A publication by Febrik, documenting art-based research and design projects carried out in Burj el Barajneh Palestinian refugee camp, Lebanon The projects–Dream Project and Play Space–aimed to bring attention to the spatial and contextual childcentered issues of urban and dense living conditions and their innovative means of existing within them. The learning approach developed through the workshops focused on the mindset of children in relation to the social and spatial limitations in the camps (right of space, right of belonging and right of play). The aim was to shift the focus toward what is positive and possible on a small scale, every day, within the inhabited environment, rather than being disheartened by the lack of rights and possibilities within the bigger political context. The workshops explored the following main question, By focusing on what we can do and what is possible and on offer in our environment, is it possible that we have more energy, skill and initiative to create small scale change, while consistently acting towards the larger scale improvement? The documentation brings forward the experience of the workshops in 3 ways: An educational manual for facilitators working with children and art, focused on the ‘contextual’ or ‘situated’ creative learning; A catalogue of the children’s stories, dreams, play spaces and games; and A documentation collating the social and spatial findings of living in refuge in the camps. The workshops were made possible through the support of various organizations and individuals. A.M. Qattan Foundation and Norwegian People’s Aid were the main financial supporters and Beit Atfal Assomoud offerred their space and resources. Cultural spaces in Beirut opened their door to the children’s work such as Agial Gallery and Beirut Theater and volunteers from within and outside the camp as well as people who flew in added great value. PROJECT RELEVANCE The project and its documentation are relevant to the current Arab (and specifically Palestinian) informal educational context in four main areas An educational relevance of confirming approaches focused on the ‘contextual’ or ‘situated’ creative learning of children: The learning approach in the workshops is focused on changing the mindset of children in relation to their current limitations existing in the camps. The aim is to shift the focus toward what is positive and possible, on small scale every day within this environment. A spatial and environmental relevance, which brings attentions to child-centred issues of urban and dense living conditions: While space issues are not high on the agenda of working with children in camps, Creative Creatures project brings the issue of space to the forefront with its cultural and social implications. A poetic relevance which draws on the children’s stories and discoveries with emphasis on the narrative as oral history and research into the camp’s social and cultural practices and its relevance to changing the context around them: The children have shared their dreams, their favourite spaces and their secret games. When reading between the lines, the children have told us what it is like to be a child in today’s world, specifically within a refugee camp - a waiting room so that life may begin. A documentary relevance to other art and child-centred organisations: Proposed as both an educational manual and a collection of stories, the creative envelope follows the process of setting up, going through and concluding each workshop. It also evaluates the successes and limitations of the workshops, suggesting alternatives wherever possible. PUBLICATION DETAILS 270 pages with 6 foldouts  23cm*27cm, Colour Bilingual Arabic, English Design by Mind The Gap, Lebanon PUBLICATION STRUCTURE Chapter 1: Introduction Febrik’s thesis – working creatively with children encouraging independent critical thinking and skill building – and The camp context – forward by Rosemary El Sayigh and preface by Febrik. Chapters 2, 3, 4: Creative Creatures Workshops 1, 2, and 3 (I want to be, Dream Space, and Play Space) Each Chapter includes an introduction to the workshop, a How-To section outlining the process, the outcomes of the workshops, and the stories. The book concludes with the workshop’s findings. READERSHIP Practitioners and educators working with participatory creative processes Children and families in Palestinian refugee camps, particularly those who participated in the workshops General public with interest in children, the camp context and creative projects

A publication by Febrik, documenting art-based research and design projects carried out in Burj el Barajneh Palestinian refugee camp, Lebanon

The projects–Dream Project and Play Space–aimed to bring attention to the spatial and contextual childcentered issues of urban and dense living conditions and their innovative means of existing within them.

The learning approach developed through the workshops focused on the mindset of children in relation to the social and spatial limitations in the camps (right of space, right of belonging and right of play). The aim was to shift the focus toward what is positive and possible on a small scale, every day, within the inhabited environment, rather than being disheartened by the lack of rights and possibilities within the bigger political context. The workshops explored the following main question,

By focusing on what we can do and what is possible and on offer in our environment, is it possible that we have more energy, skill and initiative to create small scale change, while consistently acting towards the larger scale improvement?

The documentation brings forward the experience of the workshops in 3 ways:

  • An educational manual for facilitators working with children and art, focused on the ‘contextual’ or ‘situated’ creative learning;
  • A catalogue of the children’s stories, dreams, play spaces and games; and
  • A documentation collating the social and spatial findings of living in refuge in the camps.

