Monday, November 25

[gottawonder]

Today I am grateful for:

Sleeping as much as I needed to, and still managing to get to pottery.

When I got up, I tried to stay focused on getting everything done (chores for indoor animals and outdoor, getting dressed for chores, and changing to go to town) and not getting lost on the computer or derailed by side quests.

Pottery has become this strange thing, that is almost never about making pottery. Every time I go to pottery now, it is about "the group" and "HOW to run the pottery studio".

It's truly been like that to some degree all along, but this year it is worse again. Some of that is because most of the women in this group are all retired from either social service work like working within Education or within the Women's Shelter, or addictions groups or what have you, so they are all very focused on how things are run organizationally.

Yet, for all that, there IS NO STRUCTURE to this group. We NEED some kind of framework.

That is now all we talk about. It's taking up a lot of space in my mind, too.

Soon we are having a meeting that will hopefully spark some connection between the longer term members of the group and the "new" members, and I really would like for people to be more involved in the process of running things so that it isn't all one person making all the decisions.

If people want to complain, they should be prepared to step up and do something to address the issues.

I DID actually trim two pieces I made last time, and they're looking good. That's all I had time to do.

As I was cleaning up, people from the "beginner's evening class" were already coming in, and I talked with them about coming to the upcoming meeting, and being prepared to be proactive and actually be ready to go on a committee or put their own time in to address issues, and to get to know some of the long term members, and so on.

Then I met the person who has sort of become the "dictator", though again, to some degree its our own fault for not stepping up, but I managed to talk to her about things besides pottery. She cares a lot about cats, and feeds and cares for strays that she brings indoors to become permanent pets, if they'll let her. Even when I have issues with her as far as the pottery studio, I do my best to remember that she has a lot of compassion for animals, and that we have a common area dear to us both.

Then I went to get groceries, and even THERE, I was sort of taking care of other people emotionally.

While shopping, I ended up conversing with a person who thought she knew me from the local chapter of "Special Olympics". I don't know if there was a connection, she thought she'd met me through a common friend, and I don't know. Maybe, maybe not. I was happy enough to chat with her for a while anyhow.

Then I talked with the checkout clerk. I do try to have some kind of meaningful conversation with clerks, and this young woman is one that I get regularly. I'm fairly sure she knows me as a "regular" shopper.

Anyhow, she's had a rough month or so, and really seemed to need to talk about it, so I was happy enough to listen and be empathetic for her.

After a long day of dealing with people's needs and emotions (really, being in that pottery studio is just WAVES AND WAVES of everyone's energy. It's overwhelming these days), I was exhausted.

I was very happy that my Sweetie pulled in pretty much right when I did, so he could help me bring all the groceries inside.

He went to the garage to assemble the goat pen, that we have ready if it's needed. The garage is heated to just above freezing all winter.

I am very grateful for being able to get groceries, and to have the physical ability, a nice little car, and a nice home to bring them to.

Then we just made/ate supper and talked about our day.

Comments

Thoughts

[ysabetwordsmith]

>> Soon we are having a meeting that will hopefully spark some connection between the longer term members of the group and the "new" members, and I really would like for people to be more involved in the process of running things so that it isn't all one person making all the decisions.<<

Sometimes a round robin approach can work, especially with a craft where people may be good at doing different things or even have different tools (e.g. a collection of clay stamps) to share. It depends on if you have enough people willing to lead at least some of the time.

Other times, you can just pick themes, like "slab" or "autumn" and let folks do whatever they want within that range.

Re: Thoughts

[gottawonder]

I am hoping that we do indeed come up with some way to share our knowledge, but it has to be coming from a group choice to do things like this. Right now, believe it or not, the older members aren't allowed to share ANYTHING with the new members, mainly because they are not allowed to work in each other's classes, and the beginners are kept separate from longer term members.

At the moment, we're free enough to do so, and sometimes we do, within the one or two classes of independent "older members" of our group, but we have little to do with the new members.

Our pottery group is currently undergoing rapid change. For some reason, after Covid we nearly doubled the registration of members, so we have 85 people using our small studio, and almost half of those are people new to the studio in the last two years.

There is a small core of long term members, people who have been at the studio for over five years (of those, a smaller group have been there for over ten years, and a smaller group of closer to 20 years).

Right now, the longer term members are entirely separate from the new members, and one woman I shall call S is their self-proclaimed "instructor", who does a fair job of teaching the new members and running the whole studio (she makes glazes, orders clay, and runs the kilns with the help of assistants), but her instruction for some reason is not producing "graduates" who can go on to work independently.

They stay in "her" class year after year, and few produce work that shows advancement beyond a very beginner level, and few show any kind of independent growth.

They are being told they cannot glaze anything without supervision, thus they can't "graduate" to working on their own.

I have spoken to several of these newer members, and they seem to lack basic skills like how to correctly wedge clay, how to make anything on the wheel (S is more of a hand builder), and none of them seem confident. It seems that they constantly question themselves, and are very dependent on asking S for help ALL THE TIME.

S must want this dependence on some level, because she's not doing much to move them past this incompetence, and hasn't enlisted the help of anyone else in the studio to help train people in the basics so they ARE competent.

I am TRYING to get these new members to work together to demand from S the kind of training that would allow them to work independently, and move out of the beginner class. They ARE full members as far as the right to vote on issues, if they call for one.

I know that having those students leave her class and work on other days would likely make S feel like they were "abandoning" her (this woman has ISSUES), and she has a lot more power because of having over half of our membership be dependent on her for everything. They don't know anything, and lack confidence, and let her do whatever she wants without thinking they have the right to speak, or hold S accountable for anything.

They are effectively her minions right now.

I am trying to get the "old school" group to mingle with the new members so we don't have cliques that work against each other, which has happened before. I am trying to get the "old school" group to potentially help bring these students to a point where they have enough skill and confidence to work independently.

I am trying to get more people involved in the running of the studio so we aren't all depending on S, and so that she isn't a dictator just telling all of us what she decided. Also, if S chose to leave, or had to leave for health reasons, WE WOULD BE HOOPED.

I want more people involved in making decisions, and CARING about quality, not just a bunch of beginners churning out flat cookie cut Christmas decorations year after year. If we can't do this, in only a few short years, all of the older members will have moved on, leaving no skilled potters.

It's a lot for us to work on, but I'm hoping that this upcoming meeting is a catalyst, as right now, the beginners don't even seem to see how absolutely hooped they are if they don't start demanding to graduate to working with other people where they can advance.

Right now S seems to make decisions like not allowing some of the new members to come back if she didn't like them, without anyone even knowing that she turned away their registration (I learned about this from other newer members).

We've already gone through cycles of having one person in charge of everything, leading to a lack of freedom and creativity within the studio, and a stagnation of sorts.

