As in previous years Kamil Cyganik has prepared a brief reflection – the central theme that will accompany us throughout the festival week.
More than once, in the articles opening successive FESTIVAL OF THE CHILDREN OF MOUNTAINS brochures, I have referred to the legacy of Maria Montessori. As one of the most prominent educators, more than a century ago, she discovered some truths about children’s needs, their development, and the principles of the developing young mind. There would still be nothing special about this, were it not for the fact that what this Italian researcher found out a century ago is now being confirmed by brain research performed using the latest methods. All modern neurodidactics says: Montessori was right!
And how did Ms Maria manage to pinpoint with such accuracy what was most important for children to learn? Here comes another surprising fact: first and foremost, by keenly observing children she and her colleagues were looking after at the ‘Casa dei bambini,’ or ‘Children’s House,’ which should not be confused with orphanages.
To this day, the most important task of a Montessori teacher is above all to observe the child. To let him or her choose, from a carefully prepared environment, the type of activity his or her desire points to at a given moment. And not to interfere until he or she asks to “be helped to do something on his or her own."
For several years now, I’ve had the feeling I can’t help thinking that the FESTIVAL OF THE CHILDREN OF MOUNTAINS has been following this idea.
The performances prepared for the Festival usually refer to the times and places when and where - for various reasons, usually social ones - this approach to children was natural. Parents used to focus on work. They could not give their kids as much attention as to dictate how they should be playing. Firstly, on the one hand, the child would work from a young age; on the other hand, the boredom of empty pastures with only cows or sheep grazing motivated him or her to think creatively, to construct wooden toys, instruments, to create ditties, to organise group games if, in some place, the number of children exceeded an appropriate critical mass.
Secondly, for as long as I can remember, one of the most important principles upheld by the Artistic Committee has been: let the children play on stage as naturally as possible. The point was that games such as, by way of illustration, “Ulijanka,” “Geese, geese, come home,” “Blind man's buff,” or various physical strength games should not be directed, or planned. Let life happen on stage. Let the children swap roles, let them not know who will win or who the counting-out rhyme points to.
Finally, let us remember that the evening concerts or forenoon performances in the Nowy Sącz Old Market Square are only a certain, not even the most important, part of the FESTIVAL OF THE CHILDREN OF MOUNTAINS. The most crucial thing since the very beginning of the Nowy Sącz Festival is comradeship, building relationships. The activities that help with this are partly planned, such as shared learning of comrade dances. However, in general, the time when the Polish and foreign ensembles form bonds of their friendships is not organised. Comradeship happens when no specific action is imposed. Comradeship comes into existence by way of freedom. And that’s the way it should be!
And let me say to all the adults attending the Festival as spectators, instructors, organisers, workshop leaders or those acting in any other capacity: let us feel that we have found ourselves in an absolutely privileged position. We have been offered the opportunity to do what was most important to Maria Montessori, what paved the way for her to understand the child’s mind: we have been given the chance to simply observe.
Let us not hold back! Let us soak up the unrestrained activity of these young people, and let this lead to an ever deeper understanding of their needs.
And how did Ms Maria manage to pinpoint with such accuracy what was most important for children to learn? Here comes another surprising fact: first and foremost, by keenly observing children she and her colleagues were looking after at the ‘Casa dei bambini,’ or ‘Children’s House,’ which should not be confused with orphanages.
To this day, the most important task of a Montessori teacher is above all to observe the child. To let him or her choose, from a carefully prepared environment, the type of activity his or her desire points to at a given moment. And not to interfere until he or she asks to “be helped to do something on his or her own."
For several years now, I’ve had the feeling I can’t help thinking that the FESTIVAL OF THE CHILDREN OF MOUNTAINS has been following this idea.
The performances prepared for the Festival usually refer to the times and places when and where - for various reasons, usually social ones - this approach to children was natural. Parents used to focus on work. They could not give their kids as much attention as to dictate how they should be playing. Firstly, on the one hand, the child would work from a young age; on the other hand, the boredom of empty pastures with only cows or sheep grazing motivated him or her to think creatively, to construct wooden toys, instruments, to create ditties, to organise group games if, in some place, the number of children exceeded an appropriate critical mass.
Secondly, for as long as I can remember, one of the most important principles upheld by the Artistic Committee has been: let the children play on stage as naturally as possible. The point was that games such as, by way of illustration, “Ulijanka,” “Geese, geese, come home,” “Blind man's buff,” or various physical strength games should not be directed, or planned. Let life happen on stage. Let the children swap roles, let them not know who will win or who the counting-out rhyme points to.
Finally, let us remember that the evening concerts or forenoon performances in the Nowy Sącz Old Market Square are only a certain, not even the most important, part of the FESTIVAL OF THE CHILDREN OF MOUNTAINS. The most crucial thing since the very beginning of the Nowy Sącz Festival is comradeship, building relationships. The activities that help with this are partly planned, such as shared learning of comrade dances. However, in general, the time when the Polish and foreign ensembles form bonds of their friendships is not organised. Comradeship happens when no specific action is imposed. Comradeship comes into existence by way of freedom. And that’s the way it should be!
And let me say to all the adults attending the Festival as spectators, instructors, organisers, workshop leaders or those acting in any other capacity: let us feel that we have found ourselves in an absolutely privileged position. We have been offered the opportunity to do what was most important to Maria Montessori, what paved the way for her to understand the child’s mind: we have been given the chance to simply observe.
Let us not hold back! Let us soak up the unrestrained activity of these young people, and let this lead to an ever deeper understanding of their needs.
Kamil Cyganik