Tool Organic Learning Handbook

THEATRE OF

ORGANIC LEARNING

THE ORGANIC

LEARNING HANDBOOK

Tools to cultivate the

European Key - Competences

TOOL Handbook: Exploring Theatre in adult education

Table of Contents I.INTRODUCTION .....................................................................................................6

Experiential Learning ................................................................................................... 9

Adult Learning or Andragogy .................................................................................... 11

Situated Learning Theory and Communities of Practice ......................................... 13

II. TOOL PARTNERSHIP ........................................................................................... 16

Analytics of the project ............................................................................................. 17

Partnership ................................................................................................................ 18

Mobilities scheduling ................................................................................................ 19

III. EUROPEAN KEY- COMPETENCES........................................................................ 24

Act .............................................................................................................................. 25

Summary .................................................................................................................... 25

Eight key competences ............................................................................................. 27

Background ................................................................................................................ 32

Communication in the mother tongue .................................................................... 33

Youth Initiative and communication in the mother tongue. .................................. 33

Communication in foreign languages ...................................................................... 35

Youth Initiative and communication in foreign languages. .................................... 35

Mathematical competence and basic competences in science and technology .. 36

Youth Initiatives and mathematical competence and basic competences in science

and technology .......................................................................................................... 36

Digital competence ................................................................................................... 38

Youth Initiative and the digital competence ............................................................ 38

Learning to learn ....................................................................................................... 40

Youth Initiatives and learning to learn ..................................................................... 40

Social and civic competence ..................................................................................... 42


Youth Initiative and Social and civic competence .................................................... 42

Sense of Initiative and Entrepreneurship ................................................................. 44

Youth Initiative and Sense of Initiative and Entrepreneurship ............................... 44

Cultural awareness and expression .......................................................................... 46

Youth Initiative and Cultural awareness and expression......................................... 46

IV. THE THEATRE AS AN EDUCATIONAL MEANS ..................................................... 48

EXPLORING WAYS OF USING DRAMA: TECHNIQUES WITH ADULTS......................... 48

Introduction ............................................................................................................... 48

PRESENTATION OF TOOL CASE STUDIES ................................................................ 52

PARTNER O.C.E.A.N NGO ................................................................................... 52

Introduction: Theoretical Background ..................................................................... 52

Target Group:............................................................................................................. 53

Duration ..................................................................................................................... 54

Structure .................................................................................................................... 54

1st mobility –Palermo Italy –host organization Al Quds Palermo ........................... 56

2d mobility –Turda Romania –host organization ..................................................... 58

3d mobility –Athens –host organization O.C.E.A.N NGO ........................................ 60

Objectives .................................................................................................................. 63

Means/resources ....................................................................................................... 63

Methodology and development of work ................................................................. 64

Evaluation .................................................................................................................. 65

Results ........................................................................................................................ 65

Recommendations,at organizational, local, national, EU level. .............................. 66

Appendix .................................................................................................................... 68

Short presentations of the Greek Myths which the Greek partners have chosen to

work with. .................................................................................................................. 68


The myth of Europe................................................................................................... 68

The Myth of Prometheus – The Thief of Fire ........................................................... 71

Plato's Allegory of The Cave: Meaning and Interpretation ..................................... 74

Cassiopeia the Queen ............................................................................................... 77

PARTNER FUNDAŢIA RAŢIU PENTRU DEMOCRAŢIE ................................................. 79

Introduction ............................................................................................................... 79

Target Group: ............................................................................................................ 79

Duration: .................................................................................................................... 80

Stucture: .................................................................................................................... 80

Italian Mobility - Improvisation Theatre: ................................................................. 80

Romanian Mobility Case study – open discussion:.................................................. 80

Conclusion: ................................................................................................................ 81

Objectives: ................................................................................................................. 83

Means/Resources: ..................................................................................................... 84

Methodology And Development Of Work: .............................................................. 84

Evaluation: ................................................................................................................. 84

Results: ....................................................................................................................... 85

Recommendations: ................................................................................................... 85

V. INVESTING IN HUMAN CAPITAL ......................................................................... 87

VI. CULTURE .......................................................................................................... 94

PARTNER YENIMAHALLE ILCE MILLI EGITIM MUDURLUGU ...................................... 94

Cultural Awareness and Expression ......................................................................... 94

Introduction: Theoretical Background ..................................................................... 94

Target Group ........................................................................................................... 101

Duration ................................................................................................................... 102

Structure .................................................................................................................. 102


1st International Meeting in Italy Hosted By Al Quds Palermo..............................103

2nd International Meeting in Romania Hosted By FUNDAŢIA RAŢIU PENTRU......105

3rd Meeting in Greece Hosted by O.C.E.A.N. NGO .................................................106

Dissemination Conference in Turkey ......................................................................106

Objectives ................................................................................................................107

Means/ Resources ...................................................................................................107

Methodology and Development of Work ..............................................................108

Evaluation ................................................................................................................109

Recommendations at Organizational, Local, National, and EU Level. ..................110

BIBLIOGRAPHY ....................................................................................................111

LIST OF USEFUL SITES ..........................................................................................113

6


I.INTRODUCTION

The TOOL project offers to partnership a fruitful context for exploration,

improvisation and learning, outlining both the theoretical background as well as the

participants’ profile and invited us for an unpredicted but well-structured journey.

Working with adult learners and exploring different but complementary

aspects of their experiences and understanding through theatre and drama

techniques to develop and cultivate particular key-competences for lifelong learning

was the scope of our endeavour.

Initially it seems essential to present the theoretical background on which

the work done was based.

The emergence of a post-industrial or so-called ‘knowledge society’ has

changed the way that learning and teaching are conceived, both in policy and

practice. As society becomes more complex, so do the processes of education.

The International Labour Organisation has argued:

…education should prepare young people for non-linear career paths and

the likelihood of several career changes during their working lives. It

should...develop their capacity to improvise and be creative and, in general, equip

them to deal with the complexities of a rapidly changing world1.

The OECD's DeSeCo Project concurs:

The development and maintenance of human and social capital

represents an important factor for societies to not only generate prosperity, social

cohesion, and peace, but first and foremost to manage the challenges and tensions

of an increasingly interdependent, changing, and conflictual world2.

1 International Labour Organisation, 2002. 2 OECD, 2002a.

7


There is no one, simple definition of learning. Learning is a complex concept

that is defined differently according the context in which it is being discussed.

Psychological definitions emphasize that learning involves ‘a change in

behaviour or potential behaviour that occurs as a result of experience.3’

As a science, psychology studies the processes of learning through rigorous,

empirically grounded methods of investigation, but the field of application is very

broad:

The products of learning include knowledge and intellectual skills, attitudes

and emotional responses, social behaviour and movement skills. Through

our interactions with our unique personal environments we learn to think,

act and feel in ways that contribute to our individual human identities4.

Educational definitions of learning traditionally tend to focus on learning as

the process by which people acquire skills, knowledge, understanding and

attributes. For example, Julia Atkin describes learning as occurring most

readily and effectively when:

3 R Smith, 1993 4 Ibid

8


…whole brain processing is engaged, and in particular when the process

of learning moves from experience to reflection on experience so that a pattern or

framework allows the learning to grasp the meaning of the learning in the mind's

eye and finally learning moves on to a facility to use language, rules, laws, principles

for accuracy and efficiency in thinking, doing and further learning5.

More recently, learning is coming to be understood as a set of cultural,

social, and institutional processes that occur throughout an individual’s life (Lifelong

Learning).

Learning in this sense occurs both within the education sector (early

childhood, schools, tertiary and adult education), but is also a key element in the

workplace, where learning is an integrated activity that takes place both within and

between people. Learning has thus been extended from the individual learner to the

‘learning organization’, and even to the ‘learning society’, which is a vital concept for

the ‘knowledge economy’.

The notion of learning as a social process is becoming accepted amongst

educational researchers, policy makers and practitioners. Properly applied, it should

enhance learning for all individuals as they negotiate their way through life in the

‘knowledge economy’.

There have been a lot of theories and relevant research findings on how

learning occurs best. Nevertheless, our work is mainly based on three

complementary approaches on learning, namely: experiential learning, adult

learning or andragogy and situated learning theory and Communities of Practice. A

brief presentation of these theories follows.

5 J Atkin, 1994.

9


Experiential Learning

Experiential learning theories seek to understand the ways that

experiences, whether of first or second hand, motivate individuals and facilitate

learning.

Learning thus comes to be about meaningful experiences (in school, in the

workplace, or in everyday life) that result in a change in an individual’s knowledge

and behaviour.

Experiential learning theories build upon social and constructivist theories

of learning, but place experience at the centre of the learning process6.

For the American psychologist Carl Rogers (1902-1987), experiential

learning is ‘self-initiated’ learning - that is, people have a natural inclination to learn,

6 Jarvis, op. cit.

10


and do so when the learner is fully involved in the learning process and has control

over its nature and direction7.

In presenting his general principles for learning, Rogers asserts that:

learning can only be facilitated: we cannot teach another person directly;

learners become more rigid under threat;

significant learning occurs in an environment where threat to the learner is

reduced to a minimum; and

learning is most likely to occur and to last when it is self-initiated.

Rogers advocates a dynamic situation where new learning feeds into and

influences existing learning environments, thereby creating a process of

continuous change8.

This dynamic process of change is explored by writers in the literature on

organizational learning9.

7 C Rogers, 1983 8 Ibid. 9 For example, see Senge, op. cit

11


Adult Learning or Andragogy

Experiential learning theories have to some extent grown out of

investigations that attempt to redress the paucity of information about how adults

learn. Perhaps the most influential writer on adult learning is the American educator

Malcolm Knowles (1913-1997).

Twenty-five years ago, Knowles coined the term ‘andragogy’ (theory of

adult learning) in direct contrast to the well- known term ‘pedagogy’ (teaching and

learning of children), in order to highlight the lack of information about adult

learning.

According to Knowles, adults have moved from being dependent upon

others as children, to being independent thinkers as adults. The notion of a

‘curriculum’ guided by others is therefore inappropriate in adult education

environments.

Rather, adults are self-directed in their learning, and they seek to learn from

and about their social and work environments and the roles they play there.

12


In general, adult learners expect knowledge to be applicable, and

immediately useful.

For these reasons, adults need to be involved in the planning and

direction of their learning, for when they feel ownership and engagement they will

learn more effectively.

Knowles developed a set of Principles of Adult Learning reflecting this

shift10.

10 M Knowles, 1980.

13


Situated Learning Theory and Communities of Practice

The twin notions of ‘situated learning’ and ‘communities of practice’ were

developed by the American social theorists Jean Lave and Etienne Wenger. Situated

learning accepts that context, culture and social interaction are all vital factors in

learning. It therefore engages learners in what is called a ‘community of practice’.

This is contrasted with traditional classroom learning and teaching where

knowledge is often presented out of context.

Lave and Wenger define situated learning as a theory of

…the relational character of knowledge and learning…the

negotiated character of meaning, and …the concerned (engaged,

dilemma-driven) nature of learning activity for the people involved…there

is no activity that is not situated11.

In this theory, learning is said to occur most effectively within ‘communities

of practice’. These communities bind their members together into a social entity.

11 J Lave and E Wenger, 1990

14


The interactions that occur within a community of practice (such as

cooperation, problem solving, the building of trust and goodwill) have the potential

to build community social capital (the networks and relationships of a community

that enhance the wellbeing of its individual members)12.

All the three theories mentioned above are using a variety of pedagogic

techniques in order to invite, empower, and engage learners to the process of

learning.

Theatre and drama has been described in the relevant literature1313 as a

helpful and liberated tool for learning to take place in a sense that it offer

opportunities for improvisation, self-exploration, human interaction and sharing.

Using the above-mentioned theoretical background, the TOOL Project built

a European community of adult learners who could work through experiential-

organic learning using theatre and drama techniques to develop and cultivate

European Key Competences, which more specifically were: learning to learn, social

and civic competences and cultural awareness and expression competences.

12 Lave and Wenger op. cit., M Smith, 2003. 13 As the Organic theatre of Chicago points out (2012): Organic Theatre can be a community-

focused practice of learning to trust the impulses for movement, expression and creativity in our bodies and more deeply integrate our inner experience with how we show up in the world. As we move, speak, sound, feel and sense, we inhabit the rich flow of imagination, memory and unhampered expression. We begin to trust more fully the wisdom that inhabits us, allowing ourselves to call upon and enact the experiences we need to complete in this life.

