Dire Husi Workshop Report for the Organization

8/9/2019 Dire Husi Workshop Report for the Organization

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R e p o r t w r i t t e n b y L i e w , S

h a o Y i

W o r k s h o p b y

D i r e H u s i :

R h y a n C a s i n o , L i e w S h a o Y i a n d V i n c e n t E u g e n i o

W o r k s h o p h e l d

4 - 8 J a n u a r y 2 0 1 0

P a r t i c i p a t o r y E v a l u a t i o n , V i s i o n i n g a n d

P l a n n i n g : D i r e H

u s i W o r k s h o p R

e p o r t

This is a report outlining an intimate workshop with the membersof a youth arts and social enterprise organization called Dire Husi,which is based in Cagayan de Oro City. The purpose of theworkshop was for the youth to self-evaluate and reflect on theirpersonal growth and development, and the linkages to theorganization. The youth members also went through a

vision/goals activity and a planning exercise to glean focus for theorganization that is rooted in the dreams and ideas of its individualmembers.


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Dire Husi Workshop Report

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The Journey, The Dream, The Plans:Participatory evaluation, visioning and planning


IntroductionIn December 2009 and January 2010, a small group of friends and I visited the youth arts organization, DireHusi, and stayed with them for about one month. During our stay, we became close to the youth membersof the organization. Together with the founder and members, we co-held a series of intimate eveningworkshops from 4-8 January 2010. These were a series of creative evaluation and planning workshops forthe organization that eventually emerged as three parts: The Journey, The Dream and The Plan. This reportwill cover the entire five-day process as it is difficult to segregate the evaluation from the planning. It is alsomeaningful to link evaluation to planning as it helps in grasping the full importance of evaluation not just asa means for reflection, but also to plan for the future. That we need to look back before we can lookforward.

The organizationDire Husi is a dynamic youth organization thatgrew out of the simple beginnings of afriendship among individuals. The Cagayan deOro-based organization was established in2004, but was not formalized till a few yearslater.

The story goes that Rhyan Casino, thefounder, registered the organization undersole proprietorship with the name Dire Hose

in 2004, with the initial intent of setting up a business. However, it was not till later in 2006 and 2007 that hedeveloped friendships with the first of the youth, who could be considered the other founding members of the organization. Rhyan met David Yanez, the first founding youth and talented craftsman and musician, ashe was selling crafts in Divisoria Park to put himself through high school. He began inviting David for musicperformances and festivals, as an avenue to practice his art and sell crafts. Not long after, he befriendedRusty Quintana, also among the first founding youth, in Divisoria Park as well. Rusty grew up on the streetssince he was three years old, unintentionally abandoned by his brother as they were running away fromhome. He had been in and out of orphanages, juvenile detention and drug rehabilitation centers before

reaching the age of 16.


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These friendships were serendipitous, but became deep and meaningful as they began selling crafts andperforming together in Divisoria Park and at festivals, with Rhyan often mentoring David, Rusty and otheryouth who were attracted to the group. Together, the youth set up Dream Arts Cagayan, a smallperforming arts group that focused on night street performances at Divisoria Park every weekend. Otheryoung people, some of indigenous roots, some with troubled pasts involving broken families, crime, drugsor alcohol abuse, began joining their informal activities of bonding, performing, making crafts and sellingthem.

Not long after, they decided to solidify their partnership. With combined energies of the youth and thefounder, the nature of the entity transformed into a youth-oriented one, and the name of the organizationwas changed to Dire Husi, with Dream Arts Cagayan assimilated into it. The youth organization diversified.They began to draw a variety of youth, those from more affluent backgrounds, university students,travelers, and other young artists, who felt marginalized and unsupported in their artistic aspirations. DireHusi became a place where interconnections were made, where people mingled and friendships developedregardless of background.