This is a community center, where we get some funding from our city, but do fundraising and membership fees to cover most of our costs. We supposedly have an elected group of executive, but S is the person who runs the show, and she was neither elected, nor can actually be asked to leave without a HUGE DISRUPTION to our studio.

At this time, NO ONE can run the studio without her, though some people are being trained to do glazes and kiln stuff, but only under her instruction, so I don't think they have the knowledge to work on their own. They're following strict instructions, they don't necessarily understand the processes.

Yes, one of the things I hope to have come from this is getting people to share their own specialty with others.

I know that's a lot, but if you're interested in what's going on in the studio, that's the run down.

Re: Thoughts

[ysabetwordsmith]

>> I am hoping that we do indeed come up with some way to share our knowledge, but it has to be coming from a group choice to do things like this. <<

Does it really? Or can individuals find each other to make arrangements between themselves?

>>Right now, believe it or not, the older members aren't allowed to share ANYTHING with the new members, mainly because they are not allowed to work in each other's classes, and the beginners are kept separate from longer term members.<<

Then you don't have a group. You have two separate clusters that are unrelated to each other, but are pretending to be one group, and that's a problem.

>> At the moment, we're free enough to do so, and sometimes we do, within the one or two classes of independent "older members" of our group,<<

Then you can start expanding there. It's easier to build from strength.

>> but we have little to do with the new members.<<

If you can't access the new members, they are not part of your group, they are a separate and unrelated group.

So how is that policed? If it's the operating parameters, you'll need to change them. But usually it's not, it's because someone just "said so" and everyone else followed along. If that is the case, stop following. Offer an intermediate class aimed at something beyond whatever the beginners are doing and invite people to attend. This will require finding a teacher who is willing and able to run it.

You might also look at simply making an official separation between the groups. From the sound of things, that might be a lot safer.

>> Right now, the longer term members are entirely separate from the new members, and one woman I shall call S is their self-proclaimed "instructor", <<

If she is self-proclaimed, then anyone else can just as easily proclaim themselves an instructor. An easy approach will be to pick something she doesn't like or can't do, because then she won't be able to steal the show.

>> who does a fair job of teaching the new members and running the whole studio (she makes glazes, orders clay, and runs the kilns with the help of assistants),<<

Check your older members for each separate thing she does. Who else can do any of those things? And don't put all the eggs in the same basket again; spread them out to different people.

Glazes aren't that challenging until you get into the fancy metallics or baits to grow crystals or things you can use when you're tinkering with different temperatures. There are lots of basic glazes where you just pour or dip, let it dry, and fire it -- or at least there were some decades back when I did ceramics as a kid. I've known ceramic friends who experimented with random things as glazes, like milk of magnesia. Probably not a good idea in a public kiln, but it gives you an idea of the flexibility.

Ordering just requires a good head for numbers and a catalog. If she won't share the catalogs, look for brand names on any product still in a wrapper; or just search online for ceramic supply catalogs.

Running a kiln is a great deal more complicated, but if you have 20-year experts in your group, I would expect somebody else knows how. If not, find someone willing to learn. And write down what equipment you're using, because models vary.

>> but her instruction for some reason is not producing "graduates" who can go on to work independently.<<

Then she's not teaching classes, she's supervising workshops, which is something quite different. You'll need to check goals. Some people just want to mess around with clay, and that's fine. Other people want to learn enough to become skilled amateurs or even professionals, and their needs are very different. Does your group want to help people become potters or is it just giving folks in the town a fun way to spend an afternoon in messy play?

If you want people to become potters, then you probably need at least three levels of classes (beginner, intermediate, advanced) and it's best to sort out which skills belong to each. Then consider whether you want automatic advancement (e.g. taking 3 beginner classes qualifies you for intermediate classes) or you expect people to pass an objective test. Ideally, each class should list what it teaches that students can expect to know by the end. Higher classes should have a list of things students should already know, and then what they'll learn that builds on prior knowledge.

Say you start with beginner classes on pinch pots, coil, and slab construction. Each might cover the kind of clay(s) good for that technique, how it works, and how to make several things with it. Finish those three and you're ready to throw on the wheel, because now you have a general idea how clay behaves. Then you have to learn how to throw a small bowl or cup, before you get into anything that tall, wide, or has variations in shape that are harder. It's not hard to lay out a skill tree of classes that will allow students to map a path to what they wish to accomplish.

>> They stay in "her" class year after year, and few produce work that shows advancement beyond a very beginner level, and few show any kind of independent growth.<<

Then she's not teaching them anything and/or is actively stifling their growth. If all you want is a community workshop for messing around with clay, that's no big deal; there are businesses that run that way. But it won't serve people who want to learn things, and it leaves the group very vulnerable because people may be less attached to repeating the same material than learning something new.

>> They are being told they cannot glaze anything without supervision, thus they can't "graduate" to working on their own.<<

That's just dumb. Anyone with enough space and money can buy supplies and do whatever the hell they want with it.

The most supervision we got as kids was the teacher putting out a bunch of glazes, telling us what they did, showing a few cool tricks (like if you put on a base glaze, you can then dip the rim in a contrasting color and let it drip), and then he would answer questions if we got stuck. Putting glaze on pots just isn't hard. Mixing it only requires following the directions on the package -- although I'd start with basic glazes because the fancy ones do get into more advanced chemistry.

>> I have spoken to several of these newer members, and they seem to lack basic skills like how to correctly wedge clay, how to make anything on the wheel (S is more of a hand builder), <<

There is something to be said for learning hand building first. Once you put clay on a moving wheel, it animates and develops a mind of its own. That doesn't mean you can't offer Beginning Wheel classes, but they're naturally harder than manipulating clay on a static surface. As mentioned above, if you want people to advance, they need to understand what the basic, intermediate, and advanced skills are so you can track where they're at.

>>and none of them seem confident. It seems that they constantly question themselves, and are very dependent on asking S for help ALL THE TIME.<<

That's probably deliberate on her part. Clay is just not a difficult medium. Anyone can pick it up and make something functional or pretty with a very modest amount of thought and dexterity.

Part of a teacher's job is assuring students that they can do this, and it's okay to make mistakes because you can always try again. This is especially true in ceramics, where if you don't like your pot, you can just mush the clay back into a lump and make another until you get one you like. As you move up, you can try more challenging things, like attaching handles or throwing tall vases or trying to get porcelain to do anything other than laugh at you. So if none of the students are confident, it is almost certainly because the teacher is telling them that they don't know anything and shouldn't trust themselves. Which is really destructive.

>>S must want this dependence on some level, because she's not doing much to move them past this incompetence,<<

That's probably true. And it's likely the source of the problem, which means she'll fight you if you try to change things.