And more over: Instead of "professional artists" who create a "performance" that the "audience" comes to see in a theatre building, an "organic theatre" would be a small community of people who sometimes perform, sometimes listen -- a sort of ensemble who share their talents with each other in informal spaces. Passive consumption would be unacceptable -- each member would contribute in some way and in a variety of ways -- specialism would not fit. An "organic theatre" wouldn't create a "product" to be sold, but rather members would come together to share gifts, alternately giving and receiving.

15


More over the perspective of sharing the experience gathered with other

partners within TOOL project offered the challenge for further exploration and

development using the benefit of the partnership within the European framework.

16


II. TOOL PARTNERSHIP

TOOL is a partnership dedicated to development and promotion of

education through theatre and organic learning when working on subjects of

European Key Competences.

The general aim of the partnership is to explore possibilities of theatre in

education and promote Key Competences in the European Union.

The European Key Competences consist of the so-called "soft skills" which

are an integral part when enhancing ones employability levels but also when

developing interpersonal and intercultural skills.

Since organic learning is a process of learning through interaction and

improvisation and theatre is a traditional space of freedom from roles, developing

reflective mind and intense interaction - theatre presents itself as an ideal form for

educating on such subjects.

The partnership target groups are adult learners and educators who work

with adults and all those interested in theatre, education and promotion of the EU

values.

Interaction is the most important in this partnership, for this reason

partners will organize theatre workshops on some of the following European Key

Competences:

Communication in the mother tongue,

Communication in foreign languages,

Mathematical competence and basic competences in science and technology,

Digital competence,

Learning to learn,

Social and civic competences,

Sense of initiative and entrepreneurship,

Cultural awareness and expression.

17


Analytics of the project

Programme LLP - Lifelong Learning Programme

Sub-Programme Grundtvig

Category Learning Partnership

Learning Action Grundtvig Learning Partnership

Name of the Project Theatre Of Organic Learning - TOOL

Code of the project 2013_1_HR1_GRU06_03250

Implementation Period August 1st 2013 - July 31st 2015

Coordinator ‘Al Quds Palermo’

Funding 81.500,00 €

Duration of the Project 24 Months

Number of Mobilities 72

18


Partnership

Name Acronym Country Mobilities Planned

Funding

1

Casa della Cultura

Araba ‘Al Quds

Palermo’

Al Quds Italy 24 € 25.000,00

2

Organization of

Culture, Education and

Advice in Networks

O.C.E.A.N

NGO Greece 24 € 25.000,00

3 Fundatia Ratiu

Pentru Democratie CRD Romania 12 € 15.000,00

4 Yenimahalleİlçe

MilliEğitim Müdürlüğü YMEM Turkey 12 € 16.500,00

Total Funding € 81.500,00

19


Mobilities scheduling

Ath

ens

An

kara

Turd

a

Pal

erm

o

20


Activities Date Hosting Org Venue

1

KICK OFF MEETING

- getting to know each other

- precisely defining the dates of the

meetings

- defining in detail the dissemination

agenda

- discussing details in distribution of

tasks

- defining joint funds for producing

outcomes of the partnership

- designing of evaluation tools

- producing logo and certificates

- defining details about the web site

Mar

ch 2

014

Al Quds Palermo Italy

21



2

1. Theatre workshop: Short story on

Key Competences

2. Workshop: "Theatre + Organic

Learning = EU Key Competences

3. Workshop on Key Competences

The intercultural atmosphere

4. Visit to Salt Mine Turda

Oct

ob

er 2

014

Fundatia Ratiu

Pentru

Democratie

Romania

3

ACTION WORKSHOPS

1. “Theatre of Organic Learning Tour”

2. Vocal and physical improvisation

3. Workshops in small groups

4. Attending professional theatrical

plays that mainly concern ancient

drama

5. Pay visits in places where ancient

drama was performed in ancient

Greece

Jan

uar

y 20

14

O.C.E.A.N NGO Greece

22



4

INTERNATIONAL MEETING

1. European Dissemination

Conference

2. Courses for event organizers and

innovative approaches

Ap

ril 2

015

Yenimahalleİlçe

Milli Eğitim

Müdürlüğü

Turkey

23


24


III. EUROPEAN KEY- COMPETENCES

In December 2006 the European Parliament and the Council adopted the

recommendation of Key Competences for Lifelong Learning.

The idea behind this political initiative was to create educational strategies

to build and to care for a competitive, knowledge-based economy and for much

more social cohesion in Europe.

Key Competences are defined as basic skills, knowledge and attitudes,

which should be acquired and developed by each European citizen during his or her

lifetime.

The Key Competences are all considered equally important, because each

of them can contribute to a successful life in a knowledge-based society.

Competence is defined as a combination of knowledge, skills and

attitudes useful in a certain context. Key Competences are those which

contribute to one’s personal fulfilment and development, active

citizenship, social inclusion and employment.

They have the capacity to show development in a standardised structure,

which can be recognised and validated by the outside world.

Key competences in the shape of knowledge, skills and attitudes

appropriate to each context are fundamental for each individual in a knowledge-

based society.

They provide benefit for the labour market, social cohesion and active

citizenship by offering flexibility and adaptability, satisfaction and motivation.

Because everyone should acquire them, this recommendation proposes a

reference tool for European Union (EU) countries to ensure that these key

25


competences are fully integrated into their strategies and infrastructures,

particularly in the context of lifelong learning.

ACT

Recommendation 2006/962/EC of the European Parliament and of the

Council of 18 December 2006 on key competences for lifelong learning [Official

Journal L 394 of 30.12.2006].

SUMMARY

Key competences for lifelong learning are a combination of knowledge,

skills and attitudes appropriate to the context. They are particularly necessary for

personal fulfilment and development, social inclusion, active citizenship and

employment.

Key competences are essential in a knowledge society and guarantee more

flexibility in the labour force, allowing it to adapt more quickly to constant changes

in an increasingly interconnected world. They are also a major factor in innovation,

productivity and competitiveness, and they contribute to the motivation and

satisfaction of workers and the quality of work.

Key competences should be acquired by:

Young people at the end of their compulsory education and training,

equipping them for adult life, particularly for working life, whilst forming a

basis for further learning;

Adults throughout their lives, through a process of developing and updating

skills.

The acquisition of key competences fits in with the principles of equality

and access for all.

26


This reference framework also applies in particular to disadvantaged groups

whose educational potential requires support.

Examples of such groups include people with low basic skills, early school

leavers, the long-term unemployed, people with disabilities, migrants, etc.

27


Eight key competences

This framework defines eight Key Competences and describes the essential

knowledge, skills and attitudes related to each of these.

These key competences are:

1. Communication in the mother tongue, which is the ability to express and

interpret concepts, thoughts, feelings, facts and opinions in both oral and

written form (listening, speaking, reading and writing) and to interact

linguistically in an appropriate and creative way in a full range of societal and

cultural contexts;

2. Communication in foreign languages, which involves, in addition to the main skill

dimensions of communication in the mother tongue, mediation and

intercultural understanding. The level of proficiency depends on several factors

and the capacity for listening, speaking, reading and writing;

28


3. Mathematical competence and basic competences in science and technology.

Mathematical competence is the ability to develop and apply mathematical

thinking in order to solve a range of problems in everyday situations, with the

emphasis being placed on process, activity and knowledge. Basic competences

in science and technology refer to the mastery, use and application of

knowledge and methodologies that explain the natural world. These involve an

understanding of the changes caused by human activity and the responsibility

of each individual as a citizen;

4. Digital competence involves the confident and critical use of information society

technology (IST) and thus basic skills in information and communication

technology (ICT);

5. Learning to learn is related to learning, the ability to pursue and organise one’s

own learning, either individually or in groups, in accordance with one’s own

needs, and awareness of methods and opportunities;

6. Social and civic competences. Social competence refers to personal,

interpersonal and intercultural competence and all forms of behaviour that

equip individuals to participate in an effective and constructive way in social and

working life. It is linked to personal and social well-being. An understanding of

codes of conduct and customs in the different environments in which individuals

operate is essential. Civic competence, and particularly knowledge of social and

political concepts and structures (democracy, justice, equality, citizenship and

civil rights), equips individuals to engage in active and democratic participation;

29


7. Sense of initiative and entrepreneurship is the ability to turn ideas into action. It

involves creativity, innovation and risk-taking, as well as the ability to plan and

manage projects in order to achieve objectives. The individual is aware of the

context of his/her work and is able to seize opportunities that arise. It is the

foundation for acquiring more specific skills and knowledge needed by those

establishing or contributing to social or commercial activity. This should include

awareness of ethical values and promote good governance;

8. Cultural awareness and expression, which involves appreciation of the

importance of the creative expression of ideas, experiences and emotions in a

range of media (music, performing arts, literature and the visual arts).

30


A European reference framework for EU Countries and the Commission.

These key competences provide a reference framework to support national

and European efforts to achieve the objectives they define.

This framework is mainly intended for policy makers, education and training

providers, employers and learners.

It is a reference tool for EU Countries and their education and training

policies.

EU countries should try to ensure:

that initial education and training offer all young people the means to

develop the key competences to a level that equips them for adult and

working life, thus also providing a basis for future learning;

Appropriate provision is made for young people who are disadvantaged in

their training so that they can fulfil their educational potential;

Adults can develop and update key competences throughout their lives,

particularly priority target groups such as persons who need to update their

competences;

Appropriate infrastructure is in place for continuing education and training

of adults, that there are measures to ensure access to education and

training and the labour market and that there is support for learners

depending on their specific needs and competences;

Coherence of adult education and training provision through close links

between the policies concerned.

It forms the basis for action at Community level, particularly within the

Education and Training 2010 work programme and, more generally, within the

Community education and training programmes.

31


In this respect, the Commission should make a special effort to:

Help EU countries to develop their education and training systems, apply

the reference framework so as to facilitate peer learning and the exchange

of good practices and follow up developments and report on progress

through the progress reports on the Education and Training 2010 work

programme;

Use the reference framework for the implementation of the Community

education and training programmes whilst ensuring that these programmes

promote the acquisition of key competences;

Use the reference framework to implement related Community policies

(employment, youth, cultural and social policies) and to strengthen links

with social partners and other organisations active in those fields;

Assess, by December 2010, the impact of the reference framework within

the context of the Education and Training 2010 work programme as well as

the experience gained and the implications for the future.

32


Background

The transversal nature of key competences makes them essential. They

provide benefit for employment, social cohesion or young people (European Youth

Pact), which explains the importance of lifelong learning in terms of adapting to

change and integration. The reference criteria, which make it possible to judge

improvements in European performances, featured in a 2005 report with contrasting

results.

In response to the concerns expressed at the Lisbon European

Council, on 23 and 24 March 2000, which were repeated in the revised

Lisbon strategy in 2005, the key competences form part of the objectives

of the Education and Training 2010 work programme, the Commission

communication of 2001 on making a European area of lifelong learning a

reality and the subsequent Council resolution adopted in 2002.

These last two put forward specific proposals on making key competences

a priority for all age groups.

For its part, the 2004 joint interim report on the progress of the Education

and Training 2010 work program made the case for drawing up common European

references and principles.

33


Communication in the mother tongue

The original wording of the Key Competence...

…in a nutshell: using native language in different life contexts. Expressing

ideas, opinions, feelings, needs, facts by listening, speaking, writing and reading.

Understanding others.

Youth Initiative and communication in the mother tongue.

In your project you communicate mainly in your native language. You

express yourself differently depending on needs and circumstances. You

communicate different with your peers, teachers, sponsors, local authorities or

National Agency.

Examples:

Learning new words and expressions by preparing a project for the Youth in

Action programme (as European dimension, evaluation, aims and objectives,

participant, beneficiary, young people with fewer opportunities, inclusion,

application, active participation, etc.)

34


Learning different ways to present the same content – written materials for

sponsors and supporters, direct meeting and presentation with local people,

posters or leaflets to communicate with youth in school, etc.

Learning new ways to express yourself – in front of your peers, officials, local

people, etc

Learning to communicate with others – active listening, respect, constructive

critic, etc.

35


Communication in foreign languages

The original wording of the Key Competence ....

…in a nutshell: using different language(s) in different life contexts.

