A blog to record our journey of our university module Professional Directions
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WORKSHOP CONCLUSION AND ANALYSIS
We feel we have successfully created a workshop for people with learning disabilities. We have made this for adults, but feel it could be adapted for all ages and abilities.
We have included activities, games and teachings that enable a workshop to be fun, creative and educational. We have observed professional organisations workshops and teachings to develop our skills massively, as facilitators. We have a much stronger knowledge and understanding on what is needed to make a good facilitator.
We have had plenty of experience being involved in workshops and even leading parts of workshops, with people with learning disabilities. We both now feel very confident to try and work with anyone who has a learning disability.
By creating diary plans and sticking to regular, organised meetings we have managed to record our process in a professional manner. We have used many different forms of research and materials to achieve the best form of workshop practise.
Being placed out of our comfort zones at many a time has developed our strength and resistance, we now feel confident to go out in to the professional world and share our workshop plan with suitable organisations, we have met along the way. We now will use what we have learnt to compliment and support our own individual career paths. However, we both would still like to carry on working together in this field of work in our spare time.
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BIBLIOGRAPHY
Peter, M. (1995). Drama for all. 1st ed. London: Fulton.
Johnston, C. (2005). House of games. 1st ed. London: Nick Hern Books Limited.
Boal, A. (2002). Games for actors and non-actors. 1st ed. New York: Routledge.
Brown, S. (1999). 500 tips for working with children with special needs. 1st ed. London: Routledge.
"LOCIT Process – LOCIT". Homepages.abdn.ac.uk. N.p., 2011. Web. 9th Mar. 2017.
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TINARTS WORKSHOP PLAN (PDF)
Martin from TINArts emailed us a workshop plan that he gives to his teachers to use, for when they are planning their sessions. This will be extremely useful to use when we are creating our own workshop plan.
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PRACTISE WORKSHOP PLAN
After gathering research and discussing what a workshop plan should include, we have a go at creating a practise one for ourselves. We combined information read from House of Games and Drama for all, along with what we had learnt in Facilitation and Engagement last year. Hopefully we can work to have improved this majorly by then end of the project.
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CRITICAL INCIDENT ANALYSIS
("LOCIT Process – LOCIT") See bibliography for reference.
After having our interview with Lawnmowers we were asked to come back and trial out workshop plans out with the Youth group. We knew a professional workshop needed to have a critical incident analysis done after it. How will our workshop change and develop as a result of looking into this analysis and learning and what changes will we have to make? We will also have to consider our thoughts and responses to any incidents that may occur and reflect on them.
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LAWNMOWERS INTERVIEW
We attended an interview at Lawnmowers based in Gateshead with Claire Hills the Artistic director.
1) Could you tell us a little bit about Lawnmowers?
It is a theatre company for people with learning disabilities to feel a part of their society and to challenge the problems and social stigma against people with the disabilities. Lawnmowers has been running since 1986 as an independent company then in 2001 the company was established. Claire said the company are inspired by Augusto Boal and his work on the theatre of the oppressed, he inspires them to explore performance art which confronts people's prejudices. Lawnmowers has 5 different arts forms these are-
Filming & producing
Music and instruments
DJing
Script
Dance & Performance
2) How did you find out about Lawnmowers and how long have you been working here?
Claire was a third year Dram and applied student at Northumbria University. For her project she has to reach out into the region to search for a short term placement. Claire said "I didn't realise how political I was until I came to university" This is why she felt Lawnmowers appealed to her. She volunteered at Lawnmowers for 10 weeks, acting like a Guinea pig for them to show there performances to. She was offered the role of a workshop leader after this period. Since 2016 Claire has been promoted to Artistic director at Lawnmowers.
3) What do you enjoy most about working here?
"The people... wow where to start!" People who join the company managed to find their own identity and have their own voice. Lawnmowers allows people's issues to be looked at in an accessible way. "Once you're a Lawnmowers you're always a Lawnmower!".
4) What's the hardest position you've been in, in your job and how did you overcome this?