Today, Dire Husi has grown into an organizationcentered on a creative space, the Art House. Dire Husiboasts a small membership of diverse young peoplefrom Northern Mindanao. Regardless of their ethnicity,gender and class, all seek a platform for creativeexpression and acceptance. Dire is a Visayan word forhere and Husi is a Manobo word for friend. Basedin Cagayan de Oro City, the group runs an art collectiveand social enterprise that creates and sells indigenous-inspired terracotta accessories, musical instruments,and soil paintings. Members also perform world musicthat fuses indigenous chants and rhythms withcontemporary beats.

Dire Husi makes multiple claims they are a youth organization, a creative social enterprise, an artisancollective, a band of world musicians, a training hub, and a fair trade advocate. The organization envisions acommunity of socially and environmentally responsible young people working collectively to develop thefull potential of their generation through the arts and entrepreneurship. The group has four goals:

Establish a social enterprise that can provide them with alternative income while developing theirskills and potentials.

Enhance their interpersonal, creative, and business capabilities through mentoring, sharing, andcollective learning.

Inspire and help organize other community-based youth groups by involving them in artistic andenterprising activities.

Create channels for interconnection, dialogue and concerted action among young people from

diverse class, age, gender, and ethnicity.

Indigenous is hip is one of the organizationstaglines for its art products and services


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The organizersOn the surface, this was a joint effort between a group of Masters in Community Development (Ma. In CD)students from CSWCD, UP Diliman, and the founders of the organization. The Ma. in CD students wereVincent Eugenio, myself, and to a certain extent, Janice Gabuat, who had to leave Cagayan de Oro after the

first day of the workshop. The other organizing party was Rhyan Casino or Kuya Rhyan, the founder of DireHusi. Together, we decided not to include additional facilitators from the organization as all of us wantedthe members to focus on participating in the workshop and feed valuable insights and directions to theactivities.

Although Vince, Janice and I came to Cagayan de Oro as external parties, the organizing reality was morecomplex. Even though some of us have been involved with the organization for some time, in the weeksleading up to the workshop, the members had openly embraced us as being part of Dire Husi. We werealready recognized as being part of the membership when the workshops began, because of the closefriendships developed as we all lived, ate, slept and worked in the same house, the Dire Husi Art Haus.

Being both external and internal to the organization had a number of implications. The three of us Vince,Kuya Rhyan and I could facilitate the workshops very informally. As we shared close relationships withmost, if not all of the members, everyone could communicate with each other openly and simply, and bevulnerable with each other. There was a strong atmosphere of trust, friendship and closeness throughoutthe days of the workshop. Many people openly aired they problems and concerns about their life and thelife of the organization. Everyone shared a strong focus and commitment to Dire Husi, although theorganizers personal involvement in the organization may have surfaced some objectivity issues. We did ourbest to counteract problems in objectivity by having a post-mortem after each session, to not only reaffirmand share successes and insights but also point out and correct flaws in the workshop design, as well as

personal attitudes and behaviour.

The ProcessThe process that eventually emerged from the months of involvement with the organization in relation tothe workshop did not follow a linear process. When I look back, it seems like the processed can beenvisioned in a fractal or nodal form, or in a circular form. This is because there were several entry phases,

and several design phases that did not directly lead to each other, but were nevertheless interlinked beforegoing into the workshop implementation. This is probably the case because the glimmerings for such aworkshop emerged a long time ago in mid-2009, and grew sporadically from there. The process is outlinedas clearly as possible in this section.


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The process in nodal form The process in circular form

In accordance to the illustrations above, there were therefore three separate entry and design phasesbefore the workshop proper materialized.

