GET CLOSE TO OPERA

NATIONAL REPORT

SPAIN

This report sets out to document activities carried out in Spain related to initiatives involving the application of performing arts (music, acting, dance, opera, etc.) and circus arts in actions broadly related to social and cultural integration of underrepresented / disadvantaged groups, migrants and women. The report summarises actions underwritten by the relevant public and private sector bodies and provides an overview of a series of past, current and on-going activities.

A) European Union Funded Projects:1

Consistent with a range of EU public policy objectives related to migration, integration, mobility, social exclusion, social cohesion, minorities, inclusiveness, equality, diversity and intercultural dialogue, an ample array of Spanish organisations, both public and private, are leading or contributing to European funded initiatives aimed at addressing these issues. The following Erasmus+, Creative Europe and Cultural Cooperation initiatives are current and relevant references regarding the deployment of the performing arts as effective vehicles for the implementation of public policy initiatives in the social and cultural dimension of the European Union.

1) Teacher Training for the Empowerment of Students

This Erasmus+ funded project (2014-1-ES01-KA101-002960) under the Key Action of Learning Mobility of Individuals / School Education -Staff Mobility, is taking place at the Institut Doctor Puigvert in Barcelona. It employs Forum Theatre in capacity building and empowerment focused actions in training teachers to support the needs of students from neighbourhoods (Baró de Viver, Trinidad Vella and Bon Pastor) that include a high

1 Extracted from https://ec.europa.eu/programmes/erasmus-plus/projects/

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percentage of population at high risk of social exclusion. The socio-cultural complexity of this area has grown with the arrival of migrants from areas as diverse as China, Pakistan and several Latin American countries. This programme sets out to address issue sincluding access for disadvantaged ; early school Leaving / combating failure in education ; intercultural/intergenerational education and (lifelong)learning and the training received involves the use of Forum Theatre to reduce absenteeism, among other objectives. Project goals include:

Capacity building for starting new changes that lead to a modernization and internationalization of educational institutions.

• Understanding and responsiveness to social, cultural and linguistic diversity.

• Ability to meet the needs of disadvantaged students.

• Motivation and satisfaction in their daily work .

• Quality of their work and their activities related to students.

2) Eyes Wide Open

This Erasmus+ funded project (2015-3-UK01-KA105-022981) under the Key Action area of Learning Mobility of Individuals /Youth mobility is lead by the Eyes Wide Open (London) in collaboration with the Spanish Fundación Cume para el Desarrollo de Culturas y Pueblos. This project aimed to address high youth unemployment and reduce social exclusion through arts (music, poetry, photography, storytelling, painting) and action (volunteering).

Through the project young people have learned to develop themselves as caring and compassionate citizens. The project was triggered by recent local responses to the migrant crisis affecting Europe but as discussions progressed, YP felt that social exclusion was an issue that was ever prevalent in their countries. They wanted to understand and develop more of an active role in reducing this. The Spanish contribution involved young people carried out a survey amongst their colleagues at the start of the project. 100% of those interviewed agreed that poverty has increased in their environment due to a rise in unemployment. Other causes attributed to poverty by them were the increase in immigration and the lack of capacitating of people for work. 98% of them agreed that they themselves, and not just governments and public bodies, must participate in solving the issue of social exclusion. Therefore, they concentrated on working with homeless people, immigrants and elderly people who suffer from being lonely.

3) The ROOTS & ROUTES Experience 2017: Performing Arts for an Inclusive Europe

This Erasmus+ funded project (2016-3-DE04-KA105-014699) under the Key Action area of Learning Mobility of Individuals / Youth mobility was lead by the Cologne based Roots&

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Routes organization in collaboration with EU partners including the Spanish entity Associació Rutes i Origens.

The project activities brought together 50+ young people (including international group leaders) from 10 countries: Young people from Germany, Italy, Romania, Lithuania, the United Kingdom, Spain, the Netherlands, France, Turkey and Greece; with artistic talent and previous experience in the performing arts or media and with diverse social / cultural backgrounds, including especially young people from families with migration/refugee background or belonging to minorities in their respective countries of residency.

The premise for the project is that societal cohesion and inclusiveness in a increasingly diverse society will be vital for a future democratic Europe. How do young Europeans – with and without migration background, from societal majorities and minorities – experience the situation, and what future to they want to build? “The ROOTS & ROUTES Experience 2017” gives them a platform to showcase their concerns, wishes and ideas to a broad public, using performing arts and media as communication tools.

Project aims and objectives include:

to discover, live and celebrate cultural diversity to bring together young people from various European countries, to give them a chance to

live and work together – and to learn from each other as well as from professional artists and coaches

to give room for intercultural learning, for exchange of views and cultural backgrounds, and for developing visions for the future, for Europe and the World

to empower young people to express their feelings and wishes and to articulate their ideas and demands by means of Urban Culture

to create a Urban Culture live show based on a framework developed at the APV: A basic script open enough to involve a wide range of ideas and topics brought up by the participants. The show shall involve the whole group and shall be performed live to the public at a Cologne theatre. A high quality recording of the show shall be published on YouTube and distributed via social media platforms such as Facebook.

to help each participant to grow as a person, as an artist and as a citizen of Europe, to get a wider cultural horizon and to develop her or his talent, maybe even towards professionalism, thus facilitating social inclusion

to promote The ROOTS & ROUTES Experience 2017: Performing Arts for an inclusive Europe, the live show and the YOUTH IN ACTION programme to a wide public

to raise public awareness of the talent and motivation within urban youth, especially youth from migrant and minority backgrounds

Further information and project results available at: http://www.rrcgn.de/rrxp17

4) FINESTRA INCLUSIVA A EDIMBURGO // INCLUSIVE WINDOW TO EDINBURGH

This Erasmus+ funded project (2016-3-ES02-KA105-008809) under the Key Action area of Learning Mobility of Individual / Youth mobility is lead by the Valencia based organisation "Associacio La Finestra Nou Circ" in collaboration with a partner in the UK and is designed to address key themes that include: Access for disadvantaged ; Creativity and culture ; Inclusion - equity.

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The "Finestra Inclusiva to Edinburgh" La Finestra Association NOU CIRC Youth Exchange project whose key theSocial Circus in young people from different groups at risk of exclusion. The promoter group is composed of circus performers with sensitivity and experience in project management Social Circus in the field of groups at risk of exclusion. This team of young artists and fans Circus in Edinburgh, with the same concerns and experiences in the performing arts as a tool for personal development in groups at risk of social exclusion are added.

Both groups are covered by two associations with similar objectives: the Association LA FINESTRA Circ Nou (Valencia) and Alba Circus (Edinburgh). Each partner will contact associations with 2 groups at risk of exclusion: ex -prisoners, Roma, people with intellectual and sensory disabilities, and immigrant children. All participants also will be young unemployed and a similar percentage of men and women. These specialized entities in the youth field and have served as a bridge support when designing the project and implement it before.

The aim of the project is to contribute to integration, employability and promoting personal development of these young participants using the circus as a tool rather than an end. By Circus we contribute to the acquisition of knowledge, skills development and adoption of attitudes that help improve their integration, citizen participation, self-esteem, respect for diversity, etc ...

Further information on the project and results is available at: http://www.lafinestranoucirc.com

5) Say YES for diversity

This Erasmus+ funded project (2017-1-HU01-KA105-035212) under the Key Action area of Learning Mobility of Individuals / Youth mobility is lead by the Hungarian organisation Yopa - Fiatalok Az Állampolgári Részvételért Közhasznú Egyesület in colaboration with the Spanish entity Asociacion Juvenil FILIA.

The project aspires to address themes in including Intercultural/intergenerational education and (lifelong) learning ; Youth (Participation, Youth Work, Youth Policy) through an exploration of how intercultural communication can be promoted through positive and powerful tools as short movies, theatre, music, dance, visual arts and web design within local youth work activities and European youth exchanges by active participation of young people. To build tolerance towards cultural diversity and find common European roots throughout the active participation of young people can be a great step towards prevent radicalisation of young people. Young people will run cultural diversity workshops locally and European level where different culturally and religious young people can get to know more each others, understand their cultural differences and similarities and its’ roots and learn to accept and tolerate each others.

SMART objectives of the project include: To raise understanding in human rights educational approaches mainly in connection with

cultural diversity; To develop an understanding about aspects of active youth participation and critical way of

thinking with elements and methods of non formal education e.g. short movies, theatre, music, dance, visual arts and web design;

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To be aware of importance of intercultural communication in local, regional and international level and to develop skills and attitudes of rural young people in human rights youth projects as preventing radicalisation of young people;

To develop the necessary knowledge, skills and attitudes to prepare, run and evaluate local event on cultural diversity and intercultural communication in order to prevent radicalism of young people.

Further information on the project and its results can be found at: www.facebook.com/YOPA.NGO

6) Generation of Youngsters Promoting Social Inclusion

This Erasmus+ funded project (2017-1-RO01-KA105-036755) under the Key Action area of Learning Mobility of Individuals / Youth mobility is lead by the Romanian organisation ASOCIATIA PRO-XPERT and includes Spanish partner Asociación las Niñas del Tul. It's main activities centre upon creativity and culture; migrants' issues ; Romas and/or other minorities.

