Promoting creative processes in uncertain times

Promoting creative processes in uncertain times

danza

organizational strengths based practices workshop -Seminar

Psych. Rasia Friedler

With the participation of:

Spontaneous Dance Company SaludArte

Organizers:

SaludArte Foundation

supports:

Avina Foundation

Cristina Canoura

They arrived one by one and placed sitting in a circle in the bright conference room of the Punta Trouville Apart & Suites. About 15 representatives from different non-governmental organizations attended this seminariotaller driven by members of the Avina Foundation and organized by the Foundation SaludArte.

The meeting is part of a series of awareness and training sessions on “New approaches and tools for social creativity” in the project “Successful Experiences of Sustainable Development Uruguay made with the support of Avina Foundation (2001-2009) “.

The challenge of the day was to identify strengths and problems of organizations and find creative ways to solve the latter collectively.

At a time when societies live a growing weakening of institutions, especially the state and the family, creativity is the antidote, organizers said.

Daniel Ullmann, coordinator of the hospital area SaludArte, stated that the challenge is to find effective ways to influence public policies. One of the ideas mentioned by Daniel is that “to transform the contents must be transformed forms”. Thus, the leavening exchange between organizations that experience similar problem arises as one of the ways to understand and confront moments of crisis.

One by one, the participants had arisen. Later they were joined by others. Humberto Demarco is chairman of the Special Red Uruguaya and director Politeama, an electronic magazine published by the traveling Cultural Workshop called “Restless”, one of whose proposals is to try to stimulate the senses, drifting and traveling on roads that are not dependent on the vision.

Silvina Horn is a consultant and trainer in human management of organizations in activities related to creativity.

Ana Laura Meneses is an educator and belongs to the Centre for the Promotion of Human Dignity (Ceprodih), which works with victims of domestic violence, especially mothers and children.

Roxana Machado represents the Group Disability Studies (Gedis), Department of Social Work at the Faculty of Social Sciences. This is a group of university extension proposed transcend the academic sphere and raise awareness of the experiences of disability.

The Spanish Susana Soto two days ago had just arrived to Uruguay to participate in an internship at the Popular Education Network of Women (Repem)

Lee Martinez is responsible for institutional development of Endeavor, an organization that receives funds from funding agencies to stimulate the development of local enterprises.

Juan José Oña, the Uruguayan Center for Appropriate Technologies (Ceuta) seeks creativity from technology.

The organization I represent is dedicated to the research and application of appropriate technologies and one of its objectives is to stimulate community projects and mobilize youth in each community. It is also of interest to communicate the processes in which is committed through audiovisual.

Ariel Castelo, is director of La Mancha, an organization dedicated for 20 years to the promotion, training and research on gambling ago.

“The territory of the game is particularly conducive to shoot creative potential of people,” says Ariel. Paula Olivera, the Institute of Social Economic Promotion of Uruguay (IPRU), founded in 1965, works with children and teenagers in the west of Montevideo.

Daniel Moreira, psychologist INAU-Cenfores (Centre for Training and Research), is also a professor at the School of Psychology. Working on a program called “Toolbox” for the encouragement of creative experiences among educators.

Rasia Friedler, Director of SaludArte and ally of Avina, stresses the importance of “putting in focus” the need to promote and develop the creative potential in citizenship, promote innovation as a development strategy and create opportunities for the production of creativity organizations, to function as true “powerhouses of ideas.”

He called the participants to consider social creativity as a phenomenon that requires tolerant and open in a changing and unpredictable world spaces, and also to “collectivize this creativity to revert positively on the whole society”. He added that organizational strengths-based approach promotes cooperative capacity necessary to manage change. This involves identifying, recognizing and developing the strengths of individuals and teams within the organization. Friedler stressed “the need to promote social creativity, including and in turn transcends individual” and referred to the different moments of the creative process: immersion, incubation, illumination, evaluation and processing.

“Without uncertainty you can not be created. The creative process not only allows us to know how things are, but imagine what could be. And in order to perceive the distance between what we know and need to know the possibilities for developing certain attitudes and values such as flexibility, proactivity, sustainability, trust and spirit of risk. Organizational models are another crucial to promote or inhibit social creativity factor, “said Friedler.

