Evaluation of schoolconcert project/Horsens/week 35-2000 - Robert Jarvis.

-   Our expectations.

     -   After  reading the ideas of Robert Jarvis, we found it quite natural to participate in this project - both as improvisers as well as teachers/assistants. 

-   The first session's very beginning. 

     -   It seemed that the starting process with the children was very important. About his way of working - his behaviour, attitude etc. - the meeting with the children, - signals as posture - are very important angles of incidence. 

     -   The children were asked to introduce themselves by playing something, a few notes on their respective instruments in the moment.

     -   Letting the children play something exciting, is a very nice accesskey so they are not asked to play in a specific way or in any style, but really are supposed to use their creativity.  It's a good way of making them understand that what they create is very important, they are important individualists. 

     -   That also means that nobody felt better or worse than the others, even some had more to do during the sessions and in the final piece. 

     -   Every one is an important `piece´ in the whole process. - This seemed to make an enormous concentration and feeling to make the best through the whole project.

-   Daily life!

     -   Further, it was interesting that the children accepted not to have breaks where they normally would expect that during the schedule of the school - when the clock rang etc, etc - breaks together with the other pupils as normal. 

     -   That means the importance of the breaks was very closely connected to the process. - The point as an integrated part is, that musicians sometimes have to work this way, like doing things without breaks until parts of music pieces are ready to leave.

     -   Other playing exercises were good ideas too - doing something together, mixed up with given questions you have to figure out now, or think about later on, saying there is no right or wrong way to play or make sounds. - This last thing he repeated several times: - "nothing is wrong - everything is important".  We find this as a very fine key to start the process.

-   Points.

     -   Robert had some basic ideas or spots of high priority and importance on which he returned again and again. - His way of putting the children in acting through posture, make them gradually experience and dawning understanding, the meaning of the conscious use of the body in the conducting situation - what acting on the stage is all about. - Sometimes they were leaders - sometimes (mostly) they had to follow the conductor.

-   Creating ideas.

     -   He was able to contain the situation so that the children would have enough space to develop their ideas. - That meant, that sometimes we spent relatively a long time on one musical idea.

-   Parameters as methodical tools in the sessions.

     -   It was such as conducting, asking questions, projecting ideas from children. 


-   The language!

     -   It was relatively seldom we or the school teachers had to translate into Danish because of the quite obvious signals from Robert. - This was only done occasionally to be secure that the children understood when important messages were given.

     -   We were very familiar with this way of working that includes both pupils and teachers. - We are sure that any teacher could be inspired and learn something important, not even just about music itself. - So we hope to see much more of this kind of working. - And finally to have another opportunity to work with Robert again.

With the best regards
from
Helene Jerg & Henrik Rasmussen