ja luova kirjoittaminen Jyväskylän yliopistossa
“Our roots are in the air” was the motto of Philip Gross in the Conference of Creative Writing: Pedagogy and Well-Being Jyvaskyla. SCRIPTUM 1/2015 will be out in January and the speeches of Philip Gross, Alain Andre, Jurate Sisylate, Juhani Ihanus and Fritz Ostermayer will be published there.
We had over 80 participants in the Conference. Thank you all, students, writers, poets, authors, teachers, researchers from Finland and different parts of Europe.
Javier Sagarna Escuela de Escritores, Spain CREATIVITY, SENSIBILITY AND TECHNIQUE, three goals for our master course in narrative Initializing the Panel Universities/Art Schools 21.1o Programme In October 2009, after a 2 years period of carefully building up, Escuela de Escritores opened its Master course in Narrative, a programme of 576 hours of classes (876 counting the hours the students will dedicate to their end of master projects), which is intended to give to students the complete set of tools a young writer needs to start his career. This programme is organized around what was identified as the three critical points that, in our experience, has to be enhanced in the students if we want them to really grow as writers, not only to acquire useful knowledge: creativity, sensibility and literary technique. Designed as and artistic formation, Escuela de Escritores divided the Master course in Narrative in three kind of matters: theoretical matter, practical matters and creativity matters, and is focused on the writing by each one of the students, during the second year of the programme, of a narrative project (a novel, a book of short stories), that will help them to settle and really handle most of the knowledge and tools acquired, during a complete creative writing process. At the date, after 4 promotions of our Master course had already finished and another one has finished its first year and waiting for the crucial second one, we can say the programme is working and the results are really good and better than any expectations. The Master course is a great step forward for all students, and many of them has seen their master projects published by commercial publishing houses, and keep writing day by day and developing new projects, as well as many of them are now working as creative writing teachers, journalists, etc. The aim of my lecture will be to expose to the conference in a detailed way the pedagogical bases of our Master course in Narrative, as well as our experience with students and the results and conclusions we make after this five years period of existence or the programme.
Juhani Ihanus University of Helsinki
REFLECTIONS ON THERAPEUTIC WRITING
22.10 conference programme
There are different levels of writing, for example ‘‘literary’’ (product orientation), ‘‘writerly’’ (process orientation) and ‘‘therapeutic.’’ These levels have sometimes been tried to be embedded into a value hierarchy, the first of them being at the top. However, when seen as non-hierarchical and supplementary, they form together the innovative and explorative interlocutory field of writing. The reflective and transformative process of therapeutic writing is presented in this keynote speech. Explorative and expressive writing is modelled as a way of co-constructing, as well as demonstrating and sharing, knowledge and meaning, and therefore as central to both the learning process and the therapeutic process. A playful approach to knowledge and writing posits also the “facts” of science as possessing rhetoric and metaphors. Therapeutic writing can be even added to the student-centered learning while it encourages students to be reflexive about their academic writing through discussion, peer work and reflective writing.
For example, autobiographical writing may be a prelude to interactive therapeutic sharing of one’s personal record of experiences. Journal therapy as a form of writing therapy uses expressive and reflective writing to facilitate, through one’s own and owned feedback statements, the identification of areas of unexpressed emotions and thoughts, and the recognition and expression of emotions and thoughts in a ‘‘holding framework’’. It encourages one to communicate more personally about one’s emotions and thoughts, thus alleviating the inhibitive effect of symptoms and depersonalization on expressiveness. It enables understanding and provides insight into one’s life history and current life events and relationships; it attunes the person to a more flexible integration of the changing and co-adaptive conceptions of the self, others and relationships.
The autobiographical textuality of the self can be incorporated into more interactive writing therapy, where feedback from others (the echo of the other) further enhances the reality loop (implying successful integration or failure to integrate). Creating self-stories that transcend the habitual, conventional and normative parameters can foster cognitive insights and empowering emotional experiences that pave way for increasingly mindful, caring and sharing life projects and creative transformative efforts.
Continuous feedback and constructive evaluation through writing enriches learning and transformative feeling-thinking. Writing is an intense solitary-social and affective-cognitive process. It makes possible to learn from evaluations attached to emotions (pleasure/displeasure) and to cognitions (beliefs about truth and falseness, right and wrong). By writing we can gain meta-emotional assessments of how, when, where and why we feel, and we can learn to self-regulate our emotion-based strategies. The same kind of asset applies to metacognitive knowledge about how, when, where and why we know, and to metacognitive self-regulation. The meta-emotional and metacognitive aspects of human personality and action can be developed together through the experiential-experimental process of writing.
