Part of the ICAF 2014, Rotterdam.
The workshop room was almost in darkness and Marco Ferreira from Portugal welcomed us in silently. Pens and paper on the floor showed us where we should settle in a circle and Marco set about explaining the first activity – in silence, but not ‘sin palabras’, without words – he had a handy notebook hanging from his neck to write key words and explain the aim. We were to write (with words) our dreams for the future on sheets of A4 and then he led us with movement to peg these thoughts on to ‘washing lines’ in the room. Next we wrote our names on paper and he explained how to speak our names using our body, and as we each got up to do this there was an interesting dynamic of self selecting the order, with no intervention from Marco. Very Confident Man next to me went first, then Drama Girl across the way quickly followed. I decided it best to get it done early, so got in next, then different lengths of pauses developed as people weighed up their options. There were those who were thoroughly in tune with the methods, and everyone else seemed to think “in for a penny, in for a pound” (“In for a cent, in for euro”?) and pushed embarrassment to the side.

Just as well, as the following activities involved a range of interpretative movement, hugging and non-verbal communication which (In for a penny in for a pound) I found energising and refreshing. Having been on tour for five days at that point, I was just at the point of feeling pretty ‘talked out’, and there was plenty to take from Marco’s work. He performed his own piece for us in the middle, which showed how unspoken work can be mesmerising, beautiful and communicate a thousand words.

In choosing the workshop I wanted to reflect on how I work with ‘non-verbal’ participants, particularly those with learning difficulties, but also the shy characters who can easily be side-lined in a noisy group. The programme had explained that Marco feels “that during artistic processes those with the loudest mouths tend to dominate” and when he works silently there is space for all to contribute. I worried that the notebook puts pressure on the literacy of the group, but at the same time I could see the some instruction is necessary to get things started. In spoken sessions the dominant individuals can sometimes take their opportunity to ‘say their piece’, as if broadcasting their views, without having to engage with or even acknowledge the reflections of others. I can see that working in silence pushes everyone to take notice of every non-verbal cue. It heightens the senses and instantly turns individuals into the cooperative team, as we are reliant on feedback and interaction to communicate, as if it were a puzzle to be solved.

As the session progressed I found myself reflecting on the ‘noise addiction’ suffered by most of the young groups I work with. How lovely it would be to reduce the cacophony to total silence, to demonstrate what you miss when you must fill every second with sound. I know some young people who would find this terrifying – and I might just try it!

Sophie, High Peak Community Arts

Back to ICAF Rotterdam information

How do you build a network of wildly different organisations spread across a region of 6,000 square miles into a team of co-workers?

A snap shot of an EMPAF meeting would show you that there are not enough hours even in a day-long meeting for passionate people to get everything off their chest. Everyone has so much to say, share and hear from each other – our UK meetings often end when people suddenly stand up and say “I have to be on the train at 10 past”, put on their coats and walk out. Then everyone travels back to their part of the region thinking of all the things we didn’t talk about; how interesting it would be to get views on a pressing issue that wasn’t on the agenda.

What was discovered at ICAF 2011 was the space to explore anything and everything on people’s minds, and the content of the conference itself as a catalyst to brand new thoughts and ideas. Well, so I was told – I wasn’t there; my colleague Jill Turner was the High Peak representative that year, and she came home with a twinkle in her eye and a spring in her step. So the Caravan of Dreams was born at some point between then and 2013 when our planning began. Taking that idea of finding the space to work together intensively, we now have four of us sharing a journey in a van (two in relay), plus the reinforcements of another three who have joined us.   And I have to say it has been such an honour to visit and be welcomed by so many wildly different and passionate workers here in Holland. They almost feel like part of our extended network now and reflecting on their practice has shone a light on our own.

I’ve loved being in the van – Andy Barrett from Excavate talks in his blog posts about approaching each encounter with a sense of mischief. Yes, having witnessed him leaving a food parcel by the door of the family who told us where to find the supermarket, I can attest. His warmth and energy have made an impression on me and it is exactly this kind of close working which we have no space for back in the UK. Millie Ferguson from the Core in Corby is a legend of digital knowledge – I have been quietly sucking up new information and loving seeing how someone does it properly. Keeping up with technology is a major issue for a tiny organisation like ours, where I am the default IT Manager, but am entirely self taught.

Everyone at home thinks I’m away on the ultimate Jolly. But we have worked till near midnight on most days, and with a sense of panic over the volume of footage shot, the photos to upload, the coordinates to plot on Empedia. Now is the time to make sense of it all and get gifts for those at home who have planned so hard and supported us while here (yes, Amy Smith, that’s you, and Tony that’s also you and many more…). ICAF 2014 starts today – so watch this space for the fireworks that sets off.

Sophie, High Peak Community Arts

Further thoughts from the festival:

Sin Palabras workshop with Marco Ferreira