The workshops were made possible through the support of various organizations and individuals. A.M. Qattan Foundation and Norwegian People’s Aid were the main financial supporters and Beit Atfal Assomoud offerred their space and resources. Cultural spaces in Beirut opened their door to the children’s work such as Agial Gallery and Beirut Theater and volunteers from within and outside the camp as well as people who flew in added great value.

PROJECT RELEVANCE

The project and its documentation are relevant to the current Arab (and specifically Palestinian) informal educational context in four main areas

  1. An educational relevance of confirming approaches focused on the ‘contextual’ or ‘situated’ creative learning of children: The learning approach in the workshops is focused on changing the mindset of children in relation to their current limitations existing in the camps. The aim is to shift the focus toward what is positive and possible, on small scale every day within this environment.
  2. A spatial and environmental relevance, which brings attentions to child-centred issues of urban and dense living conditions: While space issues are not high on the agenda of working with children in camps, Creative Creatures project brings the issue of space to the forefront with its cultural and social implications.
  3. A poetic relevance which draws on the children’s stories and discoveries with emphasis on the narrative as oral history and research into the camp’s social and cultural practices and its relevance to changing the context around them: The children have shared their dreams, their favourite spaces and their secret games. When reading between the lines, the children have told us what it is like to be a child in today’s world, specifically within a refugee camp - a waiting room so that life may begin.
  4. A documentary relevance to other art and child-centred organisations: Proposed as both an educational manual and a collection of stories, the creative envelope follows the process of setting up, going through and concluding each workshop. It also evaluates the successes and limitations of the workshops, suggesting alternatives wherever possible.

PUBLICATION DETAILS

  • 270 pages with 6 foldouts 
  • 23cm*27cm, Colour
  • Bilingual Arabic, English
  • Design by Mind The Gap, Lebanon

PUBLICATION STRUCTURE

Chapter 1: Introduction Febrik’s thesis – working creatively with children encouraging independent critical thinking and skill building – and The camp context – forward by Rosemary El Sayigh and preface by Febrik.

Chapters 2, 3, 4: Creative Creatures Workshops 1, 2, and 3 (I want to be, Dream Space, and Play Space) Each Chapter includes an introduction to the workshop, a How-To section outlining the process, the outcomes of the workshops, and the stories. The book concludes with the workshop’s findings.

READERSHIP

  1. Practitioners and educators working with participatory creative processes
  2. Children and families in Palestinian refugee camps, particularly those who participated in the workshops
  3. General public with interest in children, the camp context and creative projects

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A publication by Febrik, documenting art-based research and design projects carried out in Burj el Barajneh Palestinian refugee camp, Lebanon The projects–Dream Project and Play Space–aimed to bring attention to the spatial and contextual childcentered issues of urban and dense living conditions and their innovative means of existing within them. The learning approach developed through the workshops focused on the mindset of children in relation to the social and spatial limitations in the camps (right of space, right of belonging and right of play). The aim was to shift the focus toward what is positive and possible on a small scale, every day, within the inhabited environment, rather than being disheartened by the lack of rights and possibilities within the bigger political context. The workshops explored the following main question, By focusing on what we can do and what is possible and on offer in our environment, is it possible that we have more energy, skill and initiative to create small scale change, while consistently acting towards the larger scale improvement? The documentation brings forward the experience of the workshops in 3 ways: An educational manual for facilitators working with children and art, focused on the ‘contextual’ or ‘situated’ creative learning; A catalogue of the children’s stories, dreams, play spaces and games; and A documentation collating the social and spatial findings of living in refuge in the camps. The workshops were made possible through the support of various organizations and individuals. A.M. Qattan Foundation and Norwegian People’s Aid were the main financial supporters and Beit Atfal Assomoud offerred their space and resources. Cultural spaces in Beirut opened their door to the children’s work such as Agial Gallery and Beirut Theater and volunteers from within and outside the camp as well as people who flew in added great value. PROJECT RELEVANCE The project and its documentation are relevant to the current Arab (and specifically Palestinian) informal educational context in four main areas An educational relevance of confirming approaches focused on the ‘contextual’ or ‘situated’ creative learning of children: The learning approach in the workshops is focused on changing the mindset of children in relation to their current limitations existing in the camps. The aim is to shift the focus toward what is positive and possible, on small scale every day within this environment. A spatial and environmental relevance, which brings attentions to child-centred issues of urban and dense living conditions: While space issues are not high on the agenda of working with children in camps, Creative Creatures project brings the issue of space to the forefront with its cultural and social implications. A poetic relevance which draws on the children’s stories and discoveries with emphasis on the narrative as oral history and research into the camp’s social and cultural practices and its relevance to changing the context around them: The children have shared their dreams, their favourite spaces and their secret games. When reading between the lines, the children have told us what it is like to be a child in today’s world, specifically within a refugee camp - a waiting room so that life may begin. A documentary relevance to other art and child-centred organisations: Proposed as both an educational manual and a collection of stories, the creative envelope follows the process of setting up, going through and concluding each workshop. It also evaluates the successes and limitations of the workshops, suggesting alternatives wherever possible. PUBLICATION DETAILS 270 pages with 6 foldouts  23cm*27cm, Colour Bilingual Arabic, English Design by Mind The Gap, Lebanon PUBLICATION STRUCTURE Chapter 1: Introduction Febrik’s thesis – working creatively with children encouraging independent critical thinking and skill building – and The camp context – forward by Rosemary El Sayigh and preface by Febrik. Chapters 2, 3, 4: Creative Creatures Workshops 1, 2, and 3 (I want to be, Dream Space, and Play Space) Each Chapter includes an introduction to the workshop, a How-To section outlining the process, the outcomes of the workshops, and the stories. The book concludes with the workshop’s findings. READERSHIP Practitioners and educators working with participatory creative processes Children and families in Palestinian refugee camps, particularly those who participated in the workshops General public with interest in children, the camp context and creative projects

