Prof. Dr. Didier Pollefeyt Jan Bouwens K.U.Leuven, PDF Free Download

Prof. Dr. Didier Pollefeyt Jan Bouwens K.U.Leuven, 2010

The short film Balance was made by the brothers Lauenstein for the Katholische Filmwerk in 1989 and won the prestigious Oscar for best short film in 1990. This extraordinary movie could serve as an excellent starting point for reflection on the religious identity of a Catholic school.

Balance is a short film with many interpretational layers. It revolves around a couple of strange and monotone humanlike creatures who find themselves on an unstable platform situated in a void. Outside the platform there seems to be nothing but a bottomless abyss. When one person moves on the platform, the others need to reposition themselves in order to maintain the platform s fragile balance. The creatures all wear the same overcoat and they each have a number on their back. At a certain moment the creatures pull fishing-rods out of their coats and they start fishing in the abyss. It doesn t take long until one of them catches a big, heavy, dirty-looking box. It appears to be some sort of curious treasury! The creatures are very curious about the treasure that might be contained in the box. One by one they investigate their spectacular finding. When the dust is wiped off, the treasury turns out to be red in stead of the monotone grey in which the entire surrounding is steeped. At closer investigation the creatures discover that the treasury is in fact some sort of music box. When a handle is turned, music begins to play. Very soon the music box becomes an inducement for competitiveness. Some want absolute power over the box and in their eagerness to possess it, they believe that the others stand in their way. Tragically, one after the other the creatures get pushed off the platform until only one of them remains. Will the sole remaining person now be able to cherish the music box? In the final scene, this appears to be impossible: in order to be able to remain on the platform, the creature has to stay on one side of the platform, while the music box lies on the other side

Sketching the contemporary human being: Modern uniformity and bureaucratisation of social reality (cf. identical people without a face, with a number on their back, lack of communication). The end of the great stories and individualisation (cf. lack of an horizon). Privatisation of the search for a deeper meaning of life: religious shame (cf. the fishing rods). Experience of emptiness and lack of meaning (cf. hovering in the air, monotonous sounds, few colours). Educational uncertainty, fear of attachment and instability in personal philosophy of life (cf. the unstable, swaying platform). A contemporary story of falling into sin: discovery of evil as a possibility (social coarsening) disruption of original harmonious relations big social inequality (dancing next to the treasury) some people cannot cope and fall out

The presence of the mysterious BOX: Without the desire for the box, life is no more than pointless wobbling and wavering (cf. the box is the only coloured object in the film). Each human being is susceptible to questions about the deeper meaning of life (cf. the discovery of the box by means of the fishing rods). Every person longs for the mysterious treasure (cf. dancing next to the box, each person wants to listen to the music longer and more intensely). Ultimately, no-one knows or understands exactly what the treasury entails (cf. the box is covered with dust and dirt, its original colour has been hidden by filthiness). The introduction of the mysterious treasury leads to an impertinent disruption of the original harmonious relations, and ultimately becomes a source of violence (cf. the box is sliding back and forth unceasingly). = people collide with each other about their possessing a personal conviction: our opinions about how to handle the world, our preferences or plans, our philosophies of life, our religious beliefs. The treasury has the potential to exclude and even kill people: = having a strong conviction could turn others into opponents, someone who could stand in my way, someone who hinders or resists my plans (not listening, only taking oneself seriously) religious wars.

Lines of interpretation: Theory of interdependence Everything is dependent on everything else. We cannot not-communicate. We have no choice but to take each other into account. Everything has consequences that influence everything else. Economical interpretation A capitalistic society where personal property is the main focus, makes victims (cf. advertisement-boards on playgrounds). Only mutual solidarity can create a society free of violence. Ethical interpretation Evil is structurally embedded in human societies; conflicts are unavoidable. Absolute balance can never be reached (original sin): a community of human beings never equals God s Kingdom on Earth. Who forces himself/herself upon others, will ultimately pay the price.

A closed narrative results in a sterile victory: the winner cannot share his/her truth and remains isolated and alone. In a closed narrative I can no longer be certain of my property ; the treasure becomes unreachable. Stiving for a perfect balance ultimately makes the treasure unattainable. No-one can claim the exclusive right to possess the treasure. It is possible for the treasure s music to become almost inaudible; its colour can disappear. What s the best attitude towards the treasure? A communal attitude, standing in a circle around the box. Not all at the same distance, not all of us with the same passion or involvement, not all in the same way but together as a community. Central question: does our attitude towards the treasury connect us to each other (despite and in our diversity); does it build bridges between us? Or are our philosophical and religious views obstacles or walls, that separate us and divide us into proponents and opponents?

