When the enchanted child enchants.
Drammatico Vegetale (Italy)
Many of us find themselves playing two roles, both very tough and delicate: we have to draw up a cultural planning towards early childhood and, at the same time, be artists. I am one of these people. Maybe the ideal would be to separate the two roles, to eliminate this conflict of interests, but this is not the subject under discussion here, so I’ll try to write a few brief notes, skipping from one role to the other.
First of all we need to create opportunities and occasions for the encounter between art and early childhood. This means that we must contribute as much as we can to achieving centrality of the child’s role in society as an active being, as one who directly enjoys rights. This has always been hard, but it is a particularly ungrateful task in this period of economic and systemic crisis.
We have to defend with tooth and claw the ground we have gained in many years of work, yet without losing the desire to set ourselves new objectives to achieve. Now let’s talk about children.
The younger they are the more they are open to artistic experience. All we need to do is employ a few technical measures, which we all know and which I am not about to repeat, and we have an audience in front of us, or with us, who is very willing to get in the game.
It all sounds simple. But the hard part is yet to come. We have to find a shared language, a harmony with the children in order to communicate with them. Children’s natural curiosity about what is around them, what they have yet to discover, is our Trojan horse for getting into contact with them. And then?
And then from the curiosity, from the desire-eagerness to discover, you have to reach the magical moment of enchantment. And that is when the enchanted child enchants: enchants the actor, the musician, the dancer. Distances are cancelled out and art is created.
A colour staining a sheet of paper, a hand rummaging in the sand, a piece of wood falling to the ground, and a few words.
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