>> and hasn't enlisted the help of anyone else in the studio to help train people in the basics so they ARE competent.<<

So here we need to look at authority. Does she have written authority to do these things, or did she just volunteer? If written, check your options for replacing her. If unwritten, then anyone else can make whatever changes they please, just as she did. Anyone else could step up to teach a class and set their own parameters.

>> I am TRYING to get these new members to work together to demand from S the kind of training that would allow them to work independently, and move out of the beginner class.<<

It would likely be much easier to find someone else who wants to teach a class instead of lead a workshop. Trying to force her to do things she doesn't want is unlikely to work. Do you have anyone else who is willing and able to teach actual skills? If not, it's a moot point and she has wound up doing everything because nobody else will.

>> They ARE full members as far as the right to vote on issues, if they call for one.<<

That puts you and all other older members in a very dangerous position. You are outnumbered, you are unconnected, and she has tight control over the large number of novices who can vote. They are much more likely to listen to her than listen to strangers, which is what the experts are to the novices -- you're not friends or even classmates if the groups are as separate as you describe.

Make sure the experts have each other's contact information, in case you all get kicked out. (I've seen this happen in other groups.) Check whatever agreements you have with the facility and make sure you know the people who run it. You may need to separate your group from hers, and this will be easier if you are prepared. Also check other places in the area where you could gather if the current one becomes untenable. Does anyone have their own workshop at home or a place (e.g. a garage or shed) that could be turned into one?

>> I know that having those students leave her class and work on other days would likely make S feel like they were "abandoning" her (this woman has ISSUES), <<

They aren't there to massage her ego. They are either there for a fun workshop or to learn skills. If she's using them to feed her ego, then the group is allowing her to mistreat some members, and that's a problem.

But it still doesn't stop other people from offering different classes on other days, and that's an excellent approach.

>> and she has a lot more power because of having over half of our membership be dependent on her for everything.<<

If she controls over 50% of the vote, and it sounds like she does, then you really are hooped. Again, consider splitting the group.

>> They don't know anything, and lack confidence, and let her do whatever she wants without thinking they have the right to speak, or hold S accountable for anything.<<

Motivating this heavily groomed bunch of victims to solve the group's problems is unlikely to succeed.

>>They are effectively her minions right now.<<

Check whether they are actually flying monkeys. If so, you have a much bigger problem and you are outnumbered.

>>I am trying to get the "old school" group to mingle with the new members so we don't have cliques that work against each other, which has happened before. I am trying to get the "old school" group to potentially help bring these students to a point where they have enough skill and confidence to work independently.<<

That's a good idea. *ponder* Consider social meetings outside the studio space. Invite a handful of people from different skill levels to a coffeehouse or whatever. This is something anyone could do. Since you're trying to change things, think about which people you could invite and where. Try it with one handful of people, then pick a different set next week.

>> I am trying to get more people involved in the running of the studio so we aren't all depending on S,<<

Good idea. First, what can you do yourself? Can you buy or even forage things to bring in for others to share? Foraged clay-working tools can be enormous fun, and in the holiday season easy to find because most things that work on dough also work on clay. Do you have the skills to order supplies? Do you know how to run the kiln? I'm betting if you're an experienced member, you could teach a class.

Then, who else do you know among the experts? Who has time on their hand, such as retired people? Who knows a cool technique that not a lot of folks do? There's one local ceramic artist who specializes in making earthstar mushrooms out of clay. Heck, who has a shelf full of glazes that they tried and didn't like all of? Talk to the others and see who can contribute what. If nobody will step up, then that's how this one person wound up doing it all.

>> and so that she isn't a dictator just telling all of us what she decided. <<

Check the paperwork. If it's not an official position, the only power she has is what others GIVE to her. So you might be able to solve the problem just by having other people step in and self-assign authority and responsibility like she did.

>>Also, if S chose to leave, or had to leave for health reasons, WE WOULD BE HOOPED.<<

You're already hooped. If she left, at least she wouldn't be in the way of you solving the problems. As long as she's there and she wants something different than you do -- which sounds like a bunch of helpless followers -- then she'll fight you to get what she wants.

>> I want more people involved in making decisions, <<

Okay ... a more egalitarian system is possible. The problem is, they are all more work than picking a leader and sitting back, which is why they are rare. You need to make sure people are willing to do more work. If they are not, you will not budge them no matter how bad the results are.

In case you want instructions:
https://www.storypikes.com/workshops/PDFs/Facilitators%20Guide%20to%20Participation%20by%20Sam%20Kaner%20with%20Lenny%20Lind-Catherine%20Toldi-Sarah%20Fisk%20and%20Duane%20Berger-2007.pdf

>> and CARING about quality, not just a bunch of beginners churning out flat cookie cut Christmas decorations year after year. <<

Check what people's goals are.

If they just want to play with clay, they may be happy with the above scenario. I've seen community studios that serve that market. There's nothing wrong with just having fun.

If they want to learn skills, however, they will be unserved by current offerings. So if you don't provide real teaching, people in this category will leave. Check your attrition rate among students. If high, this is likely a cause, although her behavior may be another.

>>If we can't do this, in only a few short years, all of the older members will have moved on, leaving no skilled potters.<<

Credible threat. But do check if people want to become skilled potters. That's a very different bunch than workshop hobbyists. It's possible to serve both in the same studio, but usually they aren't happy in the same session.

Re: Thoughts

[gottawonder]

Yes, to everything.

Right now, I have been about the only person to recognize that in function, we are operating as two separate groups of people with little to no contact with each other, yet even our "long term members" are affected by decisions made by S, such as how much free time there is to use the studio (less and less, as new beginner's classes are added), how long it takes to get a piece fired, and how much shelf space is available or room on the carts for pieces waiting to be fired.

That's why I wanted this meeting, to TRY to have us meet new members, to TRY to get people to form committees consisting of both older and newer members, and to TRY to get them to connect and have extra sessions where we can share areas of expertise.

One of my goals that I brought up to the "long term members" was to come up with a curriculum of skills that new members need, and what the require to graduate to working on their own. I am hoping a committee will form that will create that curriculum, and as you say, decide on how to evaluate whether someone is graduated or not.

As you've mentioned, and I am well aware, it requires involvement. I can't do this on my own, and it wouldn't be accepted if I did. I KNOW that I need to get people involved, and I am trying.

NO, S doesn't have ANY WRITTEN AUTHORITY to make ANY decisions, but people don't challenge her, and no one is on board yet to create an actual job description for her role, that limits her ability to make decisions.

I am TRYING to get people to see that we need to just walk right in and start doing things, I KNOW THAT.

Yet, the older people don't care much, and the new ones just believe that S is the "leader of everything".

I am pretty much the leader of the "Emperor's New Clothes" club, and it's pretty lonely here.