A publication by Febrik, documenting art-based research and design projects carried out in Burj el Barajneh Palestinian refugee camp, Lebanon

The projects–Dream Project and Play Space–aimed to bring attention to the spatial and contextual childcentered issues of urban and dense living conditions and their innovative means of existing within them.

The learning approach developed through the workshops focused on the mindset of children in relation to the social and spatial limitations in the camps (right of space, right of belonging and right of play). The aim was to shift the focus toward what is positive and possible on a small scale, every day, within the inhabited environment, rather than being disheartened by the lack of rights and possibilities within the bigger political context. The workshops explored the following main question,

By focusing on what we can do and what is possible and on offer in our environment, is it possible that we have more energy, skill and initiative to create small scale change, while consistently acting towards the larger scale improvement?

The documentation brings forward the experience of the workshops in 3 ways:

  • An educational manual for facilitators working with children and art, focused on the ‘contextual’ or ‘situated’ creative learning;
  • A catalogue of the children’s stories, dreams, play spaces and games; and
  • A documentation collating the social and spatial findings of living in refuge in the camps.

The workshops were made possible through the support of various organizations and individuals. A.M. Qattan Foundation and Norwegian People’s Aid were the main financial supporters and Beit Atfal Assomoud offerred their space and resources. Cultural spaces in Beirut opened their door to the children’s work such as Agial Gallery and Beirut Theater and volunteers from within and outside the camp as well as people who flew in added great value.

PROJECT RELEVANCE

The project and its documentation are relevant to the current Arab (and specifically Palestinian) informal educational context in four main areas

  1. An educational relevance of confirming approaches focused on the ‘contextual’ or ‘situated’ creative learning of children: The learning approach in the workshops is focused on changing the mindset of children in relation to their current limitations existing in the camps. The aim is to shift the focus toward what is positive and possible, on small scale every day within this environment.
  2. A spatial and environmental relevance, which brings attentions to child-centred issues of urban and dense living conditions: While space issues are not high on the agenda of working with children in camps, Creative Creatures project brings the issue of space to the forefront with its cultural and social implications.
  3. A poetic relevance which draws on the children’s stories and discoveries with emphasis on the narrative as oral history and research into the camp’s social and cultural practices and its relevance to changing the context around them: The children have shared their dreams, their favourite spaces and their secret games. When reading between the lines, the children have told us what it is like to be a child in today’s world, specifically within a refugee camp - a waiting room so that life may begin.
  4. A documentary relevance to other art and child-centred organisations: Proposed as both an educational manual and a collection of stories, the creative envelope follows the process of setting up, going through and concluding each workshop. It also evaluates the successes and limitations of the workshops, suggesting alternatives wherever possible.

PUBLICATION DETAILS

  • 270 pages with 6 foldouts 
  • 23cm*27cm, Colour
  • Bilingual Arabic, English
  • Design by Mind The Gap, Lebanon

PUBLICATION STRUCTURE

Chapter 1: Introduction Febrik’s thesis – working creatively with children encouraging independent critical thinking and skill building – and The camp context – forward by Rosemary El Sayigh and preface by Febrik.

Chapters 2, 3, 4: Creative Creatures Workshops 1, 2, and 3 (I want to be, Dream Space, and Play Space) Each Chapter includes an introduction to the workshop, a How-To section outlining the process, the outcomes of the workshops, and the stories. The book concludes with the workshop’s findings.

READERSHIP

  1. Practitioners and educators working with participatory creative processes
  2. Children and families in Palestinian refugee camps, particularly those who participated in the workshops
  3. General public with interest in children, the camp context and creative projects

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