Research on expressive and therapeutic writing is a special issue in the field of research on writing. It has given several interesting results on the effects of writing on well-being. These results need to be further evaluated through multidisciplinary studies. Language and mind/brain are not pre-given; they do not constitute a ready-made constellation in humans but go through many-faceted developments in different interactions and environmental contexts.
Stories, like reveries, dreams and poetic expressions, form the potential space, the playful state of mind, the trial ground where we probe our strategies, potentials, alternatives, challenges, dangers, hopes and fears, gains and losses, likes and dislikes. We can attend to our well-being by reminding ourselves of positive values, by reordering dysfunctional priorities and above all by infusing our daily environments with poetic enjoyment. This is not a call for nostalgic pasts but perhaps for dialogical and polylogical attunement to expanding cultural therapy and to combining expressive arts and health/well-being – so that ‘everybody is given free space to speak the unspeakable.’
Dr. Jurate Sucylaite University of Klaipeda, Lithuania
WRITING AS A TOOL IN REHABILITATION AND EDUCATIONAL WORK
22.10 conference programme
Low Self-esteem leads to loneliness, depression, negative thinking and is tied with negative emotions. Individual tries to escape painful emotions, to run away from unsolved problems, inhibits emotions and looses energy. When people share their feelings emotional tension reduces, but often it is difficult to find sensitive listeners; often wounded person doesn’t find words to express inner feelings, his (her) language hasn’t enough vitality.
Writing is a space between trauma and freedom: is allowed to express painful feelings, to witness cruelty, to discover not wounded vital powers inside, and to notice new horizon.
It is a challenge to empower person to write. The benefit of writing was studied in different groups (schizophrenic patients, depressed patients, and elderly people, nursing students).
Often research confirmed a necessity to help participants to learn to be an observer: to pay attention to the details of Nature world (the river, the trees, the path under your feet), to sense and to share senses in written form; to be an observer what goes now (in Present moment): to face pain in own body, to face reminiscences, and to witness in written form. Writing helps to find Spirituality: connectedness with oneself, with others, with nature world, with God and leads to personal transformations.
Collective writing or poetic improvisation when facilitator uses words of every client creates feeling of safe place; encourages to participate and to try writing. Author presents a methodical system of her work and results in different groups of participants.
“Our Roots Are In The Air…” :
the teaching of Creative Writing in UK universities.
21.10. keynote in Conference
Prof. Philip Gross of the University of South Wales was one of the working writers involved in first wave of Creative Writing courses in British universities. Reflecting on three decades, from the discipline’s almost accidental birth and growth to the leaner, more challenging present, he explores the subtly shifting balances and tensions in this growing discipline, between a robust practicality, a commitment to knowledge and the serious play and indeterminacy vital to creative process. Using his own poetry, as the most self-reflexive and self-questioning of writing forms, he explores what it means to think like a writer in the academic context, or rather, to think like the writing itself. Questioning one of the discipline’s most established practices, he proposes a quietly radical model of the workshop, in relational terms – as a (dynamic and creative) ‘space between’:
… what holds together,
for its moment,
when the air
is a pliant and see-through cartilage
between the words,
between them and what’s
not said, what’s known somewhere else but here,
hardly known that it’s known…
Apart from offering a fertile space for new writers, exploring this space fosters interpersonal and intrapersonal skills, reveals valuable creative paradoxes and maybe, almost incidentally, offers the discipline a fresh way to defend its value in the changing world.
Philip Gross is professor of the University of South Wales and creative writing teacher. He’s also award winning fiction writer and poet, who writes for both adult and children.
Gross has won several major awards within the last few years such as the T S Eliot poetry prize 2009 for The Water Table, Wales Book of the Year 2010 for I Spy Pinhole Eye and the CLPE Poetry Award 2011 for children’s poetry Off Road To Everywhere.
Gross’ new collection, Deep Field, is an exploration of his refugee fathers’ loss of language to aphasia in the last years of his life. The book was shortlisted for Wales Book of the Year 2012.
http://www.philipgross.co.uk/index.htm
CREATIVE WRITING CONFERENCE 21 -25.10 PROGRAMME SPEECHES
12.15 – 13.15 Philip Gross, The University of South-Wales: “Our Roots Are In The Air…” : the teaching of Creative Writing in UK universities (A103) 14.15 – 15.15 Juhani Ihanus, The University of Helsinki: Reflections on therapeutic writing (A103)
21.10. 16. 45 – 18.45 Collaborate Writing and Interactivity
Orhan Kipcak Vienna Poetry School – Schule für Dichtung Phont, Media Gravity, Didaktics
Hanna Kuusela University of Tampere Collaborative writing practices: What, how, why?