I may have to accept that if no one cares, and no one tries, that this is just going to be a lost cause.

If that is so, I will do my best to get a kiln at home, like my husband keeps promising me.

I would love to live without all the drama, but I would miss the circle of people I work with.

Re: Thoughts

[ysabetwordsmith]

>> Right now, I have been about the only person to recognize that in function, we are operating as two separate groups of people with little to no contact with each other, <<

That makes it very hard to fix.

>> yet even our "long term members" are affected by decisions made by S, such as how much free time there is to use the studio (less and less, as new beginner's classes are added), how long it takes to get a piece fired, and how much shelf space is available or room on the carts for pieces waiting to be fired.<<

Then unite the experts around those problems. Unless S has the newbies completely mesmerized, they should pay some attention to people with years of experience.

>>That's why I wanted this meeting, to TRY to have us meet new members, to TRY to get people to form committees consisting of both older and newer members, and to TRY to get them to connect and have extra sessions where we can share areas of expertise.<<

Good plans.

>>One of my goals that I brought up to the "long term members" was to come up with a curriculum of skills that new members need, and what the require to graduate to working on their own. I am hoping a committee will form that will create that curriculum, and as you say, decide on how to evaluate whether someone is graduated or not.<<

Do suggest looking for extant curricula. For most people this will be easier than making one from scratch. I can do it, but most people really struggle with it.

>> NO, S doesn't have ANY WRITTEN AUTHORITY to make ANY decisions, but people don't challenge her, and no one is on board yet to create an actual job description for her role, that limits her ability to make decisions.<<

1) Then there is nothing stopping anyone else from doing whatever they want, just like she is. Pick one thing you want and go do it.

2) She also has no leg to stand on should any conflict involve people who are not her puppets. This places you in an excellent position to befriend any outside contacts you can possibly reach, before she does. Anyone in charge of the community center, all of the donors or municipal contacts, etc.

>> Yet, the older people don't care much, <<

Ask if they're happy about getting less and less time and space. If they're not, point out that it will keep getting worse unless they change it.

>>and the new ones just believe that S is the "leader of everything".<<

Tell them she has no authority so they know that. Ask if they are happy with current things; if so, let them alone. If not, invite them to learn something else with you.

>> I am pretty much the leader of the "Emperor's New Clothes" club, and it's pretty lonely here.<<

Yeah, that really sucks.

>>I may have to accept that if no one cares, and no one tries, that this is just going to be a lost cause.

If that is so, I will do my best to get a kiln at home, like my husband keeps promising me.<<

Good backup plan.

>> I would love to live without all the drama, but I would miss the circle of people I work with.<<

If you have your own kiln, you could invite a few friends over for a pottery party. Collaboration really is fun.

*ponder* If people are at the stage of "stamping flat things" then you could make friendship tiles, like a friendship quilt, decorating things together. It'd help form ties.

Re: Thoughts

[gottawonder]

Again, yes.

I am aware that S controlling the votes of over half the studio gives her great power. I am so far the only person who has noticed, and the only one trying to do the only logical thing, which is to move those people into a position of working on their own, so they can join the other classes of independent potters (which is where people used to go after one year of being a beginner, and where all the longer term potters are).

If they became independent potters, they would likely feel more free to vote for things that were in their own interest and genuine wants, rather than blindly letting S just do things without ever bringing it to a vote, which is now what is happening.

The beginners don't know any better, and think that this is just how things are done, the "leader" after all, knows best, and who are they but worms grovelling for her favor.

Again, I don't think that S would do anything SINISTER, but after a while, it's very unsatisfying to just walk in and discover that your shelf is now somewhere else after you've had the same shelf for a few years, or that the tables are in a new configuration, or that some of them are gone, or just whatever. You like to feel like you have some say, and as you've pointed out, and I am well aware, SHE HAS NO VESTED AUTHORITY.

In a lot of ways, I am FINE with how things are being run, in terms of the glazes are great, the clay is just brought in from a local supplier which is where I would buy it anyhow. We can't source our own clay to use in the community kiln, because the kiln is only going to run one type of schedule, so no room to experiment AT ALL, but I understand that. All I think needs to change there is just to have someone other than S doing it, so that we are spreading the responsibilities out to more members.

What I suppose I am most upset about, is the lack of control over the number of new members, which I think a lot of people are upset about, and ARE willing to finally create some kind of policy about how many people use the studio, and the size of classes, and so on.

I don't like to think that S is turning some people away based on whether or not she liked them, that definitely should not be her job, and there again should be just a system in place for how we accept new members and returning members.

Right now, returning members are automatically accepted, and from there we need to decide how we bring in "replacement" members. That should be decided by the group, not by me.

I know that the biggest barrier is whether or not people are willing to do the work. It's the same problem all over the world, in every aspect of life. People are essentially lazy and passive and generally seek the path of least resistance, but are miserable the whole time because they didn't get what they wanted out of life.

I know I'm fighting an uphill, possibly a losing battle. I know I am.

I just see a tiny opportunity before things get completely locked in to see if it can be different.

If no one else cares, then at least I tried.

Re: Thoughts

[ysabetwordsmith]

>>I am so far the only person who has noticed, and the only one trying to do the only logical thing, which is to move those people into a position of working on their own, so they can join the other classes of independent potters (which is where people used to go after one year of being a beginner, and where all the longer term potters are).<<

Are there written rules on how to change levels? If not, and S is not running ALL the classes, then there is nothing stopping people from entering a higher class after taking a beginner class. Check whether that one-year rule is written down anywhere. If it is, you can just tell people about it.

>>The beginners don't know any better, and think that this is just how things are done, the "leader" after all, knows best, and who are they but worms grovelling for her favor.<<

She's almost certainly causing that to happen. Information is a good way to fight back -- especially telling people that she has no actual authority to push them around.

>> Again, I don't think that S would do anything SINISTER, <<

Just based on your descriptions, they sound very like other people I've seen do sinister things. Watch how she treats people. Carefully. See if you can get other people complaining in general, then listen to what they say about how she treats them.

>> but after a while, it's very unsatisfying to just walk in and discover that your shelf is now somewhere else after you've had the same shelf for a few years, or that the tables are in a new configuration, or that some of them are gone, or just whatever. You like to feel like you have some say, and as you've pointed out, and I am well aware, SHE HAS NO VESTED AUTHORITY.<<

So move things back where they belong. If she has no authority, she can't stop you. Put everyone's names on their shelves. If she moves your stuff, move it right back, and then talk about it in a way that makes it clear she doesn't respect other people's property -- because she shouldn't be touching yours or changing your space like that. It's a good way to reveal how bad she is at running things.

>>What I suppose I am most upset about, is the lack of control over the number of new members, which I think a lot of people are upset about, and ARE willing to finally create some kind of policy about how many people use the studio, and the size of classes, and so on.<<

Start where you have the most support and build momentum from there.

