2.3.1 The InCrea+ activities' list

TITLE

GOAL

ART DOMAIN

DURATION

STEP BY STEP INSTRUCTIONS

MATERIALS & ADDITIONAL RESOURCES

EVALUATION

SOURCE

GOAL of the ACTIVITY

CHALLENGE to INCLUSION ADDRESSED

ART DOMAIN

DURATION

STEP BY STEP INSTRUCTIONS

MATERIALS & ADDITIONAL RESOURCES

EVALUATION

GOAL of the ACTIVITY

CHALLENGE to INCLUSION ADDRESSED

ART DOMAIN

DURATION

STEP BY STEP INSTRUCTIONS

MATERIALS & ADDITIONAL RESOURCES

EVALUATION

SOURCE

TITLE

GOAL

ART DOMAIN

DURATION

STEP BY STEP INSTRUCTIONS

1. The teacher explains that students are going to create a story in groups but that each student can only contribute one word at a time. The teacher can give a title or a topic or theme to give the students some guidance or it can be left completely to the imagination of the students
   
2. Students are put into groups of 4 or 5 students and sit together in a circle
   
3. The first student starts by saying one word with the student to their left adding the next and continuing around in a circle.
   
4. The story ends when it comes to a reasonable conclusion or if necessary the teacher can prompt “ you have 15 more words to finish your stories”, for example.
   
5. A follow up activity can involve getting the groups to share their story with the other groups in the class. This can be done as a short summary of the story or created into a play, comic strip, film etc. depending on the interests of the students and school resources.
   

MATERIALS & ADDITIONAL RESOURCES

EVALUATION

• Have students collaborated together to create a unique story
• Have students respected the input from all of their teammates
• To what extent have students positively engaged and participated in the activity?

SOURCE

TITLE

GOAL of the ACTIVITY

CHALLENGE to INCLUSION ADDRESSED

ART DOMAIN

DURATION

STEP BY STEP INSTRUCTIONS

MATERIALS & ADDITIONAL RESOURCES

EVALUATION

SOURCE

Title

Aim

Challenge(s) to inclusion addressed

Type of art

Duration

Instruction step-by-step

Materials and additional resources

Evaluation

TITLE

GOAL

ART DOMAIN

DURATION

STEP BY STEP INSTRUCTIONS

MATERIALS & ADDITIONAL RESOURCES

EVALUATION

SOURCE

TITLE

GOAL of the ACTIVITY

• To popularise knowledge about the history of the country
• To form patriotic attitudes and national identity of children and youth
• To inspire young people to be creative.

CHALLENGE(S) to INCLUSION ADDRESSED

ART DOMAIN

DURATION

STEP BY STEP INSTRUCTIONS

MATERIALS & ADDITIONAL RESOURCES

EVALUATION

SOURCE

TITLE

GOAL

ART DOMAIN

DURATION

STEP BY STEP INSTRUCTIONS

1. There is an initial group discussion on one or two works of art, following the methodology of the Visual Thinking Strategies. Ideally these works of art can be related to a neighbourhood (suburban, homes, village, people, community etc).This occurs for students to recognise their ability to be active participants in the activity, form a group,  observe, listen, and discuss topics related to the artwork. This will eliminate prejudices about their ability to analyse the art, and as such is a key element in the development of the activity.Through the use of artwork students learn about and respect their peers' diverse perspectives and the group develops an awareness of different ideas and perceptions.
2. The teacher explains that the students are going to create a work of art inspired by their neighbourhood. Students can brainstorm possible ideas and/or for homework, look for inspiration in their areas. This can be very free and could be a place, building, person etc.
3. Students create their work of art. This can be created in a variety of different formats depending on the preference of the student and the resources of the school.
4. The works of art can then be displayed in the school as an exhibition to demonstrate the diversity within the classroom and community. Potentially, the local community could be invited to the exhibition to see their communities represented through the eyes of the young people living there.

MATERIALS & ADDITIONAL RESOURCES

EVALUATION

•  Has each student created a work of art inspired by their neighbourhood?
• To what extent do students feel a sense of pride and belonging in their community?
• To what extent have students learned about the lives of their classmates?

SOURCE

TITLE

GOAL of the ACTIVITY

CHALLENGE to INCLUSION ADDRESSED

ART DOMAIN

DURATION

STEP BY STEP INSTRUCTIONS

MATERIALS & ADDITIONAL RESOURCES

EVALUATION

• Has each student created a visual representation of something significant to them?
• Has each student briefly shared the significance of their creation with their classmates?
• To what extent do students feel more included having participated in the activity?
• To what extent have students positively engaged and participated in the activity?
• To what extent have students learned about the lives of their classmates?
• Have all students participated in sharing their ideas about how they are unique?

SOURCE

Title

Aim

Challenge(s) to inclusion addressed

Type of art

Duration

Instruction step by step

Materials and additional resources

Evaluation

1. Which of the skills were being developed/supported while running this activity?

2. Have the objectives of the activity been achieved? If not, explain why.

3. Was attention focused on skills and positivity?

Sources

Title

Goal of the activity

Challenge(s) to inclusion addressed

Art domain

Duration

Instruction step by step

1. Art research task: based on a PowerPoint presentation, the visualisation of the sky in the works of renowned painters, such as Vincent Van Gogh, Claude Monet, Mikalojus K. Čiurlionis is explored  in terms of the content and rendering of the mood in the selected works of visual arts in the fields of painting, graphics and sculpture. The techniques of performance and the characteristic traits, etc. are discussed.

2. Expression task: having reviewed the examples and investigated the variety of techniques of the visualisation of the sky in the works of artists representing different periods of art history, students are asked to collect a sample of such works on their own. Then, three works of sky depiction are performed: by employing the techniques of painting, graphics and creating a spatial object - a sculpture - without any restrictions regarding the selection of artistic means. The amassed information along with photos of the creative process and the completed works shall be used for the discussion in the presentation delivered in the PowerPoint or Prezi formats.
3. The following requirements are imposed: teams are created, and students are distributed among the teams; functions are shared.
4. The results of teamwork are assessed: this is the presentation in the PowerPoint or Prezi format. The presentation features and discusses examples and contains no less than three works of art depicting the sky by employing different branches of visual arts: painting, graphics and sculpture. The works are commented upon by briefly discussing the technique, the emotion along with the ways of rendering and the names of renowned artists whose artworks were being interpreted. The authors of creative works describe their emotions, experiences, positive aspects of such activity, etc.
5. The informativeness of the parts of the task is assessed; also, assessment may be given for the visual aspects of the presentation, the fluency of delivering the presentation, etc. Teammates are expected to share their experiences and emotions.

Materials and additional resources

Evaluation

•  When performing this project, the objective was to help students reveal their abilities and skills in the activity which is most acceptable to them while working in a team, discussing and otherwise communicating thereby also sharing the responsibility. Thus social communication) and socioeconomic skills get developed.
• When collecting information and performing creative tasks, some students (without even understanding that) happened to select examples of artwork which reflected their emotional state. Thus, when discussing and interpreting, they released their emotions and revealed their character, which served as the presentation of their personality to the class and improvement and enhancement of their communication skills.
• When working in a team, students had an opportunity to show their skills and creativity in their favourite activities to the other members of the team. Thus, the barriers among students were overcome.
• While taking into consideration the different needs of the students and the differences in their psycho-physical development as well as the different levels of knowledge and abilities, the tasks are expected to broaden the horizons. Students felt they were able to express themselves when depicting the sky in its different manifestations while collecting and delivering information. This form of art helps to experience inclusion as attention is focused not only on skills and competences but also on positivity.

