Relational Dynamics: the use of coaching techniques in participative performance

Abstract

This essay discusses the use of selected coaching approaches – specifically the person-centred philosophy of Carl Rogers, and clean language pioneered by David Grove, as synthesised by Relational Dynamics training given by Deb Barnard – as a key resource in performer training. The essay draws on performance research undertaken between 2012 and 2020 and on professional coaching practice with artists and performers from 2012 until the present. The author examines the possibilities and effects of coaching approaches as a means to facilitate conditions for audience-centred experiences in the context of contemporary performance practice. The careful use of ‘person-centred’, ‘clean language’ and ‘active listening’ on the part of performers, creates the conditions for audiences to feel personally addressed and to heighten emotional response, imbuing performance with audience-specific meaning. At the same time, the context of performance practice can lend coaching techniques a permission and focus to those who might otherwise eschew such forms of interlocution. Taking a coaching approach in works of performance that engage in participation also offers an ethical framework for artists and performers.

Keywords:

• Coaching
• person-centred
• clean language
• active listening
• contemporary performance
• social practice
• participation

Notes

1 The Clore Leadership Programme provides professional training and personal development for British professionals (and some international fellows) in the cultural sector. It was founded by the Clore Duffield Foundation in 2002.

2 As part of the optional AHRC (Arts and Humanities Research Council, UK) research strand of the Clore Fellowship, I set about exploring what ‘Artist as Leader’ might mean. Seven interviews reflecting on the notion of leadership in artists’ practice, were published, including: Cornelia Parker, Field Theory, First Draft, Masato Nakamura, Richard Layzell and Richard Hicks, Kate Love, and David Wilson. https://www.a-n.co.uk/tag/artist-as-leader/ An overview article was published in Arts Professional no.260 December 2012-January 2013 pp.28-29.

3 See for example, ‘The Explosive Growth In Coaching’ by Josh Bersin (pub. October 8, 2021). Accessed April 4, 2022. https://joshbersin.com/2021/10/the-explosive-growth-in-coaching-one-of-the-biggest-trends-in-business/

4 There are no definitive ‘Levels of Listening’ or even a limitation to 5 levels. The levels here are extracted and adapted from the Relational Dynamics 1^st Training Manual by Deb Barnard and Rivca Ruben. The dialogue examples are the authors own.

5 Other examples include: Object of Love (2013) at the New Performance Turku Festival where members of the public were invited to sign up for a one-to-one coaching session in a soundproof glass box in the Wäinö Aaltonen Museum of Art, and Your Future Now (2021) at Taiwan Contemporary Culture Laboratory (CLAB) produced by Prototype Paradise and Co-Directed with Yuying Kung. See www.joshuasofaer.com for further details.

6 In the UK iteration of the project, one singer’s contract was not extended at this point as it was considered by the artistic team that he was struggling with holding the space for potential audience members.

7 Feedback from the UK live tour in 2016 was made available to, and analysed by Daniel Sommerville.

8 Anonymised feedback emailed by a participant to producing organisation Wunderbar. From the Opera Helps online version, 2020.

9 ibid.

10 ibid.

11 See for example, ‘Football unites with Prince William to sign “Mentally Healthy Football” declaration’ by Jack de Menezes, Independent (pub. July 27, 2020). Accessed April 4, 2022. https://www.independent.co.uk/sport/football/news/heads-up-fa-cup-final-prince-william-david-beckham-mental-health-football-a9639251.html

12 See for example, ‘Symptoms and Factors of Dementophobia’ by Lisa Fritscher (pub. February 16, 2021). Accessed April 4, 2022. https://www.verywellmind.com/what-is-the-fear-of-madness-2671771

Additional information

Notes on contributors

Joshua Sofaer

Joshua Sofaer is an artist works across boundaries, borders and disciplines to develop artworks that engage with all levels of society. Working internationally, Sofaer has presented work at The Science Museum (London), SFMOMA (San Francisco) and Folkoperan (Stockholm), amongst many other venues and institutions. He is currently Visiting Specialist in the department of Chinese Literature at National Cheng Kung University, Tainan, Taiwan.