Facilitatorship

The third point of my pedagogical basis is the Pedagogy of Recognition. The Pedagogy of Recognition is an artistic-pedagogical thinking model developed in 2012 by Finnish PhD Artist-Researcher Raisa Foster and it is based on Paul Ricoeur’s (2005) analysis of the concept of recognition. The method is also partly based on the sociocultural animateuring I mentioned earlier. The Pedagogy of Recognition focuses on a change in educational thinking at three different levels: 

1) from a teaching technique that emphasizes knowledge and production towards an improvisational and experiential educational encounter 

2) from an egotistic self-confidence towards a reflective self-awareness and 

3) from tolerance towards genuine reciprocity of self and others. 

Tanssi-innostaminen® method (Transl. Dance Animateuring) developed by Foster is also based on this pedagogical thinking model. The method has also been used as one of the artistic methods in the construction of the Contact method. What is significant about this way of thinking is that it allows mutual recognition to be the main objective of all artistic activity. This idea, in which participants can, in a reciprocal relationship, be genuinely themselves within art, is, in my opinion, the main aim of all inclusive work. 

But how to get to that level of mutual recognition in interaction? In Tanssi-innostaminen®, movement is the core of the method and it relies on a variety of movement-based tasks. Through the tasks, participants move alone and together without specific instructions. The tasks evoke mental images.  Group members are guided away from what they have learned, away from “dance” as a concept, towards improvised movement that comes from within themselves. The focus of the guiding process is therefore on setting a framework, in which one can feel free. Inside this framework for improvisation contact is established between the participants, and through this contact are also the art itself as well as the recognising, feeling and acknowledging encounter inside the art created.

However, the full realization of inclusion is challenging, as participants may have internal or external barriers, such as prejudices and attitudes, that affect their ability to throw themselves into the situation. In addition, the facilitator may have questions about the focus of the activities. Do inclusive activities require compromises and do they allow all participants to bring out their strongest potential? And do the activities emphasize engagement first and what is the role of technical skills?  

There is no single answer to these questions and I think it is important to remember to be open and honest, both with oneself and with the group members. The facilitator must be able to articulate the objectives of the activity and also provide each participant with a suitable challenge. The group members also have the right to know what is being sought and why.  That is why I feel that it is also important to reflect upon the concept of art and to open it up. This makes a common understanding more possible. So: make art and talk about the essence of it too!

Though artistic processes, like the Contact method, have social objectives and are often therapeutic for the participants, the focus of the activities must be on creating art itself. It is therefore useful to set clear objectives for the artistic process, both artistically and in terms of promoting the well-being of the group. This makes it easier to plan the process, because the objectives also help to outline the kind of activities that will be carried out. It is also worth remembering the evaluation of the activities, which is of course important not only for the participants but also for the facilitators themselves. 

Nevertheless, in order to be able to guide the group in a way that takes into account all the participants and their individuality, the art facilitator must have responsibility and an understanding of the activities (shoulders). During the artistic process, the facilitator can consider questions such as: What kind of reactions might the exercises provoke? How to act sensitively and take each individual into account? The facilitator is primarily responsible for creating a safe and respectful environment in which participants can express themselves as openly as possible and in their own way. Facilitator’s previous experience (feet) gives support to this understanding,  through which the instructor’s own competence is also developing. It is important to understand that participants may need support in very different ways. Sometimes someone needs a gentle push forward, sometimes it is better to stop the activity and discuss. Sometimes the best solution is simply to give space and time. 

One of the most important things for the facilitator to consider are attitudes (heart). Attitudes should be considered at both a general and individual level. It is important for appreciative interaction that the facilitator is also able to perceive their own attitudes and prejudices and the possible effects on their own mentoring. In addition, inclusive groups may encounter very different situations and participants may have different backgrounds and histories. These can pose unexpected challenges and even conflicts, for which the facilitator should be prepared, if possible. Agreeing on common ground rules also helps to create a safe environment. For example, the whole group should be aware of common rules for open communication and touching. Boundaries create security. Joy, i.e. the use of laughter and humor, is a good thing to remember for the atmosphere of the activity. In addition to art, the facilitator also teaches the group to understand and have a respectful attitude, which involves mutual understanding and recognition. However, it is important to remember that inclusion should not be ‘at any cost’, everyone’s right to individuality and to their own ideas must also be borne in mind, even if they conflict with the opinions of other members of the group.