Sources

TITLE

GOAL

ART DOMAIN

DURATION

STEP BY STEP INSTRUCTIONS

1. Forming the groups and evaluating the members’ needs/requirements

2. Preparing the sessions plan & logistics

MATERIALS & ADDITIONAL RESOURCES

EVALUATION

• Does improved confidence and teamworking skills improve students’ inclusion in the group
• What about outside the group? Does it improve their inclusion in their classroom or other groups of peers?
• How does theatre enhance creative thinking and empathy? Are the two in any conflict during or after the activities?

SOURCE

TITLE

GOAL of the ACTIVITY

CHALLENGE to INCLUSION ADDRESSED

ART DOMAIN

DURATION

STEP BY STEP INSTRUCTIONS

1. The teacher clears the surface from dangerous objects.
2. The teacher makes sure that students don’t bump into each other.
3. The teacher states the rules of activity clearly.

4. Call out a locomotor movement and a direction or tempo, such as “Walk forward slowly.” If that is too many concepts for children to comprehend, call only the locomotor movement and add a demonstration. Demonstrate creative dance/movement. Demonstrate freezing when the music stops
5. Play the selected song
6. Then stop the music and tell everyone to freeze.
7. A type of frozen shape is called: a round shape or a wide shape or a low shape, among many others. Support the verbal instructions with a printed sign for each locomotor movement and each type of shape.
8. Continue the move-and-freeze pattern several times and then you can add moving with a partner or freezing connected to another student. 

MATERIALS & ADDITIONAL RESOURCES

EVALUATION

• To what extent do students feel more included having participated in the activity?
• To what extent have students positively engaged and participated in the activity?
• What performance, education advancement changes are observed among students with various challenges?

SOURCE

TITLE

GOAL

ART DOMAIN

DURATION

STEP BY STEP INSTRUCTIONS

MATERIALS & ADDITIONAL RESOURCES

EVALUATION

SOURCE

TITLE

GOALS

ART DOMAIN

DURATION

STEP BY STEP INSTRUCTIONS

1. brainstorming: the trainer asks students to define the concept of diversity and summarise their perspectives
2. arts-related instructions: the trainer introduces the topic of portraits and provides information on how to make portraits that highlight physical differences.
3. Activity A1: students are given a set of several portraits and physical differences are explored.
4. discussion: students discuss the many physical differences. The trainer guides them to explore other differences providing examples of visible and invisible differences and introducing the concept of super-diversity providing examples.
5. Activity A2: students are given the task to make or collect a couple of portraits that highlight people's differences.

6. sharing: students share their portraits and comment on the highlighted differences.
7. summary: the trainer summarises the main points that emerged from the discussion

MATERIALS & ADDITIONAL RESOURCES

EVALUATION

• what is the definition of diversity
• what are the visible and invisible differences
• what is superdiversity

• what are the strategies to make a portrait

SOURCE

TITLE

GOAL

ART DOMAIN

DURATION

STEP BY STEP INSTRUCTIONS

1. Forming the groups and evaluating the members’ needs/requirements

2. Preparing the sessions plan & logistics

MATERIALS & ADDITIONAL RESOURCES

EVALUATION

• Does switching vision off stimulate understanding and awareness about life without one?
• Have the proposed activities improved the inclusion of v.i. children in the classroom or among other groups of peers?
• How does theatre enhance awareness and empathy?

SOURCE

TITLE

GOALS

ART DOMAIN

DURATION

STEP BY STEP INSTRUCTIONS

MATERIALS & ADDITIONAL RESOURCES

EVALUATION

• What problem has been chosen for young people?
• How did the groups work? What was easier, what was harder?
• How can art and creativity contribute to solving life's problems?

SOURCE

TITLE

GOAL

ART DOMAIN

DURATION

STEP BY STEP INSTRUCTIONS

1. Teacher/facilitator explains that students are going to be given a square of cards.  They can design it however they want, taking inspiration from something that is important to them or something special about themselves.
2. Students are each given a square of cards and provided with a variety of equipment  that they can choose from for the design of their square. The square can be as embellished or as simple as the students deems appropriate.
3. Each student can then briefly present their square to the group to explain its significance.
4. The squares are then taped together  and displayed in the classroom as a visual reminder of the beauty and diversity within the group.
5. Students reflect on the significance of the activity and how both the similarities and the diversity of the class make their group special.

MATERIALS & ADDITIONAL RESOURCES

EVALUATION

•  Has each student created a visual representation of something of significance to them?
• Has each student briefly shared the significance of their artwork with their classmates?
• To what extent do students feel closer to their classmates and more included having participated in the activity?

SOURCE

Title

Theatre class [grades 11–12]  |  Theatre studio [grades 9–11-12]

Goal of the activity

Challenge(s) to inclusion addressed

Type of art

Duration

Instruction step by step

1. Meeting in a close circle;
2. Naming the state one is today and an ‘overview’ of the week (psycho-emotional diagnostics of the group);
3. According to the state the students are in on THAT PARTICULAR day and their energy levels, ‘the corresponding route is taken’;
4. Warm-up exercises:
1. Exercises for the vocal apparatus;
2. Exercises for the entire body;
5. Further activity (based on the state of the students on THAT PARTICULAR day):
1. Improvisation exercises;
2. Exercises of devising a character;
3. Development of an etude on a selected topic;
4. Extended acting and psychological exercises;
5. Exercises of movement on the stage;
6. Psycho-dramatic exercises;
7. Imagination training exercises;
8. Memory and attention control development exercises;
9. Relaxation and visualisation exercises;
6. Discussion of the performance of an exercise or their group (praise/observations);
7. Reflection.

Materials and additional resources

Evaluation

1. Which of the skills were being trained/supported with this activity?

• Better control of focusing/ development of the skill of getting concentrated;
• Development of articulation, the vocal apparatus and the art of sound propagation;
• Memory training;
• Creativity development;
• Self-cognition and expansion of personal boundaries;
• Leaving the comfort zone;
• Development of ability to improvise and to be AT THE PRESENT MOMENT.

Sources

• Personal experience stemming from the BA studies of acting, documents and other materials accrued during lectures; materials of tasks performed in the course of studies;
• Books:

TITLE

GOAL

ART DOMAIN

DURATION

STEP BY STEP INSTRUCTIONS

MATERIALS & ADDITIONAL RESOURCES

EVALUATION

SOURCE

TITLE

GOAL

ART DOMAIN

DURATION

STEP BY STEP INSTRUCTIONS

MATERIALS & ADDITIONAL RESOURCES

EVALUATION

• To what extent are students with various challenges included in the mural workshops?
• What attitude and relations changes are observed among students with various challenges?
• What performance, education advancement changes are observed among students with various challenges?

SOURCE

TITLE

GOAL of the ACTIVITY

CHALLENGE(S) to INCLUSION ADDRESSED

ART DOMAIN

DURATION

STEP BY STEP INSTRUCTIONS

MATERIALS & ADDITIONAL RESOURCES

EVALUATION

• Did students collaborate in groups?
• What was easy, what was harder?
• Did you manage to convey your philosophy of life?

SOURCE

Title

“Batik: painting on silk”

Cycle of classes: “Whispers of silence on silk”.

Topic of the class: Abstractionism

Goal of the activity

Aim: to involve into the creative process the student with special needs when working in a team of four students on the grounds of the principle of mutual assistance and cooperation. The criterion of success is the positive spirit of work in a very small group when adhering to the perfectly clear course of work and the subtleties of the employed technique. 14 students attend one class of technologies; they are invited to split into groups, and three groups are thus made. The student with special needs is usually extremely reserved in the classroom; he has issues with communication - yet he works in one of the groups. The topic of the class is discussed, the sketch is prepared, the ways of pouring and laying paint on silk are elaborated and tried out on small-scale works (sketches). The student with special needs is involved in the creation of a collective picture, and he works under supervision of more skilled students of the group.  