First Entry and Designing Phase April 2009

In April, Kuya Rhyan and some members from Dire Husi travelled from Cagayan de Oro to Manila to takepart in a trade fair in Intramuros. Vincent Eugenio was with them for the whole fair period. During this time,Kuya Rhyan initiated discussions with Vince for a youth development workshop for the members of theorganization. When I joined them for a day at the fair, they shared the ideas for the workshop. According toRhyan, the youth artisans were living in the Art Haus, but were not yet united in their commitment to theorganization and to each other. They were still caught up in their personal problems and not yet able to turnto each other for help or comfort. He imagined a workshop to transform the mentality of the youth from anI mentality, to a We mentality. He wanted us to help develop such a workshop. We discussed togetherthe possibility for the workshop, and what it would do. We did not however commit to a specific time for

the intervention yet as it would involve travel to Cagayan de Oro, and all our schedules were still uncertain.

Second Entry and Designing Phase August-October 2009

Between August to October 2009, another set of discussions emerged among Manila-based supporters of the organization and Dire Husi. This time, we enlisted assistance from friends, also Ma. in CD students, tosolidify support for Dire Husi. We also begun some discussions with other art and social enterpriseorganizations in Manila for partnership opportunities, but realized we were unable to move ahead withthese as we did not have a concrete idea of Dire Husis plans.

Entry & designApril 2009

Entry & designAug-Oct 2009

Entry & designDec 2009- Jan 2010

ImplementationJan 2010

Entry &design

April 2009

Entry &design

Aug-Oct2009

Entry &design

Dec 2009-Jan 2010

ImplementationJan 2010


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At the same time, I was taking up CD233 as part of the Masters course and was committed to a participatorymonitoring or evaluation process. However, I was very cautious about initiating a process that theorganization was not prepared for.

Instead, a group of Ma. in CD students initiated a series of discussions with Rhyan from Dire Husi every

Friday night to draw out ideas on the direction of the organization. This was challenging because theorganization never had a set of plans for itself, formal or informal. Dire Husi instead tended to survive onspontaneous processes and developments, as well as grabbing opportunities that arise at the time. Wemade an attempt to draw up a rough plan for Dire Husi based on our interpretation of Dire Husi inputsderived from online discussions. However, somehow the plans always felt one sided.

It was around this time that we began to consider once more the possibility of going to Cagayan de Oro,and picked up the idea of a youth development workshop again. This time, however, we had intent tocombine elements of youth development and relationship building with organizational evaluation, visioningand planning activities. After discussing with Rhyan online, the Ma. In CD began sketching a workshop

design that would capture the desired inputs from the youth members about their personal growth andhistories as well as their vision for Dire Husi. This workshop design was captured in my CD233 presentationin October 2009:

However, we left the workshop design as that a design. Eventually, we did not use it, although the finaldesign carried elements of this initial one. This was because the process of designing the evaluation andvisioning workshop was not done in a very participatory way, as we were doing the design out of Manilamostly. We decided to hold off proper planning of the workshop until we actually arrived in Cagayan deOro, spent some time with Dire Husi and its youth members and developed more concrete ideas of theissues they wanted to address and methods they would be most receptive to.


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Third Entry and Designing PhaseOn 23 December 2009, a much smaller group of Ma. in CD students arrived in Cagayan de Oro to spendtime with and get to know Dire Husi and its members. We also anticipated that a youth workshop wouldmaterialize during our stay of about a month. Some students could only commit to stay for a few days,

some a few weeks, other a month. Rhyan and the youth members welcomed us warmly, as they have beenencouraging us to visit them for a long time.

Before making the trip, we had already discussed the makings of the youth workshop with Rhyan and someof the other members. Rhyan in particular was eager to find out more details about the workshop. It took ussome effort to explain that we did not have the details because we wanted to plan the workshop togetherwith him and the Dire Husi artisans.

The first two weeks of the trip was spent familiarizing ourselves with the organization, and buildingrelationships with the members. We lived in the Dire Husi Art Haus with Rhyan, his wife Shamae Casino whois also a mentor in the organization, their daughter and three youth members. The other members livedoutside the Art Haus with family or in rented rooms, but often stayed over at the house if they had artprojects, production work or practices for performances. Youth members also spend a lot of time at the ArtHaus interfacing with each other, hang out and jam with like-minded people. Meal times are open toeveryone who is present at the Art Haus, regardless if they are members, visitors or street children thathave befriended the artisans and drop by on occasion. This is always the case, regardless of whether themeals are sumptuous or meagre, depending on the financial situation of the organization.