Taking 3 company member's to Brazil, the trip was for going to collaborate with a afro reggae company. The risk assessment for this was huge because of white, blue eyed people, being a rare sight in Rio de janerio, let alone white, disabled tourists. As well as this she was also anxious on how the behaviour of one of the company members may be, as there's a good chance they can severely kick off if upset. Disabled people in Brazil are often shunned and looked down upon and this was a big worry for Claire.
However, the trip was a major success. There was no problems "All of the problems I thought would be problems, just weren't and I am so glad I took the risk". Many of the people she worked with over there said they had changed their perception of people with disabilities. The black/Brazilian ex inmates plus white British people with learning disabilities, mix shouldn't have worked but it did. "Never assume, never judge".
Lawnmowers still have a strong connection with the afro reggae company and join together once a year.
5) What's an average day like at Lawnmowers
Andrew a company member shouted out "CRAZY!!", it's full on, we are a family, it's fast paced, we have fallouts, we try to stay positive, and we make memories.
You hear real life stories for example from their bus journey in and someone passing a small comment which can really effect their mood. You even hear stories about their disability benefits being cut. But we fight for the better, we fight for change.
6) How do you keep your material fresh?
Lawnmowers go and see lots of different performances from Northern stage to the Tyne cinema. They also go and see other companies work with a similar ethos. Many freelance artists come into Lawnmowers to experiment and explore with the company members. The next project is working with Nazli Tabatbai- Khatambakhsh on composition work.
They make their teaching accessible through fun, memorable ways of learning. They use there "composition cocktail" to help them understand what elements have been used in a performance they've seen.
Lawnmowers ask people to review there work or put forward any new ideas via social media.
7) Have you got any further advice for us?
Safeguarding- Claire said to ensure we really understand safeguarding and when its needed in our work. She has come across members who have been affected by abuse and neglect. It's important for a facilitator to be able to know when something is not right and to be able to act on it.
Self employment register- If we are going to continue as freelance facilitators then it is wise to register yourself as self employed as soon as you've graduated so you don't get taxed on every contract.
See what else is out there- Explore what the region has to offer and keep seeing new work.
Have an opinion- Make sure to reflect on any teaching or work you see and decide what you think about it. It's ok not to like something, be honest!
Sparky and moley- A man named Ali Campbell who Claire has worked with advised there always be a "sparky and a moley" in a facilitated workshop.
Sparky- Leads the workshop/game/activity.
Moley- Observes the rest of the group making sure everything is running okay.
Stick together- Claire advised us to stick together If we can. It is much easier to facilitate a workshop when there is two of you. Don't become reliant of each other.
Facilitating is not acting- Don't try and "Act" a facilitator it is not a character.
*From interviewing Claire we have been given the opportunity to attend their Saturday morning youth group on the 1st of April and lead part of our FIGS workshop.*
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PROJECT AIM CHANGES
We originally planned to create a performance workshop for children with learning disabilities. And although we were really passionate to do this, and love working with children, we unfortunately didn't end up gaining enough experience with children with learning disabilities, to be able to justify that original plan.
However, we understand that things don't always go to plan and that change can be a good thing. We have really enjoyed the experience we have had working with young adults and older people, with learning disabilities.
We have learnt so much and gained an experience we can take with us through any profession. Iona has still been able to gain experience facilitating and working with disabled people and Emma has actually started considering that working with adults with learning disabilities could be in her future career plan.
The research we have already done before this decision has not gone to waste. We can still use all the skills and information we have learnt and explored, but just adapt it to fit our new target audience. Like Steve from Liberdade told us, you can do pretty much any activity in a workshop for the learning disabled, all you need to do is adapt it.
We are still as excited about this process as we were to begin with, and still hope and expect to make a successful, accessible workshop plan, for adults with learning disabilities.
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TINARTS WORKSHOP
TINArts is an inclusive dance company based in Framwellgate Moor. The company was founded by Martin Wilson and Tess Chaytor in 1999. Tinarts offers a wide range of performance arts classes and courses for people with mixed learning abilities. These are-
After our interview with Martin we went to TINArts and met with Tertia one of the dance practitioners and plans the creative strands for the company. We went along to the GeTIN2Academy and participated in the warm up and starting activities. At the end of the session we spoke to Tertia about our project and she invited us back for some more sessions. (Please refer to personal blogs for more detail). A picture of the TINArts back room is shown below.