When applying the technique of painting on silk, the student with special needs calms down as the technique itself serves as a pacifying therapeutic means which helps self-expression and develops behavioural and social skills.

Challenge(s) to inclusion addressed

Behavioural and social challenges

Art domain

Painting on silk

Duration

45 minutes

Instruction step by step

Step 1. The non-traditional method ‘You can create’ is employed. This unique highly involving method not only allows but also promotes inventive management of the process of one’s colour and space-based self-expression. The key principle when starting creative work is by highlighting the slogan ‘I CAN’ and the response to the questions Who? What kind of? When? Where?

Step 2. Analysis of the theoretical part.

Step 3. Application of the technique of painting on silk; selecting of either of the two techniques of laying the paint; a minor trial of the use of silk for painting.

Step 4. Fixing silk onto the frames, preparation of the paint and the frame, mixing of colours. The student with special needs was a boy, and he could assist the girls of the group to stretch and draw silk onto the frames, which is a way to feel better.

Step 5. Design of the outlines of the picture.

Step 6. Development of colour solutions when applying the already tested methods of painting on silk. Paint is poured and laid on the surface.

Step 7. Discussion on the process of work.

Materials and additional resources

3 wooden supports sized 1 metre*1 metre; pins for fixing silk firmly.

3 metres of natural silk.

Silk paint, 6 contours, 14 brushes, 3 small vessels for water. An ironing board, an iron, tissues.

Evaluation

The objectives of the activity were achieved:

1. In the process of creative work, a relatively rare technique was being employed, and methods of spreading the paint which are common only in this particular technique were being used.

2. Work in small groups was successful, and this choice was justified. 3. A student with special needs whose pace of work is slower than average was involved. cooperation was established, and this student received assistance.

3. Skills of mutual trust, independence, cooperation and involvement were being practised.

This form of art helps to experience inclusiveness. Painting on silk works as a therapy as this is painting on a natural material which is totally soundless and devoid of resistance. It trains concentration and focus and helps to pursue one’s objectives by following clearly outlined landmarks.

Attention was focused on the skills and the positivity of the process of creative work.

Sources

Materials of seminars
Aušra Lavickienė

ausralavickiene8@gmail.com

TITLE

House of my imaginary hero

GOAL

It is aimed that the students will learn that the act of architectural design is the process of creating a space that starts with the need for shelter and to raise awareness about the different functional structures around it.

ART DOMAIN

Design

DURATION

40 minutes + 40 minutes

STEP BY STEP INSTRUCTIONS

1-They are asked to imagine a peaceful place with their eyes closed for the hero or the character based on a novel, fairy tale, play or a poem that is determined by the students .

2-Motivational questions are asked; such as   where or  in what place do you want your hero to live etc. hero  live. This helps students to develop their imagination and creativity while helping to increase their communication skills in the mother tongue.

3- Guidance can be given to follow a certain sequence for the working stages. Topics to be encouraged by students are:

• Determination of physical characteristics for the character

• Determination of basic needs

• Designing a place or structure in line with the expectations of the hero, based on the scenario to be created for the relationship of the user, place, weather conditions, environment (inner city, outside the city, forest, mountainous, desert, polar, etc.), colour, emotion.

• Creation of an original architectural design for the hero of dreams that matches his personality.

4- It is explained that the works can be designed in two or three dimensions, and after the basic features and expectations for the character are determined, the design can be started with the sketching stage.

 5-Students are encouraged to consider factors such as texture, colour, lighting, material, proportion and form in design.

6-After completing her work, the student can ask his/her teacher to check it.

7-The works are exhibited in the classroom.

8-Students are asked to express their thoughts about their work. During these exchanges, it is emphasised how the values ​​of responsibility and honesty affect their work.

9- They are asked to explain which work they like and why, apart from their own work.

MATERIALS & ADDITIONAL RESOURCES

.White drawing paper,

•Scissors,

• Cardboard,

•Glue,

• Felt pens,

• All kinds of waste materials and colored cardboard

EVALUATION

1.What is the venue?

2.What is the structure?

3.What is the furniture?

SOURCE

The book of Technology Design

TITLE

All-inclusive music ateliers

GOAL

Improved inclusion and socio-academic performance of students experiencing various challenges through activities based on music.

ART DOMAIN

Performance art

DURATION

A regular weekly after-class activity with sessions of 40 to 60 minutes, depending on the exercises/tasks planned for each session, the available time-slots and the profile of the group.

The suggested duration does not include the time necessary for preparations.

STEP BY STEP INSTRUCTIONS

Phase I: Preparations

Forming the groups and evaluating the members’ needs/requirements

The music atelier facilitator should review the applications of interested students and form groups of 8 upto 12 children. It would be great if the composition of the groups can remain relatively unchanged throughout the period of implementation, so that the children can build bonds within this micro network and the teacher can organise the activity schedules with a certain level of certainty as far as the profile and the needs/requirements of the group members are concerned.

Evaluation of the profile of the participants needs to take place simultaneously with the formation of the groups, because, when the number of applicants is quite high and the groups will be more than one, the teacher should assign students to one group or another based on their special needs, existing relations, skill levels, etc. The group needs, requirements and abilities will be a collective representation of the needs, requirements and abilities of each individual member.

Preparing the sessions plan & logistics

Depending on the group profile the teacher can now proceed with organising the sessions plan for the music exercises/games/activities to be implemented over the school term or year and the list of necessary materials and equipment for each session that will need to be secured. Involving a co-facilitator might be extremely beneficial for the purpose of monitoring the process better, assisting children that may require some help and following up on evaluation.

When shaping up school-term or the annual sessions plan, the teacher may wish to consider the following:

Inclusion needs of students experiencing or at risk of experiencing social and socio-economical exclusion. Most music focused topic-sensitive workshops, providing all the materials, instruments, venue and professional facilitation, as is the InCrea+ good practice “Music ateliers”, respond to and cater for the inclusion of students experiencing the exclusion in question. When all the materials necessary for the activity, which is planned, structured, and delivered by a professional facilitator, are secured by and are provided for use within the school – the “what” and the “where” are covered. The “when” does not require additional efforts or investments from the parents, on the contrary, it provides them with extra time for work or family related activities, as the child stays occupied at school. There is no limitation to the “who”, especially if the children involved are not in or at risk of being in any other exclusive situations, because the language of music is a universal one and lifts boundaries to communication. The “how” for this group is not as complicated as it can be with other groups, where cognitive, physical or behavioural challenges may impose different requirements.

Inclusion needs of students experiencing or at risk of experiencing cultural exclusion. These can be children from minorities, children who do not speak the local language, children from different countries and/or religions. When such students are included in the group, the teacher will need to step beyond the comfort of her/his own cultural bubble and expand her/his knowledge and skills to include an understanding and appreciation of students’ cultures. Some of the music workshop sessions should be used for transferring this understanding and appreciation to the other members of the group, thus facilitating the inclusion of these “culturally different children” and even their “culturally different” families.

Inclusion needs of students experiencing or at risk of experiencing exclusion due to physical challenges: inclusion happens when a child, regardless of any deviations from certain norms, is equally involved in the activities taking place, contributes to the common product, is seen as a valuable human being and is appreciated by its peers and other members of society. For most children and youth though, especially those who are mentally preserved, this inclusion needs to be earned, not granted. For the feeling of self-fulfilment to be guaranteed, the teacher may make the effort to understand what musical instrument a child with a certain physical disability is best at, support them with some lessons for skills improvement and give them the leading position for certain occasions or certain parts of a performance. When the child is not in a leading position or is just practising, it can be given the chance to experiment with other accessible instruments. For students with various musculoskeletal disorders, percussion is indeed one of the best music instruments to use. Students with visual disabilities have no limitations as to what instruments they can play.  