>> I don't like to think that S is turning some people away based on whether or not she liked them, <<

I would bet on it. You've talked with novices and that's how you found out she was rejecting people -- now talk about who and how and why. And that she has no power to do that in the first place.

>> that definitely should not be her job, and there again should be just a system in place for how we accept new members and returning members.<<

A system that doesn't involve her, since she already has way too much to do. An excellent approach would be to move in as many novices as there are novices moving up to intermediary. Say you have a cohort of 10 (about 8-12 is good for pottery) and they take 3 beginner classes. The ones who then move to intermediate work can be replaced by the same number of novices.

But do check how full the schedule is. If you can ease up by spreading people out, fine. If there's already lots of competition for workspace and kiln time, you need to close the group and stop taking new members.

>>Right now, returning members are automatically accepted, and from there we need to decide how we bring in "replacement" members. That should be decided by the group, not by me.<<

Keeping returning members is probably good for continuity, unless someone is causing problems (e.g. they keep making thick pieces that tend to explode).

>>I know that the biggest barrier is whether or not people are willing to do the work. It's the same problem all over the world, in every aspect of life. People are essentially lazy and passive and generally seek the path of least resistance, but are miserable the whole time because they didn't get what they wanted out of life.<<

Painfully true. I'm watching a lot of people starting to regret their poor life choices now.

>> I just see a tiny opportunity before things get completely locked in to see if it can be different.<<

This is so.

>>If no one else cares, then at least I tried.<<

Hold on to that.

Re: Thoughts

[gottawonder]

Well, I think our analysis is becoming circular now.

Yes, all of this boils down to S having no authority, and no definition of her role.

That's what I want to establish.

Yes, our group needs to function as one body, not separate cliques.

I hope to encourage that with this meeting, and in the formation of committees.

Everything hinges on the willingness of people to participate and work together. If they do, I think we can make a lot of progress. If not, then S gets to be and do whatever she wants, for as long as she wants.

Re: Thoughts

[ysabetwordsmith]

>>Yes, our group needs to function as one body, not separate cliques.<<

Preferably unify, but if two clusters want different things, then splitting might make more sense.

>>I hope to encourage that with this meeting, and in the formation of committees.<<

Committee would be a great idea, and probably easier than individual volunteers because it spreads out the workload.

>> Everything hinges on the willingness of people to participate and work together. If they do, I think we can make a lot of progress.<<

True.

>> If not, then S gets to be and do whatever she wants, for as long as she wants.<<

In which case, you'll need to check your bullshit tolerance for how much of that you can handle or when it would make more sense to set up your own workshop and maybe invite a few friends.

Re: Thoughts

[gottawonder]

I don't see how forever being two separate groups is necessary or useful. It's supposed to be a pottery studio with studio time just being available on different nights and people sign up for whichever night works for them. The beginner's class is meant to give people some skill so they can progress on their own after a certain point, and then THEY can sign up for the unsupervised studio time.

It's just that the process of graduating people to working on their own has completely stalled, and I am trying to move things along again.

It makes no sense for us to have division in how our studio is operated, or a separation of people from one another.

If nothing changes after this meeting, I will have to either accept S's bullshit, but ultimately I want to be able to work at home as soon as possible.

In general, this studio has created a lot of drama in my life, a great deal of it from S. I've been working there for about ten years now (how time flies) and while my time there while I'm working is great, there is always this background of drama that occasionally overshadows the creation of pottery.

Re: Thoughts

[ysabetwordsmith]

>> It's a lot for us to work on,<<

That means you need, at minimum, several people who can take on new responsibilities. If you don't have those, you aren't getting anywhere. People can be skilled and committed, but unable to act because they can't spare the time.

>> but I'm hoping that this upcoming meeting is a catalyst,<<

I wish you luck with it.

>> as right now, the beginners don't even seem to see how absolutely hooped they are if they don't start demanding to graduate to working with other people where they can advance.<<

They're only hooped if she is blocking their goals -- that is, if they want to advance. If they are happy playing with clay, they may find your efforts stressful instead of encouraging. You need to know their goals, and they may not all have the same goals.

>>Right now S seems to make decisions like not allowing some of the new members to come back if she didn't like them, without anyone even knowing that she turned away their registration (I learned about this from other newer members).<<

That's definitely a problem. Who gave her that power? Probably nobody, she just did it and got away with it. Based on your descriptions, I would bet that she's favoring whoever supports her and banishing anyone who does not. That means she has probably driven away the new members who would have agreed with you. If so, you may be better off telling her to take her students elsewhere while you work to attract new ones and teach them a more skill-oriented program.

>>We've already gone through cycles of having one person in charge of everything, leading to a lack of freedom and creativity within the studio, and a stagnation of sorts.<<

It is always vulnerable to have all your eggs in one basket. But if nobody else will step up to do the things, that is what you get. The only way out of that problem is for other people to say, "I can do X, Y, and Z" -- and then do it. There's no point agitating to reduce her responsibilities if nobody else is willing to take any of them. And if they are, why let her push you around? Just pick something and start doing it, especially if that's all she has done.

>> This is a community center, where we get some funding from our city, but do fundraising and membership fees to cover most of our costs. <<

You absolutely need to check your paperwork and see what the official parameters are. She's in an excellent position to kick out all the experts and run the whole club as a personal ego massage parlor. If there's money involved, the fight will get ugly, and most people will just back away.

If at all possible, go around her. Talk to the people at the community center. Talk to the donors. Outside the club, try to make as many people as possible your allies instead of hers. This will make it harder for her to kick you out -- which she can do if she has numbers on her side and you have no outside support.

>> We supposedly have an elected group of executive, but S is the person who runs the show, and she was neither elected, <<

If more than half the members are on her side, then you may have little recourse.

>>nor can actually be asked to leave without a HUGE DISRUPTION to our studio.<<

Based on your description, that would probably be less damaging than leaving her there where she is sucking all new members into her orbit and driving away anyone who resists her.

You need to find out if she is rational about this (e.g. running everything because nobody else would help) or irrational (e.g. taking advantage of novices to stroke her ego). If rational, you can likely solve the problems by presenting new volunteers to spread out the workload. If irrational, you will have to find some way of ousting someone who has majority support. Or split the group.

>> At this time, NO ONE can run the studio without her,<<

More precisely: no ONE person can. If you have experts, then between them they ought to know how to do most things involving ceramics; or if there's a piece missing, they can learn it without much difficulty.

>> though some people are being trained to do glazes and kiln stuff, but only under her instruction, so I don't think they have the knowledge to work on their own. <<

Is she actually the most experienced and knowledgeable person in the whole group? If so, that's a serious problem. Or is she just the one who stepped up to do stuff and teach newbies? That can be fixed just by having other folks start doing more. They don't need her permission; they can just do it.