Expressing in foreign language(s) your ideas, opinions, feelings, needs, facts by

listening, speaking, writing and reading. Understanding others. Being open for others

cultures, habits and realities.

Youth Initiative and communication in foreign languages.

During the preparation of the Youth Initiative project you are invited to look

for ideas and suggestions for your project all over Europe.

You can google different international websites for that purpose.

Sometime you need to look for translation of some foreign expression.

You can learn new words or phrases in foreign languages. Often you have

a chance to meet some people from abroad during your project and learn from and

with them.

36


Mathematical competence and basic competences in science and

technology

The original wording of the Key competence...

...in a nutshell: calculating, budgeting, controlling and planning expenses, solving

problems, logic and critical thinking, looking for data, needs analysis, presenting

facts by models and charts, being sensitive toward your environment.

Youth Initiatives and mathematical competence and basic competences in

science and technology

In Youth Initiative you need to structure project ideas into a coherent and

logical frame to be presented to different players and institutions.

You learn financial management, critical thinking and solving problems. You

need to know what is needed in your local area and to adjust your activities to

demand of your target group.

In addition to that, some projects are related by their activities with science,

environment protection, social issues etc., where ideas developed by science are

used into practice and researches and scientific findings are integrated into projects.

Examples

37


assessing local needs

Financial management (as calculating the budget, operating with different

currencies, monitoring expenses etc.)

presenting the project in form of numbers, charts, models, etc.,

looking for data and interpreting them

evaluating the outcomes of the project

solving problems

dealing with any specific topic or theme linked with science or technology

38


Digital competence


...in a nutshell: use means of IT in your free and working time and as a mean

of communication. Producing, storing, analysing information. Sharing information

via internet. Using different media means as mobile phones, digital cameras, etc.

Youth Initiative and the digital competence

You are using different digital tools for preparing, realizing, and evaluating

the Youth Initiative project and disseminating its results.

Starting from collecting the information, communication within the team

and other partners through realization of the project up to promoting the results and

publishing achieved outcomes.

Examples

searching in the internet for information about Youth Initiatives

using computer for filling a project application form

learning new computer programmes and applications

communicating via e mail

39


using internet, mobiles phones, digital cameras and other IT means for realizing

and documenting the project and also for disseminating it’s outcomes

40


Learning to learn


...in a nutshell: To be able to organize and manage own learning. To set own

aims and objectives, identify the optimal ways and means to achieve them and to

monitor and evaluate own learning process. To know own learning abilities and

optimal use of time, information and learning opportunities. To develop further on

already gained experience and competences. To be able to apply achieved

competences and experiences in one’s personal, professional and social life. To know

how to increase own motivation and self-confidence.

Youth Initiatives and learning to learn

Learning to learn is the crucial competence, which helps us to reach all

other competences. You with your team plan realize and evaluate the whole Youth

Initiative project.

You need to have strong ownership of the whole activity in order to bring

it to the end and to achieve expected results.

41


You have to be motivated and disciplined to work together on long-term

base. Moreover, you need to be responsible for your commitment and performance.

The same goes for your individual learning but in micro scale: setting

individual learning aims and objectives, reflecting upon own learning strength and

weaknesses and ways you learn best, organizing own learning, self-motivating, being

aware of being a learner and taking responsibility for own development, assessing

and monitoring own development, collecting outcomes and reporting changes you

went through

Examples

Learning new things about you as a learner – how do you learn best, with

whom, in what situations, what stimulates you, what blocks you etc.

learning how to set individual aims and objectives for yourself

learning how can you use in your project the competences and experience you

have already and what new things you can learn to develop further

learning how to motivate yourself and what helps you to feel more confident

Using concrete things you learnt in your project in other situations – at school,

at work, at home etc.

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Social and civic competence


... in a nutshell: To be able to participate in social, civic and working life. To

be able to deal with people coming from different social and cultural backgrounds.

To be able to cope in a constructive way with conflicts. To have a knowledge, skills

and attitudes needed to be active as a citizen. To participate as much as possible in

civic live at local, regional, national, European and global level.

Youth Initiative and Social and civic competence

The heart of the Youth Initiatives is about being active and sensitive towards

needs of local communities. You experience in practice the feeling of belonging to

the given group, local community, region, country, Europe, world.

Maybe not directly, but you strengthen your social and European

awareness. You work on your citizenship competences and take action to change

something instead of waiting for others to do it for you.

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Examples:

Working with people who are excluded, have fewer opportunities and

perspectives or suffer of not being able to find a place in rapidly changing

societies.

being active as a citizen at the local level – trying to solve some local problems,

answer some needs of people living around

personal and interpersonal development (as working in the team, building

trust, respect, tolerance, increasing self-confidence, empathy, coping with

uncertainty, decision making, solving conflicts and managing crises, etc.)

cultural development (coping with diversity, working with different social

groups, learning new traditions, values, styles, organizing cultural events and

activities, etc.)

increasing the knowledge about structures, values and rules of civic society

work on voluntary basis for your local community

Taking responsibility for planning and implementing social change within

your local community, promoting at local level new or underdeveloped activities and

opportunities of general interest, providing also support activities for target groups

with special needs or fewer opportunities, serving as role models and good

practitioners for young people in your community, contributing to promote the

image of the local community at regional, national and European level

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Sense of Initiative and Entrepreneurship


...in a nutshell: to turn ideas into actions, to be creative and innovative, to

take a risk, to plan and manage projects, to be aware of different working contexts

and being able to optimally use given opportunities for own development. To be

aware of ethical values.

Youth Initiative and Sense of Initiative and Entrepreneurship

Your Youth Initiative is based on creative ideas of young people and your

will to turn your dreams into reality. You are able to create a group of common

interest, work on common topic and to bring change to your local community.

It requires planning and managing the project, finding different resources

and support, convincing others for cooperation, devoting own knowledge, ideas and

time, developing creative ways of coping with unexpected situations and problems.

It also could be the beginning of development of talents, interest and future

professions for the members of your initiative group.

Examples:

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turning a project idea into action

to plan and manage a YI project

to organize a support and a cooperation to realize your idea

to use in an optimal way human resources and talents which is in the YI

group

to be creative and innovative in realizing project’s activities

to discover new talents and future development ideas for yourself

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Cultural awareness and expression


... in a nutshell: To be creative in expressing ideas through music, all possible

ways of art, literature and theatre. To be appreciative for expression of ideas through

music, theatre, literature and other forms of art. To be aware of own cultural context

and cultural context of others.

Youth Initiative and Cultural awareness and expression

You are very creative in finding ways and forms of organizing your ideas and

express it by very diverse means.

It concerns projects itself (by topic linked with music, theatres, art, dancing

etc.) as well as methodologies where different artistic and creative techniques and

approaches are used to make your project vivid and attractive.

Examples:

learning about your own culture, tradition and cultural heritage

participating in or organizing festivals, exhibitions, concerts

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involving local artists from different generations in the project

learning about other cultures and sharing your culture with the local

community

using some artistic methods as painting, singing, acting, writing, etc.

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IV. THE THEATRE AS AN EDUCATIONAL MEANS

EXPLORING WAYS OF USING DRAMA: TECHNIQUES WITH ADULTS. Introduction

The language of the theatre is interdisciplinary in itself contains the gesture,

movement, sound, speech, image and the sign. The theatrical language can be used

as an instrument of knowledge, experimentation and collective subjective because

it is the vehicle of emotional experience and artistic creation in itself and has the

ability to rework the world through the experience of art.

The theatrical creative activity takes into account the reasons and emotions

of the boys by establishing dialectic of confrontation and growth, through the body,

emotions, creative thinking and fantastic, involves the whole psychophysical boys.

The theatre, like education, feeding relationships.

In education tool theatrical not split the cognitive aspects of emotional ones

but keeps them in an overview of making the learning experience full and

challenging, not only serves to communicate ideas, is a way to get ideas, to create

ideas, to shape our experiences and knowledge in new ways.

In the pedagogical creativity has taken a leading role in recent times for the

purpose of better development both individual and social. It is therefore central

construct learning paths that encourage the development of creativity, in order to

make the school a truly productive, capable of mobilizing globally individuals as

subjects, their inner energies and their talents.

The theatre, for its intrinsic nature of space / time separate from everyday

life, takes in a training environment where the status of a protected place to develop

processes of awareness and transformation of the individual, using the techniques

of the actor, in fact, are refined ones basic skills for a harmonious self-development

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such as: imagination, creativity, emotional competence, the ability of observation,

imitation, the knowledge and the management of their own body.

The theatre meets in pedagogy emphasize the person with his personality

and his expressiveness, while addressing the methodology report. The goal is to

make it grow through an individual path added to a group effort; this means that it

will stimulate even the soft skills such as mutual knowledge, sharing of space,

cooperation, enhancement of heterogeneity.

For its formative values, theatre then enters the school fully and not just as

a filler, it is not merely a "spectacle", but of an action that aims at the growth of the

children and that does not happen only when you the curtain rises, but the result of

an evolution through all the work that is before the drive nails on a fifth, to repeat a

thousand times a joke.

Often we talk about bringing the theatre in school, but this is reduced, just

as often, to provide a few jokes to memorize, the so-called script, the boys and

provide them a stage where they can exhibit in front of family and friends.

Notwithstanding the importance of the final phase of the staging, the interest should

be placed above all, however, on how to make the theatre a means of effective

emotional learning.

From an early age, our behaviors are not free, but it requires us to adapt or

what the company or our mental models that we think will make us accept more

easily, especially by our parents. This attitude leads to fear then over time some parts

of us that because we never acted, we create anxieties and fears because we see

them as negative.

Through theatre we can experience every time we want our "shadow side",

learning to know and manage it in a safe environment, then coming to supplement

to build a personality larger.

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Let's take an example that might make things more clear, let's imagine a

child who, like psychological tradition teaches, is jealous of her mother, this feeling

will surely suppressed and will be resolved, if not explicit, in a deep sense of guilt,

which will affect all its future behavior.

Suppose instead that the same child can put on stage, under a fictitious

identity, his feelings, this will enable it to bring to light the hidden and denied his

drives and nothing like the light resizes the "dragons" that live in our subconscious,

theatre allows therefore a passage from passivity to activity, and therefore suffered

frustrating experience transforms into a representation active compensating,

creates a passage from anguish to pleasure, because surely delight kind master and

face their fears.

Each can then through theatre regain its critical and live it over and over

again, to find personal solutions to the riddle of psychological growth. Everything

mediated "pretend" that, making us feel protected from fiction allows us to actually

give voice to all the characters that make up our being. The moment we pretend for

a strange paradox, we become more real.

Another key function of the theatre, undisputed reign of the "as if", is that

"the modelling", since it allows, more than any other educational or recreational

activity, to experience different roles in a theatre workshop you can become in a

matter of hours a magician, a princess, a Martian or a mother, a teacher, a doctor,

in short, you can be all that our imagination and at the same time asking all that will

be required to be "big".

The theatre creates through a stage, a curtain, costumes or even more

simply a script that magic circle that separates the real world from that as possible,

automatically establishing their own rules as a universe in itself and this makes it

easier both to let go , both afford to play and to get involved.

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If the theatre is important as a game for children, it becomes even more so

during adolescence. In the teen drama workshop can actually take any personality,

even the most extreme, without having to then suffer the consequences real. The

perception of inadequacy that adolescents often experience would be annulled by

the awareness that we can be what you want. The ability to know and then to

effectively manage their emotions, which allows to reach the theatre, is undoubtedly

a powerful injection of self-esteem. The adolescent, with his constant

experimentation with different identities, is perhaps the one that most theatre can

provide a keystone important, nothing like the theatre, it allows you to be antisocial

and to express their discomfort in socially acceptable way.

Another important aspect, related to the adolescence, but also not only has

the ability to identify with a group and work with that group. Every actor knows he

is not alone on stage, nothing frustrates a show because the actor who does not

perceive the other, because the stage was a whole, an indivisible organism that

breathes in unison. This ensemble is created through many practical exercises that

are performed in the theatre workshops and because the stage space symbolically

represents the social space, learn to stand on the stage means knowing how to take

your own space in life with respect and attention of others.

However, what makes theatre possible targets so challenging?

The theatre of Stanslavskyi, Grotowski, Barba, the theatre that puts the

actor at the center and that part of his recovery from emotional to build the role.

