Integrating Migrant Children at

Schools through Artistic Expression

WP2: ArtsTogether

Inclusive Curriculum Design

Activity/Output/Deliverable 2:1

Prepared by: Bath Spa University

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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”.

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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

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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,

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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)

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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

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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.

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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

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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

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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.

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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)

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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.

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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)

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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

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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

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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/

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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/

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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

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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/

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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/

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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