A huge thanks to my friend Tony Perone for alerting me to a recent TED Talk by Stephen Volan, “Approaching Autism Theatrically.” Diagnosed with Asperger’s as an adult, Stephen shares how he experiences himself in the world, at one point likening it to just about constant stage fright. His talk is lovely—funny, poignant, smart. He brings in the DSM-5, Second City, Virginia Spolin, his height (6’8″), play, improv, Shakespeare, as he tells of his journey to become a social player “on the stage that is all the world.”

Support the dialogue on human development/possibility/becoming by passing this video along!

Please check out the latest issue of the East Side Institute’s newsletter, Reports from the Field, for news on what our friends, colleagues and alumni are up to. You’ll hear from Annalie Pistorius and her new social therapy practice in Pretoria South Africa, the synergy between Elina Lampert-Shepel and Brazilian educators at a Vygotsky research conference, and much more.

Last week in The Thought Leadership of Fred Newman we played with the Newman play in which Lev Vygotsky and Ludwig Wittgenstein are in therapy with a social therapist (referred to in my last post). I asked folks to break up into four groups and perform the readings of the play in any way they wanted. I said that plays are meant to be performed and that inviting them to perform it together would, I hoped and expected, create an open and creative environment for ensuing conversation. One group broke themselves up into the three characters and commented that it was lovely to hear and relate to multiple Wittgensteins and Vygotskys and Brauns. Another group played with pitch and loudness, and ended with whispering the lines into each other’s ears. There was no shortage of creativity among the groups!

The conversation we wound up creating meandered (my favorite kind) with, in hindsight, a continued focus on what it means to understand and how we create understanding, both as individuals and as a group. Specifically, we spent time speaking about “will” and “motivation” and the activity of doing the unexpected and its relationship to playing like children (what does it mean that, as one participant said, “Everyone was willing to go into the groups and perform”); about reading/performing when you have no idea what you’re reading (the assumption being this is not a good thing, but we questioned that in light of assumptions about what language is); and about the experience of appreciating what they created.

Tonight is the final week. The reading is an article by Newman and Ken Gergen, expanded from an APA presentation the two of them made in 1995. It’s titled, “Diagnosis: The Human Cost of the Rage to Order.” (It’s a chapter in my edited book, Performing Psychology.) I’m looking forward to helping the class with this challenging and important academic piece that argues for a move away from both pictorial and a pragmatic views of language to one of relational activity—and the democratization of diagnosis. Vygotsky and Wittgenstein are, again, characters. As is social therapy, this time with Newman himself.

I was delighted to come across this Amazon reader review of my book Vygotsky at Work and Play. The author is David R. Cross, Ph.D.

Thanks, David!

 A Transformative Book Reflecting on a Transformative Life, July 2, 2011

Every now and then you get lucky, and find the book that is just the book you need at that point in your career to take the next step forward. (I used “book” in this opening sentence, but the same could be said for “article” or “presentation,” but here we are concerned with books.) Lois Holzman’s Vygotsky at Work and Play is just that sort of book. Up until reading it, I had been unaware of Lois Holzman’s work, and this book is a great introduction. It is a kind of intellectual autobiography, a conceptual reflection on her several decades of good work. The book is short, well-written, and a great lead-in to the work Holzman has done, mostly in partnership with Fred Newman. Their work is both multifaceted and highly innovative, and it challenges some traditional conceptions about how science is done. Their work is multifaceted because they have made significant contributions to therapy (social therapy), schooling, out-of-school (youth) programs, and the workplace (organizations). The same conceptual principles underly all of this work, which derive mainly from Vygotsky and Wittgenstein. Their work is innovative for a number of reasons, not the least of which is their methodology. Part of their innovation is their (re)conceptualization of Vygotsky’s “Zone of Proximal Development,” and another part is their emphasis on performance, both as a product and a process of development in context. This is a book worth reading.

In my work as a developmentalist, I am an advocate of, doer of, and studier of play. I grapple with both implementing and understanding what Lev Vygotsky said: “In play a child always behaves beyond his average age, above his daily behavior; in play it is as though he were a head taller than himself” —and its practical applications and implications for people of all ages.

Having begun a three-session East Side Institute Revolutionary Conversation last night (where we touched on play quite a bit) and preparing today for a keynote address on play, performance and pretense that I’ll give in a few weeks at the Association for Experiential Education international conference, I’ve been playing with play today. Here’s some thoughts to ponder and comment on—and aid me in my thinking/speaking!

