Mountain School?

Lately I've been trying to apply Forest School principles to my work as an outdoor activities instructor. One aspect of my work is leading mountain journeys with groups of young people.

I've tried to embed a Forest Schools approach by involving participants as far as possible in the planning and decision making around their journey. In particular I've aimed to -

- Seed the groups with a minimum of safety and practical information and skill, asking the groups what they think they might need
- Provide choice of a range of possibilities for where it might be possible to go
- Focus the groups' aims around experiencing sensations (excitement, remoteness, exertion, achievement) rather than gaining particular objectives (getting to the summit of x).

In practice the groups have generally demonstrated ownership of their plans, been ambitious and enjoyed their journeys more than they expected to. They adapted their plans to suit the interest and abilities of the group, to take advantage of unexpected opportunities and extend their experience.

In the picture below, taken from the summit of Angletarn Pikes, the group enjoyed the view and getting to the top, after scrambling up exposed rocks, following a hard climb. At Angle Tarn the group thought about nature (its beauty and variety, our place in and effect on it) while dangling their feet in the cold water and feeling the sun's warmth on their faces. In the background is the peak we thought we might get to if we walked really fast!

Acquisition

I have the great privilege to shadow some excellent practitioners in great settings as part of my Forest School training. One such place is a Bradford primary school where the staff and pupils have been so welcoming (aside from the time I was killed - twice - in a mock execution, but that's for another post).

Today, year one children were in the woods and some asked me to make some sculptures I'd shown them before. It was the sort of thing, pictured below (made in Hirst Woods, Shipley), for which I have to thank the inspiration of Andy Goldsworthy.

All the examples I've shown the children, I've left attached to the tree. I think, partly, because that's how I remember first seeing Goldsworthy's work and partly that I think it works best artistically; "flowing" from the normal growth of the tree. Part of the tree but separated from it, "appended" is probably nearer. I think the work surprises in that at first it appears to grow from the tree but, in the regularity of the stitching, it shows the hand of the artist*. I think the piece works best in the setting in which it is created.

The children, however, nearly always want to remove their work and I've begun to think about why this is the case.

Is it as simple as that this is how they've come to know art produced in school, as being something that is taken home at the end of the day? To be shown to parents or friends?

Or is it something more subtle? A "natural" human acquisitiveness with regard to nature? That nature is a place to be taken from? That nature's resources find their greatest expression when brought into our world?

Is this the acquisitive drive that has led humans to create so much of benefit from nature but at the same time to leave it bereft?

Your thoughts?

*in my own case I use the term very loosely.