Inclusion needs of students experiencing or at risk of experiencing exclusion due to cognitive challenges: music-based activities do create good conditions for inclusion of cognitively challenged children, considering that the language of music (and visual arts for that matter) is universal and can be particularly beneficial for facilitating expression. If the activities planned for the day require any reading or writing or speaking, for student/s with learning difficulties or various speech impediments, this can be replaced with drawing, playing, singing or dancing or doing the task in collaboration together with another student, who can act as a peer-supporter.  

Inclusion needs of students experiencing or at risk of experiencing exclusion due to behavioural challenges: children with behavioural challenges need to be offered activities that do not lead to extremities, where the behaviour is known to flip to non-socially acceptable manifestations, which may require:

- rescheduling the activities for periods when there is a student’s window period for best success and least frustration - a nervous outburst would present the child unfavourably and will force the teacher to invest time and energy in handling exceptional situations (so the answer to the “when” question here may require some more consideration on the part of the teacher and good level of information on any medications, the time of taking them and the effects they may have on the student’s performance and/or behaviour during the different times of the day).

- do not take for granted that the information is remembered, repeat expectations and make as many rehearsals as necessary for the purpose of encouraging short-term memory;

- make a plan, share this plan with the students in advance and follow it strictly, making sure that it includes FIRST, NEXT, THEN, FINAL (particularly important for students with AD/HD);

- begin with and revisit as many times necessary the topic of appropriateness and inappropriateness (directly related to not taking for granted that information is remembered and to pursuing the achievement of socially acceptable behaviour);

- state and repeat connections and the logic behind the activities proposed (children experiencing such challenges need to be provided constant referencing to “what” we are doing and “why” we doing it);

- define benefits of completing a task.

The hereby listed suggestions would be beneficial for any general group of participants, but they are particularly important when children with special needs are included.

If the group includes one or more children with behavioural challenges, the activities need to be adapted to their needs, which differ from case to case. However, the list of pros for using music for and with children experiencing behavioural, as well as other challenges (learning difficulties, speech disorders, etc.), is certainly much longer than:

- music is known to develop emotional understanding as well as encourage empathy and communication;

- it helps children to develop feelings of connectedness and empowerment;

- it helps students with special needs learn to and actively participate in ways that go far beyond the auditory and visual ones used in traditional classroom settings;

- related to the above, music-facilitated or music-accompanied learning is as effective as it is because music is a multi-sensory experience – it is kinesthetic, it uses the child’s hearing and vision and thus provides a whole-body experience;

- for many children for whom speech represents an enormous challenge, music plays a key role in eliminating the barriers to verbal expression;

- unlike other inputs, children with disorders from the autism spectrum process music in the same ways as children without such disorders, which improves language and social abilities in the first group (Sharda et al, 2018).

Inclusion needs of students experiencing or at risk of experiencing exclusion due to giftedness or talent challenges: extracurricular activities of this type can provide students experiencing giftedness or talent exclusion challenges a chance to express themselves without judgement, mockery or bullying. Entering into a safe and accepting environment that includes peers and educators can help a gifted/talented child to work with greater confidence and expand its potential. Such students can be given additional tasks or roles that challenge them to think and act further than the rest of the group.

Teachers undertaking the task to organise inclusive music ateliers should be aware that it is very rare that a child experiences only one of the listed challenges. Such cases are exceptions. It is frequent that families with children with disabilities for example experience dire straits financially (socio-economic challenges on top of the physical challenges), due to the high costs of different therapies and/or the impossibility for income to be generated by both parents and/or the fact that often families with challenged children are single-parent ones and so on and so forth. It is not a simple task to respond to all needs and requirements, but the closer one gets - the greater the satisfaction. 

 Making sure that the music workshop room is accessible and orderly

When a group includes students with special education needs, the teacher needs to make sure that the music workshop room is accessible and orderly, so that safety and optimal performance are secured. Considering that accessibility is not only physical, the teacher needs to organise the sessions in a way including:

- clues and repetitions to facilitate the memory and understanding reinforcement with students with various learning disabilities

- use short sequences, rotate exercises

- present materials in a multi-sensory mode

- have an array of activities, which can be used for helping students with various neurological deficiencies to manage impulsive responses, stay goal oriented as well as resist distractions

Summing it all up, the teacher needs to make sure that the student’s physical and psychological needs to belong, to make choices, to have fun and to express themselves are catered for in the music workshop room.

Phase II: The actual music ateliers

1. Kick-off with the sessions, maintaining regularity concerning group size and composition (8 to 12 children, unchanged members), duration of the meetings, day of the week. Start each session with a sharing circle in order to understand how everyone is feeling as well as whether certain disruptive events have taken place and might be affecting someone’s attention or performance during the session.

2. Before the start of each session consult with the list of materials and equipment necessary, make sure the music equipment is ready and functioning (do your microphone and music system function, do you have all the tunes and videos you have planned to use during the session, if you will be using music instruments - keyboard, percussions, etc. – are they available and functioning; if you or the students need to dress up or make up – do you have what is needed; if you will be drawing or making collages, do you have the clippings, the drawing tools, the paper, the cutting and glueing items necessary; etc.)

 3. Depending on the topic of the day and/or the ateliers schedule you have predefined, carry out the planned exercises/games/activities.

Ideas for activities/games:

“Drawing music” - the teacher prepares a music performance that will be listened to. The children will be asked to paint while listening. They should have  a block of paper, colored pencils, crayons or water colours.

“Music and musical instruments of the world” – the teacher prepares with musical pieces and traditional dances from a selected country or region of the world, securing also a typical local instrument, which the students can try out. If for example the topic is music and musical instruments from Peru, the teacher can try to find an actual charango to demonstrate in addition to recordings of indigenous people playing it. If there is a student from Bulgaria, experiencing cultural difficulties in a foreign country, the teacher may provide a bagpipe or a fiddle-type instrument called gadulka.  

“Season- and event-focused activity” - the teacher organises ateliers focused on topics selected in correspondence with the seasonal specifics, the educational programme and important events, characteristic for the region and the country (for example before Christmas the students illustrate, sing or perform Christmas songs and melodies, dance specific dances and prepare Christmas concerts).

“Culture calendar” - in a culturally varied class, the teacher can create a motley culture calendar with celebrations and festive occasions from all the native regions / home countries or ethnicities or religions students belong to. According to this calendar, the teacher can assign the task of preparing a small demonstration to the students, whose day is “celebrated” at the school – this can work for students at 4^th or 5^th grade and above. Requesting parents’ support would further the inclusion through the involvement of another generation in the school community activities.

“Stories and masterpieces of famous musicians, experiencing various challenges” – the teacher can prepare with materials – curious facts, stories from the lives of and examples of the musical genius of different famous musicians, who experience some kind of challenge (behavioural, physical, cognitive). Some examples, which can be used:

Role models with physical disabilities: Itzhak Perlman, violinist; Thomas Quastoff, bass-baritone; Ronan Tynan, tenor; Leon Fleisher, pianist.

Role models with sensory disabilities: Dame Evelyn Glennie, Stevie Wonder, Ray Charles, Andrea Bocelli, Brian Wilson.

Role models with autism: composers Donna Williams, Hikari Oe and performers Thristan “Tum-Tum” Mendoza and Glenn Gould.