Only through a training methodology based on the ego actor can use the theatre for

educational and educational.

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Presentation OF TOOL Case Studies

Greek Partners: O.C.E.A.N NGO

Theatre and Drama techniques as tools of organic learning on key-

competences for lifelong learning.

INTRODUCTION: Theoretical background

All the three theories mentioned above in the introduction are using a

variety of pedagogic techniques in order to invite, empower, and engage learners to

the process of learning. Theatre and drama has been described in the relevant

literature14 as a helpful and liberated tool for learning to take place in a sense that it

offer opportunities for improvisation, self-exploration, human interaction and

sharing.

Using the above mentioned theoretical background, O.C.E.A.N NGO, the

Greek partner built a community of adult learners who could work through

experiential- organic learning using theatre and drama techniques so as to develop

and cultivate key competences which more specifically were: learning to learn, social

and civic competences and cultural awareness and expression.

14 As the Organic theatre of Chicago points out (2012): Organic Theatre can be a community-focused practice of learning to trust the impulses for movement, expression and creativity in our bodies and more deeply integrate our inner experience with how we show up in the world. As we move, speak, sound, feel and sense, we inhabit the rich flow of imagination, memory and unhampered expression. We begin to trust more fully the wisdom that inhabits us, allowing ourselves to call upon and enact the experiences we need to complete in this life.

And more over: Instead of "professional artists" who create a "performance" that the "audience" comes to see in a theatre building, an "organic theatre" would be a small community of people who sometimes perform, sometimes listen -- a sort of ensemble who share their talents with each other in informal spaces. Passive consumption would be unacceptable -- each member would contribute in some way and in a variety of ways -- specialism would not fit. An "organic theatre" wouldn't create a "product" to be sold, but rather members would come together to share gifts, alternately giving and receiving.

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Working with adult learners and exploring different but complementary

aspects of their experiences and understanding through theatre and drama

techniques so as to develop and cultivate particular key-competences for lifelong

learning was the scope of our endeavor. Greek mythology offered us a fruitful

context for exploration, improvisation and learning. O.C.E.A.N NGO outlined both

the theoretical background as well as the participants’ profile and invited for an

unpredicted but well-structured journey.

Greek mythology offered the canvas for such an endeavor. More over the

perspective of sharing the experience gathered with other partners within TOOL

project offered the challenge for further exploration and development using the

added value of the partnership within the European framework.

TARGET GROUP:

This group consisted of 25 adults who started to meet weekly in a volunteer

base in order to explore and create new learning tools based on theatre and drama

education. The consistency of the group was mixed, and it was composed mainly by

educators-teachers of various fields as well as actors, musicians, dancers,

psychotherapists. The participants worked as a group for the first time.

The initial meetings have passed by focusing on attempts of getting to know

each other, realize and create a common vision and discover a common working

methodology.

As time passed by, some basic values and goals were set and thus the group

managed to clarify the vision of the endeavor. The group had to follow the

framework of both the approved project as well as the European key competences.

The priority had been decided to be on: social and civic competences, learning to

learn as well as cultural awareness and expression. Thus, all the eighteen months

period the group had focused on the importance of creative expression of ideas,

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experiences and feelings through a basic theatre language which can involve

professionals and amateurs of arts equally.

Duration

The group worked for eighteen months and managed to meet 38 times in

total. A lot of work had been done not only in these 38 large group meetings but also

in, around, twenty sub group meetings based on project’s work and demands.

Structure

Since all were adults, living in the middle of a crisis in Greece, living in the

turn of a new century and a new millennium they were trying to redefine their selves

and through the process of self-knowledge they had also discovered and cultivated

new communication skills on how to communicate with other people from different

professional backgrounds, aesthetics and age. They managed to form tools by

applying direct democratic values, in the sense that all voices within the group were

equally heard.

Since they were all of Greek origins, we felt that ancient Greek mythology,

as it was proposed in the project, offered a common ground upon which we could

develop further our self-knowledge as well as skills within the key competences

framework.

Therefore, four ancient Greek Myths were selected to be explored:

1. The Cave

2. The Myth of Europe

3. Cassiopeia

4. Prometheus

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Following the above, the larger group was divided in four subgroups which

in turn had to structure their work as follows:

1. Historical survey and information on the particular myths

2. Brainstorming and concrete ideas on how this myth can be

transformed into a creative, interactive and educational forms

3. How these ideas can be archived

4. Means of diffusion to other groups of people who can work and

develop them further (images, music, text etc)

The above structure of work ended up with particular work which was

presented to the three mobility meetings that were held throughout the project the

description of which follows.

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1st mobility –Palermo Italy –host organization Al Quds Palermo

The Greek team consisted of 10 members (2 stuff and 8 learners) and its

work was focused on two Greek myths:

1. the Cave of Plato and

2. the myth of Europe

In the myth of the cave the team tried to give the dimension of the

meanings and concepts (Plato’s allegory of the cave) and with an inspiring ritual

accompanied by audio and video we incorporated and integrated all participants in

action.

We recorded and analyzed feelings in the plenary and the reactions of

participants as well.

In the myth of Europe our team’s attempt was to approach the ulterior

point of the myth and our angle of focus turned out to be a more radical and

alternative point of view. We decided to designate and highlight another possible

interpretation of the myth that dealt and involved with the identity and the

complexion of the genders as well as with the social discrimination that the sexes

experience.

In more detail the group summarized on the following:

Taurus represents the animal instinct within ourselves and reenacts the male

figure that in past and earlier eras used to strongly and exclusively enclose the

role of the hunter.

On the contrary, Europe stands for the weak female figure that is subjugated

by the dominative male and passively allows him to abduct her and to

irreversibly determine her own destiny.

Nowadays the gender identities seem to be inverted and we often encounter

pictures and cases of men that act like Europe (passively) and women that act

like Taurus (strenuously).

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Through this concurrent social prism, adding in the transcultural point of view

of the matter, the team undercooks the task of gathering photos of men-

Europe and women –Taurus in everyday life and photos of personalities

(women-Taurus) that have exerted great influence during the history of

mankind as well, followed by a text that substantially underlines this reversal of

these roles and pinpoints the cultural usual occurrence (e.g. Scandinavia in

comparison to Islam)

The face expression and the body movements of a famous Greek woman

,Melina Merkouri consisted the first phase of the woman-Taurus workshops the

and also of the games that followed

A collage of both the most famous and many inconspicuous women-Taurus was

created.

http://youtu.be/GVSnyxt8waw

http://youtu.be/GVSnyxt8waw

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2d mobility –Turda Romania –host organization

The team consisted of 9 members (2 stuff and 7 learners) Palermo’s

meeting and experiences which have been gained there gave a refreshing and fruitful

force to the Greek group for:

Developing stronger ties among all group members, not only with those who

were presented at Palermo but also with all who were waiting back home and

were eager to learn more about the meeting,

the presentation of their work as well as the workshops of the other partners

and the developing culture of the partnership

getting individual ownership with regards to group membership and objectives

becoming more reflective and aware of our work objectives for the time to

come

exploring our ideas deeper and making concrete steps towards to the common

goals

developing a culture of change and development

Even though the presence and work were in voluntarily base, most of group

members were constantly present and equally active as far as group tasks and work

was concerned.

The myth of Europe offered us a fruitful ground to explore key-

competences related to social identity, gender issues, diversity and culture etc. This

is the reason why the 2nd Greek workshop that was organized and performed in

Palermo and was related to the myth of Europe, had been concentrated mainly in

exploring the woman figure that was impersonated by two forms of approach:

woman as Europe and woman as Taurus.

This time, the group felt like bridging the first with the second mobility

workshops together, by using the sparkles of the myth of Europe. A new idea was

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shaped in order to be further explored: the man figure that is the Man - Europe.

Furthermore it was decided that the ancient myth of Cassiopeia would also offer a

new direction to be exploited.

Thus, the development of a common and clear vision and related values

offered the context for the group to develop its work, creativity and experience. The

final configuration of our workshops in Romania had been focused on:

1. to go a bit further with the myth of Europe (Taurus- man) so as to challenge the

contemporary social roles of men and women and explore social and civic

competences (as Key competences)

2. to present and explore the Myth of Cassiopeia, a key mythological person who

represents the common roots and origin of humanity (cultural awareness and

expression competences).

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3d mobility –Athens –host organization O.C.E.A.N NGO

Our team consisted of 15 members (3 stuff and 12 learners)

This time, our team explored the myth of «Prometheus" that had already

been investigated upon, even before the trip to Palermo, approaching the myth from

all possible sides and trying to find conceptual and interpretative communication

channels with the 3 other myths (Cassiopeia, Cave and Europe). Our exploration and

communication, via our team’s weekly meetings and via feedback communication

through T.O.O.L’S Google group and e-mail, resulted in many possible connecting

lines and tissues.

The main pillars of the association were:

1. The etymology of the name/word Prometheus from the ancient Greek

language. Pro –Προ (Pre-before) and medomai –μέδομαι (rationalize, have

providence on, look after, have wisdom) that stand for and means: the prudent,

the farsighted, the protector, the one who provides)

2. The approach of the myth of Cassiopeia through the prism of the common

origin and the common evolutionary history of the human species is based on

the interpretation of the myth aspect that we all had a common mother in

Africa millions of years ago. (Connection to the fossil of Australopithecus

Afarensis or best known as Lucy, that was discovered in Ethiopia in 1974, that

is the oldest fossil hominid - congenital human aged 3.2 million years and is one

of the most important evidence of our common evolutionary line as the human

species homo sapiens-sapiens)

3. The growth of the brain was an evolutionary revolution on the planet and the

development of intelligence and imagination ultimately led to the development

of culture, language, art and technology. Brain development was and is closely

related to and dependent on the beginning of the consumption of animal

protein and with the discovery of fire, on a secondary level.

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4. Here, another connecting line of the Cassiopeia-Prometheus myths was raised,

from the perspective of the interdependent evolution –fire dipole.

As fire, we could consider the flame of the spirit (imagination - inspiration)

and the fire as in itself, as an instrument and an ally (through its taming) of the

development of technology. It was the ultimate mean that helped humanity evolve

from monkey-like hominids that lived in caves and on trees and by the use of fire

they erected the human civilization.

The fire- inspiration on the one hand, assists the creation and leads to

immortality (science-technology, etc.) on the other hand it destroys and leads to

death in its superficial and incorrect use (weapons, environmental destruction,

diseases, etc.)

The Key-word that was raised and brought through the last meetings of our

group and consisted the main axis of the workshops was the word “Transition”

(evolution, transformation, development)

Body expression techniques: Transition from one level to another on the

vertical axis (floor level, medium level and standing level) and vice versa, attempting

a physical imprinting of two of the basic elements of nature (Earth and Air) and

transition from Earth into Air and from Air into Earth (Air = physical behavior - motion

with emphasis on the uplifting produced by inhalation and Earth = physical behavior-

motion with emphasis on the fall of the chest and of the body in general that is

caused by exhalation) and transition from open into closed solar plexus and the other

way around.

Another form of Transition that was raised through the team’s exploration

on the myth of Prometheus was the transition between a triptych of physical

imprinting pillars, the triptych of Animal-Human - and God that underlines the

conscious transformation of the bodies through the physical interpretation of these

three states and conditions.

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A workshop that arouse from our activity on these three pillars, was a

questionnaire that was formed through a free brainstorming on the concepts of the

Animal, Human and God triplet and consists of 3 or 4 questions on each subject-

concept. These questions were molded on the basis of a “dismissal” of the social

(mainly) stereotypes that enclose these concepts and on the mutual agreement to

set these questions through the prism of a child that approaches these abstract of

specific notions.

