{"id":20,"date":"2026-04-13T09:37:17","date_gmt":"2026-04-13T09:37:17","guid":{"rendered":"https:\/\/dev.wrkshp.fi\/as-colliander\/?p=20"},"modified":"2026-05-04T09:48:52","modified_gmt":"2026-05-04T06:48:52","slug":"5-2-outlining-the-pre-examined-artistic-component-kaannoksia-transpositions","status":"publish","type":"post","link":"https:\/\/actascenica.teak.fi\/colliander-tuire\/5-2-outlining-the-pre-examined-artistic-component-kaannoksia-transpositions\/","title":{"rendered":"5.2 Outlining the Pre-examined Artistic Component K\u00e4\u00e4nn\u00f6ksi\u00e4 \u2013 Transpositions"},"content":{"rendered":"

Despite the challenges, the pre-examined artistic component evolved into a pandemic translation, Käännöksiä – Transpositions<\/em>, which was implemented as an artistic–pedagogical event in the spring of 2021 at the Theatre Academy. In the following outline, I will map the activities of the event and trace their connection to the fieldwork from which they were translated. The images included in this section were sourced from the two pre-examined sessions. The purpose of the images is not to function as supplemental figures, illustrative artefacts, or tools to verify the narrative. Rather, they are embedded within and inseparable from the text, intended to operate as equal forces of narration. (Myers 2019<\/a>)<\/p>\n\n\n\n

The numbering of the activities on the map serves as an anchor, situating them within the temporal and spatial narrative of the event. The red line marks the guided portion of the route through the event space, after which the activities unfolded non-linearly, evolving differently with each encounter. Children’s drawings from the Guest Book are woven into the descriptions of the respective activities, introducing their voices and perspectives into the narration.<\/p>\n\n\n\n

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Image 5.12 Map of the event Drawing Tuire Colliander<\/b><\/figcaption><\/figure>\n\n\n\n

1. Flyer<\/h2>\n\n\n\n
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Image 5.13 Flyer drawings Tuire Colliander<\/b><\/figcaption><\/figure>\n\n\n\n

I employed drawing as a form of creative writing, together with the Storyboard Method, to translate the concept of the event into a written and illustrated flyer. Prior to the event, all potential participants—specifically, the guardians of the children who had participated in the fieldwork—were provided with a flyer, detailed guidelines on how to enter their child into the lottery used to select participants, and informed consent forms.<\/p>\n\n\n\n

2. Meeting point<\/h2>\n\n\n\n

The event began with a meeting with the participants in the lobby of the Theatre Academy.<\/p>\n\n\n\n

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Image 5.14 Meeting Point Jan Colliander<\/span><\/figcaption><\/figure>\n\n\n\n
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Image 5.15 Tuire in Guest Book Drawing Participant<\/b><\/figcaption><\/figure>\n\n\n\n

3. Route<\/h2>\n\n\n\n

I sent the participants off on a route guided by a tape, which was my translation of the insight gained from sharing agency with materials at the daycare centre.<\/p>\n\n\n\n

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Image 5.16 Route Jan Colliander<\/span><\/figcaption><\/figure>\n\n\n\n

The route also allowed for playful and experimental use of spaces, translated from the idea of shaping spaces through activities.<\/p>\n\n\n\n

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Image 5.17 Route Alternatives Jan Colliander<\/span><\/figcaption><\/figure>\n\n\n\n

For hygienic\/safety reasons, the route included a handwashing stop. It also showcased an exhibition on the deconstruction of the government building. This exhibition was creatively placed in an unconventional location on the stage floor, translated from the art exhibition situated under the bench.<\/p>\n\n\n\n

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Image 5.18 The Exhibition Jan Colliander<\/span><\/figcaption><\/figure>\n<\/div><\/div>\n\n\n\n

The exhibition was titled A House Demolition Story<\/em>. Significantly, the deconstructed building had also previously housed a daycare centre. The child who participated in the second pre-examined event—substituting for another child who had fallen ill—had in fact attended that daycare centre. This unexpected connection introduced an additional layer to the affective dimension of the demolition and subsequent explosions, as pointed out by the child’s mother, who observed that it was not just any building being demolished, but the daycare centre itself.<\/p>\n\n\n\n

4. Preparations<\/h2>\n\n\n\n

I gave the participants practical guidelines before they entered the construction site. I used a translation of the insight regarding the use of drawings to enhance communication.<\/p>\n\n\n\n

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Image 5.19 Preparing Jan Colliander<\/span><\/figcaption><\/figure>\n<\/div><\/div>\n\n\n\n

Additionally, the participants wore safety clothing, similar to the vests typically used during ECEC field trips, before entering the studio. Finally, I equipped them with torches and a balloon called Kille[1]<\/a>, which served as a navigational aid. Kille’s elongated tail helped guide them as they moved through the space.<\/p>\n\n\n\n

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Image 5.20 Preparing Kille Jan Colliander<\/span><\/figcaption><\/figure>\n\n\n\n

5. Photos on the Floor<\/h2>\n\n\n\n

As we entered the space, we were met by dim lighting and a soundscape.<\/p>\n\n\n\n