Using the short film as a practical-theological instrument

Using the short film Balance as a practical-theological instrument: Use Balance as a lever to break open individualistic, colourless school environments (a confrontation instrument) Use Balance as a reflection tool regarding a re-contextualisation of Catholic school identity (a recontextualisation instrument) Use Balance as an invitation to introduce faith in a postmodern, secular culture (a proposer-la-foi instrument)

After watching the movie, first impressions are gathered. These impressions may be rather general. One can give an appreciation to the movie and careful indications on what Balance is truly about, without going more deeply into it. Next, we try to interpret the film within the broad (educational) context of modern society. In which way is this movie a reflection of / critique on our modern society? Here are some interpretational tracks that can be discussed: The fact that we see identical, faceless people, with a number on their back and a lack of communication might refer to modern uniformity and bureaucracy. In the movie there is no horizon, which might refer to the end of the great stories. Everyone in the movie has a fishing-rod, which points to a privatisation of the questions referring to the deeper meaning of life. The platform hovers in the air, we hear constant monotonous sounds and see a monochrome surrounding; this suggests an experience of emptiness. The instable, fragile platform might point to an educational uncertainty and an instability in the domain of the personal world view. Balance shows that everything and everyone is interdependent and interconnected, that people can not not-communicate, that we have to be considerate of one another. In a human society, conflicts are unavoidable and evil is structurally embedded in our society.

Next, focus on the meaning of the movie for the (Catholic) identity of the school. What does this movie say about our own school context? We examine in which way Balance could be applied to the context of the own school. Depending on the results that arose out of the empirical research, different paths can be followed to work with Balance, just because this is a movie that makes multiple interpretations possible (as became obvious in the preceding discussion).

Balance as impetus to solidarity In the movie we see an apparent critique on a lack of solidarity. It is because of their urge for possession and their individualism, that the characters come to their end in a tragical way. Moreover, it becomes immediately clear that no one can cope on his own. No one can possess the treasure of life alone. This interpretational track offers the possibility to go deeper into the presence and the relevance of solidarity in the school. The movie is watched a second time (or if there s not enough time, called to mind) from the viewpoint of what it has to do with solidarity. From this perspective special attention can be given to: the symbolism of: the fishing-rods the treasure the fragile platform the numbers what these symbols may mean in the context of the school and from the viewpoint of solidarity.

Some questions: Is the entire school represented in this movie? Does the movie offer an implicit critique on certain aspects of the policy or day to day life of our school? How does this movie relate to the problems in our school that were revealed in the report? Is it necessary for a school that there is a balance between the different persons and groups who are represented in the school? How might one reach that balance? Is our school like the fragile platform on which one has to balance? Does the school recognise the fact that everyone has got a fishing-rod, namely a desire to discover some kind of meaning in their life, a desire for the Treasure of life? What is the treasure in our school life? What do we want to accomplish, what are our goals and aspirations? What is the best relation to that treasure? Can one own it? Is it possible to own it as an individual or only as a group? How can we maintain a relation with the treasure of life in group? Are the people in this school (the pupils, the teachers, other personnel) sometimes treated as numbers? If so, under which circumstances? Does this happen on purpose or is it just a side effect of the way in which the school is organised? What can we do to avoid this? What does it mean that there are numbers missing in the film? What can this mean in the context of our school?

Thereafter further questions are put, regarding the perception of solidarity in the school. For example: In Balance the creatures don t co-operate. They behave in an individualistic manner. In which domains do we promote co-operation in our school? Does this co-operation involve solidarity with other people? What does this movie tell us about the desirability of solidarity between all school members? The creatures in the movie don t talk to each other. They live very much on their own. Does our school encourage a culture of conversation, of dialogue? If not so, how can we realise such a culture? How can we encourage initiatives in this direction? In Balance, the weaker people get pushed overboard by the stronger, in a rather merciless and apathic way. Are their sometimes displays of power, or power struggles in our school? Is this always in the benefit of the stronger, the privileged? Do people sometimes make progress on the back of others? Can we speak of a survival of the fittest in our school?

Balance is a closed story and brings forth a sterile victory: the winner may have won but can t share his victory nor his truth. He remains alone. Can we share the victories in our school? In this closed story the treasure becomes unattainable. This shows that no one has the monopoly over the treasure. Is there some sort of monopoly (of the truth, of certain goods, ) in our school? The movie shows implicitly that the best relation to the treasure is a collective, communal relation, where everyone stands around it together, not all at the same distance, not all with the same involvement, not all in the same way, but together, as a community. Can we call our school a community? What can we do in order to live more as a community? The results of this reflection are written down and saved for further implementation.

To make things even more concrete, a simulation game on solidarity can be played. In small groups, it is possible to make a simulation of a situation where there would be no solidarity at all in the school. A simulation is made of one or more of the following situations (the simulation must expose the lack of solidarity). A possible way of working is that every group prepares one situation and that all the situations are enacted before the rest of the people present. A student who has been sick for two weeks comes back to school. A teacher who has been absent for half a year (due to pregnancy) comes back to school in the middle of the school year. A student can t pay for the annual school journey. The father of a student dies of cancer. Muslim students are participating in the Ramadan. One of the teachers reveals that he or she is homosexual. Evaluation questions: Do these enactments stir up certain emotions or reactions? Was this simulation in any way realistic for the situation in our school? Does this simulated situation differ a lot from the current situation? What would we do if we were confronted with this situation? Is our view on solidarity determined by our so called Christian identity? What has this simulation taught us?