Finally, another axis of the approach to the myth of Prometheus was the

conception of the so called by our team: “Modern Prometheus”. By this title we

embrace and attribute to every man-woman-child that makes an ultimate transition

and puts himself/herself on the standpoint and the post of Prometheus, by

sacrificing his/hers personal welfare and “coziness” in order to provide “flame” to

the humanity, or produces a “flame/fire” of culture, ethics and inspiration by his/her

way of transition based on his/her life philosophy and approach on the most

significant life matters. (Workshop based on pictures of ‘Modern Prometheus’).

https://www.youtube.com/watch?v=U79b8BUjGps

https://www.youtube.com/watch?v=-X3fN2ysJWk

https://www.youtube.com/watch?v=5JF_n-ZNHmI

https://www.youtube.com/watch?v=jPeH5WnkNdE

https://www.youtube.com/watch?v=PFr9vY9Io3M

https://www.youtube.com/watch?v=U79b8BUjGps

https://www.youtube.com/watch?v=-X3fN2ysJWk

https://www.youtube.com/watch?v=5JF_n-ZNHmI

https://www.youtube.com/watch?v=jPeH5WnkNdE

https://www.youtube.com/watch?v=PFr9vY9Io3M

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Objectives

The basic objectives of the Greek team were:

to develop further understanding of key- competences within the framework

of lifelong learning

to explore and cultivate particular key- competences

to form and try out adult learning techniques based on theatre and drama

education

to re- discover Greek mythology as a canvas for making meaningful connections

with adult self and professional development

to contribute to the development of partnership and exchange experiences and

ideas so as to develop common tools

Means/resources

All the group meetings were held at a theatrical stage. As already

mentioned, twenty five adults participated in the project and among those, three

participants had also been involved in the project management.

A variety of material had also been used during the project, such as papers,

photos, markers, flipchart, flipchart sheets, worksheets and text copying, video

camera, video projector for PowerPoint support, photo cameras and all other means

necessary for the presentation of the workshops.

Needless to mention that different means of expression were also used

such as music, storytelling, videos and so forth.

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Methodology and development of work

The way that the group worked had been gradually structured as follows:

At weekly meetings:

1. body warm up (in the plenary)

2. work in small sub-groups

3. exchange opinions and ideas (in the plenary)

4. Internet communication:

A Google group had been created which maintained alive during the whole

week for fruitful brainstorming, short presentations, field research findings in the

subjects derived and so forth. Simultaneously, the Google group enabled and

empowered the dialogue in a written form that always adds another dimension of

communication.

For the Greek partner, TOOL was after all a life learning project that enabled

its participants to:

1. form creative ideas

2. discuss upon them

3. develop means of group brainstorming

4. learn to disagree

5. work towards a common goal through body, oral and written communication.

The group had developed the collaborative skills by constructing and de-

constructing through composition and abstraction in order to form life learning tools

for theatre education.

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Evaluation

For the evaluation different means were used based on formative

qualitative evaluation framework. Those means were: Group critical reflections at

the end of each group meeting, coordinator’s records/logs for each meeting, a

meeting agenda as well as a feedback report were sent via Google’s group before

and soon after each meeting accordingly, by the group’s coordinator. Additionally, a

final evaluation meeting was held soon after the Athens mobility was completed and

relevant records were kept.

Results

The key- points that both the experience gathered as well as the evaluation

pointed out are:

Experiential learning and theatre based techniques offer a non- threatening

and valuable tool for self-exploration and self-learning for adult learners

Key competences that are related to learning to learn, social and civic skills

and cultural awareness and expression are fundamental as they offer the ground for

deeper understanding of the self and the other

Developing communities, where learning can be a basic part of their scope,

can offer space for self and professional development

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Group work in national and European level were means of its own right to

develop the key competences mentioned above.

Diffusion and multiplicity of the results (gathered experience as well as the

tangible outcomes of TOOL project) give a potential for further experimentation and

exploration to individuals, groups and organizations.

https://www.youtube.com/watch?v=GpmYqB3Lwkk

Recommendations,at organizational, local, national, EU level.

At organizational level: The O.C.E.A.N NGO can use the experience and the

tools gathered in order to train new comers -adults or groups of learners with

particular characteristics. The organization can also further try out and/or develop

methodologies and tools which were explored within TOOL project.

At Local Level: The O.C.E.A.N NGO by the use of its networks can diffuse the

relevant experience and invite formal and non-formal training organizations

targeted on adults to include relevant methodologies to their curriculum.

At National Level: Sharing throughout the network channels the advantages

and limitations of the use and implementation of theatre and drama techniques for

educational purposes, especially whilst working with adult learners, exchange of

positive knowledge and experience and how one can work with people from

different countries with different backgrounds and different cultures.

At EU level: The TOOL project offers the opportunity to develop a concrete

dialogue based on experiences and tools related to adult experiential- organic

learning based on theatre and drama techniques so as to cultivate further key

competences, visioning adults with a European orientation, who are more capable

and ready to learn, to accept others, to be aware of civic rights.

https://www.youtube.com/watch?v=GpmYqB3Lwkk

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APPENDIX

Short presentations of the Greek Myths which the Greek partners have

chosen to work with.

The myth of Europe

The myth of Europe is a fascinating myth of the Greek Mythology that

inspired writers, historians, painters and politicians who gave her name to coins, a

continent and created several pieces of art depicting the love making of Zeus and

Europe.

Europe and Zeus

Europe was a beautiful princess, who was abducted by Zeus, brought to

Crete, and born three sons – Minos, Rhadamanthys, and Sarpedon, who all became

judges on the Underworld. Zeus was the father of all the children of Europe but he

asked her to marry Asterion, the king of stars. And she did.

The myth of Europe and its variations

Starting off as a mortal woman in Greek Mythology, Europe became

immortal after her name was given to the continent. One legend says that Europe

had a dream one night in which two women – actually two continents –were arguing.

One of them, Asia, believed that Europe belonged to Asia, since she was born there.

The other one with no name -Europe – Zeus said that he would give the name to her.

The myth of Europe and Zeus has some slightly different variations about the details

of how they met and how the bull did seduced her. What all of them have in common

is that Zeus one day saw Europe among other young women and was so struck by

her beauty and her charms that he, known as the God with many love affairs, decided

to take her for himself.

His plan was to turn himself into a white bull and swim to the shore of Asia

where she lived. The bull was so pretty and gentle that all women at the shore fell

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for him. But he bent in front of Europe offering her his back to ride. She mounted on

his back and the bull took her from Phoenicia, across the sea, to Crete, to Dikteon

Andron, the cave where he was born. That is where he revealed his real identity to

Europe.

Dikteon Andron cave, located in the eastern part of Crete, is famous

because it was the place of the birth of Zeus, highest of all Gods, and because it was

the love nest of Zeus and Europe.

There is though, a different version of the myth, according to which Zeus

brought Europe to Gortyn in Crete and they mated below a platanos (plane tree),

which became since then an evergreen tree.

Europe was a daughter of the Phoenician King of Tyre Agenor, and Queen

Telephassa. Europe has two brothers – Cadmus, the one who is believed to bring the

alphabet to Greece, and Cilix, whose name was given to Cilicia in Minor Asia. When

Europe disappeared on the back of the bull Agenor sent his sons to look for their

sister ordering them not to come back without her. Brothers went in different

directions, stopped looking for her after awhile, and Europe stayed with Zeus.

Zeus’ gifts to Europe

Zeus’s love for Europe was so big that he gave her the finest presents: Talos,

Laelaps, and a magic javelin. Talos was a man of bronze who was the guard of Crete;

http://www.explorecrete.com/archaeology/dikteon-andron-cave.html

http://www.explorecrete.com/archaeology/gortys.html

http://www.greekmyths-greekmythology.com/wp-content/uploads/2009/08/europe-zeus.jpg

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Laelaps was a hunting dog, and the javelin was magic since it could always hit the

focused target. And that bull, that seduced Europe, was eventually turned into the

constellation of Taurus. But Zeus’s interest passed, and he arranged Europe’s

marriage to Asterion. The mythical love story of Europe and Zeus has been a theme

of many artistic presentation and achievements. Nowadays, the Greek coin of 2

Euros has an image of Europe’s abduction from Zeus as a bull.

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The Myth of Prometheus – The Thief of Fire

The myth of Prometheus and fire makes us contemplate on a serious

question: If Prometheus hadn’t stolen the fire from Zeus, what the mankind would

have done? But the mischievous Titan in the Greek Mythology stole it and while he

was glorified by the mortals he was cruelly punished by the God of all Gods.

Considering this Prometheus’s deed as one of the biggest crimes ever –

although it was not the first time that Prometheus tricked Zeus – the Mighty God

had Prometheus chained to the rock where an eagle was missioned by Zeus to eat

his eternally replenished liver every day.

What a dispute between mortals and immortals! And what a great story for

artistic expressions and theatrical plays! And most importantly, that punishment was

not the end of the tale of Prometheus and Zeus. But let’s start from the beginning.

http://www.greekmyths-greekmythology.com/prometheus-fire-myth

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Prometheus and Zeus

Prometheus was one of the Titans, who at some point was sent to Tartarus

by the enraged Zeus that didn’t tolerate and bare the Titans’s fighting against him in

the famous Battle of the Titans – Titanomachy.

However Prometheus was not directly involved in the war, so Zeus saved

him from Tartarus and gave him a mission – to form a man from water and earth.

Prometheus accomplished the task, but while working on his creation, he grew fond

of men. He didn’t care much ever about the Gods and their hierarchy, and however

friendly treated by them, he was much more comfortable being around the

immortals.

In any case, Zeus’s idea was not to have men with any unusual power. But

Prometheus was thinking the other way, and decided to steal one of the powers Zeus

was particularly sensitive about – fire.

Prometheus steals Fire

Thinking about that the stealing fire was easy, it finally proved a bit more

complicated. Prometheus, known for his wit and intelligence, had captured an

immediate plan – to trick the goddesses by throwing them a golden pear (in some

version – apple) into the courtyard with a message: “For the most beautiful goddess

of all”.

It worked as he had planned – the goddesses started to fight and argur over

the fruit while the other gods were completely enjoying the scene. All of them were

distracted and meanwhile Prometheus didn’t have a hard time stealing the fire from

the Hephaestus’s workshop. Hephaestus was, among other stuff, the Greek god of

fire. Prometheus happily left the Gods’ playground and took the fire with him either

in a hollowed pumpkin or hollowed reed (depending on the interpretation) and

brought it to Earth and gave it to humans.

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Oh, how furious Zeus became. After so many times being defied by

Prometheus, Zeus decided that this time he had had enough., He then commanded

Hephaestus himself to chain Prometheus on the Mount Caucasus where the eagle

would eat his liver every day till eternity.

But, time passed and Zeus offered to Prometheus an alternative way to gain his

freedom, in exchange for the revelation of the prophecy that predicted the

dethroning of Zeus. Prometheus refused. But much later Zeus’s son Hercules, on

his journey to fulfil the Twelve Labours, passed by the Mount Caucasus, saw

Prometheus and decided to kill the eagle and free the chained Titan. Zeus was very

angry initially but he eventually agreed to grant Prometheus his freedom.

Well, some sort of freedom that was, since Zeus wanted Prometheus to

carry a reminder of his punishment forever – he ordered Prometheus to make a steel

ring from the chains he was in, and wear that ring from then on. Since then, the

mankind started creating rings in order to celebrate Prometheus and commemorate

his help.

http://www.greekmyths-greekmythology.com/wp-content/uploads/2009/08/prometheus-eagle-eating-liver.jpg

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Plato's Allegory of The Cave: Meaning and Interpretation

Plato in his classic book The Republic, from which the Allegory of the Cave

is extracted, says the most important and difficult concepts to prove are the matters

we cannot see, but just feel and perceive. Plato's allegory is a depiction of the truth

and he wants us to be open-minded about change and seek the power of possibility

and truth.

Plato was a Greek philosopher and mathematician who is said to have laid

the basic foundation of Western philosophy and science. His classical philosophies

on human nature reveal the basic truth as well as flaws in the psychological evolution

of mankind. In his book - The Republic, Plato covers and explains the effect of many

interesting aspects like libertarianism, afterlife, truth, justice, etc., on society from

the perspective of a philosopher.

The Allegory of the Cave is a hypothetical scenario, described by Plato, in

the form of an enlightening conversation between Socrates and his brother,

Glaucon. The conversation basically deals with the ignorance of humanity trapped in

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the conventional ethics formed by society. It covers both the fallen and risen state

of mankind, from the phase where the man is in search of truth and once he is made

aware, all he wants to do is share it with others and free them from the bondage of

ignorance. Let's have a look at the different phases that summarize the complete

meaning of the allegory.

While describing the story, Socrates asks Glaucon to envision an

underground cave inhabited by prisoners, who have been in the cave from their

childhood with their legs and necks shackled by chains, so that the movement of

their face is restricted, and they can see nothing but the wall in front of them.