The overall objective of this project is to reach out to marginalized groups by involving 28 youth workers, 56 youngsters with fewer opportunities - ethnic minorities and migrants - and 14 leaders from 7 countries in creative activities based on arts and other peer-to-peer educational tools that will promote main European values as diversity, intercultural and inter-religious dialogue, freedom, tolerance and respect of human rights The project expects a positive and important impact on the local community exactly because it will put them in front of real persons: 56 young migrants and minority groups that are, finally, people like them, their friends, their children. Youngsters who sing, play, act, create arts from recycled materials and enjoy life, despite a not very favourable destiny. The final performance at the end of the youth exchange will bring them closer to us and give them a face, a life, they are now human beings not just abstract concept we heard about in media.

Further information on the project and its results can be found at: www.proxpert.org

7) Finestra Inclusiva a Napoli 2017

This Erasmus+ funded project (2017-2-ES02-KA105-010066) under the Key Action area of Learning Mobility of Individuals / Youth mobility is lead by the Spanish organisation Associacio La Finestra Nou Circ and its activity focuses upon creativity and culture ; inclusion - equity and access for the disadvantaged.

The project "Finestra Inclusiva a Napoli 2017" of the LA FINESTRA NOU CIRC Association is a Youth Exchange that has as its axis the Social Circus in young people of different groups at risk of exclusion. The promoter group is composed of circus artists with sensitivity and experience in the management of Circo Social projects in the field of groups at risk of exclusion. This team is joined by young artists and circus enthusiasts in Naples, with the same concerns and experiences in the Performing Arts as a work tool for Personal Development in groups at risk of social exclusion. The aim of the project is to contribute to the integration, employability and promotion of Personal Development of

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these young participants using Circus as a tool rather than as an end. Through the Circus we will contribute to the acquisition of knowledge, capacity building and adoption of attitudes that contribute to improve their integration, citizen participation, self-esteem, respect for diversity, etc ...

Further information on the project and its results can be found at: www.lafinestranoucirc.com

8) The Show Must Go On...

This Erasmus+ funded project (2017-2-RO01-KA105-037593) under the Key Action area of Learning Mobility of Individuals / Youth mobility is lead by the Romanian organisation Asociatia Culturala pentru Tinerii din Satu Mare - Szatmari Fiatalokert Kulturalis Egyesulet and includes Spanish partner Fundacion Universitaria San Antonio. The partnership focus includes new innovative curricula/educational methods/development of training courses; access for disadvantaged; creativity and culture.

In line with the objectives of European Youth Strategy, the project provides specialised training in culture for youth workers in order to support the development of creativity among marginalised young people by education through music and visual arts. It will widen access to culture and creativity tools both inside and outside school as sharing and experiencing non – formal educational methods, tools and techniques of music and visual arts.

Objectives: To make self – assessment regarding to personal and professional approaches towards music as educational tool in youth work activities; To foster understanding on the influence of music and being able to use it as positive educational tool for empowerment, participation, intercultural communication and European citizenship; To experience and practice music as educational tool by using visual arts and web design for enhancing self – confidence and self – esteem of marginalised young people, motivate and involve them into local and European youth work activities in order to explore their cultural identity, practicing intercultural communication skills through music and experiencing the feeling as being important part of the society; To be able to capable to adapt education through music with special focus on visual arts and web design into local youth work realities; To invent youth exchanges based on the needs of marginalised young people by using music as educational tool with special focus on visual arts and web design and according to the proposals of KA1 Mobility projects for young people and youth workers in Erasmus + programme. It will host 44 participants who are youth workers, youth leaders who directly work with marginalised young people e.g. immigrants, Roma young people, rural youth, handicapped, etc.; who are older than 18 and have an interest and motivation to work with creative and innovative non – formal educational methods and tools as music, visual arts and web design; being open to become a member of an international platform and work on international youth projects by using education through music with combine it visual arts and web design. ”The Show must go on...”–training course on exploring and practicing education through music with special focus on visual arts and web design as positive non–formal educational tools for empowerment, participation, intercultural communication.

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9) INTERCULTURAL DIALOGUE FESTIVAL - CULTURAL ENCOUNTER BETWEEN EAST AND WEST

This is a Culture (2007-2013)\Cooperation measures funded project (EACEA-149272).

The project is lead by the Italian Municipality of Santa Severina in collaboration with the Spanish city council of Puerto Lumbreras. The starting point of the project, the " Intercultural Dialogue Festival" (between immigrants and local populations), aims to prove that cultural exchanges foster mutual knowledge to get a real social integration. Music shows, literary and artistic events, theatre research and analysis managed by cross border experts, and an international tales competition (stimulating the creativity and active participation of citizens) are foreseen. Further information on the project and its results can be found at: www.comunedisantaseverina.kr.it

10) H.O.S.T.- Hospitality, Otherness, Society, Theatre

This is a Culture (2007-2013)\Cooperation measures funded project (EACEA-522567).

The project is lead by the Italian University of Salento in collaboration with Spanish partner University of Cadiz. The project is related to the need of facilitating the encounter of artists and people from different countries, backgrounds, cultures in order to foster reflections, debates, common artistic work about diversity and migration in the context of European communities, where theatre and arts are called to play their function of critical and civil awareness. The Project supports a cultural network of artists, cultural operators, researchers in the Euro-Mediterranean area, fostering mobility and the creation of a nomadic multilingual company (Nomadic Arts Company). A path of research, workshops, artistic residencies in mobility is realized in Italy, Spain, France, Greece, Cyprus. The work focuses on migration and on dynamics of inclusion/exclusion in contemporary society, as well as on the potential of creative means provided by diversity, intended as a vital source.

Further information on the project and its results can be found at: www.ssc.unisalento.it

11) POWER OF DIVERSITY

This Creative Europe funded project (559718-CREA-1-2015-1-DE-CULT-COOP2) under the Key Action area of Cooperation projects is lead by the German organisation AKTIONSTHEATER PAN.OPTIKUM GEMEINNUTZIGE in collaboration with the Spanish entity Promoción de La ciudad de Las Palmas de Gran Canaria.

This collaboration between very experienced producers of street theatre and interdisciplinary theatre will create a new young multinational theatre ensemble made up from people with a very different social background. This new company will produce together a large scale site specific theatre production that can be presented in spectacular locations in European towns.

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The theatrical language is Hiphop, all forms of dance and Rap. This will open the tradition of street theatre artistically and can attract a wider range of new audiences than the existing forms of this genre. The new multinational company will tour with this production to all partners. They – the partners - will use their international network to bring this new company and production to other countries in Europe. As well bringing artistic innovative the partners aim , by means of action theatre and spectacular large-scale street theatre , to reach audiences for whom culture has a low priority and inspire enthusiasm and interest with this unique form of presentation. The specific involvement of youth from a disadvantaged and less well represented sector of the population will allow better integration in a social context and in the longer term better opportunities for employment. The artistic encounters and exchanges between the young people with their hip hop experience - which is one of the most powerful artistic forms from the streets- and traditional street theatre can provide unique opportunities for collaboration.

Further information on the project and its results can be found at: www.theater-panoptikum.de

12) ORPHEUS XXI - Music for Life and Dignity

This Creative Europe funded project (579157-CREA-1-2016-1-FR-CULT-REFU) under the Key Action area of Refugee Integration Projects is lead by the French organisation SALINE ROYALE D ARC ET SENANS with collaboration from the Spanish entity Centre Internacional de Musica Antiga Fundacio Privada.

Under the artistic direction of Jordi SAVALL, EU Ambassador for Intercultural Dialogue, "Orpheus XXI - Music for Life and Dignity", aims to experiment a model of action through music and intercultural dialogue in favour of refugees integration, that will be replicated starting in 2018 in the cities of the « International Cities of Refuge Network ». In view of the emergency situation to find sustainable solutions to the overall issues of hosting refugees in the European Union, 2 cultural institutions and 2 support organizations in the integration of migrants, decided to pool their good practices from five of their previous projects (citizens correspondences, slavery roads) to design a set of innovative policy approach, focusing on: - direct training of refugee musicians;- transmission to the children of their own musical heritage; - link between skills and networks of specialists of traditional music andsupport to refugees integration.

The OPRHEUS XXI project partners will, all together, valorise the presence in Europe of refugees with professional skills in music and who will train about 30 musicians, aged from 18 to 30, in 3 cities in France, Spain, Norway who will then in turn train 100 children from all nationalities, in order to create an orchestral ensemble who will broadcast at least 10 concerts in big European cities. Our objectives are: - Help young refugees to socialize and communicate through music with local populations without necessarily immediately speak their language and offer them opportunities to employability ; -Allow refugees and to Europeans citizens to value and share the traditional musics of their countries, in order to enhance mutual understanding, solidarity and enrich their own culture;- Reach 160 000 people by supporting the dissemination of this intercultural work across the Europe.

13) Re-build Refugee Europe

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This Creative Europe funded project (79361-CREA-1-2016-1-UK-CULT-REFU) under the Key Action area of Refugee Integration Projects is lead by the British organisation European Alternatives Limited in collaboration with Spanish partner Asociación Cultural Comenzemos Empezemos .

The recent influx of refugees in Europe from the Middle East and Northern European countries mostly is widely interpreted in media and political discourse as a crisis first of all and a threat. In several national elections the extreme right and /or openly xenophobic parties have gained substantive support. Re-build Refuge Europe’s objective is to counteract this discourse and beliefs. It builds on creative cultural proposals and offers spaces for processes of co-creation to be developed, in which refugees and migrants are considered as a constitutive part of the remaking of European communities. Actions to support the recent incomers are mushrooming all over Europe, often focussing by necessity on aid, social and economic support. We believe that it is the cultural role of Europe to welcome refugees properly and to allow, give the space for cultural hybridisation to happen. We believe that only by fully realising the potential of cultural hybridisation and by being a welcoming and supportive area will Europe build a secure society for its future, inside and outside its borders. The project Re-build refuge Europe provides the space to link up cultural actors and societal actors mobilised in different corners of Europe to exchange and build new practices. This project produces innovative practices that allow European citizens and refugees to work together on equal footing and learn from each other. It also uses a creative mix of mediums to raise European citizens’ knowledge of issues at stake for refugees and in making of Europe a place of Refuge where all people can feel safe.

