Creative Safer Spaces

Creativity Requires Safer Spaces

When the space is safe and accessible for all participants, creativity can flourish! Creativity requires the principles for safer spaces to be deployed. Creativity, in turn, enables change and creating new. With creativity, we can achieve new levels of learning and understanding that we may not be able to access with the traditional teaching methods that focus on verbal, conscious and logical thinking alone.

Lamppu-ikoni
  • What are the basic requirements for a creative space?
  • What is a creative safer space and what does it enable?
  • What is a creative learning environment like?
  • What kind of creative methods can we utilise to be able to address challenging topics in a safer space?

What Is a Creative Safer Space?

In a creative safer space, the focus is on emotional safety, body consciousness, emotional education, and presence. A creative safer space enables experiential, body, and emotional learning. Art and drama education uses this space to increase the number of viewpoints we use to examine different phenomena as well as empathy.

An important source of feeling empowered and involved is the freedom of expressing feelings and at the best, this is fuelled by the creative space. In terms of activity and solving conflicts, creating a space where everyone has a chance to act and talk about their real feelings, even when these feelings are not necessarily “nice”, is absolutely crucial (Mayer and Font-Guzmán, 2021).

A creative safer space aims to be a confidential space where we all should pursue to listen each other without judging. Everyone should be able to share their wishes and concerns without having to fear for being judged (Transforming Hate Practice Manual p. 19). 

This climate of trust enables discussions about especially sensitive and challenging topics so that it leads to the creation of sustained dialogue. These challenging topics can, for example, be racism, antagonism related to different kinds of worldviews and radicalisation. In a safer creative space, one can get in touch with those feelings that are not allowed or possible to deal with in the everyday life.

At best, creative safer spaces offer a space for transformative actions, meaning actions generating changes, with the youth with their aim on changing young people’s attitudes and behaviour. 

Real equality can only be pursued if the need for change arises from the whole community’s need for it. This requires all the members to question their own prejudices and behaviour and identifying diversity in themselves as well as in others.

Creative Safer Space as a Learning Environment

The results of creative actions cannot always be seen or reviewed within a short period of time. Learning in creative safer spaces is a process and seeing the learning results as well as the effects of the group process can take a long time. Creative processes are never fully predictable either and the effects of it may unfold as the process goes on or after it, if even then. The leaders and participants of creative processes should hence be patient and just trust the process.

Trust the Process!

Leading a creative safer space does not, however, mean that the process would be fully uncontrollable, unplannable, or unpredictable, not at all! The person leading the process can affect the creative learning process in many ways:

 

The Actions Taking Place in a Creative Safer Space Have Clear Starting and Ending Points

Although the learning process naturally continues after leaving the space, it is important to have clear starting and ending points for the creative actions.

In the beginning, the participants gather together to tune into the environment. This can, for instance, be executed by gathering into a circle where participants take their turns “logging in” to the space and moment by sharing their current feelings and expectations for the day. This “starting ritual” should be chosen based on the agenda and goals for the day. Physical Theatre needs its own warm-up and tuning exercises, whereas short film workshops its own kind of warm-up exercises.

An ending activity or a debriefing is an essential part of a successful creative learning process, and enough time should definitely be allocated for it. This way the things we have learned, and the feelings arisen during the creative process can lead to a very fruitful dialogue of a whole new kind about the situations, themes and feelings arisen during the process. It is also important to make sure that the roles and models used in the creative process can be exited and that the participants can leave these roles as well as the feelings these roles have woken up in them behind before exiting the space. After the debriefing, it should be ensured that the dialogue with the youth is maintained as the process may stir up concerning emotions in them afterwards.

 

Creative Safer Space Invites Everyone to Learn Together – Sometimes Even the Hard Way

Creative safer space invites everyone to learn together. In a confidential creative space, one is allowed to indulge in imagination and play as well as to free one’s mind and inventiveness. This means that making mistakes is allowed as long as it happens in an environment where the participants respect each other. The person leading the learning process should think ahead what kind of situations should be addressed with the group right away and how they should be addressed, and, on the other hand, what are the topics the group should discuss later on so that they will not get sidetracked. There are also topics that should be addressed more privately with only few of the participants present.

 

The Actions Taking Place in a Creative Safer Space Have Clear Goals and Guidelines

The person leading the creative safer space chooses the creative method based on the shared goals. Interfaith Dialogue Workshop may be a good choice when the different worldviews are concerning young people and if the goal is to get them discussing different worldviews and religions with respect. Having clear goals make participating more enjoyable for everyone.

As we have previously stated in this online manual, creative actions are based on safer and more accessible spaces. In addition to the jointly agreed safer space principles, a clear agenda, schedule and guidelines leads to the feeling of safety. Explaining these clearly also makes participating less challenging. The different ways of participating should also be a point of consideration so that as many young people as possible attending an event at a youth centre on their free time feels like the event is designed for them.