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LAWN MOWERS REPLY
After 3 weeks of waiting we didn't receive a reply from Lawn Mowers, we decided to contact them again via the contact form on the website. We then received this reply on 27th February-
Hi Emma,
Thanks for your enquiry, I have spoken to Claire Hills, one of our Artistic Directors who suggests arranging a meeting with her to discuss your research. She has some availability on the morning of 9/3 or afternoon 14/3 would ether of these work for you?
Thanks,
Wendy
Our reply-
Hi Wendy,
Thank you for your reply, would it be possible to book a slot in the morning of the 9/3 please?
Many thanks,
Emma
Wendys reply-
Hi Emma,
I have put a meeting on Claire’s diary for 10:30am on 9/3, are you able to come to Lawnmowers?
Thanks,
Wendy
Our reply-
Hi Wendy,
That’s great yes, see you then!
Many thanks,
Emma
Wendy's reply-
Great thanks Emma.
Best
Wendy
We are looking forward to meeting with Claire and finding out new knowledge and ideas which can help us with our workshop development.
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LIBERDADE WORKSHOP
Liberdade (Freedom moving) started off in the spare room of Lawnmowers base in 2003. It then became an independent company in 2008 where is moved to Gosforth civic centre. As well as being a physical theatre company that explores all creative arts Liberdade is also a social enterprise and represents the learning disabled in the local community. They run 4 programs-
The Liberdade internship
Liberate Drama
Health and wellbeing
The Yip Yap Amigo's
We went to Liberdade and met with Robert Huggins the CEO of the company. We told him our project and he seemed very willing to help. He reminded us that it would be adults we'd be working with, we said that would be okay and that the experience would still be beneficial. Rob explained he would be running the morning session with Kelly the movement leader of Liberdade. We were invited to observe or join in but Rob recommended we get involved. We did just that (Please refer to personal blogs for detail explanation).
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Interview with Martin from TIN Arts
^This is one of the leaflets Martin gave us in the interview. It has information concerning the organisation and what other companies it joins with.^
We went to meet Martin whom is one of the two people that set up TINArts, based in Durham. Our aim was to find out into greater detail how TINArts started up and if and how Martin could help us in developing our knowledge on workshops and working with children with learning disabilities. We had a set of questions prepared, but Martin was more than eager to discuss his knowledge and experience facilitating, engaging and working with children with learning disabilities and difficulties.
We began discussing what it is like to work with children with disabilities, and how he most effectively can challenge and develop their learning and skills, in the most appropriate and successful way. The first point he made was that as a facilitator you need to make sure there is another staff for the number of children in the room, for example for 15 children in the 'Twister' group there are 3 adults for support.
We had a selection of questions to ask Martin, the results are below-
1) What Inspired you to start up TINArts?
In 1999 Martin and Tess had the chance to run workshops for a project in a school environment, whilst running this workshops they both noticed an inequality feeling and he felt there was not an equal access to the arts. “It was almost like the stage school effect” Martin said.He saw this as a great business chance, although he has no experience in the field of people with learning disability/difficulty it didn’t put him off.
2) Where did the name TINArts come from?
“It is as simple as Tin from Martin and then we wanted to create art, so TinArts*
3) How do you attract clientele?
Martin said the best way for them was social media, flyers, local newspapers and word of mouth. But social media was his biggest tool, also he stated they had just updated their website after some feedback.
4) We understand your company provides opportunities for people from all walks of life, we are wanting to create workshops for children with learning disabilities/difficulties what advice could you provide for doing this?
Martin told us to consider our group and how we split them up and how suitable the workshop is for the group. What might work for one might not work for another but that is all trial and error. They like to be able to see it, hear it, read it and touch it. Sometimes in Tin’s work they used touch and texture so people can feel the words they’re explored so “ripple” would be a 3D piece of paper with ripples. To spend time meeting and learning the group if we are frequently going to be working with them. He said if we are giving our workshop to someone else make sure they get it well in advance so they can be 100% sure on what they’re doing. The biggest thing is treat them how you would want to be treated at the age.