>>They're following strict instructions, they don't necessarily understand the processes.<<

She doesn't own the information, and if you're at a community center, probably not the equipment either. You're adults. Look it up, take a different class, or pay someone to come show you what to do. Books on ceramic techniques and materials are readily available, as are online articles, videos, etc. You're not dependent on her unless you let yourselves be.

Now, if you want a deeper understanding, that again will take more work than just fooling around with clay. It's not just are: it's geology, it's physics, it's thermodynamics, it's chemistry. Turning out a decent project isn't very hard, but turning out exactly what you want takes a lot more knowledge and practice. Not everyone is willing or able to invest that much time. So think about how much is really needed, who already has it, and if nobody does then who is willing to learn it.

The only thing that isn't safe to use "trial and error" is the kiln itself. Presumably it has a manual. If the manual isn't with the kiln as it should be, get the model number and look online or call the company that made it, so other folks can find out how to use it properly. Also, check whether anyone has their own kiln, or even knows someone who does, or some other facility that would rent theirs.

>> Yes, one of the things I hope to have come from this is getting people to share their own specialty with others.<<

That's an excellent starting point. People tend to be excited about their hobby or profession and want to share it. Much of the fun in group ceramics is collaboration. I've even seen a friend crowdfund it -- posting pictures of several pieces ready for glazing, then "These are the glazes I have, which should I use on what piece?" with a poll. It was fun to watch, especially posting the finished pieces for sale.

>>I know that's a lot, but if you're interested in what's going on in the studio, that's the run down.<<

I like clay. I've worked with it myself in the past, I have friends who are into it, I've researched and written about it, and I love shopping for it at street fairs. We have a thriving ceramics community here, from fine art at the college to practical stuff like bowls to historic recreation. Last event I went to, someone had an actual kickwheel going in one booth! It's an interesting subject.

When it comes to dealing with people, I have less patience, but I've watched a lot of groups, explode so I have considerable experience with spotting warning signs. Your group is really hooped right now. But at least you have some good ideas on getting un-hooped.

If she won't let you solve the problems, be prepared to walk away. The worst thing is letting the group scatter and die. At this point, you still have a solid core of experienced members who could just pick up and go somewhere else if she can't be redirected and refuses to share the current space.

I hope things work out for you.

Re: Thoughts

[gottawonder]

Thank you for your insights.

Right now, in the areas of the actual running of the studio (ordering materials, making glaze, running the kiln itself) she IS the most experienced person, but as you say, if people cared enough, they could learn.

Here's the thing, S hand picks people to work with her, so they would likely not do ANYTHING that would go against her, since she gave them a special job.

Could we learn to do these things without her? Yes, but I don't see our group actually being willing to get rid of her, she would have to choose to leave.

I am doing my best to create boundaries to her role, so that she is ACTUALLY FILLING A JOB DESCRIPTION, and as such could be held to it, and removed if she oversteps her role.

This is not currently a paid position, but my spidey sense thinks she is trying to make herself indispensable so she can ask for some kind of salary.

I don't feel like she would stoop to just stealing. As you say, a lot of this is about feeding her ego and her need for control.

In general conversation, she can be very nice and personable. However, she is completely unapproachable as far as constructive criticism, normal day to day conflicts, or dealing with people with very real reasons for being unhappy. If you try to approach her, she shuts down and actually looks like she's going to cry.

A few years ago, before she had this much power, the group all got to talk about replacing some old shelving, something you would think was pretty unemotional, right?

She was part of the committee to decide on new shelves, as was I. The whole thing turned into a "I will die on this hill" situation with her on her own choice, and EVERYONE ELSE was able to agree on a different set. She refused to go along with our choice.

We ended up HIRING A FACILITATOR to work with us to come to an agreement. It was awful.

I doubt that anyone will actually help me create that job description, or have the backbone to enforce it.

All said and done, I am trying SO HARD to get a studio going at home. If this makes sense, I could keep working at this studio if I just ignored how it was being run, and likely do just fine. Something in my nature just hates what is happening, and I have a tough time ignoring it.

My whole life would be easier if I could ignore stuff like this.

We live on an acreage, and a small, insulated building with power for a kiln (my husband says gas would be cheaper, and still possible) is in my future, I hope soon.

The new students are just starting to recognize the limitations to their growth presented by S keeping them forever beginners. There are a few that are pushing for more information and more freedom, and they are tired of working in a tight studio with 20 other people (the studio is truly probably best used by ten or fewer people at a time. There is very little table space, and I think there are 8 wheels).

The biggest issue seems to be the ability to glaze, as there is only one table meant for glazing, and everyone who is deemed to be a beginner by S is supposed to only glaze during HER CLASSTIME so they don't wreck the glaze or their pieces, or potentially the kiln.

That seems to be the biggest barrier to people feeling confident enough to work on their own, and it's sort of a deliberate thing not to actually have a test of some kind, or a demonstration of their learned skill to "graduate" them to being able to glaze on their own.

It is what ties them to her class, ultimately.

Re: Thoughts

[ysabetwordsmith]

>> Thank you for your insights.<<

I hope it helps.

>>Right now, in the areas of the actual running of the studio (ordering materials, making glaze, running the kiln itself) she IS the most experienced person, but as you say, if people cared enough, they could learn.<<

Okay, so you know things that people could choose to work on if they want to. Of those, the glaze is likely easiest as that will be useful to anyone who wants glazed rather than unglazed pottery. Anyone can buy their own and experiment with it.

>>Here's the thing, S hand picks people to work with her, so they would likely not do ANYTHING that would go against her, since she gave them a special job.<<

If you want to salvage the group, you need to break that. Get people doing things on their own initiative, or she will leave you with nothing but a bunch of seatwarmers.

If people are motivated by praise, attention, or responsibility then start providing those yourself if nobody else will do it.

>>Could we learn to do these things without her? Yes, but I don't see our group actually being willing to get rid of her, she would have to choose to leave.<<

If they like things the way they are, you are unlikely to effect changes.

>>I am doing my best to create boundaries to her role, so that she is ACTUALLY FILLING A JOB DESCRIPTION, and as such could be held to it, and removed if she oversteps her role.<<

Worth trying, but consider writing up each responsibility with its own description so they will be easier to separate. Teaching is a job. Inventory management is a job. Glaze mixing is a job. Running the kiln is a job. And so on.

Another approach would be proposing that every essential function have more than one person who can do it, so that if someone gets sick or whatever, the group can keep working.

>>This is not currently a paid position, but my spidey sense thinks she is trying to make herself indispensable so she can ask for some kind of salary.<<

Credible threat.