You can consider the following questions when you are planning activities with young people: Can the young person identify that the activities are aimed at them and that they are welcome to participate? Is the space and activities planned so that they can participate? (Do they take into account the many types of states of alertness, language skills, abilities and so on?)

You can find more information and tips (in Finnish) on inclusive free time activities for young people on the following materials produced by The Peace Education Institute: 

Guide on inclusive free time activities (in Finnish)

Tool for reviewing equality in youth work settings (in Finnish)

Creative Methods in Youth Work

Next, we will offer a couple examples of creative methods as well as dialogue methods that can be used in a safer space to address challenging and polarising topics in physical, emotional and psychosocial ways. These examples work extremely well in youth work settings.

Creative Dialogue Methods

  • Theatre and Drama Exercises

Forum Theatre

Forum Theatre or Theatre of the Oppressed is a type of theatre that engages its spectators and works under certain specified rules. Brazilian Augusto Boal is considered to be the most important creator of Forum Theatre.

 

Aim

The aim of the Forum Theatre is to address, discuss and try how different actions impact oppressive situations in practice. The goal is to empower the community and the individuals of it with the help of discussion and participation. Forum Theatre aims to direct the traditional monologic performance into the direction of interactive dialogue between the spectators and the actors. This way the spectators become spect-actors resolving social issues with the means of acting.

 

Preparations

You will need approximately 16 to 20 participants for this theatre type and a larger space with enough space to perform, warm up and sit on either chairs or pillows. Additionally, you will need some tools (such as a flip chart) and props, if you wish, to be able to introduce the main aspects of this method.

 

Duration

Approximately 50 minutes for introducing the method and for warm-up exercises.
Approximately 3 hours for preparing and performing the scene.
Approximately 40 minutes for debriefing and feedback.

 

Steps

Introduction and Warm-Up

  • Warm up both physically and mentally before starting. You can find an example of a warm-up exercise below. The guidelines of safer space are especially important to follow in this method.

 

Preparing the Performance

  • Divide the group into smaller groups and ask them to come up with an imaginary or real oppressive situation. The situation should have a concrete, clear “oppressor” and target of oppression (abstract target of oppression, such as patriarchy, does not work in this method). Give the groups enough time to create a plot for the situation as well as to go through it.
    • Please note that as a group leader, you should emphasise that the aim is not to choose a topic that traumatises or triggers any of the participants. This requires sensitivity from the group leader.
  • Make sure that the scene includes the following components:
    • The target of oppression or the protagonist
    • The oppressor(s)
    • The by-passer(s)
    • In addition, the scene can have a facilitator (the joker) who is the mediator between the participants.

Other participants also have an important role in the scene, and they are hence called spect-actors. Spect-actors are more than just spectators as they can change the course of events by changing places with the oppressed or the by-passers.

 

The Performance Itself

  • The groups perform the scenes they have created. Make sure that all participants understand the different roles of different scenes.  
  • Next, the scene is reperformed. This time, any spect-actor can stop the performance by clapping their hands and shouting “Stop!” before the situation in the scene escalates. All the actors then stop, the spect-actor comes to the stage and trades places with the oppressed or with a by-passer and the scene can then proceed. The aim of this intervention is for the spect-actor to change the course of events in the scene and to be able to look at the situation from different points of views and find solutions for it.  
  • Make sure that about 3 to 4 different versions of the scene are performed before the forum is closed.

 

Debriefing

  • Ask the actors to physically shake the roles out of their bodies and minds. Another way of exiting a role is to imagine taking your costume off. It is important that the role and the feelings caused by it are disengaged and once the debriefing starts, the participants can be themselves. 
  • With the group, go through the situation and how the scene changed along the performance. Go through the following consequences of the scene:
    • What did the group learn from the situation?
    • What do they take with them?
    • Were they able to identify with the role of the oppressed? 

Please note that it is important that you as the group leader have familiarised yourself with the method with the help of literature or workshops, for example. Directing Forum Theatre requires expertise that can only be acquired with experience. Additionally, it requires understanding how to explore social and societal issues with the help of constructive dialogue. You can find tips on studying this method below.

More Tips on Forum Theatre

Videos

 

 

 

Literature

  • Augusto Boal (2002). Games for Actors and Non-Actors, 2nd Edition. Routledge. 

Warm-Up Ideas

For theatre and drama exercises, it is important to warm up physically before starting any physical activities. Start slowly and gently by, for example, tapping your body from head to toes and massaging your body and face with warm hands. If all the group members are okay with it, you can also massage each other. Little by little, more challenging exercises can be introduced. One example of a more challenging warm-up exercise is the so-called “raisin-sun exercise” where you first squeeze your face into a raisin-like ball and then, while you exhale, you relax your face and mouth by letting noise come out and by sticking your tongue out.

