Kids Teach Kids
Friendship
This show is about what happens when 150 kids from 20 countries, with different life stories and traumas, with various life and artistic experiences and abundance and the poverty meet at last. And simply are together.
What is the stage two?
At the second stage of the project, all participating groups travel to one central location where they stay in a summer camp-style setting. The beginning of the second stage involves initial integration of all the groups and a presentation of all the City Final Shows, which now serve as the starting point for the next stage of work. Once again, the groups dive into artistic workshops — teaching, learning, and combining new elements, to create a whole new performance: the Brave Kids Grand Finale. At this stage the Grand Finale performance is presented to the audience in Wrocław, Poland.
Each year the Brave Kids performances are different. However, we are aiming to create a big, hour-long, vivid and spectacular show, with a large amount of kids on the stage.
The main material for both, the City Final Shows and the Brave Kids Grand Finale are the artistic elements that kids have brought with them: songs, dances, theatrical scenes and other skills, both, from their initial group shows and the City Final Shows. The final show is actually a sum of all these elements artistically processed into one consistent whole. To connect these elements we create a space for kids to share their skills and talents with each other, to learn from each other.
It is simply the beauty, we also look for it, and are happy to see this beauty in our kids and they are enjoying their beauty as well.
Therefore, 'our own ambition is more to achieve children's fun, spontaneity and joy on the stage rather than accuracy.' (Mefo) 'The kids dance all together, sometimes taking steps they would learn from each other in less than half an hour. They make mistakes, that’s obvious, but when they dance with a smile on their faces, the mistakes are missed. This enthusiasm and this joint joy is much stronger and, in a way more spectacular than perfectionism.'
We got ourselves off the stage completely. It wasn’t easy at the beginning. It took us few years to step away like that. The rule ‘no adults on the stage’ seems risky if there are 150 kids on the stage, equipment, props, instruments etc., but we did it! From year to year we also try to interfere the least as possible. We set the framework to make it safe, and establish some rules like: ‘put your instruments always at this side of the stage’ and ‘everyone watches his/her instrument’. Then we step back. It is amazing how leaving it to the kids releases the creative spirit together with the sense of responsibility. I believe in the creative process. If you have hope you may even work out your traumas through it but you need joy and laughter to make it happen. Nothing is going to work if we are tired, if we struggle. We need joy so we cherish it, sometimes resigning from perfection.
Everybody on the stage — we are trying to create a performance in the way that all kids are always on the stage, making some action. Of course, we can try other ways, but still we aim to use all the potential and energy of a big group and not have children hiding in the wings (kulisy). There are also situations when we just have to let the actors go off the stage for technical reasons, such as: bringing props, changing clothes etc.
Balance energy (not too long, fast, efficient montage) — probably we will quickly fall in love with all the kids that we work with, and will be fascinated with their talents and cultures. We will also use a lot of energy for working on scenes and have so much that we want to show (include in the show?). It will be difficult to make cuts, decide on what scenes to show and how long they should last. However, we have to remember that we are aiming to create a common performance, limited in terms of time. We always try to have a larger perspective and remember that, though we want to show off every group and scene, the audience’s attention is limited.
No adults on stage — give responsibility — it should be first of all the kids’ performance, not yours. Try to create an environment in which you are not needed on the stage nor not needed to direct the performance from aside. Let them do it, but keep the aim (see: workshop process). We believe that the kids’ performance is more powerful and honest when there are no adults on the stage...
Traditional more than modern — Be careful with elements of modern, global pop culture. Sometimes it's very authentic, worthy to share and use in the performance. Nevertheless, it can also dominate/overshadow traditional forms that, on the one hand are less easy to catch and more difficult to understand, but on the other hand still very precious and interesting for the audience.
Live more than playback/recorded music — We assume that live music is more interesting than playback. It also provides more possibilities for sharing and gives space for more kids to participate. Try to use live music if it's possible in order to ensure a high artistic level. If there's no other way, you can also use playback. Playback may be also very helpful in creating and initiating a scene quickly and efficiently.
Group more than solo — There are always some amazing, very talented kids (or groups) making some very high quality art. It is our duty to find and show these talents. But be careful. Don't give too much attention to them. Appreciate but don't 'spoil' them. Always encourage to share these talents. Maybe others can learn and join their scene? If there's no other way, show the „solo” but not too long.