14) From Conflict to Conviviality through Creativity and Culture (4C's)

This Creative Europe funded project (583674-CREA-1-2017-1-PT-CULT-COOP2) under the Key Action area of Cooperation projects is lead by the Portuguese organisation Universidade Catolica Portuguesa in collaboration with Spanish partner Fundacio Privada Antoni Tapies.

4Cs aims to explore how art, culture and creativity can constitute powerful resources to promote a critical reflection about emerging forms of conflict, as well as to envision creative ways to deal with and defuse "conflictual" phenomena affecting today’s Europe through activities that promote the development of audiences and stimulate capacity building within training and education. After decades of institutional efforts to foster European identity, Europe is becoming a space of uncertainty and unrest. In face of current challenges, such as living together in an intercultural and transnational present, Europe cannot exist without recognising the presence of others.

Conviviality is then of utmost importance in promoting understanding and interaction. 4Cs activities will promote intercultural dialogue and bring communities together through art and culture in shared public spaces, helping towards conflict prevention and reconciliation. Activities and outputs of 4Cs will offer the participants the opportunity to acquire new academic and professional skills in a context marked by cultural and linguistic diversity. The combination of theory and practice in artistic, creative, training and education activities will allow the development and transference of skills in a fruitful dialogue between researchers and practitioners while developing audiences and good creative practices. The activities range from Residencies; Workshops; Mediation Labs; Conferences; Summer School; Multi-

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Chapter Exhibition; Itinerary Film Programme; and Online Platform. The inclusion of refugees and migrants will be encouraged through participation and co-creation. Devising activities informed by the latest theoretical developments in conflict and intercultural dialogue, 4Cs will shape the reflection on the topics at hand contributing both to audience development and to capacity building / training and education while stimulating European cultural production and conviviality in a moment of conflict.

Further information on the project and its results can be found at: www.ucp.pt

15) EU.TERPE - A debut opera for an inclusive Europe

This Creative Europe funded project (583773-CREA-1-2017-1-IT-CULT-COOP1) under the Key Action area of Cooperation projects is lead by the Italian organisation Associazione Musicale Bruno Maderna in collaboration with the Spanish entity Asociación Cultural Amigos De LaOrquesta Ciudad De Almería.

Eu.TERPE promotes the role of small orchestras to continue and honour treasured musical traditions and enhance their potential to become relevant players and innovators of the European cultural offer. It produces co-creation of a debut work of great artistic and symbolic value (3 composers from different Countries, selected through national calls and coordinated by the Director of the Damasco Orchestra) and co-production among European and Syrian artists aiming at strengthening intercultural dialogue through music. The co-created debut work will be toured in 3 Countries.Eu.TERPE revamps the appeal of classical music in young audience by budget-free communication and promotional activities aiming at addressing the old-fashioned image that it is too often associated with it.

Flash mobs introduce the orchestra to its (young) public, while creative storytelling, open rehearsals and awareness raising events on Syrian refugee crisis represent a fresh approach to involve students. A film, documenting the untold experiences of its musicians scattered and displaced between Europe and Syria will be realised. Musicians and audience take part to the film footage with spontaneous entry-shots, becoming the co-narrators of a musical enterprise while contributing to a long-lasting document of relevance for the European identity-in-the-making and European public sphere. The film documents the journey to support Syrians to keep together pieces of their displaced cultural identity through music, witness once again the power of music to become vehicle of knowledge and mutual understanding. The project will be implemented by 1 Italian and 1 Spanish orchestras, and 1 Bosnian cultural association, involving Syrian refugee musicians around Europe and the SEPO (Syrian Expat Orchestra).

Further information on the project and its results can be found at: www.orchestramaderna.it

16) Tele-Encounters

This Creative Europe funded project (583840-CREA-1-2017-1-RO-CULT-COOP1

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Sep 1,) under the Key Action area of Cooperation projects is lead by the Romanian Organisation Teatrul Dramatic George Ciprian Buzau in collaboration with Spanish partner Fundación Universitaria San Antonio.

"Tele-Encounters" is an artistic research platform aiming to explore family relationships within the context of migration and to contribute to the development of telepresence (technologically mediated presence) as an artistic idiom. Based on interviews with Romanian migrants in Spain and Portugal, Spanish migrants in Portugal and Portuguese migrants in Spain, as well as their left-behind families, the project will create one theatre show and one 360˚ short film exhibition. The theatre performance will feature the online interaction between actors located in Romania and Spain, connected in real time via video-conferencing and Kinect animations. In both countries there will be a physically present audience, while the performance will also be live-streamed on the Internet. Focusing on the relationship between a left-behind teenager in Romania and one migrant parent in Spain, the performance will facilitate a live debate on the topics of migration, family and the Internet, open to both audiences' intervention at the end of each show. The film exhibition will be created in response to a selection of interviews and will comprise five 360˚ short films (viewed in VR mode) on the theme of migration between Spain and Portugal.

Further information on the project and its results can be found at: www.teatrulgeorgeciprian.ro

Summary EU funded Projects:

The EU is clearly underwriting its policy concerns with funding for a range of transnational projects aimed at addressing the prevailing social issues cited under paragraph A of this report. The leadership and participation of Spanish organisations in EU funded initiatives targeting these issues is consistent with the specific socio-cultural impact they exert on Spain, especially those related to migration, and the reality that these are not purely local challenges and, as such, require solutions that are supranational in nature. Implicit in the funding provided is an endorsement of the power and potential of the performing arts to act as an effective vehicle for the implementation of socio/ cultural change.

B) Private Sector initiatives in Spain

While there are some significant private sector initiatives employing the performing arts as an agent for socio-cultural change as it relates to the areas broadly defined under Section A, this section of the report will focus most of its attention on one singular initiative titled "Proyecto Lova". The justification for this seemingly narrow approach derives from a number of factors that include:

"Proyecto Lova" specifically employs opera as its vehicular tool. Its longstanding experience, outputs and outcomes are numerous and wide ranging

and highly relevant to other projects that propose to deploy opera as a tool for the implementation of socio-cultural change.

It has developed an opera-based teaching methodology and provides training for trainers in its application.

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Its application is transferable, employs multiple intelligences theories can be applied effectively across a range of educational and other settings.

Given the limited scope of this report, it is advantageous, in the context of an opera-aligned project, to focus on the quality and depth of the numerous lessons and examples of good practice that can be extracted from the very focused application of opera carried out by "Proyecto Lova".

The following information, extracted from the LÓVA website has been transcribed and translated from the original Spanish. (https://www.proyectolova.es/historia-de-lova/ & https://www.proyectolova.es/lova-paso-a-paso/ )

B.1) "Proyecto Lova" : History and Origins 2

LÓVA has its origins in an educational project that Bruce Taylor and Jo Ann Forman created for the Seattle Opera in the 70s and that in the 1980s expanded to the Metropolitan Opera Guild in New York. A detailed history can be found in the thesis of Sharon Joy, Original Student Opera: History, Theory and Practice of a Multi-Disciplinary Arts Education Program (University of Houston).

LÓVA joins the thousands of projects for the creation of operas created in classrooms of more than twenty countries and over more than three decades from programmes such as Creating Original Opera (Metropolitan Opera Guild), Write an Opera (Royal Opera House), Opera by Children (Utah Opera), Create and Produce (Opera America), amongst others.

Creating Original Opera arrived in Spain in 2006 at the hands of Mary Ruth McGinn, an elementary teacher in the public school system of the United States. Under a Fulbright scholarship and later with support from SaludArte, Mary Ruth formed and guided from the Royal Theatre a group of teachers, among them those responsible for three operas created by students in three public schools of the Community of Madrid (Ntra. Señora de la Victoria, Enrique Tierno Galván and El Quijote). Given the success of the initiative, in 2008 the

2 https://www.proyectolova.es/el-proyecto/

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creation of LÓVA was formalized as a joint educational project between SaludArte and the Teatro Real, coordinated by Pedro Sarmiento. Later the Friends of the Opera, the "Teatros del Canal" and the Daniel and Nina Carasso Foundation have joined. In these years the project has been extended thanks to teachers who make it their way of teaching and who are an example of professionalism and pedagogical commitment.

B.2) Lova Applied

As centres and teachers there are so many ways to employ the LÓVA methodology. Thanks to the vision and work of many teachers, LÓVA has, over the years, been adapted to a wide range of settings including special education, children, primary school, secondary school, prisons, music schools and other contexts. What is offered by LÓVA must be interpreted, therefore, as mere recommendations. The following example comes mainly from the work done at the El Quijote Public School in Madrid, and would be different if it came from another teacher / centre.

B.3) LÓVA Methodology (Case Study: Colegio Público El Quijote -Madrid)

Although the actual application of the methodology will vary according to setting, the following outline application, as carried out in the Quijote Public School in Madrid, is indicative in a very general sense.

1. The creation of an opera company

In this first phase we set the necessary bases to undertake a complex task, create our own opera, and involve the students as protagonists of the process. We find out what an opera is and what it takes to create it starting out from a baseline defined by what the students already know. They are asked to ask, investigate and tell us what an opera is.