This restricted movement limits their visibility only to the wall, thus

circumscribing the scope of any encounter beyond it. There is an enormous fire

blazing at a distance, above and behind the prisoners, and between the fire and the

prisoners there is a raised walkway meant for objects to pass. The shadows of all

sorts of objects (animal, jar or tree), as shown in the image, fall directly on the wall.

Thus providing the sole view for the prisoners, and say there was an echo/voices that

came from the wall because of the puppeteer, the prisoners would perceive it to be

the voices of those passing shadows. Hence, the only way for the prisoners to get

acquainted with their surroundings is to decipher or interpret the shadows and

consider them to be a part of the real world. They start naming each and every

object, and amongst themselves declare the quickest one to observe the passing

shadows and point out which followed after or before or were together as the

winner, with intellectual knowledge and ability.

Socrates further says, what if a prisoner is released, by someone and is

forced to suddenly stand, move his neck and made to look towards the fire and the

objects whose shadows he had seen before. Wouldn't all this hurt and confuse him,

if someone were to tell him that the shadows he saw earlier were all an illusion. But

what he sees now is the reality and then somebody drags this prisoner to see the

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outside world and hold him in the presence of the Sun. He, like all the prisoners being

accustomed to dim light, turns his gaze away from the bright sun. His vision being

temporarily overcome by the intense light, the outside world was beyond his

comprehension.

Slowly he gets used to the existence of the new world, which delineates the

fallacy of that inside the cave. Now, on an intellectual journey, he discovers the real

shadows of the outside world, the reflection of objects in the water, the beauty of

Mother Nature, skies, stars, moon, an almost divine experience of the newly found

mystical world. Next, he begins to study the Sun and its surroundings. Leading him

to reason the Sun as the cause of all things, from the seasons to the years. All of this

his fellow prisoners are unaware about.

He considers himself lucky and blessed, for the change he undergoes and

pities the prisoners living in the same old habitat. In his old situation, he remembers

how they would compete to recognize each passing shadow, that of which is nothing

compared to what he is able to grasp and see now.

Now, what if this prisoner were to return to the cave, and find the other

prisoners busy competing and asking him to join in, wouldn't the shadows appear

blur to him because his sight is still weak by the sudden exposure and before he could

adjust to the darkness, the prisoners start to ridicule him for having lost his eyesight.

They would remark that it would have been better, if he had stayed in the cave. And

if someone, were to repeat this or release another prisoner, that culprit should be

caught and put to death.

He tries to persuade his companions, that outside there is a more real

world, and what they saw were mere shadows of the real objects. He tries to point

out the deep-rooted ignorance of the fellow prisoners, who are trapped within their

own confinement of pseudo intellectualism. But the prisoners try to resist

enlightenment and condemn him for moral misconduct and loss of ethical values.

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Cassiopeia the Queen

Cassiopeia was a woman in Greek mythology. She was the wife of Cepheus

who was king of a place called Ethiopia. It is not the same place as the African country

that is nowadays called Ethiopia. They had a daughter called Andromeda. Cassiopeia

was very beautiful but also very arrogant and vain. She thought that she was better

than other people. One day, Cassiopeia said that her daughter Andromeda was more

beautiful than all of the Nereids. The Nereids were sea-nymphs. When the sea-god

Poseidon heard about what Cassiopeia had said, he became very angry. He sent

floods and a sea monster called Cetus to destroy Ethiopia. Cassiopeia and her

husband Cepheus asked an oracle to guide them what to do. The oracle said that

they had to sacrifice their daughter, so they chained Andromeda to a rock. A hero

called Perseus came and rescued Andromeda. Later on, they got married. Poseidon

was still angry with Cassiopeia and wanted to punish her. He placed her in the sky

dome. There is a constellation called Cassiopeia named after her.

The allegorical meaning of the myth is the connection of most of the formal

Greek genera and major demigods (mythical heroes) of many countries (Cilicia,

Egypt, Libya) under the same mother who brought beauty and grace to all her

children (people) for whom she asked Jupiter to monitor them from above (from the

vault) and she protects them as a constellation. And the involvement of Poseidon as

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a punishment instead of Hera illustrated prehistoric geological upheavals that

occurred to the landscape of Greece resulting in the flooding of water (deluge of

Deucalion) and therefore essentially the separation of the ancient genera.

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PARTNER Fundaţia Raţiu pentru Democraţie INTRODUCTION

Theatre/drama is a tool for lifelong learning; it builds on the skills and

effects associated with creative arts. Working with young people and adults we use

methods and theatrical productions to develop communication skills, self-

confidence and creativity.

Things that enrich the knowledge that we already have and also helping

each individual to overcome their limits or comfort zone. We do not put bricks of

knowledge in our wall only for our personal growth, but we share what we have

learned or acquired with the people around us and not only. Equally we want to learn

from other organizations involved in T.O.O.L. project and put in connection our youth

and adults to exchange experiences with others strengthening their sense of

solidarity and take benefits from this. Among adults and especially the seniors it is

installed a sense of routine, hopelessness and exclusion. Seniors are categorized as

people who should retire to live peacefully their old age and give place to young

people because they have energy and innovative element. But some of them do not

accept this condition and try to make themselves useful and are willing to learn new

things, even if unrelated to =their profession or have never encountered such

situations.

TARGET GROUP:

Young people over 18, adults and seniors, groups of adult learners and

trainers who work with adults, all those people interested in education, theatre and

promotion of the EU values interested in lifelong learning, able to push toward

learning, people who do not put a strong emphasis on learning.

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DURATION:

Of T.O.O.L project, 24 months from 1st August 2013 until 31st July 2015, in

Romania the mobility took place between 13th-17th October 2014.

STUCTURE:

Italian Mobility - Improvisation Theatre:

Theater through improvisation method helps participants to develop

spontaneity, imagination, intuition and flexibility to think positively, to gain

confidence in themselves and to strengthen relationships with others. In this kind of

method it used body language, mimic, sounds and some words. All this happens in a

fun environment, without competition, where everyone can explore the artistic side

without language barriers. The skills acquired through improvisation serve not only

in professional, but also to improve relationships with others because we were

working in teams.

Romanian Mobility Case study – open discussion:

"Varvara and the doctor" by Tudor Popescu

The play it is a short comic sketch. The author uses the language of comic

dialogue, especially comic!” At one point the doctor accuse some pain and begin to

prepare his medicines but Varvara, with its power of persuasion, diagnosed the

doctor. She pull out from her basket the herbal remedies and apply them. Finally,

after she treats the doctor expresses her gratitude and praise the consultation

“provided by the doctor”. Varvara rewards the doctor with her homemade products.

The doctor makes up for her treatment with a pack of cigarettes for Varvara

husband.

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Conclusion:

You've seen in the sketch that the doctor, who has University studies in the

field of medicine, has been influenced by Varvara a simple country woman who

managed to subdue him with an extraordinary persuasion proposing all sorts of

empirically cure, and the doctor was convinced to use them.

Sometime persuasion can bring the people around you in the point that you

want. Varvara suggested a treatment which was not based on studies and research,

yet she manages to convince the doctor to apply it.

We can Learn from all unexpected situation.

QUESTIONS were proposed by the coordinators for the opening of

discussion:

1. What did you learn from this situation?

2. Do you think that persuasive behavior it is the proper way to teach your

audience, even if your lessons are not based on a proper research?

3. What is the best way to teach or learn from someone, from your point of view?

4. Greece Mobility - Workshop “From the sounds and signs to learn through

improvisation".

Since ancient times, primitive people felt the need to communicate. History

of writing can start with the oldest means of visual communication that have been

preserved: the Paleolithic pictorial representations which, over time, evolved into

"Proto-writing". The use of icons was the first systematic attempt to set speech, but

it was a rather limited use, the icons could represent concrete objects but could not

play articulate sentence.

At first, pre-humans beings communicate like other mammals. Millions and

millions of years had to pass before it became possible to adopt at least some

standardized gestures. Noise and body movements were the instruments of

communication. Sounds and other kinds of signals have been used for generations

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to engage in exchanges needed basis a social life, as learning ability has evolved over

millions of years of pre-human development, communication systems based on signs

and signals have become increasingly elaborate, conventional and efficient. At one

point, learning started, no doubt playing an important role in increasing significantly

the ability to understand and participate in local systems of signs and signals

invented by each family or group for communication. After a long period of time,

these capabilities like sounds and body language were developed and became

advantageously, modes of communication increasingly complex and relatively

efficient, based on common rules of interpretation.

Based on the presentation above, the Romanian team proposed an exercise

metamorphosis of objects and a theatre improvisation exercise, based only on

objects, sounds and signs. Using non-formal education we worked in teams and

managed to do ad-hoc a theatre scenario, distribution of roles, stenography and play

it only using gestures and sounds.

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OBJECTIVES:

Development of education through theatre: exchange of knowledge of using

theatre in education,

Promotion of European Key Competency - “Learning to learn”, using theatrical

methods,

Raising awareness in regards of multiculturalism and diversity among the

participants - through the “Social and civic competence” and “Cultural

awareness and expression” - intercultural evenings,

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Contribution to the development of the online platform of T.O.O.L project

offering the experience and knowledge accumulated during the

implementation,

Giving constructive feedback/recommendation - on how theatrical methods

help adults to develop their skills

MEANS/RESOURCES:

The Romanian team resources were:

human resources: project managers, actors, students,

materials: markers, flipchart, flipchart sheets, worksheets and text copying,

video camera, video cassettes, video projector for PowerPoint support, photo

camera and other object necessary for the presentation of theatre play

METHODOLOGY AND DEVELOPMENT OF WORK:

The methodology used by Romania, linked to key competence "learning to

learn" capitalize heuristic educational strategies combining different techniques.

Theatrical techniques, improvisation, mime, presenting a case study, these methods

stimulate creativity, group work and experiential learning.

EVALUATION:

Evaluation methods used by the Romanian team:

video recordings, photographs, experience of the participants after each

sections like self-assessment and group evaluation, "diary day" after

completing all the activities of the day and the questionnaire.

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RESULTS:

more intensive European cooperation by learning and transferring knowledge

among the partners and further to their wider target groups using theatre

methods in education,

enriching knowledge regarding the culture and traditions of the project

partners,

acquiring new ways of learning through non formal methods and learning new

things,

above all, the most visible result is the site of the project shared with people

outside the project, they can use the information posted as learning tools

methods.

RECOMMENDATIONS:

In the organization:

Using knowledge acquired, in training the other members of our organization,

Sharing within the team members the cultural experience that we had during

the mobilities.

Local:

Inviting local representatives from schools, different NGO’s and Day Care

Centers who are working with students and adults in town, to present the

website of the project, promoting Key Competences and non formal theatrical

methods of learning.

National:

Sharing throughout the network channels the advantages and limitations of

using theatre in educational purposes, exchange of positive knowledge and

experience and how you can work with people from different countries with

different backgrounds and different cultures.

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EU level:

To develop communicational canals and decision mechanism among EU

organization, so that we can cooperate to include other organizations and

institutions to create a Europe wide network of organizations who consider the

use of theatre in education as the core for development of future Europe of

citizens.

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V. INVESTING IN HUMAN CAPITAL

Human capital, a resource without which no vision, idea, project or simple

action could never be implemented.

The evolution of man, society and the economy is very obvious. Making a

simple comparison with primitive man from ancient times and the need of

communication with peers, he found the way to make himself understood by the

group to which he belonged.

Signs, gestures or sounds were primitive ways in which our past fellows

began to communicate then learned to express themselves in an articulate language

that each group of people have adopted, in order to make them comprehensible.

Began to create tools that they use to ensure their food or make their

clothing. Just referring to these simple aspects of primitive man, we can realize great

strides and human development today; it's the easiest way to see how the human

being acquired skills and knowledge during time.

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People are effective, producing / supplying certain things / services act, in

one way or another. This happens not only because in this way they ensure their

subsistence, a good or very good physical condition necessary to live, but also

because the social and economic function by using the human resources.

Human is part of lifelong education constantly, and the way in which

individuals develop their own skills is assumed by each individual personally.

Periodically, the individual needs to update their skills through training to

achieve maximum performance.

For example, soil to bear fruit it must be processed, digging, cleaning, loose

seeds, etc. Even if machines execute one or more operations, one thing is certain

need for work force.

No machine does not work without the human input.

The talent is often a skill that you are born and expressed naturally, but

even talent should be cultivated and developed. The results can be spectacular when

you value your talent and develop it constantly.