>>In general conversation, she can be very nice and personable. However, she is completely unapproachable as far as constructive criticism, normal day to day conflicts, or dealing with people with very real reasons for being unhappy. If you try to approach her, she shuts down and actually looks like she's going to cry.<<

That is unhealthy to the point of dangerous to be around, and can cripple a group.

>>We ended up HIRING A FACILITATOR to work with us to come to an agreement. It was awful.<<

A person with that much influence, who sucks at actual teamwork, will drain all the energy away from actual pottery for the sake of feeding on the attention.

>>I doubt that anyone will actually help me create that job description, or have the backbone to enforce it.<<

If you are the only one who wants to solve these problems, they will almost certainly not get solved. I speak from experience in this.

>> All said and done, I am trying SO HARD to get a studio going at home. <<

That sounds like an excellent plan. Think about baby steps. Could you set aside a space? Watch for equipment or supplies to acquire piece by piece? Pick one thing to learn, like mixing glazes?

>> If this makes sense, I could keep working at this studio if I just ignored how it was being run, and likely do just fine. Something in my nature just hates what is happening, and I have a tough time ignoring it.<<

Yyyyeah. It's my low tolerance for bullshit that makes me not a joiner and increasingly inclined to avoid people because they are just too much fucking drama. I get way more done by myself unless it is physical labor.

>>We live on an acreage, and a small, insulated building with power for a kiln (my husband says gas would be cheaper, and still possible) is in my future, I hope soon.<<

Awesome.

Meanwhile, try campfire ceramics. I've done it. We dug and cleaned our own clay, made a bunch of historic-style artifacts, and then fired it in a hole in the ground. It was awesome.

>> The new students are just starting to recognize the limitations to their growth presented by S keeping them forever beginners. <<

Okay, good. If you can form connections with them and offer them more than S does, then you may have a chance. If you can keep her from banishing them, which is a power she should not have.

>> There are a few that are pushing for more information and more freedom, and they are tired of working in a tight studio with 20 other people (the studio is truly probably best used by ten or fewer people at a time. There is very little table space, and I think there are 8 wheels).<<

Then that's a good excuse to break down the group and do smaller classes less often, preferably with different themes. Could you teach anything to those students? Even one sessions? It would be a start.

>>The biggest issue seems to be the ability to glaze, as there is only one table meant for glazing, and everyone who is deemed to be a beginner by S is supposed to only glaze during HER CLASSTIME so they don't wreck the glaze or their pieces, or potentially the kiln.<<

What the hell is she even working with? Glaze is just thin mud that does tricks. You pour it on, you let it set, and you stick in a kiln set for the parameters of the clay. There are fancier glazes that require more finesse but I wouldn't hand those to novices.

A key thing to push for is a clear set of requirements for advancement and lessons that teach those specific skills in a specific amount of time. Like "In this 8-week class, students will learn about X types of glaze for Y type of clay, how to mix glaze, how to apply it in Z decorative ways, and how to tell when it has set enough to be ready for firing. After completing this class, students will be ready to glaze their own work and place it on the "to be fired" schedule in the community kiln." If she can't teach that, she's not enough of an expert to have any business telling other people what to do or not do.

>>That seems to be the biggest barrier to people feeling confident enough to work on their own, and it's sort of a deliberate thing not to actually have a test of some kind, or a demonstration of their learned skill to "graduate" them to being able to glaze on their own.<<

If there is no test, it's all bullshit. And frankly a liability because she could demand unsavory favors from people.

>>It is what ties them to her class, ultimately.<<

And that's no accident.

I suggest looking for other ceramic groups or courses, and try to get their list of skill requirements or test materials. Somewhere there is a logical, practical list of what you need to know. Find one, show it to everyone, and it'll make her look incompetent. If people want to learn, rather than just wanting to play around.

Re: Thoughts

[gottawonder]

Yes. I wrote a detailed email to my class representative, and our former president because she still has the respect of a lot of people. I wanted her input for how to start these things, and she was able to get me this upcoming meeting, and that's about all any of us can do. A lot rides on how people react at this meeting and if we can actually get people to sign up for things. I cannot imagine that we can solve everything with one meeting, but I want to at least empower people to START taking responsibility, and we can build on that if it happens.

I outlined how we need to create actual job descriptions of the various roles, and vote based on a resume basically who would do those jobs, and have two people for each job. Yup.

I am trying to get a committee formed to create a curriculum of required skills before a person can work independently, and some form of assessment done by someone other than S.

I agree that glazing isn't rocket science. The average studio user has very little interest in MAKING glaze, and there are lots of commercial ones we are allowed to use, and studio ones available. I know that all they need to know is how to wax contact areas, to let it dry completely before dipping, and how to mix the bucket first, dip or apply the glaze depending on type, and how to not cross contaminate glazes, how to clean up and put slop in the right collection pail.

THAT's IT, but some of the students are so insecure they literally ask every time they glaze something if "this is a good glaze to use", and they do dumb things like try to glaze the bottom of their tray (which could be caught by whoever is loading, really).

So, the bottom line here is that if we can't control these new students from doing stupid things and we can't evaluate them so they can work on their own, and can't seem to drill simple things into their head, then there are TOO MANY BEGINNERS!!!

I am aware of every single thing you've described, and it's driving me CRAZY because I am pretty much alone in trying to bring awareness to all of these things. Other people are unhappy, but in vague, unfocused ways like "there's too many people in our class" or "I want to make a bowl but S isn't teaching me" or "I want to work on my own but I don't know how to get to where S will let me".

I am trying to get people to focus their goals and wants for this meeting, as this is where they can be brought up.

Re: Thoughts

[ysabetwordsmith]

>> A lot rides on how people react at this meeting and if we can actually get people to sign up for things. <<

True.

>> I cannot imagine that we can solve everything with one meeting, but I want to at least empower people to START taking responsibility, and we can build on that if it happens.<<

You can't solve everything at once and shouldn't try. Just look for next steps. Many of the problems can be fixed with quick and straightforward solutions, like putting names on shelves and making an overall list of whose is where.

>> I am trying to get a committee formed to create a curriculum of required skills before a person can work independently, and some form of assessment done by someone other than S.<<

That would help a lot.

>> I agree that glazing isn't rocket science. The average studio user has very little interest in MAKING glaze, and there are lots of commercial ones we are allowed to use, and studio ones available. <<

If I remember right, glaze can be bought premixed (more expensive) or as powder that you mix yourself (cheaper but you have to follow the directions). If people want something simple, that's fine.