Annika Naski University of Jyväskylä Today’s Story Collector – A Case Study on Collaborative Writing 21.10. 16. 45 – 18.45 Suomenkieliset esitelmät /Finnish sessions
Satu Erra Jyväskylän yliopisto Opiskelija kirjoittaa itseään – narratiivinen identiteetti ja kirjoittamisen opetus
Tiina Piilola Jyväskylän yliopisto Kalevalan naiset – Aino-Vellamo esimerkkitapauksena – itsereflektion ja terapeuttisuuden näkökulmasta
Tarja Lappalainen Jyväskylän yliopisto Aatelisrouva Elisabet Järnefeltin kirjallisessa salongissa käytetyt kirjoittamisen opettamisen metodit
10.00 – 11.00 Alain André, Aleph-Écriture: Reading, writing and teaching – how far our early readings are important for the way we teach? (A103) 11.00 – 12.00 Jurate Sučylaitė, The Klaipeda University: Creative writing as a tool in rehabilitation and educational work (A103)
14.00 – 15.30 Autobiographical writing
Nora Ekström University of Jyväskylä Teacher in front of an autobiographical writer
Hans Tarjei Skaare Nansen Academy, Norway Here and now – on autobiographical prose
Leonardo Stagliano Scuola Holden, Turin (Italy) How to help writers turn their life into fiction
14.00 – 15.30 Different Grounds/Tools for Writing part 1
Annemari Rautiainen University of Jyväskylä A learning journal as a tool of basic studies in writing
Silvia Schiavo Scuola Holden, Turin (Italy) Ground for writing
Mariana Torres Escuela de Escritores, Spain The forgotten land. The childhood as a creativity tool to create characters 16.00 – 18.00 Different Grounds/Tools for Writing part 2.
Jürgen Berlakovich Vienna Poetry School – Schule für Dichtung Acoustic Poetics The Music of Language
Fritz Ostermayer Vienna Poetry School – Schule für Dichtung Creativity is overrated! Is creativity overrated? New strategies for the good old “ouvroir de littérature potentielle”
14.00 – 18.00 Workshop
Workshop by Rubén Abella, Escuela de Escritores: Micro Fiction: the Real Story
16.00 – 18.00 Writing and Well-Being
Karoliina Kähmi University of Jyväskylä Schizophrenia and language – therapeutic aspects
Noora Kaikkonen University of Jyväskylä Association of creativity and mental disorders in creative writing process via neuroimaging techniques and self-perception
Saara Jäntti University of Jyväskylä The Threat of Therapy. On Writing and Literature, and Stigma
César Requesens Moll Taller de Escritores PuraVida, Granada (Spain) The pedagogy of writing as an accompaniment of process of personal transformation
19.00 – 19.45 Writer Risto Ahti: “Who speaks when I speak?”
10.15 María José Codes: ´”MNEMOSINE, THE QUEEN OF THE MUSES Why to use arts when teaching creative writing classes”
13.15 Rubén Abella: “Photography and writing”
14.15 Jesús Pérez: “Short presentation on Richard Ford and David Foster Wallace’s prose”
16.15 Video presentation by Vienna Schule für Dichtung: “Builders of poetry worlds. Vienna Poetry School. Video conversations with Christian Ide Hintze”
17.15 – 18.00 Writer Harri István Mäki: “Drama – fear and fairy tales”
18.15 – 19.00 Professor Tuomo Lahdelma: “Translation revisited”
19.15 – 20.00 Dr. István Berszan: “Kinetic spaces of reading and writing”
10.15 Lorena Briedis: The United World Colleges movement as a role model institution for the spiritual wondering statements of the EACWP
11.15 Reijo Virtanen
13.00 Outi Kallionpää: Teaching creative New (media) Writing in high school
14.00 Final discussion and feedback
Alain ANDRÉ (keynote): “Reading, writing and teaching – how far our early readings matter for the way we teach?”
Abstract of 22.10 keynote, programme
Initial training of creative writing teachers implies a “survival kit” for teaching situations. It also implies a lot of experimenting and sharing about the posture: the way we live in it, its ethics and horizons (it’s more important, by a long chalk). One of the key-points consists in helping young teachers to work around a few blind spots and think about their own situations in this prospect. It includes the ways they manage between teaching and writing or their relationships with knowledge and its transmission.