That does not mean that your life should rotate solely around it, people

learn, build and develop other skills that are necessary throughout life and why not,

he develops skills that might be useful in the future.

Individual effectiveness and results of his work heavily dependent on its

formation. Any trader wants a substantial profit as the economic activity they carry

out.

The evolution and growth go hand in hand with innovation and creativity.

Education plays a vital role in human resource development; capping individual at a

certain level is not desirable. This is why lifelong learning is the only way we can form,

evolve and be proficient in our work. We do these things not just to keep up with the

market, but because each person's contribution to the labour market should bring

profit.

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Mediocrity, does nothing but lead to cap and eventually to involution, so to

speak, or why not even the collapse, whether we are talking here of a business or

individual as a working man. It keeps only to us, to grow and develop our skills and

knowledge, not to be superficial and ignorant.

Things never stay in the same spot, finished products change their form or

composition, and everything turns or develops and increase quality.

Why?

Because man is a complex being, in addition to the usual needs, it develops

over time other needs and claims to quality. If the individual needs and demands are

known or can be predicted they must be satisfied, if they are fulfilled, satisfaction

comes but not only that, there will be also economic profit.

The information is giving rise to intellectual capital. Any company or

institution is seeking staff with a superior intellectual capital, on long-term it can

meet the demands of society and the economy.

Why not use tools and methods of learning in our case, methods that are

provided throughout our adult life through various programs supported by the

European Union?

Why not invest in ourselves, when we have these opportunities?

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According with Eurydice Report – “Education and Training in Europe 2020”,

Responses from the EU Member States in regards with Adult Lifelong Learning within

EU policies and priorities using alternative educational means.

Adult participation in lifelong learning is far from reaching the

15 % benchmark in the majority of EU countries; only five Member States

(Denmark, the Netherlands, Finland, Sweden and the United Kingdom)

have exceeded this target. However, current policies to increase adult

participation in lifelong learning can be found in countries with rates both

above and below the 15 % benchmark target.

But in general, the lower performing countries report fewer measures than

the high performers taken since 2011 to increase adult participation in lifelong

learning. Apart from developing qualifications frameworks and validation of non-

formal and informal learning, which all countries are doing, the five countries

performing under 3 % in adult participation in lifelong learning (Bulgaria, Greece,

Croatia, Hungary and Romania) report the following measures being implemented:

Bulgaria reports large scale initiatives since 2011 in awareness raising activities,

Greece reports large scale initiatives in flexible pathways since 2011, Hungary

reports large scale initiatives for financial support since 2011 and Romania reports

large scale initiatives since 2011 in career guidance.

Six countries (Belgium, Estonia, Spain, France, Poland and Slovenia)

received 2012 and 2013 CSRs related to lifelong learning. Recommendations refer to

the need to increase participation in lifelong learning; adopt a lifelong learning

strategy, widen the access to lifelong learning for people with low level skills and

strengthening the coherence between education, lifelong learning, VET and

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employment. All six countries report measures currently being taken or in the

planning stages to meet their CSRs.

The policy objective of reaching the benchmark target for adult

participation in lifelong learning is being tackled by Member States with large scale

initiatives aimed at improving access to lifelong learning for adults. Almost half of the

countries report large-scale initiatives for improving career guidance, ten

countries/regions (Belgium – Flemish Community, Germany, Estonia, Greece, Spain,

France, Latvia, Malta, Finland and Sweden) report large scale initiatives for flexible

provision and pathways in lifelong learning, and for financial support (Estonia, Spain,

Lithuania, Luxembourg, Hungary, Austria, Slovenia and the United Kingdom

(England/Scotland)).

Four countries (Bulgaria, Estonia, Luxembourg and Finland) have carried out

awareness-raising activities since 2011. Estonia is the only country that reports large-

scale initiatives in all these areas, but Finland and Luxembourg are following closely

behind. The need for continuously upgrading skills and matching competences to

meet evolving labour market demands is recognized throughout Europe.

A lot is done to increase adult participation generally in lifelong learning,

but only Slovenia reports measures by employers that encourage their employees to

take part in lifelong learning.

Three countries (Estonia, Spain and Slovenia) with 2012 and 2013 CSRs for

improving access of adults with low-level skills to lifelong learning report measures,

such as special training programmers. Overall, very few of the measures to increase

participation in lifelong learning are specially targeted to adults with low-level skills

and when this is done measure include financial support and outreach activities.

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Validation and recognition of informal and non-formal learning is on the rise

and is used as one of the tools to motivate adults to engage in further learning.

The work of developing qualifications frameworks is progressing with

countries referencing their NQF to the EQF. In addition, some countries (Estonia,

Greece, Poland and Portugal) have taken measures to enhance the transparency of

training provision in VET. About two-thirds of the countries report measures

addressing qualifications standards and quality assurance in VET, with 14 countries

improving the quality assurance systems.

In conclusions, exploring new forms of assessment instruments, new

methods to learn and develop constantly our skills it is a need of the life learning

process.

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Each individual should take advantage of the opportunities that European

programs put at our disposal to make continuous learning as adults.

As mentioned above, things change and grow steadily throughout the

contribution of certain individuals.

Therefore we ought to grow in knowledge and in turn contribute to our

society and economy.

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VI. CULTURE

Turkish Culture has been defined in a number of ways, but most simply,

culture is the characteristics of a particular group of people, defined by everything

from language, religion, rituals, beliefs, values, behaviors, cuisine, social habits,

music and arts. Culture determines what is acceptable or unacceptable, important

or unimportant, right or wrong, workable or unworkable. It also includes the way

people think about and understand the world and their own lives.

PARTNER YENIMAHALLE ILCE MILLI EGITIM MUDURLUGU Cultural Awareness and Expression

INTRODUCTION: theoretical background

As a governmental regional educational authority in charge of planning and

coordination of all educational and training activities from pre-school to the end of

secondary school, the institution Yenimahalle Ilce Milli Egitim Mudurlugu intended

to use theatre and drama techniques to develop and foster key competences for

lifelong learning. As defined in the Recommendation of the European Parliament and

of the Council of 18 December 2006 on Key Competences for Lifelong Learning;

“Cultural Awareness and Expression” is appreciation of the importance of the

creative expression of ideas, experiences and emotions in a range of media, including

music, performing arts, literature, and the visual arts. 15 Essential knowledge of

cultural awareness and expression includes an awareness of local, national and

European cultural heritage and their place in the world. It covers a basic knowledge

15 Recommendation of the European Parliament and of the Council of 18 December 2006 on key competences for lifelong learning, OJ L 394, 30.12.2006, p. 10–18 (ES, CS, DA, DE, ET, EL, EN, FR, IT, LV, LT, HU, MT, NL, PL, PT, SK, SL, FI, SV)

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of major cultural works, including popular contemporary culture. It is essential to

understand the cultural and linguistic diversity in Europe and other regions of the

world, the need to preserve it and the importance of aesthetic factors in daily life.

Especially in 21`st century, being a world citizen depends on understanding

other cultures and being aware of them. This condition became more and more

important and vital as long as international circulation speed of capital and

globalization increase. As a result the cultural differences come to the fore in

interpersonal interactions. For the components like the time, language, eating

preferences, clothing types have been determined according to the cultural learning.

It has become an obligation for a person or a business, who want to be successful in

global economy, to obtain the intercultural communication competency. There are

many methods for developing intercultural competency and one of them is cultural

diversity training. Developing intercultural competency includes wide range of

process from obtaining awareness connected with the culture, to the phase in which

intercultural skills have been gotten. 16

The concept of ability or competence was first used in Hammurabi Laws.

Later, the concept was used during Persian Era and then after 16th century used in

professional terms in Europe. After 1950’s, usage of the concept became widespread

and after 2000’s conceptualized by European Commission. The concept of

competence basically means acquisition of knowledge, control of skills and

possession of variety of qualifications. In a wider perspective, competence means

possession of knowledge, talent, and attitude that required fulfilling roles and duties

that people assumed in various environments.17

16 1- Temel Eğinli, Ayşen, “Kültürlerarası Yeterliliğin Kazanılmasında Kültürel Farklılık Eğitiminin Önemi”, Öneri.C.9.S.215-216,(January, 2011)

17 Mulder, M.; Gulikers, J.; Biemans, H. & Wesselink, R.(2009). The new competence concept in higher education:error or enrichment? Journal of European Industrial Training, 33(8/9), 755-770

96


In this context, intercultural competency refers to ability to develop

empathy with people from different cultures, ability to effort to understand those

people’s ideas and behaviors without judging them, being away from ethnocentrism,

and recognizing people with their differences and similarities. In other words, the

concept points out empathy centered worldview and success of communication with

other cultures.

Obtaining intercultural competence paves the way for true communication

and eloquent relationships even among different communication codes and styles.

When intercultural competence is directly related with communication, it is

important to denote that cultural competences are not identified only with learning

different cultures and communicating in accordance with those cultures, but also

being aware of cultural differences even within the same region and being conscious

while delivering verbal or/and nonverbal messages. Since cultural differences cover

a lot of matters such as value of communication, perception of time and social

relations, being ware of them requires a long termed and gradual learning. In this

process, the first phase is discarding one’s own cultural boundaries in order to

recognize that there are values other than one’s own cultural norms.

The second phase is analyses of differences through a struggle for

decreasing problems such as misunderstandings, misinterpretations and

misjudgments. The final phase is adaptation which means being able to interact

positively and sustain this interaction in the basis of needs and intentions related

with cultural differences. In other words, to gain competence of cultural awareness

and expression, contiguous phases should be actualized and a progressive process

should be followed.

There is different point of views about which phases should be actualized

in order to make possible the progressive process in question. The first view focuses

on communication and sustaining the communication abilities, and claims that

97


obtaining attitudes and developing skills related with other cultures in order to

communicate with people who belong to these cultures is important. On the other

hand, according to the second point of view, the focus is on decreasing

misunderstandings and recognizing differences. After that people should get

knowledge about values, norms, and verbal and nonverbal styles about target

culture, and then gain ability to interact positively and to sustain the interaction.

Pyramid Model of Intercultural Competence which is developed by

American Council on International Intercultural Education consists of four

progressive phases. It is claimed that these phases develop competences about

correlation among global system, different cultures, intercultural skills and

experiences, general information about world history and historical events, and

detailed and specified practices. At the first phase, openness to the different cultures

is elaborated. Therefore, openness to the different cultures is accepted as start point

of gaining intercultural competences.

In addition, it is claimed that the start point, the first phase or openness to

the different cultures has a direct relation with every single phase and the whole

process.

Pyramid Model of Intercultural Competence shows that progression of

intercultural competences depends on a variety of components and those

98


DESIRED EXTERNAL OUTCOME:

Behaving and communicating effectively and

appropriately(based on one’s intercultural knowledge,

skills, and attitudes) to achieve one’s goals to some

degree

DESIRED INTERNAL OUTCOME:

Informed frame of reference/filter shift:

Adaptability (to different communication styles & behaviors;

adjustment to new cultural environments);

Flexibility (selecting and using appropriate communication styles and

behaviors;

cognitive flexibility);

Ethno relative view;

Empathy

Knowledge & Comprehension:

Cultural self-awareness;

Deep understanding and knowledge of

culture (including contexts, role and

impact of culture & others’ world

views);

Culture-specific information;

Sociolinguistic awareness

Skills:

To listen, observe, and interpret

To analyze, evaluate, and relate

Requisite Attitudes: Respect (valuing other cultures, cultural diversity)

Openness (to intercultural learning and to people from other cultures, withholding judgment)

Curiosity and discovery (tolerating ambiguity and uncertainty)

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Move from personal level (attitude) to interpersonal/interactive level (outcomes)

Degree of intercultural competence depends on acquired degree of underlying

elements 18 components have effects on external outcomes. Pyramid Model

points out that characteristics of person determines the process of obtaining

knowledge about different cultures. According to the model, change in

characteristics of person is not enough for ending with desired external

outcomes. To make external outcomes positive, person should develop effective

and proper behaviors in intercultural cases. For example, although learning

language is accepted as a key for clarifying cultural values and norms in the

process of developing intercultural competence, it is not enough to obtain

competences in question. Language is required for person to develop certain

intellectual models and perceive psychological phenomenon.19

At this point; the model shows that openness and flexibility features are

more necessary than information. Openness means both open-mindedness and

eagerness for change. At the same time, it means the level of toleration against

unfamiliar or uncertain situations.