1.1 What do we need to do to create an opera?

Students make lists of what is necessary by separating the trades, objects and attitudes. With what all the groups do we make a mural and a sheet that collects what all the groups have said. We watch the preparation of the opera Madame Butterfly in a video, listen to fragments of opera and learn songs to sing in a group.

1.2 We prepare ourselves to form a company and undertake the challenge of creating our opera: The challenges

We train with small challenges that give us the keys to face greater challenges. The challenges are cooperative games full of metaphors that make us see each other individually and also as a team. Games include:

Challenge of the puzzle:

Each student is given a piece of a puzzle. In each piece they write at least two things that they think they know how to do very well. Then, together, they must assemble the puzzle.After writing what each one knows best, they begin to put the puzzle together. At the time of organizing they begin to create groups trying to unite the pieces that they have. When undertaking the challenges, we usually ask: What has happened? How have I felt? What has happened to me during the challenge?

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Challenge of the chairs:

This challenge consists in crossing an imaginary river, helped by 14 chairs for 27 people, which are our bridge and our floor. A poster is created in which what we learn in the challenge is reflected. In this way we will have it present throughout the process.

Challenge of the magic carpet:

The whole group is flying on a carpet, but the carpet is dirty. The other side is clean and the challenge is to turn the carpet around without anyone putting a foot out of it, as it would fall and we need to find a way for everyone to arrive safely.

Challenge of the rope:

The entire group must go over a rope that is placed approximately at the height of the children's' chest. You cannot touch the rope.

1.3 We look for a name for our company

The name must contain ideas-strength and a deep meaning for children. You should run away from easy names or those influenced by prevailing ideas like being famous, etc.

1.4 We create a logo for the company

You have to know first what values distinguish our company and what ideas we want to identify with. We discover with our students three key ideas for the creation of the logo: highlight, simplify and signify.

1.5 We inform families

The children convene their parents, in writing, to a meeting, on behalf of the teachers, to tell them that they are going to do an opera. The meeting is celebrated with all families. We explain the project. It is discussed in depth. Enthusiastic adhesions emerge along with natural misgivings. You are invited to observe and actively collaborate.

1.6 We create metaphors

Metaphors are part of our reflective learning, our assault on the deep meaning of things, our desire not to be content with easy explanations or superficial answers.

At the beginning of our sessions we sang a song by a fisherman from the Congo called Olelé that said: "The current is very strong. Row, row! Striving is the watchword to overcome the challenges and, the greatest of all, catch the biggest fish".

Energy games: ZIP !, the game of spending energy in the circle, is more than a game, because we see its immediate effectiveness.

We created the figure of the "chief rower". Each day this is the figure who directs the Company and presides over the meetings carrying a real oar. The "chief rower" gives the word to whoever wants to speak, organises the group and writes "The Logbook" which reflects everything that happened on the day.

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1.7 We learn about the professions of an opera company

With the visits of experts in different professions (make-up artists, dressmakers, musicians, electricians, singers, writers), the different professions that make up an opera company are presented to children. Emphasis is stressed on the fact that they all have the same importance and are equally necessary.

1.8 Job positions are requested and assigned

The students are looking forward to this day. They want to finally express their preferences and get a job in the company. We prepare a Work Request Form. In it they must choose three of the nine professions offered. It was not enough to name their preferences but they have to argue their options and convince the teachers that they are suitable to perform those jobs.

The assignment day is an especially important day and we wanted to highlight it. We have invited the Director General of the Teatro Real, who has attended the event. It's a whole ceremony. Then we announce to each boy or girl his/her profession in the Rio de Estrellas Opera Company and we give him a representative gift of his trade. Everyone is clearly excited about their assignment; they listen to the Director General's words of congratulations, and leave a written record of their impressions.

1.9 We discover the necessary skills related to each job, we apply, we know the techniques and we manipulate the necessary means and instruments.

2. The theme of our opera

The theme and the thesis of the opera synthesize what the children, as a company, want to say to the audience, the message they want to send to the world.

We ask the children to bring to class an object that is or that symbolizes something very important for them. Students and teachers present their objects and explain why they are important to them. It is seen how superficial explanations are not valid: "because yes", "because I like it" and it is taught to inquire into the deep "whys". Emotions, feelings and reasons of weight emerge.

3. The situation in which the action takes place

Once the subject has been chosen, we must specify in what place and in what situation the events will take place. We collect in a book all the ideas, hypotheses, descriptions, anecdotes, literary creations that we accumulate during the course, including, of course, the libretto and the score of the opera.

4. We define the characters

Among the whole class we define the characters. We give them names of letters or numbers so as not to be influenced by the gender they may have. We select five qualities for each

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character and decide which will be the dominant characteristic of each one. We see what are the relationships that can be established between them. We discover possible conflicts. This will help us create the script. Then we invent the history of our opera from a place, a news item, an object, a word, a verse, a melody ... etc

A list is made with the topics that really interest the children and in the argumentation and discussion, some are selected and others are discarded. Finally, the greatest consensus is on closely related issues in which the children themselves are the centre.

5. Argument

Together we create the basic lines of the argument, taking into account the theme, the place, the characters, their relationships and possible conflicts. This will be the material with which the writers will work to create the opera libretto.

6. WorkshopsWe practice the skills of each profession one day a week. Each work team meets with an adult who collaborates in the project and practices different skills. Later the workshops will be held three afternoons a week, leaving a day of meeting for the whole group.

In each workshop session, the senior rower opens the session, the logbook is read and the production manager asks if there is any need in a team. Review of the tasks that each one must do and we all start up. At the end of the workshops we meet fifteen minutes to say how we have worked and what we have done.

The writers write the dialogues and lyrics of the songs. The composers compose the music of the theme, look for reasons for the characters, the overture. Public relations prepare the news for the public, posters for the exhibition where the process will be counted, send e-mails, prepare the invitations and the hand program. The performers work with the voice and the body, create their character and learn the dialogues as soon they are done.The set designers and props study the possible sets by selecting photographs that will help them prepare the sets. The technicians study and prepare the lighting and the sound, they make spotlights, they calculate the necessary cable measuring the place of the performance, they handle the light cannon, they indicate in the script their movements .Costumes and makeup study the features of the characters and make the costumes. They make designs, they measure the performers, they create a pattern, they prepare the costumes to sew on the sewing machine and they try the makeup. The stage manager works with the performers.The production manager supervises and controls the activity of the entire company and is responsible for making the speech that opens and closes the action. Throughout this process we collect assessments of the children, their frustrations, resolving conflicts, their levels of responsibility and good work.

7. Rehearsals and performance

The rehearsals are an assembly point in which everything comes together and acquires meaning. It is the puzzle in which everyone has contributed what they know best. The Saturday before the week of the performances we do a day of intensive work, as we all, boys and girls, families and teachers make the final preparations and at the same time take the opportunity to eat together and make this Saturday a day of collaboration and celebration.

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We offer a performance for other children of the school that serves as a general rehearsal. The next day is the big premiere. Then we do three more performances to give option to all possible viewers. After each performance we make an evaluation and adjust the performance of the different professions to be able to improve in the next representation.

It is now time to publicize everything we have worked on and launch our message.

8. The Exhibition

The exhibition about the process has also been finished and when the spectators come the public relations team explains the panels and shows the dossiers made throughout the course.

The exhibition fits into our expectation that students collect the lived process. Preparing an exhibition involves expressing oneself and thus improving the expression of all the languages involved in learning. Make an exhibition is necessary to inform the entire educational community of all the tasks performed to make the opera. Students will develop linguistic, mathematical, artistic expression through an exploration of:

What is a company, what is an opera, what do we need to make an opera company,

We chose a name; we investigated about it and the opera,

We designed a logo that represents us,

We got to know and choose jobs, we learned with guidance about skills for our work.

We decided a theme for our work and a thesis, our message to the world

We defined the characters and the relationship that binds them,

We created a situation, in which we could develop our theme,

We chose a place.

We designed the image of the characters and the decoration,

We wrote a story and dialogues,

We announced our shows with posters,

We write news to tell what we do in the company,

We document the entire process followed.

Finally, the steps will lead us to the theatre or auditorium, where the opera is represented. This corridor has panels where we can read testimonies of children about the process. What they think, what they have lived, what they have learned.

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The project to create an original opera is a progressive delegation of responsibility, right to decide, autonomy to work. Nothing better than reading their testimonies before entering the room where the Company will present its creation only with children in front. Responsible, enthusiastic, capable children. Children who will have lived a unique experience in their life. An experience for life.

9. Evaluation

Once the representations are finished, the students begin to evaluate the whole process.One form of evaluation is to draw a picture. It has been explained before so that you have to try to reach a level of depth and for this the difference between describing, presenting ideas and expressing feelings has been explained. The symbolic has been talked about and we have remembered the metaphors as a way of creating an image that goes beyond the apparent. Some have been able to express themselves with a high level of depth, others have difficulty passing from the descriptive.

