julio 18, 2013
It is a matter of communication and participation in the values of the Life through the imagination,
and Artworks are the most intimate and energetic means of helping individuals to participate in the arts of living
(John Dewey, Art as Experience, 1934).
The ‘Dia-Tekhnē • Dialogue through Art’ methodology provides communication between different people complementing the logos –the word– with the tekhnē –the art–, which is oriented to design and drive LabShops on citizen participation, resilience and symbolic reparation of victims, intercultural dialogue and, above all, to stimulate creActivity and entrepreneurship in young people, especially in those who are suffering from social exclusion risk.
The aim of the Dia-Tekhnē is “to Democratize Art for Building Democracy”, in other words, to put the structures, procedures and creative resources that make up an artwork into the hands of every person and at the disposal of every group, and exercise, through this means, the three principles of democracy: a) participation, b) tolerance and c) a social contract.
The Dia-Tekhnē or Dialogue through Art consists, firstly, in the activation of aesthEthical spaces and structures for confluence and relationship between people and secondly, in the management of these spaces or structures throughout two consecutive phases: 1) the Relational Painting, for empowerment of all individuals and for their mutual relationship towards consolidating instituting working groups, and 2) the CreActive Assembly (creative and active) for the visualization and graphical analysis of our surroundings and their subsequent DEconstruction (positive conflict transformation) as well as for their affective and effective REconstruction.
The Dia-Tekhnē methodology, even if it has valuable precedents in John Dewey (Art as Experience, 1934), in Natalie K. Lieberman (Learning trhough Art, 1970) or Allan Kaprow (The Education of the Un-Artist, 1971), is a pioneer in providing a structured and systematic process of personal and collective development, as well as social ARTherapy. Always through art, the Dia-Tekhnē methodology involves a six-step process in a structured and systematic way:
1) The DEMOcratization of arts through its DEMOnstration in process –basic techniques, non-referential language, regulated supports–.
2) The process of creative training: 2.1.) the “House”, for individual expression> 2.2.) the “Street” for interpersonal dialogue (double dia-tekhnē or “plastic dialogue” with contiguous people)> 2.3) the “Plaza” for collective synergy and osmosis (group and intergroup dia-tekhnē).
3) The process of building democracy: 3.1.) Participation aimed at the integration of everyone (first pillar of democracy, which we identify with the “House”)> 3.2.) Tolerance aimed at mutual empathy and otherness (second pillar of democracy, which we identify with the “Street”)> 3.3.) Social Contract aimed at the osmotic and synergistic interaction between all people (third pillar of democracy, which we identify with the “Plaza”).
4) Community Emancipation (depicted by a “tree metaphor”): 4.1.) Based on the CreActive Person that is potentially creative and active for creating and establishing new imaginaries (associated with the allegory of the “Root”)> 4.2.) Followed by the CreActive Assembly, a group who combine its creative potential and action capability together (“Rings and Trunk”)> 4.3.) Replicating its experience to the Instituting Community, which puts into practice its sovereignty or political power from and over their surroundings (“Crown of branches, leaves and flowers”)> 4.4.) And completing the cycle with the (Auto)Instituted Community, which is the direct beneficiary of its own actions (“Vines that connect top and roots and make the tree in forest”).
5) A cooperative workflow comprising three levels:
Level 1. LabShop: Each CreActive Person from the CreActive Assembly brings its point of view and experience angle of a certain reality and once the map is rebuilt, the group as a whole internalizes it, analyzes it in detail and identifies its change points.
Level 2. Community Art: The CreActive Assembly extends and replicates the LabShop to the civic space. Each member of the CreActive Assembly projects the change points and offers them to the entire community.
Level 3. Artivism: The entire community designs actions to take, from their own reality, around it and about it.
And this combination of community empowerment and cooperative action turns out to promote:
6) The Civic Re-Evolution (in the form of an open spiral cycle) consisting of: 6.1.) Analysis of the communal reality> 6.2.) DEconstruction of negative conditions> 6.3.) Promotion of positive conditions> 6.4. ) REconstruction by combining the overcoming of the negative (resilience) with the development of the endogenous virtues (6.2. + 6.3.).
In short, the greatest virtue of the Dia-Tekhnē methodology is the exercise of the three principles of democracy –participation, tolerance and social contract– while approaching art practices to ordinary citizens. The “paper Plazas” bring us together around and over them in order to experience the relationship with other people and share our respective approaches and actions (Relational Painting). An the summaries of “common wealth” (res publica) enable us to establish coexistence contracts between the different and the opposite (CreActive Assembly).