Therefore people who have openness feature adapt different cultures and

people in a shorter time, and attempt to gain new ideas even in an unfamiliar

environment. Flexibility refers the permission that people give themselves to adapt

new situations.

Thanks to flexibility, two or more people can keep up reciprocally, perceive

each other better and adapt.

The organization, Yenimahalle Ilce Milli Egitim Mudurlugu intended to make

educators able to use theatre and drama techniques while training their pupils to

18 Source: Deardoff, D.K. (2006). Idenfication and Assesment of Intercultural Competence as a Student Outcome of Internalization. Journal of Studies in International Education, 10(3), 254 [8].

19 Selmer, J. (2001). The preference for predeparture or postarrival cross-cultural training, An exploratory approach. Journal of Managerial Psychology, 16(1), 50-58.

100


obtain key competences. Within the context of theoretical background mentioned

above, our team aimed to cultivate theatre practices that help people to develop

cultural awareness and expression.

Since theatre is defined as a collaborative form of fine art that uses live

performers to present the experience of a real or imagined event before a live

audience in a specific place, using theatre and drama techniques, and theatre itself

is an effective way to deliver requirements such as eagerness, knowledge and

flexibility to the target group.

Because, performers may communicate this experience to the audience

through combinations of gesture, speech, song, music, and dance.

All these are components of cultures.

Beside, theatre makes possible to apply the principles of creativity,

collaboration, and community to the process of exploring all the subjects related

with culture even sensitive ones, which have polarizing nature and/or historical

legacies such as race relations, gender dynamics, sexual orientation and privilege.

Theatre provides students a safe environment to engage even these

important social issues while cultivating analytical and facilitative skills necessary for

healthier and more nuanced conversations.

As a result, students are better equipped to fully participate in critical

analyses of plays, films, current events and performance techniques that encourage

self-reflection and assessment of personal biases. By experience of TOOL, one of the

most effective ways to promote the values of inclusive excellence and experiential

learning in community-centred, educational or workplace setting is achieved. At the

foundation of this experiential learning process are three key components that are

rooted in valuing the lived experiences of others.

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Creativity and Characterization – The process of creating a character

requires actors to suspend their personal opinions, values and judgments about the

composition of a character’s background and motivations. The same can be said for

individuals who actively practice the actor’s craft as a process for self-reflection

leading to a more empathetic understanding of other individual’s life journeys.

Collaboration and Research – Using their life experiences as inspiration,

students learn the art of collaboration and research in order to perform original

dramas that further illuminate the complexities of human interaction as they relate

to cultural competency and social awareness.

Community and Facilitation – Only in community can students feel confident

enough to engage in conversation about sensitive subject matters. Skilled facilitators

are essential to fostering a safe learning environment; they learn to do so by

practicing facilitation techniques and pedagogical frameworks that seek to

understand by questioning assumptions and commonly held beliefs about others.20

Target Group

The group of Yenimahalle Ilce Milli Egitim Mudurlugu consists of 14 adults.

This group came together periodically to explore and develop new learning methods

based on theatre and drama techniques.

The group of YIMEM consists of policy makers who have teaching and

education background and teachers. Members of the group have expertise in

different fields. Since they had been working for the same institution for a while,

they could make a team work easily. However, the subject of the project was new

20 Theatre for Cultural & Social Awareness, 1 May, 2015, http://theatre.wisc.edu/tcsa/

102


for the members. As a result, members also studied individually to be familiar with

the literature. Since our institution has a large network of staff in Yenimahalle

district, project group had chance to be assisted by staff who are music, drama, art,

dance and psychology specialists.

In the course of time the team has built an infrastructure and became able

to cultivate new tools based on theatre and drama techniques, and workshops based

on these tools. As the group came together and made these studies under the roof

of TOOL project, all works has been done in respect of the project and European key

competences especially cultural awareness and expression.

Duration

Studies of the group continued for 18 months. In this period of time the

group came together for 36 times officially. However, since the members of the

group work for the same institution and come together daily, spontaneous meetings

also happened.

Structure

The group consists of experienced professionals who serve for Yenimahale

Directorate of National Education.

Although origin of all members is Turkey, all of them share a common

culture and all live in Ankara for a considerable time, their roots are from different

regions of Turkey.

This kind of diversity inspired us and we felt multicultural structure of our

society. Historical process of this multicultural structure offered us a mutual

background upon that we could promote our self-knowledge as well as skills within

the context of key competences.

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However, historical process of the multicultural structure of our society is

too broad for our destination within this project. Therefore, we focused on historical

process of theatre in our society. When we examined our history from this point of

view, we have noticed that interactive theatre became popular in our society. When

we explored interactive theatre more, we noticed that it is a new and promising form

of theatre and its techniques can be used to awake cultural awareness and

expression effectively.

In order to study on this ground, our team was divided into two and

distributed planning tasks into two. After sub teams worked their part of tasks, the

two teams came together and ended up with certain workshops and products.

Outcomes of studies of our team were presented and developed

throughout international meetings.

These meetings can be listed as follows:

1st International Meeting in Italy Hosted By Al Quds Palermo

The workshops were constructed and were leaded by each partner

according to the program. The key competences that we centralized on were: social

and civic competencies, cultural awareness and expression and learning to learn.

The theatre workshop “Cultural awareness and expression” was led by

Turkish partner.

All partners were involved in these activities.

In the first mobility, we worked on the following key competences which

where social and civic competences, cultural awareness and expression and learning

to learn. We achieved successfully throughout our focused work and presentation

on the competencies mentioned before.

All the participants were glad to be a part of the activities and we learned a

lot of new things during the meeting, such as ‘the cave’ exercise , led by the Greek

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group and ones with the music and movement, led by the Italian group. The

teamwork activities brought us to know each other better in a very short period of

time, especially when we had to come to a common opinion about the “Abigale’s

love story” activity led by us (the Turkish group).

Non-formal learning form through theatre methods presented by Italian

and Romanian partners. It was a good tool because you can express yourself freely

and without inhibitions; expression through gestures, facial expressions and sounds

was an ultimately international language easily understood by anyone.

Presentation learning method presented by us (Turkish partner) was one

who combined the classical method of learning, a power point presentation and

theatre play followed by a group feedback and actually a debate on the subject,

debate that has shown once again that culture can influence how you relate and

understand the subject presented. It is a good tool of communication.

Greek partners also combined learning method through a power point

presentation, with classical theatre plays and creating a collage based on a proposed

topic, followed by the subject at various angles. Dramatization of the “cave” of Plato,

presentation of “the myth of the Europe” with power point and some theatrical plays

about “Melina Mercuri” as woman of Taurus and about how we felt as Taurus

women, collage with women photos. The results were achieved to a great degree.

Italian partner organized festival of cultures. We learned to cross the barrier

of foreign language and communicate with different people and cultures, and

learned to love each other.

Relationships and interaction between the groups and exchanging ideas

and thoughts were the main strength of this project meeting. And also, we have

described the whole methodology of our work in order to produce tools of education

for the adults. The activities included theoretical and practical research on creating

tools for life learning education. The results of this mobility were the friendly and

105


cooperative atmosphere between the members, the communicated intercultural

different ideas and the creation of new ideas for continuing our work. As a result, all

the participants became aware of cultural differences and similarities and the role of

cooperation between citizens of the European community. They began to see

themselves as a part of Europe and part of the wider world. And also, the participants

had to develop their foreign language skills because communication and all the

project products were in English

2nd International Meeting in Romania Hosted By FUNDAŢIA RAŢIU PENTRU DEMOCRAŢIE

This meeting was held in Turda, Romania. In this meeting, partners of the

project made presentations. By these presentations our team could find a chance to

expand its horizons. Therefore, our team started to approach its own studies with a

wider perspective.

In addition, this meeting inspired our team to bring studies further with the

issues like social identity, gender issues, diversity and culture. In this meeting, our

team contributed with a workshop. With this workshop, our team focused on self-

awareness and cultural dimensions of personality. In addition, since this

106


international meeting was the second time that all the partners came together, it

provided an environment that all members could communicate better and more

effectively. Romanian team offered us a fruitful meeting that we could benefit in

scope of the project.

3rd Meeting in Greece Hosted by O.C.E.A.N. NGO

The 3rd meeting was held in Athens between 30 January 2015 and 01

February 2015. Three staff from our organization participated to this meeting.

In this meeting Greek team performed a workshop named “Human and

Gods”. Our participants attended this workshop and learned a lot about

improvisation activities.

The second day of the 3rd meeting, various activities were performed. In

the scope of these activities, Italian, Romanian and Turkish teams contributed to

theatre practices at municipality hall. The last day of the meeting, Greek team

organized a cultural tour to National Ancient Theatre and our participants enjoyed

this tour. During meeting, thanks to cultural activities, our participants had chance

to know more about Greek culture and Ancient Greek Theatre besides

improvisational theatre techniques.

Dissemination Conference in Turkey

Before dissemination conference, our organization announced the

conference to the network of 142 governmental and approximately 100 private

schools in Yenimahalle district. Teachers and administration staff were encouraged

to join the conference. Number of participants of this conference was under the

expected number.

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https://www.youtube.com/watch?v=8BAhbPQklJA

Objectives

Main objectives of our team were:

To improve the ability of making a team work with local and foreign people

To have a better understanding of European key competences

To internalize key competences and principles of lifelong learning

To integrate particular key competences into our education system

To explore new and innovative learning techniques based on theatre and

drama techniques.

To contribute to the project, experience an international partnership,

interact internationally and so share and exchange experiences and ideas.

Means/ Resources

Our team made its meeting generally at the saloon of our institution.

However, when needed, facilities of institutions under our institution are also used.

The main resource of our team was the team itself. Our 14 people team, worked

together and benefit from experiences of their collages and existing literature. The

National Library provided us a great resource about theatre and techniques to use

in this project. Besides these resources, variety of tools and materials such as

stationery, technologic tools, communication tools, and places.

https://www.youtube.com/watch?v=8BAhbPQklJA

108


Methodology and Development of Work

The main activities of the team are periodic meetings. At these meetings

members started with sharing their individual studies.

After that we made brainstorming with new knowledge and developed our

existing studies. At the end of these meetings members shared their positive and/or

negative opinions about the meeting and the whole process. Outside of the meetings

the team communicated via smartphones.

A WhatsApp group was generated and all members stayed in touch during

the project.

By this project our team covered ground in the scope of its aims. In other

words our team progressed in creative thinking, interacting with local and foreign

stakeholders, approaching from different perspectives, and working as a team. In

addition our team experienced European key competences individually and

developed ways to promote and foster these competences.

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Evaluation

In this partnership, formative qualitative evaluation tools were used as a

man of evaluation. These tools can be listed as:

Critical reflections of meetings,

Evaluations provided by the coordinator

Feedbacks of collages and beneficiaries

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Recommendations at Organizational, Local, National, and EU Level.

Organizational Level:

Yenimahale Directorate of National Education should continue to study on

methodologies and tools discovered throughout the project. The institution should

encourage its staff and staff of sub institutions to produce, execute and/or join other

projects related with methodologies used and explored by the partnership. In

addition, YIMEM should improve its institutional and executive competences with

future projects.

Local Level:

As a local policy maker, our institution should organize local projects to

develop and foster the outcomes of this project. Since YIMEM has a large network

of education institutions, it should establish a group within this network to make

possible awareness about theater and drama techniques as a tool of organic learning

for people who are interested in.

National Level:

YIMEM should use materials, which are used and produced during the

project, within a national network. In addition as a directorate of national education,

YIMEM should go to provincial directorate even ministry with a proposal of theatre

and drama techniques to the curriculums of education.

EU Level:

The partners of this partnership should follow European platforms to feed

their knowledge and competences. Moreover, they should use and share their

experiences gained by the TOOL Project and contribute to the community.

111


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163EN.pdf - Chapter IV

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For any further information, please contact us

@

[email protected]

Thank you!

www.partnershiptool.eu

The TOOL project has been funded with support from the European Commission.

This handbook reflects the views only of the authors, and the Commission cannot

be held responsible for any use, which may be made of the information contained

therein.

mailto:[email protected]

mailto:[email protected]

http://www.partnershiptool.eu/

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