integrating migrant children at schools through artistic
TRANSCRIPT
Integrating Migrant Children at
Schools through Artistic Expression
WP2: ArtsTogether
Inclusive Curriculum Design
Activity/Output/Deliverable 2:1
Prepared by: Bath Spa University
2
Project Information
Project acronym ArtsTogether
Project title Integrating migrant children at schools through artistic
expression
Project Agreement
number
Project website www.artstogether.eu
Authoring partner Bath Spa University
Document version 2
Date of preparation. 30 January 2018
Document History
Date Version Author Description
30 Jan.2019 1 Bath Spa University: June Bianchi, Penny
Hay, Michael Riley, Geraldine Hill Male
Curriculum
Design
“The ArtsTogether project has been funded with support from the European Commission, AMIF
(Asylum, Migration and Integration Fund) Union Actions Programme.
This publication reflects the views only of the author, and the Commission cannot be held responsible
for any use which may be made of the information contained therein”.
3
TABLE OF CONTENTS
Section 1: ArtsTogether Curriculum Guide
ArtsTogether Inclusive Curriculum Aims………………………….....4
ArtsTogether Curriculum Rationale…………………………………..4
ArtsTogether Curriculum Structure…………………………………...6
ArtsTogether Inclusive Pedagogical Approaches……………………..8
ArtsTogether Curriculum Participants………………………………..11
ArtsTogether Curriculum Structure…………………………………..12
Section 2: ArtsTogether Module Guides
Module 1: Journeys…………………………………………………...14
Module 2: Global Stories……………………………………………..18
Module 3: Performing People………………………………………...22
Module 4: Our Shared Environment………………………………….26
Module 5: Celebration. …………………………………………….....30
Bibliography of Resources……………………………………………34
4
SECTION 1: ARTSTOGETHER CURRICULUM GUIDE:
OUR STORIES, OUR COMMUNITIES
ArtsTogether Project Aims
ArtsTogether inclusive curriculum materials and resources are designed to:
1. Support the integration of migrant children and counter the educational disadvantages
they experience through creative intercultural engagement across the school
community.
2. Promote children’s linguistic and academic development to stimulate their knowledge,
understanding, creative and critical thinking.
3. Generate interdisciplinary active learning activities to foster collaborative working
practices within the classroom.
4. Provide a combination of supportive and stimulating curriculum elements to foster
involvement, integration and inclusion across the wider family and school community.
ArtsTogether Curriculum Rationale
Throughout history, people have been on the move. Over the centuries, some people have
chosen to leave their homelands in search of better opportunities or a different lifestyle;
others have been forced to move through natural disaster, war, or persecution. As people
move, they bring their knowledge, beliefs and traditions with them. Migrants absorb the
culture of their new homelands and influence their host communities in a myriad of ways.
This process of integration is never easy; the huge number of recent refugees, and the
traumatic nature of their experiences, make the current process of integration in Europe
particularly challenging.
Social integration has become an explicit goal in the policy agenda of the European Union.
Integrating migrants and their children into the complex fabric of society has been recognised
as crucial for social cohesion and economic growth in the host counties. Roughly 10% of the
EU population were born in a different country from the one in which they reside; children
under the age of 15 constitute 5% of this group (Jante, Harte, 2016). While access to education
for migrant children and young people is almost universally guaranteed in the EU, this does
not automatically equate to access to adapted education, considering specific needs linked to
socio-economic disadvantages and linguistic challenges. Although the pattern varies by
country, research data indicates that children with a migrant background tend towards lower
educational achievement, and are more likely to leave school early than their counterparts from
a native background (Population Europe, 2014). Educators frequently lack training and
resources to deal with increased diversity in classrooms with the corresponding increase in
academic and social challenges.
Human beings build their sense of self and relationships with others through their social,
cultural and political environments, in response to key heritable factors and traits. Identity is
constructed and expressed from an early age through interaction with family and wider social
and cultural networks, and individuals’ sense of self and relationships with others is informed
by a wide range of influences: family and community, nationality and locality, ethnicity,
5
religion, gender, generation, class, sexual orientation, abilities and needs. Our cultural identity
is developed through individual and shared characteristics, informed by interaction with
members of our cultural and social groups. Sociologist Pierre Bourdieu (1984) describes this
process of building social connections, confidence and esteem as acquiring valuable
commodities of cultural and social capital which, though not conveying monetary value, have
symbolic, community and individual value.
Article 27 of the United Nation’s Universal Declaration of Human Rights (1948) declares that
‘Everyone has the right freely to participate in the cultural life of the community, to enjoy the
arts and to share in scientific advancement and its benefits’. Integration through arts education
is a tested practice that has yielded results in terms of improving performance of disadvantaged
children and building cultural and social interconnections. Recent UK-based research findings,
on the impact of the arts on levels of education, health and wellbeing strongly supports the
widespread benefits of arts engagement, advocating ‘a role for the arts in creating
understanding, community cohesion and mutual acceptance between host communities and
refugees while also improving the confidence and skills base of new arrivals’ (APPG 2017:
113).
The Report How culture and the arts can promote intercultural dialogue in the context of
migratory and refugee crisis (European Commission 2017) identifies three key foci for
effective integration of migrant communities:
• Empowerment: recognising that migrants and refugees are individuals with
knowledge, skills and cultural experience;
• Intersectional connections: engaging educational, economic, cultural, and welfare
partnerships in programmes which integrate migrant and local communities;
• Evaluation: identifying and building on best practice.
Image and Identity gallery workshop, UK (Photograph: June Bianchi)
6
ArtsTogether Curriculum Structure
ArtsTogether is a two-year inclusive arts educational project (2018 – 2020) with a partnership
team drawn from the adademic, educational, charity, cultural and social welfare sectors of five
countries: Austria, Belgium, Greece, Italy and UK. ArtsTogether aims to build on the evidence
and good practice of current research data, in developing and testing a curriculum based on
artistic activities and collaborative approaches that will be used to equip teachers in responding
to diversity, fostering mutual understanding and respect among their students and improve the
educational performance of migrant students. The Project is creating an inclusive ArtsTogether
Curriculum with the overall theme ‘Our Stories, Our Communities,’ providing an empirical
focus for developing and disseminating shared creative, cultural and social experiences,
building understanding and respect for human values. ArtsTogether Project has 3 Project
stages (Work Packages) spread across the two-year period:
Stage 1 (Work Package 1):
• Identification of Need within migrant communities in Greece and Italy:
ArtsTogether Work Package 1. Needs Analysis Report (2018)
University of Bologna.
• Identification of Best Practice exemplar projects to provide a model of practice for
an inclusive ArtsTogether Curriculum: ArtsTogether Work Package 1. The
Identification and Analysis of Best Practice (2018) University of Bologna.
Stage 2 (Work Package 2):
• Development and creation of ArtsTogether Curriculum Design with planning
materials and resources to support its Five Module structure.
• Training the teachers who will be implementing Pilot Projects in Greece and Italy
applying ArtsTogether Curriculum Design
Stage 3 (Work Package 3):
• Pilot Projects take place in Thessaloniki, Greece and Sicily, Italy
• Evaluation, feedback and dissemination of Pilot Projects results across Europe’s
educational and policy-making sectors.
