By David Oddie
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Additional info for A Journey of Art and Conflict: Weaving Indra’s Net
Sometime later I did listen to him and, with his encouragement, became an avid reader, a process that was to significantly change my life and outlook. Russell had cajoled and bullied me into taking a number of roles in school plays from Shakespeare’s Justice Shallow to Private Bamforth in The Long and the Short and the Tall, experiences that were, on reflection, crucial to my emerging self-understanding. I had no specific sense of direction when I left school, but I was fortunate to be taken on by VSO (Voluntary Service Overseas) where I spent a remarkable year in Sierra Leone, West Africa.
Eventually I found an understanding psychotherapist, who used hypnosis on me. The first time I went ‘under’, I found myself curled up in a tight ball with floods of tears running down my face. ’ asked the therapist. I was in bed, the first night of a term at my boarding school. I was nine years old. I missed the warmth and comfort of my home and I wanted to cry, but dare not cry audibly in case I was heard by the boys in the adjoining beds and marked out as a ‘wet’. This was in the 1950s, and the school ran a spartan regime in which the stiff upper lip was mandatory.
Lederach initially uses a model to outline change processes that is very familiar to applied theatre practitioners; that is, a transformation framework comprising the presenting situation, the horizon of preferred future and the development of change processes linking the two. This provides a framework to explore movement into the future. It does not, as Lederach observes, ‘explore what capacity might be needed to imagine a past that was alive and accompanying us at every step’ (Lederach, 2005:139).