  • Living Library

Living Library

Living Library is a method that challenges one’s prejudices and increases understanding. It works just like a regular library: visitor can browse catalogues for the available topics, choose the book they want to read and then borrow it for a certain period of time. After reading the book, the visitor returns it to the library and if they wish, they can borrow another one. The only difference between a normal library and a Living Library is that the books are people and reading consists of having a discussion. 

Aim 

The aim is for the visitors to learn to listen and increase their understanding of different life stories that the Living Books, usually marginalised people, tell. The Living Book has an opportunity to share their own feelings and experiences in a safer, respecting space in their own terms.

Please note that we do not recommend using this method as a way to combat hate speech or to explore the root causes for discrimination as this method requires that the participants are already willing to question their prejudices, to learn new and to identify their privileges.

Preparations

The basis for a Living Library is that the space is confidential and that the guidelines of safer space are discussed together with the visitors and the Living Books. The Living Book prepares to have a conversation that is related to their life and life story as a member of a minority, for instance. Introduction is an important part of the Living Library: The Living Book and the librarian must go through what kinds of discussions the Living Book is ready to have as well as their personal boundaries, for the sake of privacy. Being a Living Book is always voluntary.

Being a Living Library’s librarian requires expertise; you must be able to take people with different backgrounds as well as different topics and feelings the interaction may evoke into account sensitively. After all, Living Library is all about marginalised people in vulnerable positions who have to encounter multiple discrimination, prejudice and racism in their everyday life.

Practical Arrangements

You will need a space with a borrowing counter and catalogues as well as a cosy, quiet library hall where the Living Book can have a discussion with the visitor(s). For Living Books, you will need a bookshelf, i.e. a backspace, where the Books can wait to be borrowed in peace. Living Books are volunteers, so make sure they are feeling comfortable (meaning that they have something to eat and drink etc.).

Examples of Themed Living Library Events: 

  • Living Library – Religions and Worldviews
  • Living Library – Autism Spectrum
  • Living Library – LGBTQIA+

Duration

From one to one and a half hours. Living Library can take as much time as needed.

Execution

Librarians and the Books arrive to the library well before the library opens. It is important to make sure that everyone knows their role as well as break and dining practices. Once the visitors arrive, the jointly agreed guidelines of safer space are went through together. Next, the visitors choose one Living Book at a time to borrow and then the Book and the visitor(s) find a quiet place to sit down and immerse into the topic of the Book. Visitors can ask questions, but the Living Book gets to decide how they address the questions, if they decide to address them at all. The visitors also need to be aware that the Living Book is not in any way obliged to answer all questions, if they decide so.  

Debriefing

After the event, it is crucial to have a discussion with the Living Books about their experiences and receive their feedback. Anonymous feedback is gathered from visitors, Books, and librarians. Additionally, a debriefing with the organisers should be organised preferably within a week. Please remember to thank the Living Books and the organisers for their valuable work!

More Tips on Living Library

  • Bringing Peace to Youth Work with Documentaries

Film and Interfaith Dialogue Workshop

Different worldviews are part of our society and the everyday life of young people. A young person deserves to have a safe, trustworthy, and respecting adult in their life with whom it is possible to have discussions about different worldviews. Encouragement and creating space for these kinds of discussions makes the young person feel safe and facilitate them to feel seen and heard. Discussions, facilitated by a youth worker or an educator, if needed, increase understanding on why we see things differently. At best, these discussions can help each participant to understand and respect each other’s worldviews and have the young person question their prejudices and assumptions.

The movie Gods of Molenbeek offers young people and youth workers a chance to develop critical thinking and societal agency. The movie helps to create a natural and safe space to have dialogue on worldviews with young people.

With the help of a movie and Interfaith Dialogue Workshop, it is easy to create a space for young people where they can bring up issues that would otherwise be challenging to discuss and topics they feel are worth the discussion. The movie focuses on different themes of racism, worldview differences within families, worldviews in general, and the fear of terrorism and how the society and media generate this fear. It enables the viewers to distance themselves from difficult questions and experiences (e.g. racism, Islamophobia, bullying, excluding) they may encounter in their real life. This way there is more room for examining one’s own experiences as part of societal context.

Material

To be able to create a space for dialogue, the youth worker or the educator needs to trust their own expertise on listening the needs and insecurities of young people, encountering their feelings and thoughts, and identifying their situation-based attitudes and prejudices and their self-reflection. Without reflection, i.e. reviewing one’s own thoughts and actions as well as the ones of others, one cannot understand themself or others.

This chapter is written by Jenni Leppänen.

References

  • Mayer B. Font-Guzmán J. (2022). The Neutrality Trap: Disrupting and Connecting for Social Change. 1st Edition.
  • The Peace Education Institute (2018). Transforming Hate in Youth Settings [PDF]. An Educational Tool and Practice Manual for those Working with Young People. 
Previous Chapter: Accessibility in Mind
Front Page: More Accessible, Safer Spaces – Online Manual for Youth Work Settings
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