Towards the second week, we began planning the youth workshops together with Rhyan, assisted by inputsfrom the youth members. On 1 January 2010, a small informal meeting was called to discuss the issues themembers wanted the workshop to address. Five members participated and aired the organizational issuesthat concerned them. We also agreed on a schedule for the workshop, which was initially planned to lastthree days. Members spoke about their busy daytime and weekend schedule some had work, artconsignments, TESDA training or university commitments and decided to conduct the workshops atnight, Monday to Wednesday, 4-6 January 2010.

Vince, Rhyan and I planned for the workshop intensively on 3-4 January. In reality, our designing phase ranacross the days of the workshop, as we found the need to base the following days activities on theoutcomes of the day before. We discussed extensively creative methods that relied less on writing andtalking, and more on artistic expression that we knew would excite and stimulate the artisans to dig deeperinto their psyche. In the end, the workshop took 5 days to complete, and employed methods of makingsymbolic sculptures, skit/play-acting, group singing and marketplace activities. We kept material usage to aminimum as we were all running on a tight budget, and instead found ways to use materials already presentin the Art Haus. We also decided on key facilitators for each activity, and decided to clear the shop area of all furniture and objects to create an open space in which the youth can sit or lie on the floor, and movearound freely. We also decided to seal up the shop during the night sessions to discourage drop-in visitors.After every session, or some time during the following day, the three of us would have an informal post-mortem or mini evaluation, sometimes after talking to some of the youth individually about the nightsactivities.


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The design for 4 Januarys night session: The JourneyWe allocated the first day for the evaluation part of the workshop. To make it more meaningful, the nightssession was called The Journey. The session worked to capture the personal journeys of change of eachmember, as well as linkages with each other.

Several objectives were identified for the session: To capture the strengths, challenges, commonalities,personal dreams, relationships of the members, as well as learning or lessons of the individual, and as partof a collective.

The Design for 5 Januarys night session: The Dream of 2020

This was a visioning and goal setting session which was called the dream. After the youth journeyedthrough each others experiences, hopes, fears and learnings, they put those together in a collective dream,which is the dream of the organization.


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The objective was for the youth to collectively express their vision of Dire Husi ten years down the line. Theskits were called 2020.

The Design for 6 Januarys night session: Planning part 1During the day time, Vince, Rhyan and I tooksome time away from planning the nightsactivities to review the points from the nightbefore and synthesize them into a visionstatement and 5 goals of Dire Husi. We didthis in reference to the organizationsexisting vision and goals. We decided tocentre the nights activities on the five goalheadings.

The objective for the session was for youthmembers to formulate a one-year plan forDire Husi that is in line with their vision andgoals, so that the organization is clear and

focused on its direction for the year.

A sketch of the marketplace activity we made as theworkshop was being designed


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8 January sessions: Planning part 2We did not have a special design for these sessions. These were, in effect, meetings and discussions thatfleshed out details of the 6 January session. Everyone agreed that 7 January should be a rest day we allneeded to take a break from the workshop and digest information.


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The night session on 8 January was focused on organizational related plans and issues as well as thebusiness and enterprise component.

Implementation Phase: Outcomes

4 Januarys night session: The JourneyAs explained, the main activity for the night was creating a symbolic object/sculpture.

Jojos object was a phoneand charger

Phone representscommunication, and ashumans, we are nothingwithout communication.The phone was him, andthe charger was Dire Husi,a source of energy andpower. And both arecreated by God.

Davids object was adesigned tin can and a glass

of water

In the past, he was hard onthe outside, but empty onthe inside. Now, he is like acup of water. Like water, hehas talent that can be drunkand shared with everyone.