A major one lies in their own situations and attitudes towards reading and literature: what do they read or not? Do they feel legitimate in the literary field or do they feel terrified by the “monster” literature? Which tools do they use as it comes to reading complex texts?
I’ll argue it’s important for them to dig in their autobiographical experiences with writing of course, but also with reading. Writing and sharing about that is one of the best ways for them to become more conscious of the variety of the possible points of view and to question their own spontaneous literary norm. I’ll develop it as a training method and give a few examples, first of my prompts in this area, then about what I discovered about myself, as I was writing about my own personal readings when I was between 6 and 11 year old – a work still in progress.
Alain André is a President of the French writing school Aleph-Écriture, that he founded in 1985 as well as a Vice-President of the European Association of Creative Writing Programmes (EACWP). For EACWP, he organized the first International Pedagogical Conference in Paris (2012).
André is the author of novels La Passion, dit Max (2007) and Rien que du bleu ou Presque (2000). He has also written short stories and various essays dedicated to creative writing, such as Babel heureuse. L’atelier d’écriture au service de la création littéraire (1989/2011), Devenir écrivain (un peu, beaucoup, passionnément) (2007/2012) and Écrire l’expérience. Vers la reconnaissance des pratiques professionnelles (2007/2012).
André is also one of the main contributors for the numerical creative writing French magazine L’Inventoire.
As a creative writer teacher, he accompanies groups of young writers involved in personal projects and trains young creative writing teachers.
SCRIPTUM Volume 1 Issue 1 (Fall 2014) ISSN:n, 2342-6039 The First Scriptum starts with an updated view on writer’s Academies in the German speaking part of Europe, but Writing therapy is the leading theme in the articles.
Sabine Scholl: GIFT OF THE GODS OR CREATIVE LAB? How to Teach Literary Writing in Europe
Fiona Hamilton: WORDS AND THRESHOLDS an exploration of writing process and practice
Noora Kaikkonen and Karoliina Kähmi Creativity and mental disorders – is there a connection?
Niina Repo and Taina Kuuskoski: SANATAIDETTA KRIISIPIIRILLE tutkimus voimaannuttavasta, unista ammentavasta kirjoitusprojektista
Mirka Korhola KYLMÄ UNI Kauhu kirjoittavan kehon ja sanojen suhteena
KIRJALLISUUSKATSAUKSET:
SATU ERRA: Theresa Lillis: The sociolinguistics of writing
OUTI KALLIONPÄÄ: Natalie Golberg: The True Secret of Writing: Connecting Life with Language
RISTO NIEMI-PYNTTÄRI: Frank Farmer: After the Public Turn: Composition, Counterpublics and the Citizen Bricoleur
Jyväskylä University Dicital Archive JYX, open access https://jyx.jyu.fi/dspace/handle/123456789/44274
Aseeminen kirjoitus on tekstitaiteen muoto, jossa sanat eivät ole luettavia. Se on kuitenkin kirjoitusta, vaikka se ei välitä kielellisille ilmauksille tyypillistä sisältöä. Aseemista kirjoitusta tehdään visuaalisessa runoudessa, kalligrafiassa, kuvataiteessa ja käsitetaiteessa. Kyse on monitaiteisesta ilmaisumuodosta, jolle on tyypillistä kirjallisuuden, kuvataiteen ja käsitetaiteen ilmaisukeinojen yhdistely.
Riikka Ala-Hakula tarkastelee pro gradussaan aseemisen kirjoituksen traditiota, typologiaa ja tulkintakeinoja. Hän kartoittaa aseemisen kirjoituksen ilmaisukeinoja Henri Michaux’n runokokoelmassa Mouvements, Bernard Réquichot’n kirjeissä Ecritures illisibles ja Luigi Serafinin ensyklopediassa Codex Seraphinianus.
Aseeminen kirjoitus muodostuu kuitenkin merkeistä (Peirce). vaikkei se kanna kielellisille ilmauksille tyypillistä semanttista sisältöä. Roy Harrisin kirjoitusalustan semiologia osoitti, että kirjoitus muodostaa merkityksiä myös graafisen tilan tasolla. Aseemisessa kirjoituksessa merkkien väliset suhteet ja niiden väliin jäävä tyhjä tila kantavat itsessään merkityksiä. Harris esittää typologian, jonka avulla näitä merkityksiä on mahdollista analysoida.