Balance as a critique on relativism Balance can be interpreted as a critique on relativism. The setting of the movie breathes out relativism. People find themselves on an instable platform, which is floating in the air. An experience of emptiness and uncertainty arises from this situation. There is no (more) horizon to aim oneself to. Everything is the same. The quest for meaning is totally individualised. Everyone carries with him a private fishing-rod and searches in a noncommittal manner for meaning, without knowing what one will pull up. This interpretational track offers the possibility to track down relativistic tendencies in the school and to approach them in a critical way. The movie is watched for a second time (of if there s not enough time, called to mind) from the viewpoint of what it has to do with relativism. From this perspective special attention can be given to the symbolism of: the fishing-rods the treasure the fragile platform the numbers and what these symbols may mean in the context of the school and from the viewpoint of relativism.

Next, further questions are asked, concerning the presence of relativistic patterns of thought in the school. For example: In Balance there is no ultimate horizon, nothing to hold on to. Do we want to offer a horizon of meaning to the students and the personnel in our school? Which horizon may that be? Do we succeed in this purpose? The results of this reflection are written down and saved for further implementation.

The movie shows us people who are looking for meaning. With their fishing-rods they fish for some significance and meaning in their life, although they do not know on beforehand which fish will bite and when the fish will bite. Do we show our Christian identity in our school? Do we stimulate the population of our school in their quest for meaning? Do we offer them frames of reference in which this quest can take place? Are the students on their own in their existential growth? Does anything that has got something to do with faith and meaning belong to the personal, individual sphere? Do we consider questions on the topic of meaning to be trivial? Can anyone bring their own religious and existential fishing-rod to the school, even though certain worldviews are opposed to the Christian inspiration of the school?

To make things even more concrete, a simulation game on relativism can be played. To that cause a couple of situations that have got something to do with relativism are handed. These situations are in depicted in such a manner that they expose relativistic patterns of thought. A possible way of working is that every group prepares one situation and that all the situations are enacted before the rest of the people present. A student declares in class that he is a Satanist and he also wears a reversed five- pointed star to make this clear. A couple of teachers utter the idea of introducing several visual references to multiple religions in the school, as a sign of the pluralism the school wishes to propagate. A student asks for guidance in the process of coping with her own Christian identity (her parents are strictly catholic and her friends are mainly atheistic). A parent complains about the fact that the school doesn t display the Christian identity enough. Students ask for the deletion of every reference to the Christian tradition in everything that has got something to do with the school, because all religious visions are equal and none should be given preference. Evaluating questions: Do these enactments stir up certain emotions or reactions? Was this simulation in any way realistic for the situation in our school? Does this simulated situation differ a lot from the current situation? What would we do if we were confronted with this situation? Is our view on Christianity determined by certain relativistic patterns of thought? What has this simulation taught us?

Focus on the presence of the treasure Special attention can be given to the meaning of the treasure in the movie and in the school. This could be the starting point for further discussion on this meaning. Some items that can be integrated: Without the desire for the treasure, life is a meaningless moving around (the treasure is the only thing with a colour in the entire movie). The treasure is discovered with the help of the fishing-rods (symbolic for the quest for meaning). Every person longs for the unknown treasure. The treasure is covered in dirt and dust, the original colour is not longer visible due to the dust, no one knows what the content of the treasure really is (the tradition is no longer known by the pupils, by the population of our school). The treasure disturbs the original harmonious relations and becomes the source of violence (collision of different worldviews, one wants to possess the truth, different beliefs and visions come into conflict). The treasure can exclude and kill others (a strong conviction can turn other people into adversaries, into others who can undermine my plans).

All participants take a piece of paper with a picture of a treasure on it, symbolising in this case the treasure of a harmonious school. They get the task to put several groups of persons (or maybe names, but this might be delicate) on the paper, for example the pastoral workgroup, student council, the school board, (members of) the teaching staff, (members of) the students, the cleaning persons, the gardener, Are there problems regarding to the position of some (groups of) persons? Are there persons/groups of persons who need to stand closer to the treasure? Are you comfortable with your own position in relation to the treasure? Is the relation to the treasure a binding element (despite of and in the middle of the diversity) that connects people or is it a barrier or a wall that separates people from one another into proponents and opponents?

At the end of the session, relevant elements from the discussion are gathered. What has the movie Balance taught us with regard to our school? Which aspects of our identity or behaviour do we wish to change in the future? How can we attain to a balance in our school? In group, three things are written down that can/should be realised in the school in order to reach a balance. 1. We can reach a balance by 2. We can reach a balance by 3. We can reach a balance by