The class undertake a series of tasks to complete the "commission" from the client. At the end, they “should publish, in one way or another”. (1) This does not mean a "book" necessarily - but simply a form of public sharing of the work.
So it might be, for example, that the team shows their work or plans to the 'client' (represented by another teacher in role). Or it might be that there is a public event to launch the new website / exhibition / film (whatever it is); a ceremony, a theatrical presentation, an exhibition, etc. Parents etc. can be invited to attend. Perhaps the "client" attends - in the form of a teacher-in-role
Similarly, in the Commission Model, Dorothy insisted that the work of the commission must end in a form of publication or presentation to the commissioning body; and “an important event must be created” to mark this moment. She said: “The European Parliament works a bit like this, and all countries send their authorized people, their representatives.” (1)
At a teacher training event for the Mantle Network in 2007, Dorothy gave an account of her work with a class of 6/7-year olds on the book Mamo on the Mountain by Jane Kurtz.
The class were in the frame of tapestry designers. They produced a "tapestry" based on the Mamo story. At the end of a week of working with Dorothy, the children presented a Chamber Theatre version of the story: "… one of the ways they understand is to perform something. Not by performing a play, but by demonstrating the meaning of something.”
After the performance, parents who were watching were invited to ask questions: “… things like, ‘I don’t understand why Mamo had to go to the king.’ And of course they said, because his sister worked there, and he knew she could feed him. They knew this. I didn’t tell them this. The story that they demonstrated helped them understand it.”
[Sources: From an unpublished transcript of a Mantle Network event, 2007; except (1) private conversation, 28.8.07; (2) qtd. in Özen / Adıgüzel: "Dorothy Heathcote’s Creative Drama Approaches", Creative Drama Journal 2010, Vol. 5, Issue 9-10. ]
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