Derrida osoitti olennaisen asian aseemisesta kirjoituksesta: kirjoituksen tekotapahtuma ei ole lähtökohtaisesti ainutlaatuinen, vaan se on tunnistettava juuri toistettavuutensa ansiosta. Riikka Ala-Hakula tulkitsee Henri Michaux’n runokokoelmaa Mouvements kehollisen kirjoittamisen näkökulmasta. Bernard Réquichot’n kirjeitä Ecritures illisibles hän tulkitsee ironisen monitulkintaisuuden näkökulmasta. Luigi Serafinin ensyklopediaa hä n tulkitsee Codex Seraphinianus utopian näkökulmasta.
Creative Writing : Pedagogy and Well-Being -konferenssissa lähestytään luovaa kirjoittamista pedagogiikan ja terapeuttisuuden näkökulmasta. Konferenssin kielet ovat englanti ja suomi.
Konferenssin tavoitteina on koota yhteen eurooppalaista luovan kirjoittamisen opettamisen verkostoa, jakaa metodologiaa ja pedagogisia näkökulmia sekä syventää ja kehittää kirjoittamisen opettamisen moninaista kenttää. Erityisinä kiinnostuksen kohteina ovat luovan kirjoittamisen (opettamisen) yksilölliset ja yhteisölliset vaikutukset, monikielisyys ja interkulturaalisuus luovan kirjoittamisen opetuksessa sekä luovan kirjoittamisen hyvinvointivaikutukset ja terapeuttinen potentiaali.
Konferenssi koostuu alan kansainvälisten asiantuntijoiden key note -luennoista, round table -keskusteluista, sektioluennoista sekä workshopeista.
Konferenssi on suunnattu opettajille, tutkijoille, opiskelijoille ja asiantuntijoille kirjoittamisen ja taiteen moninaiselta kentältä. Monitieteiset ja –taiteiset näkökulmat ovat erityisen tervetulleita, kuten sekä tieteelliset että populaarit esitelmät.
Pyydämme lähettämään esitelmäabstraktit (max. 1500 merkkiä) 15.9.2014 mennessä osoitteeseen: creativewritingstudies@jyu.fi
2. Tärkeitä päivämääriä 2014
Konferenssi: 21.10 – 25.10.2014
Konferenssi järjestetään joustavasti siten, että osallistujan on mahdollista oman mielenkiintonsa ja aikataulunsa mukaan osallistua joko koko konferenssiin tai vaihtoehtoisesti yhdestä kahteen valitsemaansa osioon.
3. Keynote -puhujat
Konferenssin Jyväskylän osuus sisältää neljä keynote -puhetta. Jo varmistuneet puhujat ovat Philip Gross Iso-Britanniasta, Juhani Ihanus Suomesta sekä Jūratė Sučylaitė Liettuasta. Neljäs puhuja varmistuu myöhemmin, ja hän tulee edustamaan EACWP:n kirjoittajaverkostoa. Lisätietoja keynote -puhujista ja heidän esitelmistään konferenssin internet -sivuilla.
4. Konferenssin osallistumismaksuista
Jyväskylän osuuden osallistumismaksu on 100 € EACWP:n ja NAVE:n jäseniltä ja 125 € muilta osanottajilta. Osallistumismaksu kattaa konferenssiohjelman lisäksi väliaikatarjoilut sekä 20., 21. ja 22.10 järjestettävät iltaohjelmat tarjoiluineen. Ilmoittautuminen Jyväskylän osuuteen tapahtuu konferenssin internet -sivuilta 15.10 alkaen löytyvällä ilmoittautumislomakkeella. Lomakkeella ilmoittaudutaan myös torstaina 23.10 järjestettävälle ekskursiolle. Ekskursion hinta on 52 €, ja se kattaa bussikuljetukset sekä päivän ohjelman opastuksineen.
Oriveden osuudelle ilmoittaudutaan erikseen opiston internet -sivuilta löytyvän lomakkeen kautta. Osallistumismaksu vaihtelee valitun ohjelman sekä majoittumisvaihtoehdon mukaan. Lisätiedot: http://urly.fi/ekF.
5. Lisätietoja
Yksityiskohtaisempaa tietoa konferenssin ohjelmasta löytyy syksyn mittaan päivittyviltä internet -sivuilta: https://www.jyu.fi/en/congress/writing
Yhteystiedot:
Lisätietoja: creativewritingstudies@jyu.fi
Nea Kukkonen, konferenssisihteeri:
040 8054831
Erityisesti Oriveden Opiston osuutta koskevat tiedustelut:
Reijo Virtanen:
050 3833951