Role models with emotional behavioural disorders: John Ogdon, award winning pianist, who was the subject of the BBC 1981 movie virtuoso based on his biography and his losing fight with mental illness and manic depression; Charles “Buddy” Bolden, Thelonious Monk and Jaco Pastorius, the late great pianist and pedagogue Vladimir Horowitz, who experienced a psychosomatic illness.

Role models with learning disabilities and attention deficit: the twice exceptional Albert Einstein, the scientist who changed the world through the theory of relativity, was also a passionate musician and an accomplished violinist.

“Particular skills development” sessions, beneficial for various cases, could include practising (playing, singing, dancing) songs, which support the children in learning specific skills or notions/concepts and/or have an uplifting effect on the group, getting them in the mood to work and have fun. This would require the teacher to do a selection of such works, based on both the individual educational plans of the children with special education needs, but also the needs of the rest of the group, which also requires them to be challenged with new skills and experiences. 

Regardless of the session focus on developing certain skills, which might be problematic for special education children, musical/rhythmic intelligence is organically basic and appealing to all, so the sessions will be attractive and inspiring for all the other participants.

4. Each session should end with a closing feedback activity, in which each student can say how they feel at that point, compared to how they were feeling at the start of the session. The teacher should record or write down the students’ comments and ask them further questions as to what they liked the most, what they would love to repeat and what they could skip.

MATERIALS & ADDITIONAL RESOURCES

Music – technical means and the musical performances/masterpieces (audio and video files), which are to be used for listening, dancing to and singing/playing;

Microphones and Music System; Keyboard; Children Percussion Musical Instruments;

Drawing blocks of paper, colored pencils, crayons or water colours.

Suitable shoes or clothes for dancing;

Costumes or special types of instruments for multi-culti activities.

EVALUATION

To what extent are students with various challenges included in the music workshops?

What attitude and relations changes are observed among students with various challenges?

What performance, education advancement changes are observed among students with various challenges?

SOURCE

InCrea+ good practice, entitled “Music atelier”, presented by Galina Karadzhova, music teacher at the National secondary school “Sofia”: galina.m.karadjova@gmail.com

Sharda, M., Tuerk, C., Chowdhury, R. et al. Music improves social communication and auditory–motor connectivity in children with autism. Transl Psychiatry 8, 231 (2018). https://doi.org/10.1038/s41398-018-0287-3

Sobol, Elise S. (2001) An Attitude and an Approach for Teaching Music to Special Learners, MENC and Rowman & Littlefield Education

Title

 Element of interior construction materials.

 Topic of the class: souvenir Christmas decoration.

Aim

In the class of spatial expression, 13 students take part. The topic of the class is discussed, the sequence of work is determined, technical performance and the combination (compatibility) of decorative elements is overviewed.

Aim: into the process of purposeful creative artistic manifestation denoted by correct technical implementation, to involve a student with special needs who shall be assisted by his classmate sitting at the same desk as their relationship is fairly good.

The student is extremely withdrawn and sensitive, his interaction with classmates is extremely limited.

The principle of mutual assistance and cooperation was used. Behavioural and social skills were developed.

Criterion of success: positive work when being aware of the sequence of work and the nuances of technical performance.

Challenge(s) to inclusion addressed

Behavioural and social challenges.

Type of art

Spatial expression

Handicrafts

Duration

45 minutes

Instruction step-by-step

Step 1. To create two sketches of a Christmas decoration;

Step 2. To select the sketch which is more interesting and more appropriate (in terms of technical implementation);

Step 3. Technical implementation of the task (with the assistance and advice of a classmate);

Step 4. To apply a decorative element (by attuning the emphasis of glitter);

Step 5. Discussion of the work (whether success was achieved or not, and what could be altered next time.

Materials and additional resources

Materials – cardboard and flax rope (or another type of fairly strong rope).

Additional resources – a ruler, a pencil, an artist brush, glue, scissors.

Evaluation

The objectives of the activity were achieved:

1. Work with the assistance of the classmate sharing the desk was deemed successful. The student with special needs was more confident in himself and in his skills because of the possibility of seeking advice.

2.Skills of cooperation, mutual assistance and independence were developed.

3.The attitudes ‘I can’ and ‘I shall succeed’ were being formed.

Attention was focused on the positivity of performance of creative and technical work.

Title

Depiction of Sky in works of professional artists

Goal of the activity

In the process of studies, students are encountering a plethora of challenges. In the classroom, they are expected to communicate with their classmates who are denoted by differences in characters or different levels in terms of cultural education, social (interaction) and cognitive skills and socioeconomic characteristics. Their peers may be highly gifted or deprived of special gifts in some particular artistic or other type of activity.

Classmates denoted by different emotions and characters as well as students with special needs when conducting a long-term project work spanning over a cycle of classes and drafting presentations get an opportunity to interact, discuss, share functions of teamwork according to their abilities and are thus given opportunities to perform the theoretical and practical parts of the assignment in the selected branch of arts. This not only strengthens the feeling of positivity but also broadens the level of cultural-artistic perception. Students get rid of their negative emotions by creating while simultaneously developing their cognitive, behavioural and social skills.

Challenge(s) to inclusion addressed

Cognitive, gifted, socioeconomic, behavioural, social, and cultural challenges.

Art domain

 Visual arts: drawing, painting, graphics, sculpture.

Duration

8 classes

Instruction step by step

Art research task: based on a PowerPoint presentation, the visualisation of the sky in the works of renowned painters, such as Vincent Van Gogh, Claude Monet, Mikalojus K. Čiurlionis is explored in terms of the content and rendering of the mood in the selected works of visual arts in the fields of painting, graphics and sculpture. The techniques of performance and the characteristic traits, etc. are discussed.

Expression task: having reviewed the examples and investigated the variety of techniques of the visualisation of the sky in the works of artists representing different periods of art history, students are asked to collect a sample of such works on their own. Then, three works of sky depiction are performed: by employing the techniques of painting, graphics and creating a spatial object - a sculpture - without any restrictions regarding the selection of artistic means. The amassed information along with photos of the creative process and the completed works shall be used for the discussion in the presentation delivered in the PowerPoint or Prezi formats.

The following requirements are imposed: teams are created, and students are distributed among the teams; functions are shared.

The results of teamwork are assessed: this is the presentation in the PowerPoint or Prezi format. The presentation features and discusses examples and contains no less than three works of art depicting the sky by employing different branches of visual arts: painting, graphics and sculpture. The works are commented upon by briefly discussing the technique, the emotion along with the ways of rendering and the names of renowned artists whose artworks were being interpreted. The authors of creative works describe their emotions, experiences, positive aspects of such activity, etc.

The informativeness of the parts of the task is assessed; also, assessment may be given for the visual aspects of the presentation, the fluency of delivering the presentation, etc. Teammates are expected to share their experiences and emotions.

Materials and additional resources

Computers

Tools and materials required for practising arts

Evaluation

When performing this project, the objective was to help students reveal their abilities and skills in the activity which is most acceptable to them while working in a team, discussing and otherwise communicating thereby also sharing the responsibility. Thus social communication) and socioeconomic skills get developed.

When collecting information and performing creative tasks, some students (without even understanding that) happened to select examples of artwork which reflected their emotional state. Thus, when discussing and interpreting, they released their emotions and revealed their character, which served as the presentation of their personality to the class and improvement and enhancement of their communication skills.

● When working in a team, students had an opportunity to show their skills and creativity in their favourite activities to the other members of the team. Thus, the barriers among students were overcome.