Vygotsky tells us that it’s the interplay of imagination—which frees us, and rules—which constrain us, that makes play potentially developmental. The action created in the “imaginative sphere” frees the players from situational constraints and, at the same time, imposes constraints of its own. In this way, “play creates a zone of proximal development of the child… Action in the imaginative sphere, in an imaginary situation, the creation of voluntary intentions, and the formation of real-life plans and volitional motives – all appear in play and make it the highest level of preschool development.”

This freedom from environmental constraints (“reality”) in free play has similarities with theatrical play, or performance, especially the unscripted, improvisational kind. In both free and theatrical play, the players are more directly the producers of their activity, in charge of generating and coordinating the perceptual, cognitive and emotional elements of the play. When I look at children’s free play with this performance lens, I see the value of play in a new light.

For most psychologists and educators the value of play is that it facilitates the learning of social-cultural roles. Through acting out roles (play-acting), children “try out” the roles they will soon take on in “real life.”

I get this, but I think it skips over the paradox of pretend play—when children are pretending, they are least like what they are pretending to be! When they play school they are least like teachers and students because teachers and students in school are not playing at being teachers and students, but rather acting out their societally determined roles. Children playing school, or Mommy and Daddy, or Harry Potter and Dumbledore, are not acting out predetermined roles. They are creating new performances of themselves—at once the playwrights, directors and performers. They are creating culture. This is how I make sense of Vygotsky’s understanding that in play the child acts as though a head taller —that the developmental potential of play is as performed activity and not as behavioral acting. Not only for chidren but for us all.

October 3, 2012

Here’s a more graphic rendition of the Performing the World invitation and call for proposals.

October 2, 2011

I’m thrilled to announce the next Performing the World (PTW) conference/festival, “Can Performance Change Save the World?” to take place in New York City October 4-7, 2012. Proposals are due March 1, 2012.

The theme of the last PTW, held in 2010 and attended by over 500 people from dozens of countries, was, “Can Performance Change the World?” The depth of the challenges facing humanity two short years later have led the conveners of Performing the World to recast the question for the 2012 conference as, “Can Performance Save the World?”

Performing the World (PTW) was born in a conversation between East Side Institute co-founder, the late Fred Newman, and me at the end of the summer of 2000. We had already “discovered” performance, and its essential role in human development and learning was key to the therapeutic, educational and community-organizing work of the East Side Institute and its broader community. At the same time, Newman and I were also having conversations with Ken and Mary Gergen, leading social-constructionist psychologists who themselves were turning toward performance, particularly by experimenting with new performatory modes of presenting research and scholarship. During the 1990s at annual meetings of the American Psychological Association, we and the Gergens did some joint performatory symposia and Newman’s original “psychology plays” were performed—all to great enthusiasm. We were encouraged, and wanted to do something bigger and of our own structure.

My international travels had introduced me to many different performatory practices initiated at both the grassroots and from within the universities. I met dozens of people and heard of hundreds more who were using performance to help people and communities grow and create positive social change. We decided to reach out to those doing this work/play—from community organizers to business people, from artists to social workers, from therapists to teachers.

The first Performing the World conference was held in October 2001, just a few weeks after 9/11. Hundreds from all over the world showed up at the beautiful ocean side village of Montauk, 120 miles from New York City, as if this kind of gathering was what they and their communities needed at such a moment.

There have been five PTWs since then. The last two—in 2008 and 2010—were held in New York City, bringing the conference to one of the most vibrant and diverse cultural centers of the world and partnering with the All Stars Project as co-sponsor. PTW has been greatly enriched by having the All Stars’ performing arts and development center on 42 Street near Times Square as the conference’s home base and by the inclusion of hundreds of young people and adults who participate in its programs. Additionally, both the Institute and the All Stars reach out to friends across New York City’s many communities to provide housing for PTW participants and broaden the “performance space.” I am inspired by the growth of the global performance movement and the role that PTW is playing in it, as not only a conference/performance festival but also a unique community event bringing people together to perform a new world.

I’ve written before about the All Stars Project’s unique and fabulous UX, a free, open-to-all, university-style development center, but it’s worth mentioning over and over. This new project creates its curriculum from suggestions for courses from those who want to learn and ideas from those who want to teach something. Dean Lenora Fulani and Associate Dean Dan Friedman lead and coordinate this new initiative—a truly postmodern Zone of Proximal Development.

Here’s this week’s e-newsletter.

At the East Side Institute we’ve conducted online courses for almost ten years now. They’re not conventional, didactic courses but rather exercises in creating conversation and a conversational relationship while simultaneously playing with concepts. Sometimes these courses work beautifully and sometimes they work less well. My colleague Gwen Lowenheim just began a course this week and I think it’s going to be one of those beauties.