In this regard, he referred to the Free Software and Wikipedia as examples of anonymous initiatives that have achieved the “fertility unusual connections”. He also mentioned the so-called “prosumers” proactive people who voluntarily engage in campaigns or report their opinion on certain products, brands or services, getting involved in their development.

Your prompt questions were: How do we recognize and value the social creativity? And the strengths? Why do some teams become reactive rather proactive? What factors hamper creativity within organizations? How to develop the skills, knowledge and practices necessary for organizational strengthening based on innovative paradigms?

For Horn, referring to what is called recreational training, there are organizational structures that cut the possibility of people to express themselves. Prejudice, in general, they are often the main barrier.

However, it notes that today many companies seeking such activities even resort to different names. “I feel we are breaking barriers. And play is not a bad word. ten years I do, accept close my eyes was unthinkable, “he said.

The fear of ridicule is possibly the most common affective blockade, said Friedler. He also listed the perceptual blocks (see just the obvious), cognitive (excessive attachment to logic), conative (lack of curiosity and interest rates) and sociocultural (restrictive social and cultural patterns and political critical thinking). Some questions to ask are: What are our organizational strengths? What, why, who, when, how, where? Do we share the value system of the organization in which we work? Do our contributions are taken into account?

To identify the obstacles that inhibit creativity of the participants in their respective organizational and discover new perspectives among all are, Friedler introduced Spontaneous Dance Company.

To this end, participants raised a very subtle exercise: think only in a situation or a problem experienced in the organization they work. Close your eyes to focus on identification, catch him in all its details. Respond to who, what, when, how, where … help clarify.

Lee, Endeavor, were encouraged to tell their story. The company to which it belongs receives funding from international organizations for the promotion and development of various undertakings. In fact, he has become an agent of pressure, so that the accountability process is done in a timely manner.

It is worried and unhappy for not being able to get staff in charge meets fully the administrative record of these processes.

“When asked some additional data extemporaneous see it as a requirement of Lee” he says. Meanwhile, the team SaludArte began his warm-up exercises. All in black and barefoot perform stretching exercises. Each his own; all different.

accessories deployment begins. tulle, silk, metallised: a coat rack fabrics of different texture and color are hung.

Bruno, a kind of minstrel deploys its instruments at his side: one tormentófono, tambourine, maracas, a Brazilian tamburim, a cylinder of wood, a agogô cane and his own voice. You will use each according to the circumstances and timing.

The scenes of spontaneous dance will begin. Not everyone here knows what it is. The driver is giving the guidelines.

A narrator leaves the public and offers history that actors need to improvise. But before we hear themselves be presented one by one and will have something personal in relation to the theme of the seminar. The rest, it staged. A gong, sharp timbre, marks the beginning and end of each act.

“I’m Sebastian, I have spent thousands of things. At one point I was homeless, jobless and without a partner. I did not know where to start. So I decided to stop, stop and sit and think. ”

Rodrigo recalls a childhood experience with other children when it was fun playing ball. At one point, the owner of the ball ended the game and took her away. With how much fun they were! Then someone came up to ask the neighbor a ‘verija “pork, a recent butchered trophy, which swelled and transformed it into a peculiar ball that allowed them to continue having fun.

“Reminds me of my grandmother told me before he died that the world is a sinking ship and I had to sing,” recalls Yoel.

Maria Noel that when he went to school at a time, in the school canteen was no food. “The 5th went to neighborhood stores to ask for food and in return they sang a song.”

Daniel says that in times of uncertainty feels he has “internal chaos in the head” and accurate “pause, choose to move forward.”

“I liked very much a chiquilina but his nature knew he could not atomize. So I started drawing on a wall whenever I wanted to be with her. The painting ended up being a mural and today chiquilina is with me “, he told Bruno, the minstrel.

Rasia, in turn, said that in his family, consisting of husband and three children, all are very busy so sometimes the house is a bit messy. One day, the youngest daughter suggested he had scored in a cultural exchange program and a girl was coming to live with them.

What initially appeared to be a “problem,” he prompted them to order domestic “chaos” with creativity and family. Participants are entering environment in light of what they saw.