● While taking into consideration the different needs of the students and the differences in their psycho-physical development as well as the different levels of knowledge and abilities, the tasks are expected to broaden the horizons. Students felt they were able to express themselves when depicting the sky in its different manifestations while collecting and delivering information. This form of art helps to experience inclusion as attention is focused not only on skills and competences but also on positivity.

Sources

//

Title

Didactic games

Aim

To outline the challenge which the student is facing in the course of studying and to identify the achievement of the aim when applying this method of inclusive learning. The list of challenges includes but is not limited to cultural, social/communication, physical (disability), cognitive, socioeconomic, talent and giftedness-related and behavioural challenges.

Challenge(s) to inclusion addressed

Cultural, social/communication, physical, cognitive, socioeconomic, talent and giftedness-related and behavioural challenges

Type of art

Painting

Duration

45 minutes, i.e. 1 class

Instruction step by step

In arts, the content of real life may only be manifested through emotions, and only emotions can help us perceive the secrets dwelling in a work of art.

Work in pairs.

Painting/drawing by following the instructions of a peer.

The student giving instructions may use a plan given by the teacher.

The teacher actively cooperates with the students.

Materials and additional resources

Materials for painting: gouache, artist brushes

Evaluation

(3 questions are related to the aim. The answers specify whether and to what extent the aim was achieved)

● Question 1

● Question 2

● Question 3

Which of the skills were being developed/supported while running this activity?

Listening and focusing is promoted, imagination and linguistic skills are trained, communication culture is practised, and purposeful activity is pursued.

Have the objectives of the activity been achieved? If not, explain why.

Yes, the student was active and was painting/drawing what he was being told to paint/draw.

Was attention focused on skills and positivity?

Attention was directed towards positivity; the key task of this method is to make the student unafraid to start creating.

Sources

https://www.vilniausppt.lt/wp-content/uploads/2021/04/Tinkamiausi%C5%B3-metod%C5%B3-taikymas.pdf

TITLE

Ceramics workshop

GOAL

Improved inclusion of students experiencing various challenges through activities based on work with clay and elaboration of ceramic pieces of art.

ART DOMAIN

Visual arts

CHALLENGES TO INCLUSION

GIFTEDNESS

DURATION

A regular monthly after-classes activity for approximately 120 minutes. This duration does not include the time necessary for preparations or for the baking of the works.  

STEP BY STEP INSTRUCTIONS

Phase I: Preparations

Forming the groups and evaluating the members’ needs/requirements

The ceramics facilitator should review the applications of interested students and form a group of 6 upto 12 children. It is not necessary for the group to remain the same month after month, however, the facilitator should be aware of the necessity to explain the basics of working with clay every time when there are new group members or he/she can assign this task to students who are already experienced with working with clay and producing ceramics pieces of art. The inclusivity of this type of activity can be considered at two levels: creating conditions that make the workshop accessible for youth of all abilities and creating works of art, which tackle topics related to inclusion, set by the facilitator and discussed during the process of work of the participants.

Forming the group for the next monthly session should happen well in advance in order for the facilitator to understand the challenges he/she is going to create accommodations for and to select the topic, which will be central for the work of the students during this session. The facilitator, in collaboration with other teachers from the school, can propose involvement to specific students, facing certain challenges and these challenges can be placed at the centre of the forthcoming activity and then the works – publicly displayed and discussed within the school community. The group’s needs, requirements and abilities will be a collective representation of the needs, requirements and abilities of each individual member.

Preparing the sessions plan & logistics

Depending on the group profile the teacher can now proceed with organising the sessions’ plan for the ceramic workshops to be implemented and the list of necessary materials and equipment for each session that will need to be secured. Involving a co-facilitator might be extremely beneficial for the purpose of monitoring the process better, assisting children that may require some help, and following up on evaluation. Where there are students, including and especially those facing various challenges, which demonstrate affinity towards this type of artistic activity, those should be involved in other monthly sessions in the role of co-facilitators, peer-educators of new-comers.

To ensure socio-economic inclusivity, the school needs to provide all the materials, the facilitator and the conditions, which would be necessary so that the work of the group runs pleasantly, successfully and remains uninterrupted. In case of exceptional interest towards this type of activity, in order to guarantee socio-economic inclusion, the school should place no barriers for access to students experiencing this particular challenge, who for some reason might be refused access to other out-of-school activities of a similar kind for example. Forming more than 1 group might be among the solutions. Another solution is selecting the groups to include in the monthly sessions on the basis of careful discussion with the head-teachers, who know their children and the problems they face.

Art is a universal language and as a tool for expression it can be particularly useful in the process of helping students experiencing or at risk of experiencing cultural exclusion (children form minorities, children who do not speak the local language, children from different countries and/or religions). When such students are included in the group, the teacher will need to step beyond the comfort of her/his own cultural perceptions and expand her/his knowledge and skills to include an understanding and appreciation of students’ cultures. If there are linguistic issues, the facilitator may need to include a more experienced or older student to help with translation of some guiding notes about the workshop and the exact activities/processes, which will be taking place, even involve this student as an interpreter during the first session. The facilitator may need to research the culture of this/these student/s and introduce a task that could be relevant to their culture – traditions, landmarks, religious elements, etc. If this is properly communicated to and arranged together with this particular student, he/she can be invited to speak and explain to the others what they will be working on together.

Inclusion needs of students experiencing or at risk of experiencing exclusion due to physical challenges should be guaranteed via accessible venues for the activities and support and additional guidance if necessary, during the process of creation of ceramic artworks, observing though the rules of the system of least prompts, which would guarantee the learning and artistic experience as well as the building of confidence and self-appreciation. The support needed and the system of least prompts are individually defined based on the needs and abilities of each specific participant and the group as a whole.

Inclusion needs of students experiencing or at risk of experiencing exclusion due to cognitive challenges: kinesthetic activities do create good conditions for inclusion of cognitively challenged children, considering that the language of arts can be particularly beneficial for facilitating expression. In addition to that, kinesthetic learning improves critical thinking and analytical skills through experimentation and contributes to healthy brain function. “There is a growing body of neuroscientific evidence of the benefits that movement and physical activity have for cognition...The neurological impact of movement on the brain can be understood at three levels: increased vascularization—oxygen and glucose to the brain—augmenting brain activity; the release of neurotransmitters and Brain Derived Neurotrophic Factor (BDNF), which favour neurogenesis, memory, attention and motivation; and the development of complex movement-related neural circuits and their interconnection with the executive brain functions.” (2019, Doherty & Miravalles).

If there is a need for explaining the meaning behind the work created and if the person, who is not verbally confident or refuses to speak for whatever reason, the remaining participants may be asked to give their understanding/s of what is depicted/expressed in the work either verbally or play it out. The student who created the piece of ceramic art may agree or react emotionally to what the others are explaining/presenting and this may insert the trust and comfort necessary for the respective participant to start speaking/presenting him/herself.  

Inclusion needs of students experiencing or at risk of experiencing exclusion due to behavioural challenges require special attention and preparation on the part of the facilitator, which can be checked in the provided guidelines for this particular challenge. The facilitator should be prepared with a co-facilitator and a different space, which a person with behavioural problems may go to, if they feel emotional and they need to detach themselves from the rest of the group. The co-facilitator would be absolutely obligatory.

