Testimonials From The Last EGB´s
“I hoped it’ll never stop. And it is like that! We’ll meet again and we’ll play again and we’ll begin again. All of the groups of NOA meet four times a year (…) Every morning, in the beginning, we saw about 35 people and then went to our virtual rooms.”
(Julia B., gardener/teacher at elementary school)
“This was a truly wonder-fool experience; a group of strangers embarking on an unknown journey of the inner, outer and archetypal worlds as soul searchers and fools. As writers and performers; players playing with inner sense, joy, light, and being. Travelers in space and time in between worlds bridging the gap with understanding, support, and love.”
(Mark Mitchell, artist)
“I like the support for Foolcilitators to share their offers and try stuff out, and I could imagine offering something myself to do with singing and song one day – when we can work in person again.”
(Helen Terrett, musician)
“Over the past week, I have been reflecting on it a lot and feeling how powerful and cathartic it was for me. (…) I feel that being given the choice to choose the right facilitator at the right time is so brilliant because there will be points in this foolish learning journey we are all on where this autonomy and intuition together feels vital for increasing confidence and encouraging more of the fool out. It’s something I feel strongly about in my own teaching work too-the development of confidence around creative, autonomous intuition.”
(Lexi Strauss, fine artist)
“I really loved the whole project. I liked the structure of Jonathan bringing everyone together at the start of the day, and then the passing over to, and trusting in the Foolcilitators, while he still held us in his room in the room in the room. I think it’s a really exciting structure. The Foolcilitators all seemed to offer a very different space for the beginners that allowed diverse passions and instincts and needs to be expressed and to find a temporary, ephemeral or perhaps an eternally-returning home, but it felt safely anchored in Jonathan’s work and the structure.”
(Jared Kane, theatre worker)