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26/01/2024
Short film “Arno Stern and Le Closlieu” by Lubna Playoust
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12/12/2023
“I can’t draw”
The child is competent: “The child is our Master” as Maria Montessori said.
Crouching or lying on the ground, young children draw. It would be more accurate to say: they leave a trace on paper. They feel great pleasure in seeing this trace appearing on the paper, thanks to their gesture.
For the young child, the act of drawing is a play, an encounter, a discovery: a natural expressive act, in short, because it arises from an inner need. There is no intention to communicate anything through drawing, there is only an internal impulse to play.
But the child receives compliments from the parents who, with good intentions tell him: "what a beautiful drawing!", or they ask unintentionally merciless questions like: "What did you draw here?".
The paintings are displayed on the notice boards outside the classroom and expose to comments and judgements; the inner world of the child is exposed.
The freedom of the child is therefore soon limited because the drawings have spectators: to whom they have to show and maybe sometimes explain the painting.
The child gradually becomes dependent on external indication and judgements;
That’s when grown-up children or adults say: “I can’t draw, I’m not good at it”. How is it possible that such a spontaneous and natural act, suddenly becomes impossible?
This actually happens because the subject fails to meet the demands of art education and, in general, the expectations; he’s frustrated because he can’t draw something they asked him to draw in a certain way or in a certain moment and because he has been deprived of his natural playing. This happens because for him drawing has become a means of communication, a vehicle for obtaining confirmation and appreciation and loses its primordial role as an expressive means.
The intent of the Closlieu is to bring painting back to its origins as a pure act of expression: and this is possible through the “free expression” painting. In a protected place where the trace is not commented on by anyone, does not receive judgments or indication, where it is free to flow, it is possible to re-establish a deep connection with the drawing and to go back to play with it.
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The first impact with the Closlieu
The Closlieu is a simple place, without stimuli, that remains unchanged over time.This could be boring for some children, because apparently nothing new is offered to them.
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The Closlieu in our societyThe act of suspending judgement is the greatest challenge of the Playing-of-Painting.
In formal art education, assessment, evaluation, grading, comparison, competition, certificates, awards and exhibitions are the norm. These become motivating factors for some children and adults, so in the free and non-judgemental setting of the Playing-of-Panting some people initially feel uncomfortable. Aiming for perfection, to “get ahead” or to “be the best” in other contexts may mean that participants have a harsh inner critic. Regular practice in Playing-of-Painting may gradually soften the inner critic’s voice and help to develop a trans-disciplinary growth mindset.
Reflections
Short film “Arno Stern and Le Closlieu” by Lubna Playoust
Semaine presents “Arno Stern and Le Closlieu”, a short film directed and narrated by Lubna Playoust; an invitation to discover Arno Stern’s life, work and his family.
See the film here.
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See the film here.
12/12/2023
“I can’t draw”
The child is competent: “The child is our Master” as Maria Montessori said.
Crouching or lying on the ground, young children draw. It would be more accurate to say: they leave a trace on paper. They feel great pleasure in seeing this trace appearing on the paper, thanks to their gesture.
For the young child, the act of drawing is a play, an encounter, a discovery: a natural expressive act, in short, because it arises from an inner need. There is no intention to communicate anything through drawing, there is only an internal impulse to play.
But the child receives compliments from the parents who, with good intentions tell him: "what a beautiful drawing!", or they ask unintentionally merciless questions like: "What did you draw here?".
With this action, the child gradually understand that what was for him a spontaneous playing, can becoming communication.
Upon entering the school, children get themes to draw and instructions on how and what to paint.The paintings are displayed on the notice boards outside the classroom and expose to comments and judgements; the inner world of the child is exposed.
The freedom of the child is therefore soon limited because the drawings have spectators: to whom they have to show and maybe sometimes explain the painting.
The child gradually becomes dependent on external indication and judgements;
he progressively loses the spontaneity of play and discovery through drawing, and his "connection" with drawing.