Gwen’s five-week course is entitled “Creating the World: How to Foster Creative Community.” An educator, consultant and community organizer, Gwen is hoping to involve participants in building their conversational group and studying the latest discoveries in creativity and play theory. A special feature of the course is that creativity expert Keith Sawyer will be a guest faculty member for a week.

“Creating the World” has 19 people in it from about a dozen countries and several professions. Even before they began to formally introduce themselves or discuss the assigned readings, they’ve started to create together.

Here’s a delightfully relational series of posts that, to me at least, bodes well for the five weeks:

Gwen sends a brief post:

“Hello all, This is a test for our Google group.  You will be receiving your first post shortly.”

A woman from Nigeria responds:

“Great! Waiting!”

Then a man from Bangladesh:

“What is waiting?

Waiting without expecting

Expecting without demanding

Demanding without desiring

Desiring with deserving

I am confused with definition and perception!

But all are knocking me romantically!

So, I can put the simple math:

Waiting = Romance!”

Then the woman in Nigeria again:

“Hi everyone.? Come to think of it, what is the big deal with definition? For instance what is the definition of definition? Does definition really define? Do things matter or have meaning apart from the meaning we make of them? I think the want of definitions inhibit our understanding of phenomena. So why don’t we discard definitions and move on?”

Yes! Just imagine…

May 31, 2011

May is one of my favorite months of the year, with light lasting into the evening hours, baby green tree buds turning into adult green leaves, and bursts of color (both flowers and people’s clothing) dotting the city streets. But this year I spent the middle of the month far far away from New York City’s spring awakening. I was in Dhaka, the capital of Bangladesh conducting workshops on effective education for the 21st century, which introduced university faculty and students to performatory and playful learning and development approaches. And while there was no feel of spring in the very hot and very humid city air, the human awakening to the joy and intimacy of creating together was palpable.

I was invited to Dhaka by Daffodil International University, instigated by Syed Mizanur Rahman (“Raju”), an economist and drama educator who heads up the university’s Career Development Center. As a graduate of the East Side Institute’s International Class and participant in our Performing the World conferences, Raju has embraced performance as how to live one’s life developmentally and, being in a position to breathe life into the rigid and static British-based educational system of his country, he asked to partner with the Institute to help advance his work and socialize performance broadly within the school’s community. I was happy to agree and added my workshop facilitation partner Carrie Lobman, who is the Institute’s director of pedagogy and on the faculty of Rutgers University School of Education, as co-leader of the training week.

All told, Carrie and I worked and played with about 200 students, faculty and administrative personnel in six different workshops. Our broad thematic was that the shift underway from past centuries to the 21^st century is from questions about things (What is “X”?) to questions about process (How does “X” work?). We had prepared an overall plan of discussion topics and improv exercises but needed to hear what the specific issues were that people wanted to work on so we could work off them. Students and faculty alike were unhappy with the formality and rote nature of the learning environment they felt compelled to recreate and said they wanted to change. We worked with each group offering ways they could do so as well as, perhaps more important, ways they could create together outside the formal classrooms (which would, we believed, have a big impact on what happened in the classrooms). Working with the students was pure joy! They threw themselves into doing so many things they never dreamed they could do together. The faculty was a more conflicted grouping. While many willingly went along with our invitations to create and imagine, some could not move beyond “tell us exactly what to do”—rejecting the very stance we were trying to get them to consider giving up, holding on to their own authority as experts and the institutional authority of knowing.

We also met with the high-level dignitaries of the university, had a lovely dinner with the chair of the board of the Daffodil Group (founders of the University), and watched a moving performance by the Daffodil All Stars of a play written by Raju.

Raju and his assistant, Md. Ziaul Haque Sumon (Sumon), were exceptional hosts and great organizers—gracious, relaxed, reassuring and proud of what they’re doing and our relationship. In addition to our work at Daffodil, they took us to Raju’s alma mater, Jahangimagar University, where we were treated to a great performance by the current members of the theatrical group he founded there many years ago; to the new campus site of Daffodil outside of the city, where this August Raju and Sumon will orient the 500 incoming students (performatorily) to university life; to villages and monuments and a heartbreakingly poor section of the city to meet a remarkable woman who cares for children of sex workers.

Back in New York, May’s spring is transitioning to June’s summer and I to the luxuries of American life and to the work at hand. I feel humbled and privileged that this work now includes this new relationship with Daffodil University, dozens of new friends, and the opportunity to contribute in unknowable ways to the development of the people of Bangladesh.