Inclusion needs of students experiencing or at risk of experiencing exclusion due to giftedness or talent challenges, as is the case of almost all other cases of exclusion, usually go far beyond effects that are sought within the framework of extracurricular activities. What extracurricular activities can offer though is:

- a safe and supportive environment without judgement, mockery or bullying to practice different social scenarios, to build confidence, to make “mistakes” and improve skills

- creating a network of buddies, which a confident and empowered individual, with newly identified or enhanced abilities can further build on and expand. This buddy network can either be the class, or a group of students from the school, not necessarily the same grade, involved in the activities. As stated before, talented/gifted students can be given additional tasks or roles that challenge them to think and act further than the rest of the group. If the facilitator places a special focus on developing learning to learn and self-management skills and intentionally works on encouraging those among her/his talented/gifted participants, she/he can enable them to apply such techniques to all spheres of action they are engaged in, including their mainstream education, where teachers are usually unable to provide adequate nurturing support.

Summing it all up, as in any other artistic environment, the ceramics workshop facilitator needs to make sure that the students’ physical and psychological needs to belong, to make choices, to have fun and to express themselves are catered for in the workshop room.

Phase II: The actual ceramics ateliers

1. Decide on the exact topic of the assignment, which will be given to the participants. As previously mentioned, the ideas and topics can come from the students themselves and through discussions prior to the atelier. Make a list of instructions, which can be shared with participants who need time for preparation, who have learning difficulties for example, or who have sensorial disabilities. There is no limit as to what topics the facilitator can give, as anything can be presented with the expressive instruments of art. It can be “a family”, “where I go / whom I go to see when I am sad”, “where I see myself in 20 years”, “important things in life”, etc.

2. On the day of the session prepare the room – have the clay ready, cover the table, prepare the working spaces, have the tools in the centre of the table, so that everyone can have access to them. Accommodate individual physical needs when necessary.

3. Welcome the participants. Ask them to take their seats around the working table, allowing people with special needs to pick their preferred places.

4. Explain the principles of working with clay to the students. In the case of creating a pane, which can be hung on a wall in composition with the works of all the other participants, tell the participants that the pane should not be thinner than one centimetre in order not to break during the baking process. Explain further that if elements are to be added on the surface of the clay plate, with the help of some extra water, these elements need to be firmly attached to the base, in order not to break and fall off during or after being baked.

5. During the work, move around the room and give support and ideas to the participants, if they express the need for such or if you spot that someone is struggling.

6. While the group works, discuss with those who are talkative (some may prefer to focus on what they are doing and remain silent) questions related to the topic of the sessions. Try to provoke and hear their thoughts and reasoning, rather than direct participants’ work and influence their choices for expression. Allow participants’ to come to valuable conclusions themselves and only intervene in cases when you notice that the process is not leading them toward such conclusions.

7. At the end of the session, allow a couple of minutes for each participant to explain what they have created and why.

8. After the participants leave, the facilitator can place their works in the furnace. While they are baking, the facilitator can clean up the room, either alone or with the help of a student or co-facilitator, make minutes of the workshop, which include all the sharing speeches made by the participants at the end. If possible, film the activity and the speeches and make a short video – demonstrating the process and the outcomes. The video can be uploaded on the school web-site or Facebook page in order to promote the activity and to attract new participants.

MATERIALS & ADDITIONAL RESOURCES

Clay – the amount should be defined as per participant and task. E.g. should there be 12 participants having the task of creating A4 sized projects, 30 kg of clay would be sufficient.

String or other device for cutting sections of clay.

Tools – hammers for flattening the clay, knives for carving and shaping images and figures.

Aprons for all participants.

Bowls for water.

Working table/s with enough space for each participant.

A nylon cover for the working table/s.

Furnace for baking the ceramic art-works.

EVALUATION

(3 questions related to the GOAL: Has the goal been achieved or not? To what extent?)

To what extent are students with various challenges included in the ceramic’s workshops?

What attitude and relations changes are observed among students with and without any immediately evident challenges?

What performance, education advancement changes are observed among students experiencing various challenges?

SOURCE

Doherty, A. and Miravalles, A. F. (2019) Physical Activity and Cognition: Inseparable in the Classroom, MINI REVIEW article, https://doi.org/10.3389/feduc.2019.00105

Title

“What does it mean to be gifted?”

Aim

The aim of the activity is to look empathetically at the life of a talented person and to convey the collected information creatively.

The members of the group collaborate to gather information and share it.

Challenge(s) to inclusion addressed

Giftedness.

Type of art

Art history, collage

Duration

3  x 45 min.

Instruction step by step

Lesson 1 (45 minutes):

The teacher prepares samples of several talented people (painters, painters, poets, etc.). (Charles Darwin, Thomas Edison, Albert Einstein, Vivaldi, Mozart, Vincent van Gogh, Botticell, Michelangelo). Give a brief introduction about them.

The children are divided into groups of 4-5 students. Negotiate in a group that a talented person will want to introduce to the class. Radeda distributes works and collects information from a variety of sources.

2 Lesson. (45 min.)

Students work in groups. Analyzes the information gathered to create a collage.

Lesson 3. (45 min.)

Presentation of collages. Discussion. Reflection.

Each group presents their collage, briefly introducing a talented person of their choice.

Discussion:

What was the hardest part?

Who was lucky?

Materials and additional resources

Teacher-prepared material PPT

Evaluation

Have gifted people been empathetically understood?

What was difficult about working in a group?

Sources

//

TITLE

Body Furniture

GOAL of the ACTIVITY

The general purpose of this activity is to achieve integration with elements of corporal and visual expression and implicit integration of pupils into the group.

The main challenges to be addressed are:

- The exploration of the possibilities of the body and space;

- Building a dramatic scene that makes sense

The main aims to achieve are:

- Integration;

- Positive relationship building;

- To foster the feelings to agree with and accept the others;

- To encourage body and ideas expression;

- To develop group cohesion with a game where each person needs the support of the others;

- To follow the rules for the creative development of the activity.

This activity focuses on the experimentation of body movements in spaces either free or scheduled; on the construction of spaces and on developing imagination from spatial stimuli.

CHALLENGE to INCLUSION ADDRESSED

Talent, Social

ART DOMAIN

Performance Art

DURATION

40 minutes

STEP BY STEP INSTRUCTIONS

The activity starts with the teacher dividing the pupils into two groups. Two groups of no more than 12 students

The teacher makes sure that each student has enough space to develop his/her idea of furniture and that students do not bump into one another while constructing the furniture. Ensures student safety in that space and creates a suitable atmosphere for them to imagine the life of people living in houses with that furniture.

The teacher explains the rules of the activity and states the main aim simply.

The integration with elements of corporal and visual expression towards the integration of pupils into the group:

One of the groups will create furniture and objects with their bodies - there can be individual or group work. When all the members have formed the furniture, it will be distributed in the place creating particular spaces, e.g. a bedroom, a dining room.

The second group will make the description of the imaginative life that the people - dwellers in that space - live.

This description acts also as a reflection of the physical activity developed in the first step.

Students of the second group are asked to imagine and describe what happens in that room, who lives in it, how people use that furniture, what the furniture tells them about those people’s life.

Final Debriefing

What purpose do you give to your piece of furniture?

Did you think of that piece of furniture as if people living in the house couldn’t do without it?

Did you work well together? Do you think you could furnish an entire house?

MATERIALS & ADDITIONAL RESOURCES

Outdoors on a safe surface or on grass OR

Indoors in an empty room.

No equipment is needed, just plain, comfortable clothes and shoes.

EVALUATION

To what extent do students feel more included having participated in the activity?

To what extent have students positively engaged and participated in the activity?

Have all students participated in sharing their ideas about how we need others in order to live in a community?

SOURCE

https://off-book.pixel-online.org/files/guidelines/TG04/Body/Body_ENG.pdf

TITLE

Significant SELF-PORTRAITS

GOAL of the ACTIVITY

Talent, Social, Cultural, Socio-economic Challenges

Self-portraits and Selfies are a great teaching opportunity. Every student is strong, powerful, and their portraits need to be viewed from their own perspectives rather than the negative stereotypes that pervade our society.