That’s when grown-up children or adults say: “I can’t draw, I’m not good at it”. How is it possible that such a spontaneous and natural act, suddenly becomes impossible?
This actually happens because the subject fails to meet the demands of art education and, in general, the expectations; he’s frustrated because he can’t draw something they asked him to draw in a certain way or in a certain moment and because he has been deprived of his natural playing. This happens because for him drawing has become a means of communication, a vehicle for obtaining confirmation and appreciation and loses its primordial role as an expressive means.
The intent of the Closlieu is to bring painting back to its origins as a pure act of expression: and this is possible through the “free expression” painting. In a protected place where the trace is not commented on by anyone, does not receive judgments or indication, where it is free to flow, it is possible to re-establish a deep connection with the drawing and to go back to play with it.
01/12/2023
The first impact with the Closlieu
It may be difficult for the participants to deal with the Closlieu at first.
The child finds himself in front of the blank sheet of paper with any indication on what to paint.
They are not evaluated, not praised for having created a “beautiful” composition; the Closlieu might be a bit hard and different from what they are used to. Here the child doesn't compete with anyone else like elsewhere, he is not the best; maybe that's why he doesn't feel at ease. But after months of practicing in the Closlieu, he started to have joy of playing again; in other words he can reconnect to his childhood.
Modern day teacher-training and parenting manuals promote positive reinforcement in order to instil good behaviour and attitudes in children.
Not receiving positive reinforcement or indication can be disturbing at first, because we are used to constantly receiving them; but gradually the child learns to leave aside the need for confirmation and he discovers a new form of independence and freedom.Thus even those who are open to the concept of unguided and un-judged self-expression may have to unlearn the habit of seeking or giving praise for paintings in the Closlieu. Some people are sceptical about the concept of prohibiting praise in the Closlieu, but this approach can avoid:
- The crippling dependence on a teacher or parent’s approval that well-intentioned praise can create.
- The discouragement of the student who is not praised.
- Children’s innate understanding that indiscriminate, blanket praise is worthless.
- The crippling dependence on a teacher or parent’s approval that well-intentioned praise can create.
- The discouragement of the student who is not praised.
- Children’s innate understanding that indiscriminate, blanket praise is worthless.
11/11/2023
The Closlieu in our society
In formal art education, assessment, evaluation, grading, comparison, competition, certificates, awards and exhibitions are the norm. These become motivating factors for some children and adults, so in the free and non-judgemental setting of the Playing-of-Panting some people initially feel uncomfortable. Aiming for perfection, to “get ahead” or to “be the best” in other contexts may mean that participants have a harsh inner critic. Regular practice in Playing-of-Painting may gradually soften the inner critic’s voice and help to develop a trans-disciplinary growth mindset.
For stakeholders may be put off by the lack of educational capital or tangible product, given that no techniques are taught; paintings don’t have to be “finished”; paintings are kept and archived by the Servant in the Closlieu’s archive and they won’t never be exhibited. “If you don’t let us take the paintings home, then what is the takeaway?” many parents ask. Justifying the Playing-of-Painting’s learning goals and theory as worth paying for may be particularly challenging in some cultures where enrichment activities are centred around academic, sporting or artistic “success”, as defined by performance and competition (Troman, Jeffrey and Raggl, 2007).
Bringing the works home would mean "showing them", or else shifting the attention from the joy of playing to the result; we don’t want the children to fear criticism, comments, considerations; we don’t want children be dependent from appreciations. The presence of a spectator who comments the painting compromises the freedom of the Playing-of-Painting itself.When a child paints in the Closlieu, he is not speculating on a result, he is not painting to reach a goal, an
appreciation; he is enjoying a special moment; and this is obviously a precious thing: to live yourself without any speculation neither expectation, is really liberating.
The child that paints in the Closlieu
The child that paints in the Closlieu
emerges strengthened by the experience: he is
a happy, strong and free child.