Work Package 4:
Work Package 4 Dissemination activities will take place across the whole two-year period
of the ArtsTogether Project via websites and social media.
Stage 1
Stage 1 of ArtsTogether Project set out to identify and assess key areas of need in migrant
communities within Greece and Italy, the Project’s targeted pilot areas of high migrant
population within Europe. Data was collected through a series of primary and secondary data
collection with qualitative and quantitative research methods introduced to ensure higher
quality of data collection. Three particular target groups were identified for quantitative data
collection: migrant children’ parents, social organisations, higher officials including education
representatives. A total number of 15 questionnaires per target group was collected.
Questionnaires were drafted in English and then translated to Greek. Quantitative
questionnaires concerning migrant parents were conducted in refugee accommodation sites
under the supervision of NGO ARSIS, with the presence of social workers and social scientists
regularly in contact with migrant populations. In addition, 5 semi-structured interviews with
7
higher officials in Ministerial and higher level positions were conducted. The informants were
selected based on their expertise on the subject.
The data indicated that within the targeted areas of Greece and Italy, the dedication and
skill of teachers working in a range of formal and informal contexts is having a positive
impact on the integration of migrant children and young people. The Needs Analysis
Report (Work Package 1) reveals that parents appreciate the positive approach of
teachers, their ability to bring together children with different backgrounds, and the
educational methods they use to promote integration. The report also reveals the high
value that parents place on artistic activities as a context for supporting the integration of
their children into the host communities. However, the findings suggest that the frequency
and quality of learning activities based on the arts is variable. Arts Together Curriculum
is designed to address this issue by providing a range of engaging and meaningful arts-
based learning activities that promote the integration of migrant children.
Langtrips Multilingual Festivals, Greece (Photograph: Langtrips)
These foci underpin the structure of ArtsTogether, with practice drawing from established
operational models and close links between agencies and practitioners. The Identification
and Analysis of Best Practice (Work Package 1), reveals the potential of arts-based
learning activities in facilitating migrant communities in building bridges between their
culture of origin and the host society. Artistic activities, as a means of reflection, self-
expression, communication and therapy can help migrant children to come to terms with
their past experiences and adjust to new realities. ArtsTogether Curriculum provides a
wide range of contexts for children to share stories and express their feelings through art,
music, drama, dance and story-telling. In addition, the emphasis on collaboration and
verbal engagement nurtures social integration and linguistic development.
8
Kerala and UK link project: Kathakali Connections (Photograph: June Bianchi)
The resources used in the curriculum have been carefully chosen to reflect, explore and
celebrate the theme ‘Our Stories, Our Communities’ across a wide range of cultural
contexts. Learning activities encourage migrant children, in conjunction with children
and young people from host communities, to reflect on their own specific cultural
contexts and to share common and contrasting experiences. At the same time,
ArtsTogether materials, resources and suggested activities are intended to promote
curiosity and empathy in relation to the cultural contexts of others. This intercultural
understanding is further enhanced through a focus on universal themes such as the
journeys of species; global stories exploring personal, social and cultural identity; the
environments we share; the seasonal celebrations and festivals which illuminate and
enrich our annual calendars.
Developing their sense of identity gives children and young people strength and
confidence. ArtsTogether Curriculum draws on children’s existing identities and creates
a context in which these can be shared with others. It also promotes development of the
new identities that will sustain them as they grow up within a different culture. The
Curriculum helps children and young people to develop an understanding of their lives
now, to see that their lives are not fixed and to imagine the possibilities for their lives in
the future.
ArtsTogether Inclusive Pedagogical Approaches
ArtsTogether promotes an inclusive pedagogy that aims to engage all participants in learning
in and through the arts, and specifically supports the integration of migrant children and their
families. Emphasis is placed on creative intercultural engagement across the school
community. This approach aims to stimulate children’s creative and critical thinking to support
their cognitive and affective development. A particular focus is on interdisciplinary active
learning experiences to foster collaborative working practices within the classroom. In
addition, there is a combination of supportive and stimulating curriculum elements to foster
involvement, integration and inclusion across the wider family and school community.
Key elements of this inclusive pedagogy are based on the notion of all children as creative and
competent learners from birth (Edwards et al 1998:184) and places this in context in relation
9
to the wider issues of global migration and its impact upon cultural and educational
development and social integration. ArtsTogether involves the meaningful exploration of
cultural and creative expressive arts activities across a wide spectrum of age and ability.
This inclusive and experiential approach values every child’s agency and interests (Craft
et al. 2014) and supports diverse learning needs. The approach engages participants in
developing skills in creative, intercultural and linguistic learning across the spectrum of
expressive, visual and performance arts.
Arts experiences engage children in authentic learning, with the opportunity to play, explore,
experiment and use their imaginations to express and communicate their ideas. Children find
their own voice by transforming materials to express themselves and make meaning. The
creative environment is a key factor in ensuring children are offered a potentiating and enabling
space to make art alongside others, with materials that offer affordance to realise ideas in
different ways. Children can explore diverse visual and creative enquiries (individually and
together) alongside adults that care, who give quality attention and are engaged in genuine
dialogue with children about their ideas and experiences. This learning context was described
by Maria Montessori as allowing children ‘a degree of choice within a structured environment,
to build a climate of order, and to cultivate independence and self-assurance in performing
skills’ (Montessori 2004:17).
Indian Elephants: Primary Sculpture Project, UK (Photograph: June Bianchi)
ArtsTogether features such a repertoire of creative and artistic experiences and
collaborative activities that highlight an inclusive approach to cultural identity,
diversity and difference, fostering mutual understanding and respect to support
individual wellbeing, social development and integration. This positive approach is
based on valuing relationships, giving time, space and attention to supporting individual
10
learning in a community context, helping migrant children to develop resilience and
bridge the gap between their culture of origin and the host society.
ArtsTogether provides a wide range of contexts for children to express their thoughts and
feelings through art, music, drama, dance and story-telling. In addition, the emphasis on
collaboration and verbal engagement nurtures children’s social integration and linguistic
development. Learning is nurtured through the establishment of cooperative and trust-based
relationships, generating ‘initiatives of empowerment’ (Danilo Dolci, 1986) which positively
impact on young people’s sense of agency and self. This approach helps children to develop
an understanding of their lives now, to see that their lives are not fixed , and to imagine
the possibilities for their lives in the future.
Journeys Festival International (Photograph: Sibomana ‘Children of the Sea’
Luigi Narigi & Museo Dei Bambini)
Creative arts activities encourage migrant children (and children from host communities)
to reflect on their own specific cultural contexts and to share these, as well as promoting
curiosity about the cultural contexts of others. This intercultural understanding is further
enhanced through the focus on universal themes such as seasonal celebrations, the
journeys of animals, the image of self and others, the environments we inhabit.
Developing their sense of identity gives children strength and confidence. ArtsTogether
draws on children’s existing identities and creates a context in which these can be shared
with others, supporting the development of new and fluid identities that will sustain
participants as they grow up in a new culture. Sir Ken Robinson (2011) argues that
engagement in creative, imaginative, and innovative processes and pursuits, is a
prerequisite for 21st century life, and an essential attribute within education systems.
ArtsTogether’s creative and inclusive pedagogical approaches promote the development of a
transformative educational movement within a global context.