Migs object was an empty water gallonembellished with items on strings

representing different phases of his life.He sprinkled bits of paper in the gallon to

symbolize his life now.

When he was young, he did not havemuch inner strength. During childhood,

he was focused on money, hoping forpresents from his parents. In highschool,there were complications at home. As hegrew older, he began changing for thebetter. Now, his heart is more open andpure, and full with Dire Husi and thepeople here.

Rusty had a paper that hetore up and put togetheragain, and an object withcoloured powder, waterand matchsticks that were

Petals had a dressed upbear as her object

The organizer at the base

stood for what she wanted

Matthews object was a black chargerwith a white adaptor.

His parents said he was the black sheep of the family. He was like the wires, tied up


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lit up

Since 1996, he grew up onthe streets hungry andwith nothing. Till he met

Dream Arts and Dire Husiand his torn life becamewhole again. He prayed toGod over and over again touse him for His purpose.He became a glass of water, enriched by thecoloured powder talents,people, experiences andDire Husi. The fire in his lifewas lighted, and he got to

know himself, God, andhow to be a real person inDire Husi, how to helpothers.

to accomplish. The Biblewas God as her foundation.The shawl over the bearsymbolized her ability tocomfort others. Inside the

Petals bear are her treasuresfrom others, of people shesmet. The watch symbolizedher goals to beaccomplished by a certainage. She says her mission isher generation.

and messy, gulo. As he got older, he metthe white adaptor, which symbolizedJesus. He now fits and can connect to thepower supply, which is God, and changeothers with this source

Noah had a marker penwith tape around it.

The marker pen was hisskills and talents, and thetape the ability to fix hisown life and the lives of others.

Orwil had an origami star

He started as an emptypiece of paper, until he puttogether an origami of hislife with 30 pieces of paper.Different pieces make abeautiful organization. Eachpiece. Tensions exist in acomplex organization, butthe tensions also helpeveryone improve. Thedifferent people andexperiences are added,modified, until they fittogether in a beautifulwhole.

Rhyan chose a green Christmas stardecoration

He had a dream of reaching the starswhen he was a child. He had troublesgrowing up, joining gangs, dropping outof school. He had a lot of false pride in hisvarious positions and accomplishments.Till he reflected that he did not have realfriends, and his pride was taking him frombad experience to another. He gave up hisunhealthy habits and found faith in God.He began living life with this differentperspective, and believed stars will shootfurther together with everyone at DireHusi.


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Sham had a pen withcolourful tissue tied around

it

Her life was like the tissue,colourful, but withoutdirection. Now her life hasbecome more focused,becoming white and morepure. Now she is like a pen,where the ink is Dire Husi,and the source of the ink isGod.

Other members who shared, but do not have photos:

Janice said her life was conflicted, but strengthened by relationships friends, Dire Husi that overlap.

Vince said her was like a wounded fighting cock, showing off eventhough he was hurt, and would continue fighting like that till he died. Herealised his life was like that, that he would keep going until he brokedown. He got to know Dire Husi when he was at a low point in his life. Hethen realised he needed to connect with people to constantly nourishand refresh himself.

Shao Yi talked about growing up as a selfish child, completely self obsessed. Even in helping others, there was a strong element of self interest involved. However, the more she connected and built realrelationships, and was exposed to different kinds of people, the more she

learnt about true giving from the people she came in contact with. DireHusi has helped her so much, she wanted to help and work with theorganization in return.

After a break, the commonalities in all our experiences weresynthesized. We discussed the commonalities and if theywere true to everyones different experiences. These are theimpacts of the collective, nourished by the individualexperiences of the members, that we wanted theorganization to take forward. These were written up on paperand stuck in the Art Haus for the rest of the workshop days.