CHALLENGE to INCLUSION ADDRESSED

Talent, Social, Cultural, Socio-economic Challenges

ART DOMAIN

Visual Art

DURATION

50 minutes per Day

STEP BY STEP INSTRUCTIONS

Day One: Portrait Studies

Students walk into the class and see three self-portraits on the front wall/screen/board. Choose underrepresented minority portraits, socially disadvantaged portraits and others.

In groups of no more than 3 students, ask them to write three things that are similar in the portraits, three things that are different.

For the rest of the class period, students work in groups to study the photos and write down their observations.

Day Two: Self description

Hand each student a sheet with questions prompting them to think about their

personalities: “What is one word that you would use to describe yourself?”

“What is your favourite piece of clothing that you own?”

“Where do you feel like you are in your element?”

Then give them more portraits (on video projector) and learn about easy photography terms, such as composition, arrangement, close-up, balance, space, and simplicity.

Day Three: Developing Hashtags

On the third day, students must develop a hashtag for the political issue they are interested in. Some examples of hashtags can be: #StopDomesticViolence, #IAmNotAStatistic, #BlackLivesMatter, and #BuildBridgesNotWalls.

They must create their own hashtag.

Then they have to make a plan to take their own portraits, including clothing, setting, background, facial expression, pose, and distance from the camera, Hashtags to use.

Day Four: Students take turns using the camera, or phones, to take the photos, with the help of the others.

Day Five: Display of the photos on digital format, and discussion on the chosen Hashtags and image. Or School Gallery display.

MATERIALS & ADDITIONAL RESOURCES

3 Printed Portraits or selfies

White papers

Photo camera or/and phone camera

Video projector

EVALUATION

Has each student created a visual representation of something significant to them?

Has each student briefly shared the significance of their creation with their classmates?

To what extent do students feel more included having participated in the activity?

To what extent have students positively engaged and participated in the activity?

To what extent have students learned about the lives of their classmates?

Have all students participated in sharing their ideas about how they are unique?

SOURCE

https://www.davisart.com/sites/default/assets/File/high-school-art-students-break-stigmas-and-negative-stereotypes.pdf

TITLE

Searching for the hidden side

GOALS

Participants become aware of strengths everyone has and different ways to express them. They will learn the concepts of talents and interests and discover them in unexpected situations or against stereotypes

Challenges to inclusion addressed:  talents  (main)

21st skills promoted: Critical thinking,  Creative thinking

ART DOMAIN

Plastic Arts

DURATION

 2 sessions:  2h + 45

STEP BY STEP INSTRUCTIONS

Current issue: We have diverse talents, competencies that we can use to reach our goals. But we need to learn how to discover them and express them

 Steps

Part A

brainstorming: the trainer asks students to define the concept of talents, interests, and personal resources. He then provides some definitions

arts-related instruction: the trainer introduces the topic of plastic modelling and provides information on ways to realise it to represent the talents and personal resources.

activity A1: students are given the picture of an adolescent, a story, or a video where a person describes himself/herself and asked afterward to identify possible strengths, talents in the descriptions

discussion: students discuss overt and hidden talents. The trainer guides them to explore ways to discover them or stereotypes that may prevent them from seeing talents by providing examples.

Activity A2: students in groups of 4 -5, are given the task to develop plastic models to  highlight the talents or ways to express them

part B

sharing: students share the products developed and comment on the talents that emerged and the diverse developments that characterise their artistic product

summary: the trainer summarises the main points that emerged from the discussion

MATERIALS & ADDITIONAL RESOURCES

portraits with written  or oral descriptions of characters

videos of adolescents describing themselves

dough to be modelled

EVALUATION

GOAL: Has the goal been achieved or not? To what extent?

At the end of the session students should be able to answer the following questions:

as concerns the inclusion

• what are the talents we can easily recognize
• what are the talents that require specific attention to be recognized
• what are the stereotypes that prevent us to discover talents in the persons we meet as concern the artistic tool
• what are the strategies  to make  modelled dough effective in communicating talents

SOURCE

Gentry, M. (2009). Myth 11: A comprehensive continuum of gifted education and talent development services: Discovering, developing, and enhancing young people’s gifts and talents. Gifted Child Quarterly, 53(4), 262-265.

Raley, S. K., Shogren, K. A., & Cole, B. P. (2021). Positive Psychology and Education of Students with Disabilities: the Way Forward for Assessment and Intervention. Advances in Neurodevelopmental Disorders, 5(1), 11-20.

TITLE

 Talents in action!  A journey to the future

GOALs

Participants become aware of barriers a person may encounter and support may benefit from in expressing a talent. Also, the potential sources of support are identified. Their responsibility in making things happen are underlined

Challenges to inclusion addressed:  talent (main) socio-economic

21st skills promoted: Creativity, Media Literacy, Leadership and Responsibility

ART DOMAIN

Visual arts

DURATION

multiple sessions

3 sessions 60 to 90

STEP BY STEP INSTRUCTIONS

Current issue: We have diverse talents, competencies that we can use in our life. We may also face difficulties because of personal limitations, socioeconomic status, or barriers in the context. Everyone can play a role as an obstacle or support in the expression of talents

Steps

Part A

brainstorming: the trainer asks students to define the concept of   barriers and supports

introduction: the trainer summarises their perspectives and provides a definition of the concept of barriers and supports. The trainer guides them to explore the types of barriers and supports (physical, relational, …)

arts-related instructions: the trainer introduces the topic of visual representation on a poster. Provides information on how to develop it and make it accessible to everyone.

activity A: students are asked to find out in small groups the biography of a famous painter, writer and a scientist; to highlight how they discovered their talents, what difficulties and supports they found. ( it may well consist in a visit to a museum collecting pictures of notes on the history of the famous person) They are asked to represent on a poster or  maps the main points  emerged discussion students discuss the main points  that emerged

Part B

activity B: students are given the description of an adolescent with his or her talents but also limits and asked to identify possible barriers and supports to reaching his or her talent-related goals. They will report them on the blackboard or on a poster

discussion: students discuss the most common barriers in their context, the role each member of the community can have. The trainer provides examples of supporting actions

summary: the trainer summarises the main points that emerged from the discussion

Part C

arts-related instructions: the trainer introduces the topic of digital storytelling and provides information on how to develop it to make relevant steps appear in the story and be accessible to everyone.

activity C: in small groups,  students choose a  character they had already worked on (either famous or not) and develop  a 5-minute digital story  where they (a) highlight the journey to the development and expression of talent,  (b)  the barriers encountered and the supports provided, what members of the community did or (for the example of an adolescent in their living context) what members from the community ( both peers and adults) might do  to support him or her.

sharing: students share the stories developed and comment on the elements that emerged and the diverse developments that characterise their stories

summary: the trainer summarises the main points that emerged from the discussion underlining and encouraging an active personal engagement

MATERIALS & ADDITIONAL RESOURCES

portraits with written or oral descriptions of characters

handbooks on history of art, literature, science for reference

guidelines to make a digital storytelling

EVALUATION

GOAL: Has the goal been achieved or not? To what extent?

At the end of the session students should be able to answer the following questions:

as concerns the inclusion

what are possible barriers to reaching a goal

what are the potential sources of supports

what is accessibility and how to promote it

as concern the artistic tool

what are the strategies to make an effective digital-story

how  to manipulate  visual representation to make it accessible

SOURCE

https://www.storyboardthat.com

https://www.uow.edu.au/student/learning-co-op/assessments/digital-storytelling