Activity idea #474:
Have students create their own scenarios, tableaux on water use. Short films also are great awareness-raising tools like the competition above done by high school students in B.C.
As much data there is available by scientific communities about better stewardship and improved education,
as a classroom teacher my thoughts, feelings and conceptions must be checked at the classroom door along with my jacket and bicycle.
Invariably as studies on “objectivity” indicate individuals can never really divorce themselves from their inclinations and biases in any activity, be it analytic or educational. Professionally, however, we as teachers are bound to norms, standards and responsibilities; fundamentally, cultivating critical thinking, pluralism and civic responsibility involves establishing a values-based learning environment rooted in care and criterion-based objectives.
At this point nearing teacher certification, my pedagogical leanings are informed by service-learning, experiential and inquiry-based strategies.
However what beckons are improved commitments to sources of life. Whereas gentle taps and reminders to be more responsible to air, water, soil and bio-diversity can feel like scattering seeds on barren landscapes,
the inception of environmental consciousness ideally might come from more thorough prodding, civic participation, tougher legislation ... and perhaps satire.
At our disposal are multiple pop culture referrents that can awaken the conflicting roles of stakeholders. The Simpsons universe for example has bogeymen and heros which are recognizable in society.
The corporate polluters (embodied as Montgomery Burns),
witless consumers (the bumbling Homer and other townsfolk),
corrupt politicians (the leacherous Mayor Quimby),
and teethless law-enforcement (the hapless Chief Wiggum),
are regularly challenged/transformed by the television show's conscience, the practicing-Buddhist activist-intellectual, Lisa Simpson.
Also I am becoming convinced that integrating Performative and Imaginative Inquiry can create lasting impressions amongst co-learners, opening the possibility for a conscientization of society, an ecological literacy and change.
Over the years “culture jamming” was a fashionable notion referring to intentionally disrupting the familiar, everyday rituals surrounding consumerism or democratic participation.
Reading the works of Theatre of the Oppressed practitioner Augusto Boal, I recognized elements from Forum and Image Theatre that potentially can empower participants.
Long recognized within majority-world countries (variously called Third World or developing countries with their pejorative connotations), drama for social change has been integral for emancipating women, different-sexualities, AIDS, family planning, sanitation and agricultural practices.
By extension Anti-bullying campaigns (variously called community training) and environmental youth organizations have similarly impacted thousands of school communities.
The premise for Forum Theatre has actors re-creating a scenario where a form of oppression takes place; the audience is invited to step out from their passive position to become “spec-actors” in order to sympathize, identify and transform the oppresive situation.
The sub-branch of Image Theatre stresses the non-verbal and embodied movement. One scenario that a small group and me constructed for our Drama and Education course indeed connected bodily expression, props and place as a “morality play” about water. Below is a reflection on this experience:
SFU Burnaby campus contains multiple corridors, staircases and “contemplative” spaces that can shape and sculpt a scene; the site we selected were like steppes across rockface terrain. In the contained central space covered with a green canopy of deciduous trees, the audience witnessed a Water Origin Myth fall upon them.
An Aquarius female figure beared the planet water, that descended upon them, animating the spec-actors via immersing them with tarps and streaming sheets with a life force animated by a water nymph hero (yours truly). A playfulness and dynamism ensued as we romped, connected together by a permeable web of water. The Creation Myth extends however to the introduction of the human species, who adjacently crept up from the floorboards below. Our two other actors represent avarice, at first awestruck with Water's bounty but quickly convinced that they were stuck in a zero-sum game, recreating a Tragedy of the Commons. The more you take means less for me; amass the most I can before it's gone was coded in their greedy movements, stripping the waterworld from everyone's hands. Our deux ex machina was Aquarius, resolutely angry, funneling the Source in a tug-of-war with me, the Water-Player in tow. And off water and me were swept down, perhaps reabsorbed by the water table. The Water Goddess tried to stave off this punishment, this Fall akin the Garden of Eden; yet the message that was hand-delivered is veritably heard once the (re)Source has been exhausted, extinguished.
Indeed in the classroom debrief, participants were disturbed with the water-snatching; some even latched on momentarily as Adam/Eve took the very water from their fingertips. Nevertheless no spectator fully took ownership of the common resource even if a minority usurped control, losing it for everyone.
Due to the nature of the assignment and time constraints, we did not reproduce fully the extensions characteristic Forum Theatre. These extensions however flesh out the realms of possibility. For example, the scene would be recast in fast-forward, perhaps with the Nymph acting as joker/mediator. A participant would shout “Stop!” and make suggestions as to name, change and revise a protagonist's course of actions, with the actors implementing/integrating the adaptations. Alternately the audience members can swap spots with a protagonist to “try out” divergent actions, interpretations.
Nevertheless since Image Theatre consists with participants representating (“scuplting”) their experience and oppression, meaning is democratized. A range of associations are made by individuals towards the sculptor's image, with various cross-cultural and unconscious ramifications. Similar to “culture jamming” as described above, embodied work effectively “short-circuit[s] the censorship of the brain, the 'cops in the head' placed there by society or personal experience” (words by Jackson, a translator of Boal).