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Presentation

Performative /  adjective.

Say the verb or the statement that carries out the action you describe.

A performative classroom was born with the idea of ​​incorporating live arts into the pedagogical experience and classroom action, betting on a methodology that explores the boundaries of what can be done and what can not be done within from a secondary school.

We want to play new roles and get out of the comfort zone. Because moving between multiple roles allows us to understand the other, and by understanding the other we also understand ourselves. Moving us is the question. We want to move the body, think from the body and thus transform the learning space. We want to break with the scripts defined a priori because we already know it: there are quiet chairs and static classrooms; We want to shake them, to find new formulas that allow us to discover new results (or re-discover many others).

A performative classroom begins, then, with a question: Can we build knowledge in an active and collective way, from a body awareness that exceeds the norm of the classroom?

In 1962 the work How to Do Things with Words was published posthumously by the British philosopher John L. Austin. This work culminated in his theory of speech acts, in which Austin distinguished two types of statements: the findings, which we use to describe certain things and are therefore merely descriptive, and the performative, through which an act is performed , the action that he describes is carried out.

Performing the classroom means building it as we want. You, me and the others, all (us). But the “us” always points to a tension and is the result of a practice, of a process in time. At a time when it seems that everything “different” frightens us, we want to add from the differences, from uncertainty, from not knowing.

In this sense, Aula performativa is a challenge: teacher (s), artists, mediator (s) and students must build together (e) s a relationship, they must learn together and together. Because ‘performative’ is just that: what for the mere fact of being announced is already. Because of the simple fact of believing it, this is how it ends, so we say [PERFORMATIVEclassroom], because we want to make it happen. We want to learn from practice, from the process. Because artistic practice, in crossroads with educational practice, has the ability to imagine new ways of being together (e) s, enabling a common framework to emerge, overwhelm the classroom and may affect the rest of the community educational.

In the classroom with Barbara Van Hoestenberghe

“Bárbara often came to the classroom loaded with objects, many of them did not know how to tell us what they used to or why we wanted them inside the classroom. But it was during the sessions when we were surprised to teach, for example, that with a tube (surely achieved within a building’s work) we can get a very relaxing sound if we turn it at a continuous pace, or when We discovered that by calculating the pulsations of our heart with a stopwatch we can find the beat per minute of a song. This was the main course of the Performative Classroom of the first quarter at the IES Montjuic: we learned to discover and appreciate any sound that surrounds us. For Barbara everything was absolutely useful to create rhythms and melodies that we would use later to move our body. And little by little, after moments of uncertainty but also many moments of fun, we have discovered this fascinating world of sounds, discovering new ones, but also learning to listen to many that often go unnoticed.

Imma, a teacher at the institute and also a musician, has accompanied us throughout the process, sometimes with the sound of the piano, others with phrases made with different rhythms, or teaching us how to work their own voice. We also gave surprises to the process, we propose rhythms or songs that we like, ideas, concerns, adding more material to explore and build together (e) s.

But this discovery process is not finished here! The sounds made even more sense when accompanying them with different movements of our body. Barbara’s proposal from the first session was to create a resource that, after passing through the classrooms, we could continue using it whenever we wanted or need it, if we are nervous, tired, deconcentrated … and it is That is why during all these sessions we have been exploring sounds and movements related to CALM, CONCENTRATION and ATTENTION.

After 12 exploration and construction sessions, we have finished giving shape to CONACA ESTAY (you can discover and download the resource HERE), a sum of sounds and movements built by us from experimentation and team learning. “

In the classroom with Mariona Naudin

The artist associated to Graner Mariona Naudin is in charge of carrying out the Performative Classroom of the second part of the school year with the students of 1st and 2nd of ESO of the IES Montjuïc.

Everything begins with a rectangle drawn on the floor.

La Mariona arrives on the first day, and without saying anything, she delimits the space with this rectangle while playing disorders scattered around the gym.

Little by little they begin to realize: Mariona is a new face for them and them. They stop, observe and for some moments they silence, watch out and watch out, the novelty and silent action keeps them expectant. The silence breaks: the Mariona asks them to occupy the space inside the rectangle, and thus everything begins, so sessions begin where the space is the safety pillar of a reconstruction of the bodies. And here is where the Mariona affects and deepens, in each session she strives to find these bodies, activate themselves, become self-aware and lose their shame, approach each other and listen, live. The mass that walks inside the rectangle is now guided by a new parameter: when somebody stops the rest must stop, here is a listening effort between the group.

Whoever watches silently from the outside sees how these bodies transform each day, they are recycled, they are more alive each day. The rectangle that delimits the space continues there from the first day but each time its limits are less accentuated, more diffuse. Does that mean we’re on the right track? Surely yes ”

Students: Pol Abad, Nadia Alcario, Miguel Cañadas, Berta Collado, Lamin Fatty, Marc Font, Carl Gian Fordan, Darío García, Maikel Garzón, Natalia Giménez, Inés Gómez, Natalia Filomena Guzmán, Fatima Zohra Larossi, Alejandro Martínez, Keiska Gabriela Meneses, Xavier Moya, Aitana Navarro, Marc Pereira, Irene Puri, Sara Rojas and Yara Santos.

Teacher: Imma Solé