Change making and influencing Openness and inclusivity Dark pasts Belief in goodness and God Leadership Feeling close ( sabay, kaibigan, pakisama ) Talents and potentials Confidence, thinking positive Helping others Uniqueness and crazinessThe commonalities that become collective

traits and impact for Dire Husi to sustainand take forward


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In the mini post-mortem after the workshop,feedback was very good. It seemed as if peoplegot to know each other on a deeper level, whileat the same time connected very strongly to theorganization, even though we did not make itexplicit that they had to. There was good energygoing around. Our challenge was sustaining it.We decided that we needed to connect theevaluation session more closely with thefollowing visioning and planning sessions. Vincecame up with an inspiring diagram to push thisconnection forward, connecting the past of themembers strongly to a collective future of theDire Husi.

In this diagram, everyone came from very different pasts. Each squiggly line is a person and their directionin life. The lower left is where everyone is now. It is a small point of beginnings as a collective. Everyonethen grows at their own pace, in various trajectories, sometimes together, sometimes apart. Some may goonwards to lives separate from Dire Husi. That is each persons prerogative and unavoidable. Hopefully, alarge portion will continue to meet and develop with the organization. The question is what is the collectivefuture that Dire Husi members want to build together, even as they travel on their life paths?

5 Januarys night session: The Dream of 2020

A group discusses the play in the kitchen Another group plans the play in the shop area

The main activity was a formation of two groups that will imagine: What would Dire Husi be like ten yearsfrom now? The plays were aptly called 2020. The facilitators explained that now members have discoveredor rediscovered their past, it is now time to dream, and latter, plan to reshape their immediate future. Thegroups took about half an hour to prepare for the play. They used materials and things in the Art Haus astheir props. The outcome was amazing, and oftentimes humorous. The youth had a good time creating theplays and successfully projected their dreams for Dire Husis future.

Future

Past andpresent


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The first play showed Dire Husi as an establishedorganization, with the members leading andcoordinating various art, business and capacitybuilding projects, internationally and locally.They were visiting delegations from the MiddleEast who wanted their help in setting up similaryouth arts organizations and were exposed todiverse cultures (drinking pork juice in theMiddle East). They met with Americanrepresentatives who ordered thousands of instruments and crafts. They met with Datus inthe Talaandig tribal areas for communityprojects and trading of art products. They alsohad art education and training for youth and

children.

The second plays setting was planning for a reunion of the Dire Husifounding members. In 2020, the members are spread all over theglobe an international TV host, a famous artist who is one minute inThailand and the next in Switzerland, another who is completelyindigenized and living with tribes in Maguindanao, and members whoare in the head office coordinating Dire Husis work. They are all partof Dire Husi International, which has many arms. It has aninternational business and trade chain, which also functions at the

community level, and the Dire Husi Academy, a training ground forunderprivileged youth. They are also receiving huge orders forproducts, and doing extensive recordings for music and performances.

From the plays, we shared insights and set out elements that werestrong in the plays. Some additional elements that members wantedto see in Dire Husi but were not in the plays were also added.

These were overarching elements and clustered elements. These are outlined below; note though that theyare not in hierarchical order.

Overarching elements:

Group of global leaders sustaining to organization beyond us Friendships, working together, barkadahan Faith in God Adjusting to changing times a support system for personal dreams and desires; accommodation

of personal changes Visual arts, performing arts, music, crafts

Business and trade

Dire Husi goes to the Middle East to assist localorganizations

One of Dire Husis roving artists


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Export business of paintings and handicrafts, good business transactions Dire Husi International trade entity Fair trade Quality products, trading and production

Community and environmentalism

Helping indigenous peoples, rural or poorcommunities greening, trading, capacitybuilding, livelihood support

Promoting the environmental or greenlifestyle

Youth development

Developing new generations

Support for academics and formal education Art academy, training centre Developing talents of young people Foundation, alumni, non-profit organization,

art school

Facilities

Equipment, office space/building

Media attention Internet, high tech communication

During the mini evaluation of the session, the few members we talked to continued to be positive about thesessions, though tired. One thing realised through was that our poor time management of the sessions.Despite continuously committing to start at 7pm, we usually started around 8:30pm or 9pm, and ended waypast midnight, around 1am. However, despite different efforts eating earlier, asking members to com ontime the sessions still always started at 9pm. We decided instead to focus on planning two to three hoursessions.