11
ArtsTogether Curriculum Participants
ArtsTogether Curriculum is designed to support the educational development and social
integration of migrant children, young people and their families within formal and non-formal
educational settings in Europe. Educational phases within formal educational settings are
usually age-related as follows:
Nursery: 1-4 years
Primary: 5-11 years
Secondary: 12-16 years and post-16 years
ArtsTogether Curriculum recognises that although migrant children, young people and families
may access ArtsTogether curriculum materials and resources in nurseries, schools and other
phased settings, they may also experience learning in non-formal settings such as migrant
camps and centres where participants are not grouped within educational phases but in
intergenerational and ability-related groups. In these settings, as well as in more formal school-
based settings, age may be less significant than educational experience, social, literacy and
language skills. These factors apply not only to migrant children, young people and adults, but
also to native learners who can require curriculum modifications with regard to special
educational needs and disabilities (SEND). Cultural and creative expressive arts activities are
also frequently non-age phase specific and can be meaningfully explored, within both formal
and informal settings, across a wide spectrum of age and ability. ArtsTogether Curriculum is
inclusive, considering provision for a wide spectrum of students’ learning needs in relation to
development of their knowledge, skills and experience. It therefore provides a levelled
curriculum which, while it can be related to age phases, can also be adapted and modified as
required by teachers and facilitators across educational phases, within both formal and non-
formal settings.
Iroko Performance workshop: Africa & UK link project (Photograph: June Bianchi)
12
ArtsTogether Curriculum Modules
ArtsTogether Curriculum Design is based on 5 Modules with the overall theme ‘Our Stories,
Our Communities’. The Curriculum is designed for flexibility of use and access - participants
can engage with the whole ArtsTogether Curriculum, working through the Modules
sequentially, or can work with an individual Module’s Themes and Learning Activities. Each
Module incorporates 3 Themes providing a range of levelled Learning Activities, which are
supported through accompanying PowerPoint Presentations and other digital resources.
ArtsTogether Modules: Our Stories, Our Communities
1. Journeys
2. Global stories
3. Performing People
4. Our Shared Environment
5. Celebration
ArtsTogether Curriculum’s 5 Modules explore our shared stories and communities through
integrated expressive arts engagement, presenting visual, oral, written and performance arts
experiences, differentiated at 3 levels:
• ArtsTogether’s Modules explore key aspects of our stories and communities; each
Modules’ foci are outlined within the Module Guides.
• Each Module incorporates 3 Themes, differentiated at 3 Levels, suitable for adaptation
within age-specific phases or in intergenerational contexts.
• Each Module engages participants at all Levels through introductory to more advanced
knowledge and skills, in creative, intercultural and linguistic learning, across the
spectrum of expressive visual and performance arts.
• All Modules’ Themes are supported by PowerPoint Presentations, electronic resources,
literature, and weblinks (15 PowerPoint Presentations in total).
• Exemplar projects and links support the Modules’ key focus and the individual Themes.
13
It is recommended that teachers and facilitators implementing the curriculum materials study
Learning Activities at all Levels when selecting materials suitable for their participant
groups. Levels are indicative and activities should be regarded as flexible and suitable for
adaptation across age-bands:
Learning Activity Level 1: entry level capacity for language development, creative, and
intercultural development (equivalent to Nursery – Lower Primary standard)
Learning Activity Level 2: mid-level capacity (equivalent to mid-Primary standard)
Learning Activity Level 3: advanced level capacity (equivalent to upper Primary – lower
Secondary standard)
Themes can be adapted for appropriate use with learners across a wide age-range, informed by
their prior arts, language and intercultural experience and skills:
● learners can work their way through all Levels of the Module’s Learning Activities to
gain a developmental experience of the theme;
● learners can engage with an appropriate Level of Learning Activity, selected for
suitability by teachers and facilitators depending on linguistic, intercultural and
academic abilities and needs;
● Modules connect around ArtsTogether’s core theme ‘Our Stories, Our Communities’
enabling synthesis of different Modules’ elements across the ArtsTogether Curriculum.
Cultural Masks Sculpture Trail, BSU, UK (Photograph: June Bianchi)
14
SECTION 2: ARTSTOGETHER MODULE GUIDES
MODULE 1: JOURNEYS
Aims
1. Develop an appreciation of the creative spirit in humanity and an
understanding of some of the ways this is expressed.
2. Create curiosity about different species, environments and cultures.
3. Promote linguistic development through focused talk and collaborative
learning.
4. Provide safe contexts through which children can express their ideas and
emotions
Module 1 Focus
Through time, human beings and other animals have travelled across the planet
seeking new environments and horizons. We journey in search of opportunities to
thrive. This often means seeking safe and hospitable places in which we can express
our individual beliefs, attitudes and values. Through our journeys we encounter other
cultures, making contacts and connections that can enrich our lives and lead to
extraordinary creativity.
Some wonderful examples of the ways in which migration can inspire artistic
expression can be found in galleries and museums across the world. This module will
explore our shared global movements, investigating the points of intersection and the
cultural sparks we generate across time and place.
Module 1 Themes
1A Mapping the Journey
1B Contacts and Connections
IC Performing Our Journeys
15
Theme 1A Outline: Mapping the Journey
Humans, birds, mammals, fish, reptiles and insects all make migratory journeys to
enable them to survive and to thrive. Theme 1A provides interdisciplinary
approaches which make connections between artistic and musical explorations of the
migration theme, providing a range of visual art techniques and musical engagement
to support participants in exploring, recording and representing the global journeys
of different species.
Best Practice No. 6: Migration Museum, UK provides powerful museum-based
exemplars celebrating migration, while Epic Journeys song cycle offers musical
inspiration. A range of print-making techniques demonstrate the creation of a
migratory installation to engage participants and viewers in visual story-telling. The
resources used in the creation of mixed-media migratory-inspired artwork and
installations within Theme 1A support interdisciplinary exploration, recording, and
representation of global journeys and the many species that make them.
Best Practice 1A: Migration Museum, UK (Best Practice No. 6)
The Migration Museum tells stories of
movement to and from Britain through a
series of site-specific exhibitions,
lectures, outreach events & education
workshops with local communities. (Photograph: June Bianchi)
https://www.migrationmuseum.org/
Best Practice 1A: Epic Journeys, Sheila Macbeth, UK
Epic Journeys is a song cycle for choirs,
celebrating the global migratory journeys
of the animal kingdom. Song sheets and
sound pieces provide harmonies to
explore the migratory journeys of
mammals, fish, and birds. (Image: Sheila Macbeth, Soundcloud)
https://soundcloud.com/epicjourneys
16
Theme 1B Outline: Contacts and Connections
What can artworks reveal about human interaction? Theme 1B supports teachers and
facilitators in engaging ArtsTogether participants with remarkable artworks of global
significance. A selection of works of art from different times and cultures will be
used to stimulate exploration of our human journeys. Through story-telling and role-
play we will share fundamental experiences that connect us across time and place.
The artworks reveal the artistic achievement of different civilisations across time and
the ways in which people have interacted through trade and cultural exchange. The
learning activities draw from Best Practice No. 13 Museobilbox, and exhibits from
the British Museum, and feature three artworks in the British Museum collections:
an Egyptian tomb painting; a Benin plaque and a Mughal miniature. These are used
to create curiosity about past societies, to promote linguistic development and to
build understanding of the diverse ways in which people from different cultures have
interacted and expressed themselves through art.