10. Appendix

Advantages of the LÓVA project pedagogy

* More opportunities for self-induced learning* More time for continued attention in class* The long duration of the project invites comment outside the school and connects with

daily life* Greater emotional involvement in class work* Leadership skills are developed and children's responsibility is increased* When disagreements arise, the possibility of learning to solve problems increases* Encourages the involvement of parents. Increase parents' expectations about their

children's abilities* More situations in which to put oral and written language skills into practice* Students seek information for themselves and develop a sense of things well-done* Social skills and teamwork are practiced* Imaginative thinking is stimulated and mental laziness is combated* Children learn to ask

B4) LÓVA TRAINING AND TRAINING MATERIALS

Proyeto LÓVA offers yearly training course for teachers and other facilitators interested in applying their Opera-based methodology in their own professional and / or institutional practice. Information on courses is available at: https://www.proyectolova.es/formacion-2/formacion/ Supporting video information on Proyecto LÓVA is available at:

https://www.proyectolova.es/documental/

https://www.youtube.com/watch?time_continue=51&v=9PPCnmM4plc

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

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https://www.youtube.com/watch?v=FOmj2McGSis

https://www.youtube.com/watch?v=mc9FY2zrRWk

https://www.youtube.com/watch?v=09lx2lSoFzw

Further bibliographic information available at:https://www.proyectolova.es/recursos/bibliografia/

Proyecto LÓVA openly shares its abundant project material and educational resources. These can be viewed at: https://drive.google.com/drive/folders/0B-PAQAiV-6mgQTUwLWUtZWFWM1U

B5): GOOD PRACTICE - LINKS TO ACTUAL LÓVA OPERA-BASED PROJECTS (*)

Following the Harmony Secondary

Eclipse 22 Primary

Los Ninjas Secretos Early years

Los Investigadores Estrellas Early years

Kids Stars Primary

Harness the Stars Primary

Un salto a la ilusión Primary

Espiral de Sueños Primary

Sin Límites Primary

The Blue Mice Primary

Pica-pica Primary

Feel It Secondary

ParapíPapá Prison

Las canicas Primary

Panta Rei Teachers

Hermes trau la música Primary

Las pirámides Primary

Más que un grupo Primary

C.O.B.R.A. Primary

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(*)These blog pages are in Spanish. To translate and view in English:1. On your computer, open Chrome.2. Go to a web page written in another language. You may need to enter the URL.3. At the top, click Translate.4. Chrome will translate the web page this one time.

C: Interviews

The following 2 interviews focused on the work of practitioners employing Opera in situations involving its application school and other settings, including prisons. Synthesizing the comments, the key points made, as they relate to the Get Close to Opera programme, include:

Opera-based pedagogy has proven very effective in situations where attention to the following was vital: Empowerment, leadership, self esteem, self awareness, tolerance, teamwork, learning to listen to and respect others, autonomy in learning, social integration, emotional engagement, problem solving, involvement of parents in children's learning, development of language and literacy skills, transferrable skills, analytical capacity, pride in work, creativity and creative thinking.

Opera-based pedagogy has proven very effective in developing teaching practice that is more student-centred.

Multiple intelligences, although not explicitly addressed as such, implicitly form part of the pedagogical framework.

Opera has been an effective and valid vehicle for implementation regardless of the setting or purpose.

Public schools in Spain have a large immigrant population. There have been numerous, successful Opera-based projects in these setting which validate the potential of Opera to be a useful tool in working with migrants in other settings.

The use of Opera as a vehicle in not inherently better than other vehicles, but it does have the advantage of being ambitious and providing a broader, more diversified and more challenging palette within which to work. It provides a good opportunity to demonstrate the extent of an individual's capability.

Opera-based training is a vehicle for development which has proven to display long term, durable impact on those who have participated.

Appendix 1

Interview with Pedro Sarmiento - Director of Proyecto Lova (Madird, Spain)

Interview with Pedro Sarmeinto (PS) - Director of Proyecto Lóva

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(AB) What is Proyecto Lova?

(PS) It's not an extra you know like after00:09after school activity - (AB) These children are how old?00:21It mostly takes place in primary school but we have teachers doing it in preschool00:25with students as young as five years old and also older00:31there are students like high school students00:34so what happens is mainly with the00:38project is happening with students from 6 to12 00:44(AB) Do the these children have any particular00:47social cultural background that makes00:50them distinct from others? 01:05(PS) In a way they clearly do. Public schools means different01:06things different things but in Spain the01:12majority of poor people the majority of01:16people with disabilities or with01:18learning disabilities or any kind of01:19social problem go to public schools so01:24in that way yes it's very clear that i happens in a specific context. 01:34(AB) is it safe to assume that a portion of01:37these students are students with certain01:41disadvantages?

(PS) Not necessarily. public schools can be a neighbourhood school and then everything depends on the area.01:57when you look at the statistics in Spain02:01it's just to give you an example like if a kid who02:04

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creates problems02:06in a school that is not public can be02:08expelled from that school they will end02:11up in public schools no this is this02:14shows how the public school system is02:16the most comprehensive school system and02:19then first other school systems is02:21smaller than the public school where02:23there's not so much attention to02:25different kinds of you know of problems with 02:28learning or poor people.

(AB) so what provoked02:36you to engage with this 02:39project. As I understand this is not02:41something completely of your creation02:43has some roots in United States perhaps?02:49

(PS) By no means am I the creator. It started02:53many years ago in the United States02:54under the name of creating original02:56opera it was brought to Spain by02:58Mary Ruth Meginn was a teacher in the03:03public school system in Maryland and my03:08idea was to invite Mary Ruth to the03:12Teatro Real Opera House because at that03:15time we were starting an educational

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03:17project at the Teatro Real and there were 03:20was already activities that were03:22launching productions03:26you know kids coming to the to theatre03:28to to see productions and I wanted03:33to stress the opposite direction which03:35was not seeing but learning by doing and03:38this project was great03:42in that in that way and then it became03:45even even greater than that because what03:48Mary Ruth McGinn did she was not just03:51translating the standard version of the03:55programme in the United States she was03:57bringing here a personalized version04:02that she another teachers had been04:08implementing in their classrooms you04:10know and it had more to do with not04:13being an arts project but being a project04:15where you'll become you know you are04:18 better to become abetter04:20person through education.

(AB) So your prime04:27motivation for implementing this in04:30Spain was more to do with those kind of04:33transferable skills - learning by doing -

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04:37maybe multiple intelligences?

(PS) My interest is that once I04:53saw that there were other things that we04:55but we're already being taken care of04:57like kids going to a concert or somebody05:00explains something watching productions05:04or watching who knows whatever, watching videos, my05:08interest was that it's not that you learn05:13better about something if you do it05:15it's that when you when you're a young05:18person you're six years old you're not05:22you should not be expected to wait for05:25ten years before you start revealing05:27something good. This kind of approach05:32which is not new I mean it's all over05:34the place it's very valuable system but not that common in the educational system in Spain05:41So I thought this is great05:45because it's fun but at the same05:48time it's really hard and it's really05:50great and it really brings something new into the classroom05:53and it has to do with kids being creators05:58(Skype connection fails at this point)07:20(AB) Fine just following on from that07:23last one I mean presumably you could you07:26could carry out this type of

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07:29activity using other kinds of art form07:32but does Opera have a specific added07:35value in terms of what it brings to the07:37experience?

(PS) The idea was not original at all. It

07:50came from the fact that I was working at07:54.Opera House07:57so in beginning it was just there you08:01know, Opera was there but then after08:04several years I realized two things of08:09course the first one is that opera offers08:14an incredible, very rich variety of disciplines08:19 and ways of looking at work08:22together you know - teamwork so08:25in that way in opera just everybody08:28knows that you know it not only so many08:31art forms which include08:33architecture or you know08:35video art forms that were not even there08:39when opera got started08:40 but then there's one more 08:43thing which we liked very much about the08:46use of opera which is that and this 08:51kind of project you what you do is to08:54

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show people how you know the kids can08:58are able to do - create09:01you know be responsible for very big things09:05so opera because it sounds such a big09:10thing like such a big thing it's a great09:12example of how kids can you know how09:16kids are able not to do something like09:18my little theatre piece with a little09:21music they're able to create their own09:23opera and using the word opera we09:30you know on purpose we want to say no, no09:32this is opera if you think of the09:33hardest and most ambitious way of09:37creating something for the stage because09:38that's that's what kids are doing I mean09:41(AB) There's a view within our project09:43that somehow opera embraces multiple09:48intelligences in a way that perhaps09:49other art forms don't. I don't know how familiar09:52you are with this idea of multiple09:54intelligences but do you think that's a09:58accurate assumption on our part?

(PS) I am very happy to talk about multiple intelligences I was very lucky when I studied at the New England Conservatory because I had two teachers who were doing their 10:17PhD research with Howard Gardner so this10:22was years ago but did have first-hand

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10:24knowledge, the book was already published and I10:29was there and while have I haven't become an expert10:32on mutiple intelligences at all I'm10:34familiar vary with10:36the concept. I don't think opera10:43is better for multiple intelligences than10:46other art forms I10:52think when people when we talk about the10:56project we always say but you can do10:59this with so many other things, you can create a movie11:02you can create journal for the11:04support but I do think one thing with11:07art forms interesting with any art form11:10this you can to get an ingredient11:14perhaps you're not getting that easily11:17with other ways of our approaches which11:20is the emotional part this kind of11:24person or a presentation that creates art11:26creates for our minds which is you know11:30everything can be a metaphor everything11:32that it's open to so many11:34interpretations11:35I think the arts bring this but I11:37don't think specifically opera does. I think many other11:41art forms do

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(AB) it's just the vehicle you've chosen11:45to use is his opera but your11:48thinking is it's not superior to make it11:51a film or put it on up .....(Break in Audio)11:54(AB) So if for the kids if the output is12:16an opera what is the outcome what do12:19they...what's the take away... what did they12:21take away from that in terms of12:22sustainable abilities knowledge attitude12:26etc what's the value?

