[Dialogue] Guernica

[Patricia Tuecke]

Thanks, Jim,

 

By the way, I’ve looked for my article/letter that I wrote to Beer. Can’t find it – or, rather haven’t found it yet in my computer. It was most likely written in “Word Star” software, way back in the early 80s. I may have a hard copy of it & will scan & send it. I did find my notes from his article that prompted my letter. I’ve attached that.

 

Pat

 

Patricia Tuecke, Sierra Circle Consulting

775-333-6998   ptuecke at charter.net

Contributor to:  

     Participation Works!, Ch. 5

     Discovering Common Ground, Ch. 25

     IAF Handbook of Facilitation, Ch. 5

 

  _____  

From: dialogue-bounces at wedgeblade.net [mailto:dialogue-bounces at wedgeblade.net] On Behalf Of James Wiegel
Sent: Thursday, April 19, 2007 1:22 PM
To: Colleague Dialogue
Subject: Re: [Dialogue] Guernica

 

Shirley Heckman Snelling transferred the old manual into text.  This is the page on 

 

GUERNICA

 

Introduction:  The Church and the use of art.

             No Christian art

             Liturgical art

          What is good art?

             Experience your experience

             Revolutionary role in civilization

          How to discuss art:

             Don't ask artist what it means

             Trialogue ‑ you, I, painting

 

Questions:        Order your questions very carefully in the following pattern in order that a progression in consciousness takes place.

             Suggested questions which might be used (not meant to be exhaustive):

 

      1.  Impressionistic:            Immediate raw data of the art form.

          What object do you notice?  (varieties of same: animate, inanimate, shapes)

          What color do you see?

 

      2.  Reflective:  Personal relation with the data of the art form.

          What color would you add (where?)   Take out?   Same for objects.

          What music would you play as background to this art form?

          What noise do you hear coming from the painting?  Make the noise.  (Often, if individuals are reluctant to do so, group can be divided and make all the noises suggested at one time.)

          How would you divide the painting into two parts.‑  Which part keep?

          How does this art form make you feel?  What emotion? 

          Where would you hang this painting in your home?

          What is the group's willingness to live with the painting?

 

      3.  Interpretive, cultural:  Association of personal relations to the art form with

                              ordinary life content.

          What story would you tell about this painting?

          What has happened here?  What is going on here?

          What word is coming out of the picture?

          Where do you see this going on in your life?

          What Word would you say to the painting?

 

Conclusion:      Call attention to the fact that this conversation has had to do with their lives.  Tell story of the painting.

 

            Purpose:      To engage the group in an authentic reflection upon the suffering of their own lives and their relationship with it.  To effect a corporate presence to the dimension of selfhood.

Patricia Tuecke <ptuecke at charter.net> wrote: 

I have a colleague interested in using Guernica as an art form to demonstrate the focused conversation method in a group and is working on the questions.

 

I’m curious if any of you have our original Guernica conversation.  It may be on the Golden Pathways, but my CD drive isn’t working. To my regret, my RS-1 files were lost years ago. I remember the “Where do you see this going on  - in your community/neighborhood & in your own life” questions. 

 

I’m curious to see how it compares to a “generic” art form//focused conversation on a piece of art.

 

I expect that after the Virginia Tech tragedy, it could be an appropriate conversation – at least a memorable one.  

 

If you can send me the questions or point me in the right direction, I’d appreciate it.

 

Thanks,

Pat

 

 

Patricia Tuecke, Sierra Circle Consulting

775-333-6998   ptuecke at charter.net

Contributor to:  

     Participation Works!, Ch. 5

     Discovering Common Ground, Ch. 25

     IAF Handbook of Facilitation, Ch. 5

 

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