>> I know that all they need to know is how to wax contact areas, to let it dry completely before dipping, and how to mix the bucket first, dip or apply the glaze depending on type, and how to not cross contaminate glazes, how to clean up and put slop in the right collection pail.<<

You could learn all that in one class, over several sessions. We were kids and by the third session or so, we had learned to avoid making things so thick that they'd explode. Which was apparently something not all the college students had managed. We had things crack occasionally, but none of ours exploded, and after the first couple days it wasn't because the teacher was telling us to redo thick parts. We never had a problem with glazes because we either held onto the bottom to dip them or we left them upright and painted the glaze on. Admittedly I've seen more complete glaze jobs by experts.

>> THAT's IT, but some of the students are so insecure they literally ask every time they glaze something if "this is a good glaze to use",<<

Then she's probably saying things to make them insecure. Listen for that. There's only so much abuse that can be hidden.

Also, it's easy to find or make a tipsheet for glazes. I've seen them. Each clay has glazes that work with it, and each glaze has clays it can go on, and some glazes don't play well with others. You can always mix or overlay glazes in the same "series" though because they're meant for that -- just the same base with different colors added. All of that information should be on laminated sheets or in a folder in the studio where everyone can see it. Add one for color combinations if you wish. The most basic glaze trick is just laying a base color, like white, and then dipping the rim in a contrast color like blue.

>> and they do dumb things like try to glaze the bottom of their tray (which could be caught by whoever is loading, really).<<

Oh for fucksake. >_<

It can be hard to distinguish between bad students and a bad teacher, but S certainly isn't competent. Students should be able to learn basic points of safety and functionality after one or two repetitions. If they can't, ceramics is not the craft for them because it deals with chemicals, hot things, and stuff that can break if you drop it. If gradeschool kids can manage it with a bit of adult coaching and someone to run the kiln, then adults should be able.

This is a minimum standard for returning students. If they can't learn something as simple as "don't glaze your tray" then they should not be accepted back. Take a new batch of students. If there's room, failed students could try again next year or whatever.

>>So, the bottom line here is that if we can't control these new students from doing stupid things and we can't evaluate them so they can work on their own, and can't seem to drill simple things into their head, then there are TOO MANY BEGINNERS!!!<<

Too many, but also you probably have a bad teacher who is just not teaching them proper procedure. It is not that hard.

>>I am aware of every single thing you've described, and it's driving me CRAZY because I am pretty much alone in trying to bring awareness to all of these things.<<

Aaaand that's why I'm not a joiner. I understand it's frustrating for people who do want company, though.

>> Other people are unhappy, but in vague, unfocused ways like "there's too many people in our class" or "I want to make a bowl but S isn't teaching me" or "I want to work on my own but I don't know how to get to where S will let me".<<

Those are all focused and actionable points.

"There's too many people in our class"
--> Determine how many people reasonably fit in the space. If you have 8 wheels that's a good limit for a wheel class, or whatever. Then don't overpack new classes. Allow that some classes may be easier to fit more people, like stamping ornaments; while complex topics like "how to sculpt a head" might need fewer still.

"I want to make a bowl but S isn't teaching me"
--> "Okay, I can show you how to do that. It's not hard. The basic ways are pinch, coil, or slab; and then throwing on a wheel is more advanced."

"I want to work on my own but I don't know how to get to where S will let me".
--> 1) Just do it anyway, S doesn't have authority to stop anyone because she doesn't have any official position. The only thing stopping anyone is choosing to obey her.
--> 2) Make a list of things people need to know in order to work on their own, and each class should stipulate which of those things it teaches.

>>I am trying to get people to focus their goals and wants for this meeting, as this is where they can be brought up.<<

I hope it works out.

Re: Thoughts

[gottawonder]

Actionable goals: "I want to work on my own"...In the past, our studio had the policy that you had to be in the beginner's class for one year, then you graduated to working in a class in any other time slot, but you had to glaze in the allotted class time to make sure you didn't mess things up (it was expected that other people would catch your mistakes).

That one year in a beginner's class wasn't an S thing, but our studio's policy. It makes sense that people work in a class with an instructor at least to learn how to be safe.

How many people we want in our studio is THE main topic right now, and I'm pretty sure it will be settled soon, because pretty much everyone, even S (believe it or not) feels like there are too many people right now.

NOW the beginners seem stunted, and they are spending more than two years in the beginner's class and are not being encouraged to move on.

That is pretty much the central issue I want dealt with in the upcoming meeting, is why this is happening and how to move them along.

"I want to learn how to make a bowl" also something I want to be addressed, is how to get someone to teach a class on how to throw simple forms, since S doesn't really teach throwing well. I believe she shows them videos.

Re: Thoughts

[ysabetwordsmith]

>> In the past, our studio had the policy that you had to be in the beginner's class for one year, then you graduated to working in a class in any other time slot,<<

That seems reasonable, so you could start by reinstating that. But if the current beginners have not been taught proper skills, you'd need to have a list of what they're expected to know and then check whether they do. Start checking the ones who've been there longest and work down. Anyone who has the necessary skills can be graduated immediately. Anyone who doesn't should get a list of what they still need to know. And you can skip anyone who's been there less than a year.

>> but you had to glaze in the allotted class time to make sure you didn't mess things up (it was expected that other people would catch your mistakes).<<

A prudent precaution. So, beginners have to work under a teacher, intermediates can work in a group of their own, and experts can work alone?

Another good idea would be to have intermediates teach basic skills to beginners and experts teach more complex skills to intermediates. It'd spread out the work, mesh the levels better, and improve people's learning.

>>How many people we want in our studio is THE main topic right now, and I'm pretty sure it will be settled soon, because pretty much everyone, even S (believe it or not) feels like there are too many people right now.<<

That's good. One approach would be to check the people who've been in the beginner group longest. Do they want to advance? If so, what needs to happen for that? If they don't, consider whether you want to accommodate that.

You may need to hold off adding any new students for a while. That may upset some people.

>>NOW the beginners seem stunted, and they are spending more than two years in the beginner's class and are not being encouraged to move on.<<

That alone would kill your organization, over time. Since you've said some people complained about not being taught, try to identify the ones who want more skills and then find a way to advance them.

One way to cut the crowding would be to let go the ones who don't wish to advance.

>> how to get someone to teach a class on how to throw simple forms, <<

Simple forms are easy.

*ponder* But you don't have to start with "how to make a bowl." Honestly, I'd spend a session on how to center the damn clay on the wheel, which is harder than it looks and if you muff that part it makes everything else harder as you try to fix it.

Then work on control of solid clay. Learn how to move the lump around, shape it, pull it up and push it back down.

Once you've got that, making a bowl is as simple as sticking your thumbs or fingers in the middle and tugging outward. But if you haven't already got a feel for moving the clay, it'll fight you. Maybe do a low, flattish bowl the first time and then explore how to make more refined bowl shapes later.

>> since S doesn't really teach throwing well. I believe she shows them videos.<<

Well, that's completely useless. 0_o Definitely check who among the experts is good at throwing and also willing to break things down into small steps.