(PS) We have examples of students who participated in the project 10 years ago and some of them are12:37studying at the university and it's very12:41interesting listening to them we because12:46we're not a powerful organization or not12:49getting in touch with that main students12:51but they would love to do that because12:54we think it's very valuable they what12:56they have to say so - to answer your question I13:00will give you one example how13:03these kinds of projects are not about13:05becoming an artist but something else13:07why I look at the project and 11 years13:13ago now told us in a meeting last year13:16he said I remember I was invited to13:22

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choose a job in the company that was not the13:26job I really liked the teacher my13:30teacher said it could be a composer I13:33know you're not getting all crazy about13:35being a composer but but why don't13:39you try because I think you I think13:41you're gonna learn something and and he13:43said and that showed me for my life that13:47sometimes you're not you don't have just13:51to go where you want to go perhaps you13:54can do other things that you were not13:56expected to do or that you were not13:59expecting to do and perhaps that's it if14:01that's the right thing to do so there's14:04many many outcomes like that because14:07this is not a book you read or and test14:12detecting some experience and it's a whole14:14year.

(AB) So as you know our14:22particular project is focused on how14:25opera might facilitate social inclusion14:28of migrants 14:33

14:38You are deploying this in school14:41settings. Have you used this,14:43

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you know, this methodology in other14:46settings? social setting? 14:51(PS) We were not the creators of these14:54settings but we offer a training and14:57then people come to the training and14:58they decide that they want to take this15:00methodology to a different setting15:03outside of school system so for instance15:06Miguel Gil was a teacher15:12primarily15:14music teacher in the primary15:16school he retired a few years ago after being15:19in the project in the school is doing15:22now for the seventh year the project in15:25the prison south of and15:29

15:34they have created six companies with six operas15:36and they're working on the other seven15:39operas this year another example is a15:41centre for adult people with mental15:44disabilities15:46in Logroño the name of the center is15:49Asprodema and they have worked for four 15:54years... four years to one company and one15:59project and one opera16:00

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so there's other examples like groups16:05with adults mixed with children and some16:09very very few after-school activities16:13and also special education which is part16:17of the education system that people16:18usually don't think of it's a special16:22education as you know when you talk16:25about primary school so there are very16:28interesting examples because everybody16:31learns a lot this happens and this you16:34know what they're doing in their16:35different contexts comes back you know16:38and you can think about what you're16:41doing in communication which connects16:43with something as prisons16:47[Gap in automatic transcription]

(AB) So you would consider that the model is transferrable to different situations?

(PS) Yes I can say that a handful of teachers ...professionals have proven that the model is transferable, However, if someone comes to us asking if it is transferable / how would you do it? We would say we don't know - you have to find it by yourself. We have the basic idea but you are probably very good at adapting it?

(AB) Do you have any specific knowledge of the use of this with migrant groups?

(PS) No, but the first thing that comes to my mind is that so many public school in Spain where a very high percentage are kids born here to migrant parents or kids who come to Spain from other countries and in most cases from poor familes.

16:51 I'm moving on briefly to18:11to training because you're very much

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18:13involved with training, training the18:16trainers yeah just maybe just summarizing18:21what do you find to be that the most18:24important needs of those trainers are18:26the most important challenges in18:29integrating those with trainers in this18:31type of teaching18:34teaching that's kind of accompaniment 18:35 of learners but one of those18:38you know what it needs what are the18:39challenges.

(PS ) well it's a it's hard to18:43answer because one of the things that18:46I've seen over the years is that whoever18:48comes to the training is already18:51somebody who is already18:53connected with these ways of18:56teaching

(AB) So they didn't they get it.18:59(PS) before him yes somebody hates this way19:04of teaching and comes to the training19:06event gets transformed if somebody was19:09already very much connected with this19:11and then they find something very19:18powerful and on way of showing how

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19:22powerful this is is how many teachers19:24after taking this our training which is19:27an eight-day training they keep saying19:31after that training my teaching it's19:35different I mean I'm not I'll never go19:39back to who I was before as a teacher so19:42what do they need what I think they're19:45looking for I think perhaps the way to19:49put it this they're looking for a19:51confirmation of some suspicions they had19:55they're looking for a group of19:58professionals to work with and it's not20:03somebody working at their school20:04necessarily that they value very much to20:10when they know they become they belong20:13to a network to the professional network20:16where they can teach others but also20:18they can learn from others and and then20:23of course they need certain certain20:27structure because yeah if you think of20:31this as a teacher usually the project is20:34not it's not 9 months long usually a20:41project is a shorter period of time but20:44for a project which is so long you need20:47structure

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20:49and to be given certain guidelines so20:52those are perhaps things that they that20:56you get from the training.

(AB) I just want to go back to20:59your comment about you know comments21:01about teaching style never go back to21:05that style again I mean is this about21:08moving on from transmission of knowledge21:11to other you know other aspects of21:14supporting learning?

(PS) Yes for that part but usually the type of teacher that comes to the training is not a teacher they're21:32already doing something different when21:36they come to the to them to when they21:38get close to Lova they're friendly21:45which is striking things for them when21:50they implement the project not only21:53after the train with money when they21:55start doing the project their tools is21:57that they can see themselves acting less22:04speaking less giving fewer directions yeah and they22:10can they can see themselves learning22:12more about their students are what kind22:16of needs their students have also they22:19can discover a new ability that they22:23

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were not discovering their in their22:25in their students and this connects with22:28multiple intelligences and this is about22:33one of the aspects that strikes me the22:35most which is people the work looking22:38for this are still surprised to find in22:42their practice.

(AB) So I imagine you know22:46preaching to the converted you know is22:48is one thing that this reaffirmation of22:51something that you know one already22:52suspected was the case but they need22:54you or your project to say yeah that's22:57okay you're right how about the other22:59side you I mean I would imagine23:02people say well you know how23:04presumptuous to think that you know a23:06seven-year-old could put on an opera. Do you find resistance?

(PS) No we don't. When we visit schools, sometimes we are called by schools, we never insist.23:25if your school is interested we can't23:28invite it and one of the first things we23:31say our first advice is don't do this at home. Be careful. It is a lot of work. Nightmares. You're gonna24:01have discussions with your husband24:08somebody's families that your24:12

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students should be doing something24:13serious instead of wasting time you're24:17Even your directors and your24:19principles and your schools are going24:23saying at some point even if there's24:25there's a part of you think that may end24:27up saying this is a little bit too much24:29you know you're and whatever we say this24:35it's on our website recommend first24:38thing not to do not do this because it's24:41it's complex24:43so now we'll get that persistence because24:46whatever somebody says I don't24:49see this I don't think this is the right24:51way and then we're saying then it's it's24:56very clear that you should never25:00[Music]25:04so why is easy to understand this25:09because when you do Lova what25:11would you do25:12autocratic you're not doing this the25:15scattering 100% all the time I mean it25:19could be too lava and be an incredibly25:21creative teacher trust your students25:24like no one else and be confident of25:27

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their abilities in so many other things25:29but what if you spend Wednesday morning25:33and from 10:00 to 11:00 doing a25:36dictation or doing something very25:39traditional you know or asking them to25:42learn three pages from book you know and25:46asking them ten questions you know well25:49that that's absolutely okay so it's not25:52about becoming revolutionary 100 percent25:57of the time in learning is the very25:58complex thing you can place so many26:00helped by so many ways.

(AB) A typical application of this and I'll26:06come to an end very shortly the typical26:08application of this in a school setting26:10what would be looking26:13at two hours a week 10 hours a week 20?26:15depending on the centre?26:18(PS) it's 4 to 6 hours a week

26:27(AB) You know the day is full of classes and26:29other things and to find 4 to 6 hours a26:31week to do something additional is a26:34challenge to probably most schools26:36yeah I mean typically going26:38through this a student who's gone

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26:40through this process but you know26:43what one of the most important things26:46that they take away is it how to work in26:48a group as a team work is it26:50creativity is it all those and others to27:04body27:05(PS) They learn to value things that they didn't know about27:06themselves also things that they're not27:09about others like you can discover I27:12mean mostly I mean most of the kids say27:17when you speak with them one of the27:20things they say first is I get to know27:24my mates so much better by doing and27:33also of course things like you said they27:37are to work in a team they learn to27:42overcome difficult situations or27:48challenges you know they express I'm in27:54their language grows tremendously that27:58means it's so on this is so clear28:01so obviously when you watch them and28:06when you listen to them this big I was28:09listening a couple days ago one of these28:11guys from the school where the shooting28:13was attacking United States and the28:18journalists the interviewer kept saying

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28:21oh my god how well spoken you are you know28:25and I say of course surprising 16 years28:33old so we tend to think kids are are28:37not able to do things that they are28:42absolutely able to do and speaking28:46writing and reflecting is one of the big28:50issues in Lova because it grows tremendously28:55it would be fair to add to that list.

(AB) I'm just trying to maybe build some bridges28:59between you know what you're telling me29:01and the particular focus of our29:04project29:05I mean values like mutual respect and29:09tolerance and those kind of things also29:11enter into the equation

(PS)29:15 oh yes29:25but also like learning when you learn to29:30value your friends things that you were29:34at it you know you if they were it would29:36be able to do miss also has to do with29:39respecting people because I thought this29:42person was he knows nothing she knows29:45nothing29:46who are they will never be able to that29:48

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and then you realize that in a certain29:52situation somebody who never spoke has29:58said something which was capable you30:00realized that somebody can create the30:03best of logos the company which were not30:07expecting that person to create30:08something so yes many many symbols I30:11have to respect.