Best Practice 1B: The Museobilbox, Germany (Best Practice No.13)
Museobilbox offers links for
participating migrant children and
others from socially disadvantaged
background to experience a museum-
based project and learn about their own
family history. (Image: Wikimedia Creative Commons)
http://www.eumillennials-
tour.eu/downloads/Module04.pdf
Best Practice 1B: British Museum: A History of the World, UK
British Museum comprises over 8 million
objects spanning the history of the world's
cultures including: Africa, Americas,
Ancient Egypt, Asia, Europe, Middle East.
The timeframe spans artefacts from the
stone tools of early humans to twentieth
century prints. (Photograph: Son of Groucho, Creative Commons)
https://www.britishmuseum.org/
17
Theme 1C Outline: Performing Our Journeys
Theme 1C supports participants in exploring their personal and cultural journeys
through collaborative drama. Participants will discover myths and legends using
practical story-telling techniques to tell stories of real and imaginary journeys. They
will co-create stories based on these and their own traditional and personal narratives.
Theme 1C introduces thematically appropriate tales, enabling participants to relate
their own tales of homeland and family experiences. They will then investigate real
and imagined journeys – the past, the travelling, the arrival, and on towards the future
– co creating and performing stories from this.
Performance approaches will be informed by Best Practice No. 1 Creative Expression
Workshops used by Canadian educators working with refugee children, and by
inspirational examples from the Voices Festival. Theme 1C resources provide a range
of collaborative drama techniques that teachers and facilitators can use to build
participants’ confidence, explore and enact stories of journeys of the species, and
promote their linguistic development.
Best Practice 1C: Creative Expression Workshops in School: Prevention
Programs for Immigrant and Refugee Children, Canada (Best Practice No.1)
Refugee and immigrant children’s
needs are addressed through
intersectoral expressive arts
programmes that target exclusion and
support a sense of agency. (Rousseau, C., Singh, A., Lacroix, L.,
Bagilishya, D., Measham, T. J.Am. Acad Child
AdolescPsychiatry, 2004;43(2)
(Image: Lønfeldt Pexels, Creative Commons)
https://www.ncbi.nlm.nih.gov/pmc/artic
les/PMC2542909/
Best Practice 1C: Palermo Voices: Art, Dance, Theatre & Human Rights
Palermo Voices Festival spreads colours,
costumes and art in a collective reflection
on freedom, democracy and welcoming.
It recognizes the value of migration and
migrant communities, creating active
citizenship through the arts. Voices
celebrates European and global
associations.
(Image: Cesie Voices Festival)
http://cesie.org/en/migration/voices-
festival-inclusione/
18
MODULE 2: GLOBAL STORIES
Aims
1. Develop an understanding of different cultures through visual narratives,
using images and objects to tell stories.
2. Invite imaginative and creative approaches to learning and engagement.
3. Promote linguistic development through shared dialogue and collaboration.
4. Provide a safe environment through which participants can express their
ideas and feelings.
Module 2 Focus
Every culture has its own story-telling heritage, yet key elements of these traditions
are often shared, with universal themes and narrative structures resonating across
time and place. The module will explore a selection of global story themes, touching
on their shared elements and investigating the ways they are described and presented
within cultural traditions using visual forms and performance techniques such as
puppetry and drama to communicate ideas and responses. Participants are supported
in exploring their personal and cultural journeys through visual storytelling to share
cultural experiences to connect us across time and place.
UNESCO (2017) advocates sharing traditional stories to raise awareness of specific
geographical, cultural, religious and economic aspects of different communities and
highlights the potential of arts-based learning activities in helping migrant children
to bridge the gap between their culture of origin and the host society. Module 2
provides support for exploration of familiar and new narratives, encouraging
participants and their families to share experiences across their wider
communities. Learning activities encourage participants to reflect on their own
specific cultural contexts and to share these as well as to promote curiosity about the
cultural contexts of others.
Module 2 Themes
2A Visual story-telling
2B Puppetry Tales
2C Performing our Stories
19
Theme 2A Outline: Visual Story-telling
Theme 2A will involve participants in collecting images and objects based on their
life experiences and journeys. They will create visual narratives exploring their
personal and cultural objects using a range of mixed media and techniques.
Participants collect images and objects based on their life experiences. They create
visual narratives exploring their personal and cultural objects using a range of mixed
media and techniques.
Participants experiment with a range of scales and formats, engaging with the global
stories theme from diverse community perspectives and supported with a wide range
of cultural resources. Best Practice No. 11: Tell me a Story (Schenk mir eine
Geschichte), along with UK Best Practice exemplar 5x5x5=creativity will support
participants in developing and sharing their global stories.
Best Practice 2A: Tell me a Story, Switzerland (Best Practice No. 11)
The UNESCO family literacy
programme, Tell me a Story (Schenk mir
eine Geschichte) seeks to overcome
language barriers and increase parental
involvement by reaching out to families
with migrant backgrounds to improve
the language and literacy development
of children. (Logo image: Wikimedia Commons)
http://uil.unesco.org/case-
study/effective-practices-database-
litbase-0/tell-me-story-switzerland
Best Practice 2A: 5x5x5=creativity, UK
5x5x5=creativity is an independent arts-
based action research organisation
which supports children in their
exploration and expression of ideas,
helping them develop creative skills for
life. It recognises children’s innate
inquisitiveness, and affords them the
space, time and individual adult
attention to explore and learn from the
world around them. (Image: 5x5x5=creativity)
https://5x5x5creativity.org.uk/
20
Theme 2B Outline: Puppetry Tales
Puppetry Tales will explore international traditions of puppetry and the wide range
of different scales, formats and types of puppets which can be created and performed.
Puppets will be used to recount, express and develop an exploratory approach to
investigating and sharing global narratives. Participants will actively engage with
traditional and contemporary approaches to puppetry including glove, rod, shadow
and body puppetry techniques, creating puppets in a wide range of media.
Participants will explore the cultural meanings of images and artefacts, with
exploratory ideas and activities developed through experiential engagement at all
levels. Best Practice No. 4: Kindervillas Educational Principles, Austria, will be used
to underpin the creative story-telling aspect, while international puppetry specialists
will provide further Best Practice inspiration and expertise.
Best Practice 2B: Kindervilla Nursery, Educational Principles, Austria
(Best Practice No.4)
Kindervilla Nursery is dedicated to
supporting children’s development as
individuals and encouraging their
talents. The main focus is on language
assistance and communication providing
an early contribution to inclusion and
intercultural exchange. (Photograph: Kindervilla)
http://www.kindervilla.info
Best Practice 2B: Box Tale Soup, UK
BoxTale Soup is an award-winning
theatre company who blend puppetry,
physical theatre and traditional
performance. Their production ‘Gone’,
created with refugee music group ‘Stone
Flowers’ relates the experiences and
stories of refugees through puppetry,
music and poetry. (Logo image: Box Tale Soup)
https://www.boxtalesoup.co.uk/
21
Theme 2C Outline: Performing our Stories
Puppets are a powerful vehicle for children and families to use as a means of self-
expression, to come to terms with their past experiences and adjust to new realities.
