person to speak at a time but without this mostly people speak at the same time as others. Jim and I have not wanted to ‘dampen’ this atmosphere and have allowed a higher noise level than is tolerated in the classroom. Obviousy with a smaller group this is possible since the total noise generated is still bearable and it is still possible to get order and focus when necessary. At last week’s session Jim and I wondered whether the students are really active agents or whether to some extent they are guinea pigs. Jim indicated that he thought they were still guinea pigs and I can tell that he wants nothing less than their empowerment and for them to own the project. We then discussed briefly with the group what might change once Creative Partnerships’ involvement in SPLAT ends and the group has to meet outside of lesson times in lunchtimes, breaks or after school. Would they still volunteer to come? In general they said they would but time will tell if the momentum can be kept going once the incentive of missing lessons is gone. Missing lessons is often cited by them as the best thing about SPLAT even though it is clear that this is bluff and they are getting a lot out of it. They have to be seen to not be too 'into' the project because it would not look cool to do so.
Listening
My idea at the start of the project for what to work on was to look at the other side of student voice, which it seemed reasonable to call student listening. What use, I thought, is voice if no one listens? So I proposed looking at the following questions:
What kind of listening is taking place student to student, student to teacher, teacher to student and teacher to teacher to enable the idea of student voice to take effect towards the empowerment of the students and the teachers?
To work with an identified group of year 7 and year 8 students and with allocated teachers to research how everyone speaks and listens to each other within the school, with a particular focus on learning and teaching in the classroom. To use this research to explore the broader themes of student representation, motivation and engagement.
email from J received while I was writing my notes on the project
‘I was reading this and think it quite a useful way of starting to think about the what/where is the work thing and aesthetics. Wondered what you thought...
"In its most general formula, critical art (by which he means art with a political dimension) intends to raise consciousness of the mechanisms of domination in order to turn the spectator into a conscious agent in the transformation of the world....
...In this vicious circle of critical art we generally see proof that aesthetics and politics can't go together. It would be more fair, however, to recognise the plurality of ways in which they are linked. On the one hand, politics is not a simple sphere of action that comes after the 'aesthetic' revelation of the state of things. It has its own aesthetic: its ways of dissensually inventing scenes and characters, of manifestations and statements different from the inventions of art and sometimes even opposed to them. On the other hand, aesthetics has its own politics, or rather its own tension between two opposed politics: between the logic of art that becomes life at the price of abolishing itself as art, and the logic of art that does politics on the explicit condition of not doing it at all. The difficulty of critical art is not that of having to negotiate between politics and art. It is having to negotiate the relation between the two aesthetic logics that exist independently of it, because they belong to the logic of the aesthetic regime itself. Critical art must negotiate the tension that pushes art towards 'life' and which, conversely separates aesthetic sensoriality from other forms of sensible experience....
...It's this negotiation between the forms of art and those of non-art that permits the formation of combinations of elements capable of speaking twice: from their readability and from their unreadibility."
Jacques Ranciere from Problems & Transformations in Critical Art
I think this is very important but am not sure I understand it fully!!!!!
love J_______
Dear J______
I'm preparing a display for my Creative Partnerships project at Hilllcrest School in Hastings on Tuesday. There is someone coming in from Sussex University Educational research dept to see what we have been doing on the project. I will be showing evidence of what the kids have been doing and am going to intersperse it with texts I have written about the process. I really like the text you sent me even though I don't understand it fully either and would like to put it in amongst all the stuff. Can I have your permission to do so? I'd like to put your whole email in just as it is (including the "I was reading this and think it quite a useful way of starting to think about the what/where is the work thing and aesthetics. Wondered what you thought..." bit) and will change your name to J_____ and remove all the email addresses bit of course so no one will know it is you. Or, if you like I can put your full name in so everyone will know it is you who sent it to me. I'd like to acknowlege our dialogue as a very important part of where I'm at with all this work which is why I'd like to include it and I also think the text says something important about the relationship between aesthetics and critical art. It feels very significant that you sent me this text when I was in the middle of trying to write about the project. The display I'm preparing is going to look like a big noticeboard really.
What do you think? Just let me know if you mind me including it or not.
Thanks
Susan
A friend asked me last night who I was writing this text for? I thought that was a very good question and I had to think about it. Eventually I replied: "I think it's for myself - and everyone else who wants to know what we've been doing on the project."
The project has taken on a rhythm of its own. Its pace is slow. We have not yet produced ‘student researchers’ ready to take their questions out into the school. What has happened is that we have created a safe, trusting and playful environment in which we can begin to discuss what critical analysis is.