(AB) Just sort of moving to the30:19end here I mean you do training for30:21for trainers you are training30:24forming others to go out and take on30:29this training I mean is it safe to30:31assume that they then take that and they30:32they customize it to their own needs30:35there are many different versions of30:36this out there now on the street or do30:38they stick to the script?30:39(PS) pretty much the training and their work30:50is one one full year30:53school here so they necessarily have to30:59get very creative and it's not only it31:03needs31:05something that we benefit a lot of them31:09because we hear from a teacher that she did something different31:22

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so we benefit from that feedback

31:55(AB) A particularly effective teacher will facilitate or31:59whatever you want to call them someone32:01to go through your course the32:03particularly effective individuals have32:07certain strengths or competencies that32:09perhaps lesser effective ones you don't32:12is there a certain kind of profile or32:15personality or attitude that you know32:18helps to you know improve the32:22effectiveness of these facilitators?32:39(PS) there's so many but I just do one thing32:42that to me is surprising in the world32:45the world of the teachers32:48just how humble they are because a32:55teacher who has been teaching that is being teaching kids to32:58read for 10 or 20 years comes to you and33:03says this year my students are learning33:07to read so much better yes well she's33:11saying with no problems33:14I'm learning to do this better33:18after teaching 20 years so there are you33:24know that's the quality of teachers that33:28you don't see that often in other33:31you know other professional groups

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33:34because we're tend to say we're great33:36and we think we've done something wrong33:39for the last 10 years we will cover it33:43exactly don't find them yeah that's33:48striking.

(AB) I know I'm33:51interviewing you but I'll just interject33:53something here and I think on a scale of33:55of teacher-centered learning to33:59student-centered learning I think that's34:02what you're you you're talking about34:03that you know change the focus from from34:06the teacher to the to the student in34:09terms of teaching them how to learn and34:13they'll just memorize this .

(PS) absolutely34:18and you know connecting with their34:21students in a way that it's clear that34:23the teacher is not teaching them but34:25also learning a lot of training what34:27they have said yeah but this sounds like34:30all of it was they were wasting their34:32time and they they're not studying in34:33school you know they're not learning34:34important things but I think it does I

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34:37think it makes a lot of sense and it's34:39it has to do it about these studies that34:43say that what teacher have had higher34:46expectations you know34:48their students learn more so what better34:52way of doing this than thinking that your34:55students can become your teachers.34:58(AB) just one final question over what35:00do the parents of these children are35:02there's a lot of resistance in school35:04settings sometimes to to change and35:07innovation and you know what you just do35:09more math so one of these do more35:11science that's what they really need35:12that kind of that kind of thins, How do the35:14parents react to this?

(PS) Most parents trust their35:22teachers and sometimes they look even35:28specially happy to know that their kids35:31are doing something special something35:35exciting as a matter of fact one of the35:38problems or some teachers to implement35:41all by their school is that school principal35:43will say you cannot in your35:47classroom because the families in other

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35:52classrooms would say you know they would35:55say why are they doing the nice project35:57and we are not doing yes parents are36:06worried because somebody says somebody36:08thinks I know my daughter I know my son36:11is behind I'm concerned this will take36:17away so solutions for everything so36:27[Music]36:35magically yes yeah.

(AB) it's a it's a small36:40contribution to many things that36:42happen in life I suppose36:44 I think I think I've probably asked36:47you everything that I can ask you on my36:48script here do you have36:51anything you want to add there maybe36:52something I didn't touch on or36:54[Music]36:58(PS) This to do with community arts so when I37:00heard about your project but in close to37:03over on oh I have no idea what you will37:05end up doing no my as it's not toward37:10improvement but I said love is about37:16empowering students there would be a37:21there's a great opportunity for get

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37:23close to a (???) to become a tool for37:25empowering people who feel you know in37:29the worst situation because of all kinds37:32of political racial so I would say that37:41I see a big connection it's about37:44empowerment and I think about37:51empowerment well I understand which is37:54not telling people hey the best the best38:07way to work well listen let's38:15um let's leave it there I've no doubt38:17that I'll be talking to you again over38:19the next you know year or so because38:21clearly I think there are some more38:22things that we could be doing together38:25so well as as they come into focus38:28I'll be getting back to you and try to38:30keep you you know informed of how the38:34project is progressing but I'm not38:36really sure that you know your your38:39project is so aligned in many ways38:42with what you know we want to do I know38:44that we'll be in touch again.

END OF INTERVIEW

Appendix 2

45

Interview with Natalia Sanz (Lova Practitioner)

(AB) The focus of our project has00:05to do with Opera and immigrants.00:09From our conversation of a few weeks back 00:11I understand you work with Opera in00:13other areas. Explain explains some of your00:16experience in this other area.

(NS) With opera and immigrants?

(AB)00:24No, any use of opera00:28any use00:32even with other performing arts in the00:35migrant field of other initiatives dealing with00:39social integración00:46 I think from00:54200900:57I began working with theatre techniques00:59Oppressed techniques that are born in1:02Brazil in the 70s1:04while Pedagogy of the Oppressed by1:06Paulo Freire which is a pedagogy centred in1:09popular education to work with1:11people who have little access to1:14culture1:15

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these techniques may be used as1:19young women who have not ever accessed the1:22theater or do not even have the word1:24theater in their vocabulary, indigenous women in Mexico, but they do not live a1:30situation of social exclusion1:33but it is true they are more like1:37threats or suffer more from1:41the exclusion even though they have a good life1:43they live are in a good situation1:46The don't have a way of defending themselves 1:49defend against multinationals of agriculture1:51So they can use theater culture so that 1:55they can express1:57what is happening to them and reflect and to1:59in how important it is to get organized2:02that generates social integration because2:05suddenly they have more say in the codes2:07that the dominant culture uses.2:10Then also when I started2:13lova in 20142:15I was fortunate to be able to develop it with2:18youngster of 14 and 15 years of age2:23in a school of integration 2:27although it is a publicly funded institute 2:29no limits on input on the enrolment of children of2:32

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different nationalities and also2:35It has a link classroom 2:36They work really well social integration2:39because they work on the language2:42Also the emotional accompaniment 2:45student when the work arrives drug2:50the other as a vehicle for learning2:51with young people are very positive2:54I did as a guide for producing2:58an opera vocations work3:02everyone not in terms of vocations3:05we all want to be in arts3:06scenic but there are many young people who3:09like a lot of other relations3:11who have other musical prowess3:13They are having one of these logistics stages3:15practice and can apply it in3:19communication and relationships professions3:22public production to work the3:2715 points and multiple intelligences3:32the multiple is clear that as3:39part of what we are doing but3:44the government is the school environment3:48you're telling me now with3:53environment that probably yes there3:55

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many children elsewhere3:58immigrants so4:04any worker who had come from the4:07aim low and as a good match4:14as such as forming not like or4:18facilitators of these actions4:22This comes following a training4:25you did to Cordoba or training4:35Output methodology and is a gift4:40It is a treasure because the methodology4:42inclusive global intelligences4:47multiple of emotional management4:53conflict management management4:55time work responsibility4:58goals and values5:03It is a comprehensive project they will5:05then for me it goes from google5:08so many things I had not done before5:12It will shape much like me and5:15He came from a graduate social theater and5:18and also educational intervention5:21otherwise do theater building5:24collective creation for all through5:27Household formation is5:29gravity and large format5:32

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methodology and gives meaning to5:35everyone with him doing5:38facebook are amazing5:40I think I'm getting a little5:42synthesising the typical profile of a5:46person who comes to something like like5:49teacher trainer who is already is already5:52customer comes to one whose5:54filming his experience and all6:00I lost and he goes classic6:02because I'm not normally a teacher for6:07secondary teachers or teachers6:10Primary teachers and sometimes even6:13someone I love how it happened or because6:17It is very important to6:19develop will have a group6:21stable people6:23I could go into training because if6:26He had stable work groups6:29while not as teacher status6:32counselor at a foundation that works6:34with young people in social exclusion as6:37Yes I could access stable groups6:39why because it will give training6:43those who really want to implement6:45

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criteria to bring training is6:49also a letter of support from the board6:51directors of the center where you work6:53They are saying they will support their development6:55the overall project has no interest in6:59sell training has no interest in7:01train people who do not go to7:04develop the project does not really going7:06people want to train him to go7:09implement no people who say7:12golf after training parents7:15to integrate this one comes7:18implementing and during this time and7:20prepared because it is a very big change7:24not only because the prospect does not7:27class company and take turns7:29many decisions as a team but because7:32you also as professional as a teacher7:35as an adult is a truck before and7:39then every place you give me a before and7:41an after because you learn a lot from the7:47many conflicts clearing group or7:50fears that you want and you learn a lot7:53legal to trust because he's worth it7:56The show will be managed so7:58

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autonomously by students who8:02It is not a project we work well8:06to integrate8:07migrants is not that work well for8:10integrate all because all8:13here also has many problems8:15integration problems working8:18team so as not to focus on8:21people in social exclusion will not8:24put the focus on the positive so if8:26We got to get to work on8:29There are many immigrants equipment8:32that they come very easily to8:35work in teams no longer have any8:38adaptation problem but if there8:40social difficulties it through the8:42structure as that parent is8:45difficult to find a job because8:49first need permission8:51residence will have all these obstacles8:53administrative put laws8:55We in this country are those that generate8:58some difficulties in the novel what not9:02It has a loss at home but not9:04They come to see the behavior of the9:07