This Learning Activity will provide a wide range of contexts for children to express
their feelings through art, music, story-telling and puppetry. Simple puppetry
techniques and traditions will be introduced and participants will use these to explore
Theatre of the Oppressed and Forum Theatre techniques. Participants will apply these
skills in an exploration of conflict and alternative outcomes in different situations,
progressing to investigating more abstract ideas such as fairness and justice.
Participants create devising activities and develop performance skills using puppets
to explore global stories and puppetry traditions. Best Practice No.3: Intercultural
Theatre Project ‘Wolf Sein’, Austria will be used as an exemplar alongside the
exemplary model of ‘acta’ Community Theatre Company, UK which promotes
wellbeing through creative arts expression.
Best Practice 2C: Intercultural Theatre Project ‘Wolf Sein’, Kindervilla,
Austria (Best Practice No.3)
Kindervilla’s Theatre Project ‘Wolf
Sein’ created opportunities for every
child to participate in performing in a
drama event. No matter which country
of origin, or which language was
spoken, every child was able to
contribute to creating a new
performance of a traditional fairy tale
and perform in it together. (Image: Creative Commons)
Best Practice 2C: acta Community Theatre
acta community theatre company based
in Bristol, UK, engages people without
privilege: isolated older people;
migrants, refugees and asylum seekers;
vulnerable young people; disabled
people; people living outside the City
Centre. acta creates new theatre –
intergenerational and intercultural – with
diverse communities of all ages. (Image: acta)
https://www.acta-bristol.com/
22
MODULE 3: PERFORMING PEOPLE
Aims
1. Challenge stereotyping and build awareness of shared cultural experience
through presentation of exemplars of performing people within visual and
performing arts.
2. Stimulate participants’ creative and linguistic understanding through critical
exploration of connectivity and diversity, in representations of performance
within portraits, masks and drama activities.
3. Promote interdisciplinary interactive cultural participation with the theme of
performing people through visual and performing arts activities.
4. Support curriculum development through the theme of performing people,
fostering community integration and inclusion through expressive arts.
Module 3 Focus
As global citizens we draw influence and inspiration across a range of sources and
elements, our identities reflect the impact of the heterogeneous nature of life; Module
3 Performing People engages with our capacity to construct and express our identity.
Through shared stories and experiences across our diverse communities and
networks, we learn about the world and our place within it in relation to social,
cultural, political, religious and spiritual ideas, beliefs, and values.
While cultural synthesis is a key characteristic of identity within 21st century living,
transition and change have always been important factors in the development of
human societies. Judith Butler (2015) uses the term ‘performativity’ to describe the
capacity to generate and create identity through a range of signifiers. Amongst these
is the construction of appearance and our capacity to perform aspects of social and
cultural identity through body ornamentation, gender presentation, clothing, style,
and drama, communicating cues about who we are.
Module 3 Themes
3A Portraits
3B Masks
3C Performance
23
Theme 3A Outline: Portraits
Studying portraits across a range of cultural contexts will enrich understanding of
people’s representation of themselves and others, and the private and public
meanings they present and share. Participants will research portrait images across
diverse contexts of time and place, using a range of two and three-dimensional artistic
media to explore different techniques and approaches to creating an image.
Portraits are an interaction between the sitter, commissioner and artist, their
representations generating messages about their subjects’ personality, background,
values, knowledge and status. Such varied signifiers are evidenced in the Greek Best
Practice exemplar Face Forward, in which the photographer celebrates his migrant
subjects, respecting their shared humanity, individual qualities, and skills. Portraits
presents Best Practice examples of significant portraits from a range of historical and
geographical contexts, including the contemporary subjects, seen in the Italian
project Journeys. Portraits explores meanings in modes of representation, artistic
techniques and imagery, suggesting further exploratory ideas and activities for
participants at all levels, in experiential engagement through expressive visual art.
Best Practice 3A: Face Forward…into my home, Greece
Face Forward interactive art project in
Greece explores the stories of people of
all ages who have been forced to leave
their homelands. It includes
storytelling, image workshops, and
photo-shoots of refugees. Photographic
portrait exhibitions and creative
workshops support asylum-seekers in
rebuilding their lives in Greece. (Photograph: June Bianchi)
http://www.faceforward.gr/en/
Best Practice 3A: Cesie Journeys Festival, Italy
Cesie Journeys Festival, Palermo
created an exhibition of portraits entitled
‘Look Up’. It shared with visitors and
local inhabitants the journeys and
emotional experiences of refugees
through the artwork of six women from
Syria and Nigeria seeking liberation and
asylum. (Logo image: Cesie Journeys Project)
http://cesie.org/media/journeys-booklet-
web.pdf
24
Theme 3B Outline: Masks
Masks express and intensify feelings, presenting playful and meaningful imagery to
express personal, social cultural, and religious imagery and symbols. Images of
masks drawn from a range of cultural sources demonstrate their role across cultures
in representing a mood or emotion with which to express personal feelings. Theme
3B provides exemplars and methodologies, demonstrating a range of artistic media
and techniques to create masks which can be used to discover and share participants’
personal and community visions and stories. Participants will use a range of two and
three-dimensional artistic media to create masks which can be used to explore
identity and generate performances
Masks can have a symbolic function in representing the history, culture and traditions
of a community, generating and performing both a playful and serious role. Masks
evoke shared stories and legacies, as presented within the Pitt Rivers Museum’s
resource collections. Best Practice No. 9: Best2School provides a format for initiating
artistic and socially developmental educational sessions with migrant children.
Best Practice 3B: Step2School, Greece (Best Practice No.9)
“Step2School” is a non formal education
programme, providing after-school
education classes. It serves young
people living in temporary
accommodation facilities for
unaccompanied minors, and also
welcomes children living in the
neighbourhood. (Logo image: Metadrasi)
http://metadrasi.org/en/campaigns/
step2school-education-programme/
Best Practice 3B: Pitt Rivers Museum, UK
Pitt Rivers Museum displays an
extensive collection of masks,
providing learning support in studying
their role and meanings. Masks fulfil
purposes in diverse situations: as a
means of protection, disguise, within a
ritual or ceremony. (Photograph: June Bianchi)
https://www.prm.ox.ac.uk/masks.html
25
Theme 3C Outline: Performance
Theme 3C Performance: supports teachers and facilitators in engaging participants
in exploring story-telling and expressive communication through facial expressions
and masks. Simple mask techniques and traditions will be introduced and participants
will use these to explore the different ways we can listen and be heard when we as
individuals are hidden behind a mask. Participants will explore how they can develop
their own voice in different environments using a range of different stimulus material.
By building on exemplars from 3A and 3B, as well as by generating new stories from
participating individuals and their communities, 3C devises drama activities and
develops performance skills, exploring perceptions and presentations of the personal
and social self within a transitional global context. Best Practice No. 8: Pan
Intercultural Arts, and Vamos Theatre, offer inspirational models for developing
effective collaborative activities, with participants from diverse backgrounds,
environments and experiences learning how to develop and express their own voice.