“How are you?” Asks Rasia. “Barbarian” answer. “A fluidic sculpture representing this feeling,” she suggests the actors. After collecting other sensations of participants and recreate them from the scene, it’s time to take back and listen to the problem posed by Lee: “Since the processes there is a high demand for information.

People see it as a problem and not indivdualiza the requirement in the institution but me. I try to do it in the most amicable way possible. They like it or do not like have to fulfill.

At first I had to make a learning process and pre-empt ask certain things, so that should surprise time. When I saw that there was not going talked to my boss and met everyone.

This process has now been a year and a half and there rispideces because the demands have increased. The aim is that the funder to be satisfied and continue to support. ” The title chosen by the narrator for the scene is “How to develop a project and not die trying.”

Sebastian represents Lee. Order black wooden cubes purpose: by the time they are banks or platforms or beds. Maria Noel, wrapped in tulle and laminated fabrics, represents one of the funders of the organization.

Daniel and Rodrigo, a part of the team must meet the demands and requirements. Each in his role. The Bank requires to Lee; This tries to explain to employees the demands of bank employees comply (or not) at your own pace.

“Someone comes up with an alternative to solve the problem? What would he do? “Asks the participant Rasia public once the scene. “Stop the situation and get a change,” suggested Paula, IPRU.

“Who could give the order to stop?” Asks again Rasia. “Lee should be the one giving the order to stop,” he identifies Paula and is invited to take the place of Lee among actors. As the case graph form, the plug fabric.

She, calm, restraint, invites all to take a seat to talk calmly and create a space for dialogue. “The world does not end in one day. You need to talk things out in due course. Tomorrow at 9 we gather here and we will talk about how to organize ourselves better, “he concludes.

This scene offered a new perspective, and possible solution of the conflict. Rasia encourages any other participant tell stories about the strengths difficulties inherent in their task.

Jorge works in the settlement “Villa del chancho”. Until recently, there lived 28 families on a garbage dump, which were relocated into two lots, one urban and one rural.

In rural areas, 11 hectares, raising animals live and collect waste. It is planned to make a garden there. With this division, Jorge concerned “creating community” from two farms where everyone is classified as “top” and “bottom”.

The area of a resist going to build houses of each other, although they have organized many activities in common, as a kermesse. At present, the picnic area is in rural areas but in urban areas, with different excuses not want to send their children there.

Daniel will be Jorge. The two actresses embody the residents of the urban sector dedicated to odd jobs and the classification of waste. Two other actors, who live in the rural area where pigs are raised.

The title of representation will be “united village” and will be developed in three stages. The settlement, division and finally Jorge and his proposal to create community. This time the fabrics take center stage.

They become rags, we must classify them. Yoel wears red cloth tied around his neck a sarong. Maria Noel, dons a blue silk at her waist. They make as if rummage in the trash. Daniel, surrounds, invites you to sit.

Jorge positively surprised and says they staged the situation is almost equal to what happens in reality. Rasia again asks the audience if someone comes up how can return to reunify the two groups.

Jorge notes that the project is four years and once a week a meeting is done, workshops and cooperative coexistence are made, but that the time for action not worked notions apply.

Rasia invites participants to focus on solutions. Jorge clarifies that have already been almost two years of trying and would like to leave the final delivered the dancers-actors.

Artists imagine a different ending: a soccer field in the middle of the two properties. Frustration: the court already exists in reality and also a road built together.

We will have to keep looking for other creative alternatives. The end is coming and it is time to evoke the experiences recreated and acted spontaneously. The actors are placed in a circle with their backs to each other and begin to turn: the movement itself displays the various scenes depicted during the workshop with gestures, sayings, expressions, sounds.

How difficult it is to find solutions! In some cases, it is the time which gives conclude two participants. Which time? Does the daily time, time scenic, musical time, historical time, group time, subjective time, chronological time?

Let go, without fear of uncertainty, concludes another. The experiences narrated and recreated artistically illuminated some aspects of social creativity in organizations. How could then release the ropes and let our thinking, in our lives, it happens again?

Montevideo, August 14, 2009

Spontaneous Dance Company

– SaludArte Foundation

Conducts:

Rasia Friedler

Dance theater:

Maria Noel Alvarez, Yoel Bethania, Sebastian Garcia, Daniel Jorysz, Rodrigo Peña.

Music:

Bruno Daguer