5) How do you keep your classes and workshop up to date?
At TinArts they use all 7 teachers to place ideas and inspiration together for every workshop and class, so it isn't just the person running it, everyone is involved. They plan and connect ideas with others. They like to challenge groups so at the end of terms and sessions they often ask the participants what they’d like to do and learn. If they’re going into a school setting the school normal provide Tin with a subject/theme and tell them how to run the workshop. Martin said they use colors to represent the left and right of the room (green and red) this helps group members to know which side of the room to travel or go to and can be less confusing then left and right.
6) What 3 things do you consider to be crucial to include when creating a workshop plan?
Structure is a main thing Martin expressed, he said set the same task for people in different ways, this gives them a chance to explore new things or find new ways of explaining things. A journey is very important in creating a workshop, you need somewhere to go and somewhere to be heading. “Simple things are fine”, it is better to have spare time.
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INTERVIEW WITH MATTHEW SMITH
We were advised by a lecturer to contact Matthew Smith a 3rd year Drama and applied student. Matthews project is exploring the role of a facilitator with adults with learning disabilities. He's been working with The Twisting Ducks Theatre Company, a local theatre company that uses forum theatre to explore important issues.
The results are below...
1) We understand you are working with twisting ducks, why did you choose this organisation?
My girlfriend worked for them last year and introduced me to them, it was the perfect opportunity for me to take.
2) Why did you want to work within this field of industry?
One of my best friends has a disability, so for quiet a while now I have wanted to work with adults with learning disabilities.
3) What has been your favourite part of the journey?
The best thing has been meeting the group and learning a lot of new life skills, I wouldn't of learnt without the twisting ducks.
4) What have you found the most challenging?
The hardest thing I found was knowing how to work with people with learning disabilities and not to undermine them due to there disabilities.
5) What has been your role in the process when working with twist ducks?
My role has been to support the group, so basically being an extra pair of hands! Last week however I ran my first workshop by myself.
6) Do you have any advice for us?
My advice is don't be scared to make mistakes, your ideas may not work for one group but might for another!
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500 TIPS FOR WORKING WITH CHILDREN WITH SPECIAL NEEDS.
By Betty Vahid, Sally Harwood & Sally Brown
As the book suggests it is to be used as a source through out a journey of learning to and working with children with special needs. This book provides advice and strategies for teaching and enhancing learning.
Chapter 6
5- "Pay good attention to your own diction and classroom delivery. You do not need to shout, but can help hearing-impaired pupils greatly by articulating distinctly. Enunciate clearly and make sure your pupil can see your lips. Do not speak while you are writing on the board, unless you are also writing what you are saying. If you read from text, hold the book away from your face". Page 17.
Considering everyone's specific needs around you is something that you mustn't forget, you do not want member of your group feeling isolated because you have weak communication skills meaning they cannot understand and participate.
Chapter 9
3- "Watch for a poor attention span. There may be difficulties in listening to the briefest and simplest of instructions. Pupils may even fail to engage in any listening to at all. For instance, they may be doodling, or making paper darts or picking up materials which are not relevant to your lesson. They may attempt to talk or distract others." Page 22
You are being asked to encourage children who may find it easy to go off track and loose focus to be constantly engaged and involved to avoid being distracted. To do this you could ask them to be a volunteer in a demonstration or ask them a question.
Chapter 10
5- "Look out for non-participant's. Refusal to participate in any group or practical activity, even when the other pupils are clearly having fun, is a sign of shaky self-esteem. This pupil may only seen happy in the role of critical spectator. This can lead to unpopularity and isolation, thus confirming a negative self-image."
You need to be aware of those pupils that aren't as confident as other children. You need to support them and guide them into working with others and sharing there ideas in order to become more confident.
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LAWN MOWERS EMAIL
At the professional directions fair we were advised by a number of lectures to contact Lawnmowers for some extra help and guidance. We observed some of the company's work in 2nd year when they came in for our facilitation and engagement module. We were really impressed with what we saw and their ethos and work ethic really inspired us.
