This project consists in an action-research about the Esagramma© Jeud’Orchestre® (Let’s Play®). From 2012 till 2014, it has been based on a Master “Art and Existence” in Lille 3 university and sat up meetings with students and European Professors in psychology, sociology, philosophy and musicology, through a common concern. On one part Fanny T. Ananos Professor in the University of Grenada-Spain in the department of Social Education, studies the prisons, especially inclusion. On the other part, Licia Sbattella (Pr university Milano-Italy) is the creator of this musical and relationship approach which consists in creating a Jeu d’Orchestre for any person (including autistics) without any knowledge in music, but becoming able to play an instrument and a part in a classical music workshop and a performance, thanks to the presence of some musicians. The Jeu d’Orchestre has then been used for the first time in the context of prisons, in Northern France. 12 prisons, 54 concerts and more than 500 people have been involved.

In this general frame, the ethnographic approach is used to understand the process of the Jeu d’Orchestre for prisoners. This qualitative research has been based on the grounded theory so as to create out of the contexts, the deep meaning of the phenomenon that belongs to an informal education situation with a specific artistic practice. In fact, it represents a real work in getting the ability to touch the own and shared sensitivity through an intense apprenticeship of rhythms, movements, gestures, resonance and harmony. This is why, we believe, as Barbier (2006) in sensitivity as at the core of education. It consists first in a perception with the five senses, or an affective and emotional dimension (Berger & Bois 2008), and furthermore in the paradigm of Sensible (Bois & Austry 2007). These researchers explain it as a process that comes to the conscience of the person when he or she links with his or her inside world towards an intimate and deep sensation of the body. This represents for us a new paradigm that can change the way to have a look at education and artistic practice, from an intellectual usual French pratique culturelle perception to a bodily approach. Wishing to deal with the human experience, the question actually is: Does and how the Jeu d’Orchestre represent a process letting emerge the sensitive subject ?

The objectives are first to understand the impacts of such an orchestra among all the participants, especially detainees. The second one is to analyse what the process consists in, taking into account the: Participants, orchestra form, instruments, relationships, chief of the orchestra, musical scores and body. The whole atmosphere is dedicated to music, so the contacts and relationships happen through musical practice, two by two (a musician helping a non musician), or as a group. The third aim is to see if there is a change in the representation of the staff in terms of sensitivity about this musical practice that is besides, quite provocative for the penitentiaries, according to the state and the day to day life in the French prisons (Fixot 2012). Notably, the behaviour comes to the point of revealing one’s self publicly (without the social pressure of the invisible hierarchy among prisoners) and allows to feeling free, better and expressing one’s self. Finally, the aim is to get a sensitive image (Willis 2007) of that process helping the sensitive subject to emerge out (Barbier 2011) while providing proves of self-esteem, socialisation, living together, and a feeling of liberation out of the cell and prison life, creating a human harmony out of the depths of despair time.

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