July 8, 2015 at 1:44 pm #541
October 12, 2015 at 12:00 pm #1186
The workshops in Madrid gave very good sight to this theme as we had the opportunity see the Debajo Del sombrero team in action. The reflections on the workshop shared by Debajo Del sombrero and those who visited gave good insight.
“The pedagogy is not an easy issue to resolve for Debajo Del Sombrero within projects.
Originally, the work pedagogy means “to lead or lead to a child.” Debajo Del Sombrero does not see our on-going work or this workshop as strictly educational, however the work does have deep
relationship with education and learning. This relationship however is understood as a “guiding” or
“driving”, from the responsibility and maturity of an adult life of the artists engaged in the
What is being driven or guided in the project can not accurately be described as teaching or
learning, but the experience that is taking place for the participant. All proposals in Debajo Del
Sombrero are open to reinterpretation of the participant artist, that is, open to their experience. They
will experience the proposals or activities in their own way. Their reinterpretation is valid not because it
is more accurate or closer to what it should be, but because it is their reinterpretation and experience.
The authenticity of their response is a measure of the authenticity of the artist. From there begins
a new order of reversing and interchanging teaching and learning, where that which is taught and
learned is renewed and reinterpreted at every turn.
Because of this type of thinking about the experience and the learning it is very important for the
collaborating artist, to have intuition and to be experimental and very open. Above all it is important
to be constantly reflecting. That keeps the facilitator or collaborating artist from giving conclusive
meanings about the work of the participating artist, keeping intact the authorship of the participating
artist and their separation from the author and his work.
Intuitively the collaborating artist closely accompanies the participating artist to read the their
movements, contributing communication about what is emerging in their work, and what they may be
The collaborators have the role of facilitating participant processes, entering into communication with
him from the place of the art process, not from the roles assistant.
In that sense, they are an observer, attentive to propose or make room for action by the person they
are accompanying, according to their rhythms and needs. The facilitator/ collaborators proposals
are valid if they continue or are approaching or reinterpreting the general line of work opened by the
participating artist. Their intervention should serve to give wings to the artist’s work, taking care that it
is no longer “their” work.
How to accompany that participating artists is the collaborating artists decision. It can move
between a focused accompaniment with attention to the person, or and accompaniment with
purposeful distance from them, active and independent. The facilitator/ collaborator can act as an
artist themselves, without making the participant dependant on them. This last form of accompanying
is the most common one and maybe one of the most interesting. The most usual accompanying is
the person who tries to read the interests and the movements of the participant.
What are the responses and experience of others working to support artists. What approach resonates with your work?
What is the response of the artists to different approaches? How does thier work reflect the relationship with collaborating artists/ facilitators?
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