6 Januarys night session: Planning part 1On this night, the youth of Dire Husi made concrete plans for 2010 for the organization. We decided to doan ideas marketplace activity to give the creative youth freedom to move around the room, in the hopesthat the physical activity and unstructured discussions will stimulate their minds. This was the session thatrequired the most writing, which not all the youth liked to do, so the activity was made as interesting aspossible.

The youth responded enthusiastically to the activities, beyond our imagination. Almost everyone stayed tillthe end of the session, which still, unfortunately, went up to 1am. The unstructured method of discussionand inputs appealed greatly to the youth. The shop/sala area of the Art Haus transformed into a veritablemarketplace, with store sellers calling for customers, and the attention of participants drawn from one stallto another. In the beginning, almost all were focused on the business and enterprise cluster, but as they

The elements everyone finally agreed on


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became used to the activity, the youth began spreading out on their own to the other stalls. There wasmuch discussion going around the room as participants explained, questioned, debated and supported theideas of others. People got very comfortable with each other, entering and exiting the personal spaces of each other freely. It became difficult to tell where one person ended and the other began.

Recapping outputs from the previous session anddiscussing the new organizational vision

The new vision statement: a community of sociallyand environmentally responsible young peoplecollectively working to develop the full potential of their generation through the arts andentrepreneurship

Listening attentively to a participant while gettingcomfortable

Writing and putting their ideas up on the walls


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The outcomes of the discussion were:

Goal: Social Enterprise and Business

Goal: The arts

Make loans available to artists for materials andproduction etc. A percentage of the profits/returnof investment will go back to the organization

Marketing through brochures of productsand services to schools, institutions,wedding organizers, youth organizations,NGOs overnment a encies and rivate

Promote and marketSaturday night shows,earn income from

Profit sharing for the artisans in allproducts, services and performances, witha percentage contribution to Dire Husi tosustain the organization

Train and promote youthfor performances in events(weddings, conventions,fairs etc.)

Recordingoriginalcompositions,marketing andgenerating CDsales

Set up a quality shop retail, booth dressing, atambayan or chillout shop, with wireless internetservices, music entertainment.

A native coffee area entertained with jammingand performances, with a guidepromoting/selling artworks, explaining culture,and offers to tour the city

Henna tattoo, body

painting for specialevents, massage withmusic etc.

Craftsbusiness tokens

and giveaways,necklaces, braceletsanklets, instruments

Dreadlocksmaking

services

Wi-Fi zonebusiness

Recycled art

Intensify quality arts/craftsproduction, marketing, promotion

Market products through the internet elect a point person for this Product and handicraft

development/design, andmark up appropriatelyJoin and sell prints of

artwork at Deviantart.comSell one-of-a-kind art works

Soil painting business, designingcell phone decorations

Events and concerts

Street junk art gallery on 9-21st street

Culinary art sessions Develop artwork andquality products

Craft making innovating, designing

Music

Music production workshops composition, recording, editing,mastering


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Goal: Youth development (growth of members)

Goal: Building connections and friendships

Goal: Community service

Leadership and characterdevelopment training for non-DireHusi youth as well

For street kids in Divisoria:Literacy and basic mathematicsFree classes on art, crafts, henna,painting

Support art in the city:EventsCraft making for youth(paid and unpaidsessions can connectto business)Music training withindigenous instrumentsEstablish a driftwoodpark, with gallery

Awareness and practiceof proper garbagedisposal on barangayNazareth

Youth volunteer to clean up 9 th street regularly

Environmental care:Recycle trash into saleableproducts or decorations forthe barangay

Tree planting and recycled art exhibits on environmental awareness in different parts of CDO(Art month in February, Earth month in April)