Best Practice 3C: Pan Intercultural Arts, UK (Best Practice No.8)
Pan Intercultural Arts is dedicated to the
exploration of cultural diversity through
the arts. Workshops and performances
support young people, including
refugees, who are marginalised and at
risk of social exclusion. Pan helps its
participants find a voice through drama,
dance, music, writing and film. (Logo image: Pan)
https://www.pan-arts.net/
Best Practice 3C: Vamos Theatre, UK
Vamos Theatre tour mask theatre
productions, performing at national and
international festivals and events.
Vamos share their skills in schools, with
NHS staff, in care homes, with teachers,
actors, carers, social workers, the deaf
community, business leaders.
Participants learn skills to support their
personal and creative development. (Photograph: Creative Commons Maxpixel)
https://www.vamostheatre.co.uk/
26
MODULE 4: OUR SHARED ENVIRONMENT
Aims
1. Develop awareness of different cultural experiences through engagement
with the natural environment.
2. Enhance participants’ creative and linguistic understanding.
3. Promote interdisciplinary, creative and cultural participation through visual
and performing arts activities celebrating the natural environment.
4. Support integration, collaboration and inclusion through the expressive arts.
Module 4 Focus
Within our urban and wild places, humans and other species share an
interconnecting environment. The module will explore contemporary concerns and
issues through a range of expressive media both visual and performing arts. It will
generate a range of responses at all levels, evoking a sense of place which touches
on the personal, communitarian and universal.
Through our encounters with different cultures, we can make creative and
collaborative connections with notions of difference, diversity and inclusion. This
module is centred on the notion that human beings build their sense of self and
relationships with others through the different environments they inhabit and in
relation to the wider issues of global migration. Participants can explore creative
experiences that highlight an inclusive approach to cultural identity and sense of
place.
Module 4 Themes
4A Movement & Film
4B Recycled Sculpture Trails
4C Performance & the Environment
27
Theme 4A Outline: Movement & Film
Theme 4A invites a range of movement, dance and film techniques and approaches
to support participants in exploring, recording and representing wilderness within
the global environment, illustrating the beauty and complexity of transformative
journeys. These performances will share stories of communal voyage and
individual transformation through a range of expressive media and techniques.
Through experiential encounters with different cultures, participants will make
creative and collaborative connections, investigating and expressing contemporary
concerns and issues around our shared environment.
The resources provide a range of collaborative movement and dance techniques that
teachers and facilitators can use to build participant’s confidence and promote their
linguistic development. Best Practice No. 12: Elix - Learning for Integration
Project: Quality Learning and Non-Formal Education for Refugees and Migrant
Children, Greece, alongside UK project exemplars, will be used to inform this
learning activity to ensure authentic integration.
Best Practice 4A: Learning for Integration Project: Quality Learning and Non-
Formal Education for Refugees and Migrant Children, Greece
(Best Practice No.12)
ELIX implements voluntary actions in
Greece to protect the environment,
preserve cultural heritage, promote non-
formal education and strengthen social
cohesion. (Logo image: Elix)
http://www.elix.org.gr/index.php/en/training-
en/eu-projects-by-elix-en/1502-opening-
project-the-learning-for-intergration-project-
elix-unicef-otc-2017-en
Best Practice 4A: Migration Dance Film Project, Sandy Silva Dance, USA
Sandy Silva Dance create a series of
eight short films linked together into a
52-minute work illustrating the beauty
and complexity of transformative
journeys. Song, rhythm, movement and
landscape inspire shared stories of
communal voyages and individual
transformation. (Image: Creative Commons)
https://vimeo.com/185881794
28
Theme 4B Outline: Recycled Sculpture Trails
Theme 4B will involve participants in developing sculpture trails in response to a
sense of place, devised from a range of reclaimed and recycled media. Ideas will be
developed to create curiosity about the natural environment, to promote linguistic
development and to build understanding of the diverse ways in which people from
different cultures have interacted and expressed themselves through art.
Best Practice No.10: Targeted housing and integrated supported services for most
vulnerable refugees (GRC 0217) will be used to support this learning activity.
Forest of Imagination Project is an opportunity to share best practice in this area,
witnessing how nature and creativity can enhance our imagination and wellbeing.
‘The Tin Forest’ is a story to share with children that focuses on dreams and hopes.
Best Practice 4B: ANTIGONE: Targeted housing and integrated supported
services for most vulnerable refugees, Greece. (Best Practice No.10)
ANTIGONE provides access to safe and
dignified living conditions for
vulnerable refugees and asylum seekers.
It aims to increase the capacity of
refugees and asylum seekers who can
participate more fully in Greek society.
(Logo image: ANTIGONE)
http://www.antigone.gr/en/home/
Best Practice 4B: Forest of Imagination, UK
Forest of Imagination fosters a vision
to support artists from myriad
disciplines. Installations, immersive
pieces, soundscapes and architectural
designs focus on the importance of
Regeneration, Green and Blue
Infrastructure, Wildlife Corridors, all
seen through the lens and idea of a
Future Forest. (Logo image: Forest of Imagination)
http://www.forestofimagination.org.uk/
29
Theme 4C Outline: Performance & the Environment
A range of different stimulus material will be used to create group performances
exploring what it feels like to be an outsider and how to integrate into a different
and new environment. Music, movement and physical theatre will be used to devise
a series of group scenes which build mutual understanding. These could combine
into one longer performance. will involve devising creative activities and
developing performance skills to explore global issues, stories and experiences.
Participants will be encouraged to incorporate their own experiences of migration
and the environment with imaginative and creative responses to share with their
wider community. Best Practice No.5: MET Meticceria Extrartistica Trasversale
will be used to support this intercultural approach to exploring our environment.
Useful links can also be made to the performance and workshop activities of
REACT international festival of community theatre.
Best Practice 4C: MET Meticceria Extrartistica Trasversale
(Best Practice No.5)
MET Meticceria Extrartistica
Trasversale create workshops led by
actors and artists of the Cantieri Meticci
collective. They involve students,
migrants, asylum seekers, and anyone
who wants to discover and share their
stories while having fun. (Logo image:Cantieri Meticci)
http://www.cantierimeticci.it/
Best Practice 4C: Refugee Engagement and Integration through Community
Theatre (REACT), Holland, Sicily, UK
REACT Theatre Project (2016-8) linked
international partners: Rotterdam
Wjktheater (Holland), Centro per lo
Sviluppo Creativo Danilo Dolci (Sicily),
ACTA Theatre, Bristol (UK). The EU
Creative Europe community theatre
programme created opportunities for
refugees to share their stories with each
other and with their host communities. (Photograph: June Bianchi)
https://www.acta-bristol.com/react/
30
MODULE 5: CELEBRATION
Aims
1. Develop awareness and knowledge of global cultural experiences through
reflective appreciation of diverse seasonal celebrations and festivals.
2. Enhance participants’ creative and linguistic understanding through
engagement with cultural practices linked with seasonal celebrations and
festivals.
3. Promote interdisciplinary interactive creative and cultural participation
through culinary, visual and performing arts activities celebrating seasonal
festivities.
4. Support curriculum development and community participation through
global seasonal celebrations, fostering integration and inclusion within
expressive arts.
Module 5 Focus
People, across different times and places, celebrate and commemorate their lives,
heritage, experiences, beliefs and values through celebrations and festivals based
around the seasons; cultural and religious; national, regional and family traditions.