We sent across this email-
Hi my name is Emma-Rhiannon O'Brien and I am currently undergoing a project at university called professional directions. As part of my project I have teamed up with my peer Iona Johnson to create a company that specializes in creating workshops for children with learning difficulties/disabilities.
After you came to talk to our class in 2nd year we were really inspired by the work that you do. We would love the chance to come in and maybe observe some of the work you do and ask a few questions to help us develop our own project.
Many thanks,
Emma-Rhiannon O'Brien
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Interview of Helen
When looking around the professional directions fair we came across Helen Doyle, a 3rd year Drama and applied student. Helen's project is exploring the role of a facilitator, we thought it would be useful to interview and chat with her, to gain more knowledge and a different perspective into facilitating.
The results are below...
1) Could you tell us a little bit about the project you’ve been working on?
I have been exploring the role of a facilitator working with children. I have been writing log books about my freelance work as a support worker for Lives' youth theatre (this is cover work if the original support worker is unable to attend the session) and a volunteer writing mentor for Live Tales. I have also interviewed some of the education and participation team about their experiences as facilitators, the audiences they have worked with and how their communication techniques and workshop content differ depending on participants as well as advice they would offer to new facilitators. All of which will aid me in understanding some of the most important qualities of a facilitator and key features of a workshop.
2) What inspired you to be a part of this process?
I have always been passionate about working with children and enjoy seeing their passion for theatre and performance.
3) What inspired you to research and want to go in to facilitating?
I think it is great that drama can be brought to a wide variety of audiences (which also inspired me to choose Northumbria’s applied theatre course). I am passionate about seeing people enjoy drama the same way I did growing up.
As a beginner facilitator, I felt it would be a good opportunity to expand my knowledge of the topic and role for Professional Directions and learn from both books and experienced facilitators some of the key techniques to being a good facilitator and leading a good workshop.
4) Where do you source your inspiration for workshops?
I am yet to lead a full workshop of my own; however, from my research and experience, I would say that my biggest goal is that the participants have fun. This can be through games and deciding which activities would be best to unlock the participants once you get to know them better (if the workshops are regular). Or if there is only one workshop, have multiple activities prepared and observe the group throughout the session so you know, depending on their personalities and confidence within drama, which activities would work best for them. From experience and talking to Live’s education and participation team, I believe you should also set a target for each session, whether this be you want the participants to have created a 2 minute scene for a devised piece or simply bonded as a group if the workshop run for a certain period of time. Work out exercises that can help you achieve this target.
5) What do you find most challenging when facilitating?
I sometimes struggle if a child is unsure of the task they have been set or stuck for ideas (e.g. regarding devising a scene for a performance or writing ideas of their individual endings in Live Tales).
6) Where have you facilitated as of yet? How have you found this?
So far, I have only facilitated with Live’s youth theatre. My role as a support worker is to ensure the participants are comfortable within the setting and with the games and exercises featured in the session. However, I have led a warm-up game at Kenton School, one of Live’s satellite youth theatre group. I selected an exercise that explored focus and concentration in preparation for the session ahead. The exercise also contrasted with the initial plan set by the lead facilitator, who had planned games to release the participants’ energy.
I have also been in charge of working with small groups when devising scenes for a full piece of theatre when working with one of Live’s in-house youth theatre groups. As the group knew each other very well, they came up with some great ideas and I confirmed that their staging and dialogue was appropriate for the overall piece.
7) Do you have any advice for us?
Always prepare a back-up plan when devising workshops in case something goes wrong or the participants don’t like a certain activity.
The older the group, the longer an exercise can go on. Very young children have a shorter attention span so long activities could result in them losing overall focus, whereas older groups are able to focus on one activity for longer.
If you are looking to gain further facilitation experience, don’t hesitate to get in touch with various companies in your area. This allows you to gain valuable contacts for your future work, gives you the opportunity to work in a variety of settings and adapt your facilitation skills and approaches depending on your audience or setting, even if you simply observe some sessions.
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