Unwind...Dire Husi members and otheryouth go on an out-of-town

adventure (e.g. mountainclimbing) every once/twice aear

Youth development teaching (piano, guitar,vocals), motivation, exposure

Stage performance training free for DireHusi members and street children

Training in performanceattitudes and entertaining

Art therapy

Responsibilities,organizational structure

Training, orientation and monitoring of book keeping, receipt keeping, domestic chores

Identify roles of youthmembers, who stays inand out (of the ArtHaus). Chores of maintaining the ArtHaus and sho

Online networking throughblogs, Facebook and Multiply

Diverse youth campon arts and music

Summer party at the beach DireHusi will perform fire dances, live

music, henna tattoos. Promote theorganization and win hearts

Art workshops at public highschools encouraging youthto express themselves

Saturday night jampack bondings twice a month atthe Art Haus. Each session focuses on an art form or afeatured artist


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8 January sessions: Planning part 2

Organizational mattersOrganization meetings will be held every 1 st Tuesday of the month, after dinner.

Membership

Identification: Identity cards for members, Dire Husi t-shirts, member profiles Process orientation for new members

o A committee decides on the acceptance of new memberso A month trial period for the member.o An application form for the new member to reaffirm:

That he/she wants to be a member He/she understands and is aligned with the organizations vision He/she understands the responsibilities of a member

o Rejection in extreme cases even if new member does not meet the responsibilities,commitments and vision of the organization, opportunity must be given for the member tochange and grow.

Affirmation of the current members: 16 in total

Responsibilities of a Dire Husi member

Open minded at all times Know and live by the vision of Dire Husi Inter-religious faith in God Inculcate a humanitarian spirit, maka tao at bangsat . Commitment to social change.


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Have respect for each member Passion and commitment to serve Dire Husi, keep the fire burning Commitment to meetings and regular activities, while having the freedom to decide on level of

involvement in projects and said activities. Accept consequences of absences

Have a private life, as long as it is not damaging to the reputation of Dire Husi Disciplinary action or problems with members is decided on a case-to-case basis by all Dire Husi

members. Dire Husi will talk to the member, investigate the situation and then hold a meeting tomake a decision about the member.

Art Haus rules

Courtesy and respecto Favours or requests to be asked direct and with respecto Permission of owner to use personal instruments, unless the instruments are left in the

shop/main/public area. Accountability

o Artisans carrying products for sale at fairs etc. must give an inventory or sales report (thereports can be written or oral, depending on the size of the consignment)

Living arrangementso Only members and their friends can homestay at the Art Haus, with permission and

monitoring of the existing live-in memberso All members share in the responsibility for food arrangements and house choreso No smoking, drinking or drugs in the Art Haus. Drugs are also prohibited in the

vicinity/neighbourhood of the Art Haus.

o Drunk artisans will not be allowed to enter the house, unless in special cases.o Free love is discouraged no sex, public displays of affection or dating inside the Art Haus.

Artisans can do so outside the Art Haus. The rationale is that the Art Haus is a communaland social space, so pairing is discouraged in favour of members mixing with each other.

Contributionso Members contribute to the running expenses of the Art Haus, to their own capacityo Jojo will collect the contributions, while Rusty will keep the funds

Organizational/business structure

Committees will be set up for each art area, with corresponding committee heads. The committee leaderswill be responsible over activities and plans for the relevant art sector. This is to delegate responsibilitiesover the entire organization to committees, instead of just the founding leader. These committee headswere nominated and voted for during the session. Everyone decided to have two heads for the craftscommittee, as they wanted a leader for female and male targeted crafts respectively. Over the ensuingdays, sheets were passed around the Art Haus and members could put their name under the committeesthey were interested in. Note that each member could be part of any number of committees. Thesecommittees would then meet separately to formulate and implement business and art plans and activities.


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Documents

Dire Husi Workshop Report for the Organization