UNESCO advocates sharing traditional food, costumes, music, and dancing, to raise
awareness of specific geographical, cultural, religious and economic aspects of
different communities (UNESCO, 2017).
Module 5 focuses on exploration of the meaning and practice of seasonal celebrations
and festivities across a range of perspectives, providing opportunities for participants
to share their own cultural experiences, as well as gaining a wider understanding of
elements of global, seasonal commemorations within diverse settings and contexts.
Module 5 provides support for exploration and dissemination of familiar and new
celebratory opportunities, encouraging participants and their families to join in and
generate seasonal events and festivities, sharing traditions of food, costume, music
and performance across their wider communities.
Module 5 Themes
5A Global Food Cultures
5B Carnival
5C Recycled Orchestra
31
Theme 5A Outline: Global Food Cultures
Theme 5A encourages learners to explore cultural meanings and practices within
their own and diverse international food cultures, investigating the dietary role within
seasonal and cultural celebrations and festivals. Participants investigate how seasonal
celebrations and festivals are commemorated through food preparation and sharing
within global communities, developing food-themed artwork. recipe cards, posters
and books, alongside demonstration videos.
Danilo Dolci’s Mediterranean Food Project SlowMed provides a Best Practice
exemplar. Noting that UNESCO and the Council of Europe recognize food culture
as Intangible Cultural Heritage, SlowMed’s promotion of intercultural dialogue
through food fosters tolerance and understanding. Sharing of culinary heritage
includes development of cultural recipe links through videos and a book. Best
Practice exemplar food project 91 Ways, opens up conversations and breaks down
barriers between communities through shared food cultures. Theme 5A will generate
artworks, of sharing of recipe cards and videos inspired by celebratory seasonal food,
promoting dietary sharing across a range of cultures.
Best Practice 5A: SlowMed - Food as a means of dialogue, Sicily
SlowMed project promotes intercultural
dialogue and strengthens Mediterranean
cultural identity. SlowMed stimulates
recognition of food as a means to
enhance understanding between peoples
and to build cultural identity. by testing
new forms of expression of culinary
heritage. (Logo image: SlowMed)
http://en.danilodolci.org/slowmed/
Best Practice 5A: 91 Ways, UK
Bristol, UK’s 91 Ways Project uses the
uniting power of food, to bridge the
gaps between 91 language communities,
in order to build a more united and
sustainable city. 91 Ways helps
participants share their stories, personal
food journeys, recipes, and passions. It
builds links between communities and
supports health, wellbeing and
sustainability. (Photograph: Creative Commons)
http://91ways.org/
32
Theme 5B Outline: Carnival
Theme 5B develops an exploratory approach in responding to the global carnival
theme, supporting participants’ experimentation with a range of media, scales and
formats. Participants will develop mixed-media two and three-dimensional images
and artefacts engaging with the carnival theme from diverse community
perspectives. Responses to the theme of global carnival will include creation of
head-dresses, costumes and artefacts.
Best Practice No. 2: Thessaloniki Multilingual Festival provides a model for
celebratory engagement with communities through the arts, as does Womad’s
World Festival of Arts which promotes, like Module 5 Celebration, ‘a world
without borders, a global fiesta of music, food, dance and art.’
Best Practice 5B: Multilingual Festival of Language and Culture, Greece
(Best Practice No.2)
More than 128 organizations, NGOs,
Consulates, communities, educational
institutions, etc., participate in The
Multilingual Festival of Language and
Culture, which presents: theatrical and
musical events, educational projects,
research projects, multilingual and
intercultural workshops, roundtables, the
cuisine of the peoples, coffee
multilingualism, art exhibitions, art and
music workshops, projections. (Image: Langtrips)
https://langtrips.wordpress.com/
Best Practice 5B: WOMAD - World of Music, Art & Dance Festival
WOMAD international festivals aims to
share global music, culture, performance
and food, staging annual events in the
UK and worldwide. WOMAD combines
contemporary and traditional musical
rhythms, and offers artist-led workshops
across the creative arts to encourage
participation, tolerance, understanding
and collaboration across cultures. (Photograph: June Bianchi)
http://womad.co.uk/
33
Theme 5C Outline: Recycled Orchestra
Recycled Orchestra explores the role and meaning of music within global festivities,
investigating diverse cultural instrumentation in facilitating celebratory cultural
experiences. Democratisation of musical participation will be supported through
designing and creating instruments from recycled materials. The making of
innovative instrumentation will inspire musical participation for all, developing
musical accompaniment to enrich celebrations and festivals across cultural and
seasonal contexts.
The transformatory Best Practice No. 7: MUS-E Art for Integration at School, will
support musical engagement which promotes self-knowledge and fulfilment
through creative arts expression. Best Practice Recycled Orchestra exemplifies
implementation of this approach, providing a successful model of practice.
Best Practice 5C: MUS-E Art for Integration at School, Italy
(Best Practice No. 7)
MUS-E emphasizes the central place of
art and creativity in processes of
personal and societal development.
MUS-E projects links global artists
with local communities and schools to
initiate artistic projects that express the
diverse cultures present in Europe (Image: Open ClipArt Library, Commons)
http://www.menuhin-
foundation.com/portfolio/mus-e-artists/
Best Practice 5C: The Orchestra of Recycled Instruments
The Orchestra of Recycled Instruments
of Cateura directed by Favio Chávez is
made up of children, and young people
of limited resources who live in the
Bañado Sur community near Cateura
landfill, Asunción, Paraguay. The group
interpret musical works using recycled
instruments made from garbage rescued
from the landfill site. (Photograph, recycled instrument, BSU
sculpture trail: June Bianchi)
http://www.recycledorchestracateura.
com/reciclados
34
BIBLIOGRAPHY OF RESOURCES
ArtsTogether Work Package Reports
ArtsTogether Work Package 1. Needs Analysis Report (2018), University of Bologna.
ArtsTogether Work Package 1. The Identification and Analysis of Best Practice (2018),
University of Bologna.
ArtsTogether Best Practice Reports
1. Creative Expression Workshops in School: Prevention Programs for Immigrant and
Refugee Children, Canada. https://www.ncbi.nlm.nih.gov/pmc/articles/PMC2542909/
2. Langtrips Multilingual Festival of Cultures, Greece. https://langtrips.wordpress.com/
3. Kindervilla Intercultural Theatre Project ‘Wolf Sein’, Austria.
4. Kindervilla Educational Principles, Austria http://www.kindervilla.info
5. MET Meticceria Extrartistica Trasversale, Italy. http://www.cantierimeticci.it/
6. Migration Museum, UK. http://www.migrationmuseum.org/
7. MUS-E Art for Integration at School, Italy.
http://www.menuhin-foundation.com/portfolio/mus-e-artists/
8. Pan Intercultural Arts, UK. https://www.pan-arts.net/
9. Step2School, Greece.
http://metadrasi.org/en/campaigns/step2school-education-programme/
10. ANTIGONE: Targeted housing and integrated supported services for most vulnerable refugees-
GRC 0217. http://www.antigone.gr/en/projects/project/38/description/
11. UNESCO Tell me a Story (Schenk mir eine Geschichte), Switzerland. http://uil.unesco.org/case-
study/effective-practices-database-litbase-0/tell-me-story-switzerland
12. The Learning for Integration Project: Quality Learning and Non-Formal Education for Refugees
and Migrant Children in Greece.
http://www.elix.org.gr/index.php/en/training-en/eu-projects-by-elix-en/1502-opening-project-the-
learning-for-intergration-project-elix-unicef-otc-2017-en
13. The Museobilbox, Germany.
http://www.eumillennials-tour.eu/downloads/Module04.pdf
35
Additional Best Practice
5x5x5=creativity, UK. https://5x5x5creativity.org.uk/
91 Ways Global Food Project, UK. http://91ways.org/
ACTA Community Theatre, UK. https://www.acta-bristol.com/
APPG: All Party Parliamentary Group (2017) Creative Health: The Arts for Health and Wellbeing.
http://www.artshealthandwellbeing.org.uk/appg-
inquiry/Publications/Creative_Health_Inquiry_Report_2017.pdf
BoxTale Soup, UK. https://www.boxtalesoup.co.uk/
British Museum: A History of the World
http://www.britishmuseum.org/explore/a_history_of_the_world.aspx
Centre for Art in Migration Politics, UK. http://campcph.org/
CounterPoints http://counterpointsarts.org.uk/5-youth-creative-arts-projects-contributing-to-
migration-debate/
Crossings: Stories of Migration, UK. https://www.crossings2017.co.uk/
Face Forward, Greece. http://www.faceforward.gr/en/
Forest of Imagination http://www.forestofimagination.org.uk/
Masks at Pitt Rivers Museum, UK. https://www.prm.ox.ac.uk/masks.html
MOMA: Migration and Movement, USA.
https://www.moma.org/learn/moma_learning/themes/migration-and-movement
Puppet Place: http://www.puppetplace.org/
REACT – Refugee Engagement and Integration through Community Theatre.
https://www.acta-bristol.com/react/
SlowMed - Food as a means of dialogue. http://en.danilodolci.org/slowmed/
The Indra Congress http://www.theindracongress.com/
Vamos Theatre, UK. https://www.vamostheatre.co.uk/
Virtual Migrants: http://virtualmigrants.net/
Voices in Palermo: Freedom, Democracy & Welcome
http://cesie.org/en/migration/voices-festival-accoglienza/
What the World Eats (2008), Menzel, P. & D’Aluisio, F. Trycicle; What I Eat:Around the World in
80 Diets (2010), Menzel, P. & D’Aluisio, F. Material World Books.
https://www.slideshare.net/maditabalnco/what-the-world-eats-by-peter-menzel-and-faith-dalusiopart-
1
WOMAD The World’s Festival. http://womad.co.uk/
References
Bourdieu, R (1984 ) Distinction: A social critique of the judgement of Taste, London: Routledge &
Kegan Paul.
Butler, Judith (2015). Notes toward a performative theory of assembly. Cambridge, Massachusetts:
Harvard University Press.
36
Craft, A. Cremin, T. Hay, P. Clack, J. (2014) Creative Primary Schools: developing and maintaining
pedagogy for creativity Ethnography and Education 9(1):16-34.
Danilo Dolci (1986) Draft of Manifesto. https://en.danilodolci.org/draftofmanifesto/
Edwards, C. Gandini, L. and Forman, G. (1998) The Hundred Languages of Children – Advanced
Reflections. Greenwich, Connecticut: Ablex Publishing
European Commission (2017) How culture and the arts can promote intercultural dialogue in the
context of migratory and refugee crisis: Report with case studies by EU Member States.
https://publications.europa.eu/en/publication-detail/-/publication/4943e7fc-316e-11e7-9412-
01aa75ed71a1
European Commission (2017) How culture and the arts can promote intercultural dialogue in the
context of migratory and refugee crisis: Executive Summary.
https://publications.europa.eu/en/publication-detail/-/publication/31240289-3169-11e7-9412-
01aa75ed71a1/language-en
Highlights of the European Year of Intercultural Dialogue.
https://publications.europa.eu/en/publication-detail/-/publication/3e89f8d6-6ac9-4f33-b00a-
89cfc5fcec85/language-en/format-PDF/source-62969264
Jante, B,. Harte, E. (2016) Education of Migrant Children: Education Policy Responses for the
Education of Children in Europe. Rand. https://www.rand.org/pubs/research_reports/RR1655.html
Migration and Integration. https://www.phf.org.uk/our-work-in-the-uk/migration-integration/
Montessori, M., edited by Gerald Lee Gutek (2004)The Montessori Method The Origins of an
Educational Innovation. http://www.arvindguptatoys.com/arvindgupta/montessori-new.pdf
Our Migration Story - Runnymede http://www.ourmigrationstory.org.uk/
Population Europe (2014). https://www.population-europe.eu/pop-digest/why-immigrant-children-
dont-do-well-school
Robinson, K.(2011) Out of our minds: learning to be creative. Oxford: Capstone Publishing
UNESCO (2017) Transformative Pedagogy for Teachers. UNESCO-IICBA
United Nations (1948) Universal Declaration of Human Rights. http://www.un.org/en/universal-
declaration-human-rights/
Preparing Teachers for Diversity.
https://publications.europa.eu/en/publication-detail/-/publication/b347bf7d-1db1-11e7-aeb3-
01aa75ed71a1/language-en/format-PDF/source-search
Preparing Teachers for Diversity: Executive Summary https://publications.europa.eu/en/publication-
detail/-/publication/ee99b607-1db0-11e7-aeb3-01aa75ed71a1/language-en/format-PDF/source-search
Books and Resources
Baker, Jeannie (1989) Where the Forest Meets the Sea
Davies, Nicola (2013) The Promise
Hosseini, Khaled (2018) Sea Prayer
Hest, Amy (1997) When Jessie Came Across the Sea
Knowles, by Laura (2017) It Starts with a Seed
Melrose, Andrew, The Boat Story & Teaching Resources.
http://the-immigration-boat-story.com/teaching-resources
Sanna, Francesca (2016) The Journey
Torday, Piers (2013. 2014, 2015)The Last Wild Trilogy
37
Tan, Shaun (2010) The Rabbits
Tan, Shaun (2014) The Arrival
Video
A peacock in the land of penguins https://www.youtube.com/watch?v=hNeR4bBUj68
Coco https://www.youtube.com/watch?v=Ga6RYejo6Hk
Here come our mothers https://www.youtube.com/watch?v=yz4tUKoZUcA
Little Sikhs Being Different is Beautiful https://www.youtube.com/watch?v=KJ1ygFknjYo
Migration and Identity, Artist TeaYoun Kim-Kassor
https://www.youtube.com/watch?v=3BXXI-VrZtA
Portraits of an Immigrant-filled Nation https://www.youtube.com/watch?v=aiOuyy7zrO4
Stories of Migration Through Artworks https://www.youtube.com/watch?v=Lh160DH0pV0
Telling stories helps refugee children learn https://www.youtube.com/watch?v=WchdHn61X3g
The Boat Story & Teaching Resources http://the-immigration-boat-story.com/teaching-resources
The World’s Family https://www.youtube.com/watch?v=ni_at59TzMA
What does Diversity Mean https://www.youtube.com/watch?v=Fd5Cm3xzMS4