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family structure but many times9:10social barriers that are9:12We are used here and experience a9:22where it does from this9:25You have an activity centers9:27yy prison schools are already9:31which they are the values provided by this9:34user experience not us9:38let alone that perhaps only gesture9:43downmarket them as participants9:49protagonists are not the truth of the9:51word home user9:54why not has nothing to do9:58service center Prison10:03the only place is in prison as10:05He takes miguel angel who married one10:07pioneer teachers10:08I was only a little bit of will10:10this project takes him to look but you10:13I can say that what you wear is much10:17and it is best to ask them but10:19We were fortunate to hear10:21directly to people who already can10:23speak perspective10:25for example a moon wanted it patricia10:27

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ten years ago10:29she is presenting part of the gala10:31celebration in June 2007 did10:35the rule of education in theater10:38real and celebrate 200 years of10:40country is studying teaching and makes10:4510 years and only goes in fifth grade10:48and she believes he learned a lot of10:51teamwork buying empathy10:54them in class his company a student10:58or autism who did not find their profession11:03on the subject of managing him because he had11:08many scene changes and11:10scenography and he was there pending11:12He did his job perfectly and looked11:15from the film is the documentary11:17Loba is on the web11:19in it the actress no longer remember the11:21name of this boy named11:23Alberto Roberti sure the11:25interpenetration that they had reached11:26having four guys who did not show11:30no emotion other things not11:33It is happening within the opera11:35was excited was attentive11:37

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inclusion in the final census although this11:39not a little half stays in11:42and part was correct and went out again11:44to greet the rest of his teammates11:47There are not very exciting things and how11:51summer training in theater11:53real11:55those eight intense days and11:58transformers because there is a day12:01meeting with students who have12:03gala fact and come to tell the12:05students of the grape is what takes12:07of memory in my training 201412:1032 students who came to him12:14We ask not what remembers12:16fonder and one student said what12:19happened in Huelva embrace before12:22acting out the embrace of all12:25colleagues throughout the company12:28another student replied that what what12:32takes is learned that there12:33people who would give thought to12:35They were silly but did not understand that12:38They had their story and were not as many12:40that each one12:42

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all have something to bring to life12:44the company and other replied that all12:48He gets everything that takes all this12:51takes even days of frustration not12:55bulged things and return to 1713:01It's funny because just is not so13:04curious but he said the same thing but the13:08Last week the same as people13:11They discover things about other people13:14maybe it was not all would not have the13:17opportunity to do things13:23some places where we want to13:25this project is also for that13:29develop a methodology for13:32facilitate the integration of immigrants13:34in Spain or migrants or immigrants13:42immigrants in society13:46a reporter a facilitator in this13:52you should have what qualities environment13:59nothing happens because many14:02begins with some because self14:05making process that will develop their14:08skills or qualities as I say14:12I emphasize that highlight the14:16confidence in the team and the ability14:20

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organizational and capacity14:24listening group listener hear what14:27is happening not carry the14:29programming over what happens14:31today occurred in the classroom14:35listen rather late to conflict14:39solve14:40and all that is within the company and14:42it is within the development of opera14:45the process need to hear what14:48what is happening and I think14:54also a good dose of creativity14:57much much creativity is needed15:00for to do with what is15:04and just to really invent15:08new universes and leave case15:11story that they really want15:13tell the story he wants to tell the15:16world are telling you they are15:19Digging Deeper than that15:21now you want to deepen instant15:25all the characters through the15:26many things which are expressed15:31the sense of former soldier who is imprisoned15:35I was dam on the river bird but15:42

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also a certain capacity15:45The Vatican also guess that's15:47not important Latin15:50I felt a kick out of listening to each15:54sherpa also remains more a15:58They have a training Artistic16:03center16:04good if he had much training16:07theater so to speak academic of16:10university and thus the16:16diversity education reform16:18environmental because when training16:20humanistic16:23I do not mean to test if if if16:26just say so I said you were coming16:29raring many people coming from16:32Senante world's lose and not so much16:35of the world stage there is an advantage16:39or a drawback of advantages and16:52inconveniences not want to develop16:55wolf is welcome16:57this is a decision that belongs to the17:01person who will develop the17:04process itself is going to go asking if17:07There are masters of language teachers17:13

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They have a little afraid to alter the17:15musical composition and accompany the17:18class or body of musicians and music17:20here it developed that skill as an17:26collaborative role as it also17:28They will be developed17:30She accompanied her companion more17:34volunteers who believe17:38that it is a project born from17:40within the school and is ideal for17:42be in school17:45then do not manage it but we17:52I also come from education17:53then always between education and17:56I see theater as a whole will not to17:59theater service education and18:05over time and the course of18:08a project in an environment is Cuba18:12many people say when18:16Smoking ay when one or18:19more because it depends on the teachers18:24usually teacher is usually treated18:27in minimum hours with the group often18:30implement the project which have18:33hours but always always came out that18:38

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is normally there are cases where no18:40They make one person alone but18:43least has some family somewhere18:45time for some help because18:47groups work autonomously18:49there are professions encompasses sometimes I18:52some will not subtract and makeup or18:56scenography and 16 are young people who are18:59building games for that19:02construction foci are19:03using electric screwdriver19:06also untie adult present who19:09hand check will not mount and them19:12He accompanied in this learning but always19:17profs usually always two friend19:19usually19:20teachers two hours tries to gather19:26you have four hours a week19:30those with more hours19:32week may need deeper19:37have knowledge of the world as19:42one of operas and not because the students will19:51singing all text19:53so if a dramaturgy of opera19:55but all the complexity is the19:58

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operator so many people working for20:02a common and end stage finally see20:04a fourth shoemaker and this part20:08also it occurs in place staging20:11we see perhaps least five players20:1534 musicians but behind all20:18set and costume makeup20:20lighting designers PR20:22documentarian work in as20:25complex as a production opera20:27but usually does not sing opera because20:31is not singing as your average20:34expressive and they are not going to me20:37neither20:38no they not forced to pay for qualified20:41up bass music coming out20:44Well of their hearts and believe20:46the best for the characters20:49the musical interludes falling20:51scenes will agree to20:53evolution of that time and he has not given20:59his musical codes do not want21:03hear21:04I lost my home or anything with what21:10music media say has21:14

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Segregated instruments and telephones21:16other things or improvised while as21:19as no fruit as this is very21:24different21:25the same teacher who spent seven years21:29so every year you can also21:32find or do different things21:33but one thing always music21:36direct and indirect instruments21:43small percussion effects21:46music for scene changes or21:48exciting moments where21:50You want to give a sound environment object21:52red for songs for themes21:57it depends on the ability of21:59Students also depends on the case as it has22:02I remember been a college education22:05special teacher that accompanied22:11it may happen that a colleague22:19musical22:21said more intuitive for22:33enjoy the war and Simon and22:36Young had experienced radio22:39They dedicated home also enjoyed22:42a song each of the songs22:49

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It was totally or changing truth22:55long hook with the issue of pgr22:57because I think I understand my23:02conversations with you one day and23:04you and Peter here in the process23:08which is important it is not where to23:11learning is to get rid of the process and23:15not so much in the final presentation23:17dispute the title23:19there is also much representation23:22learning but not more than23:24reflex pain23:26vidal and representation to be23:29farewell to his car also very23:31important because I have already completed23:35I started and am totally and23:37after the performance23:39there is an evaluation and an assembly23:42valdés what they have experienced much more23:45active in the finale and also this23:49usually it represents two or three times but23:53I rarely heard once because23:58always we work that once24:03we can have an error in something24:06but we have more opportunities and support24:10

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nor in those cities do not usually enjoy24:12more than the first time with so many24:14nerves and back and is also a24:18very big challenge managing a whole24:20complete show for me to24:22Teachers presented in public24:24making mischief but for us24:37We do not touch when we go in madrid ago24:41A few weeks but wanted to move this topic24:43because for us the proposal24:45project specifically and which has24:47the commission received sponsorship24:51European is to employ a methodology24:56IT environments and using free25:01for it is working and others25:04school environments centers oo25:07prisons and other solids are25:11what I're saying I want more25:13convey my environment and transferable to25:16other environments25:17Just do not remember who no longer work or25:23his lawyers and only had to25:30work the town has developed25:31as well25:33as a project tape and if it is25:39

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fully conveys nothing any25:41environment where you want to work the25:44capacities of migrants and25:53he encounters many barriers25:54social or project that gives space25:58to develop their capacities to26:03have to come also depends on26:07what time is presented to the person26:09that reaches every person looking for a26:13let life you need to work to have26:16income26:19proof of origin context26:22in which he presented the draft26:23to make an opera can be integrated into26:27whole and also depends on the26:29methodology you want to use the26:31process duration intensity26:35that remains is to but that's26:38important to hear what situation26:41It is the project of our trip26:45our country26:47It is curious and comes to identify a26:52methodology but how can you compete26:54you that I think it's for sale26:57hair daily and and we submitted go27:03

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talking with little modesty on27:06this because we do not have to reinvent the27:09but neither wheel is not interesting27:14observation that this methodology27:19It works as a method another27:23and is expected if done on a27:26environment also immigrants27:28work well clear why put27:33dialogues27:40between positive for anyone27:43who wants to develop their skills27:45to enter the complete methodology27:48when but this is a methodology very27:53important who is to apply this27:56methodology27:57no one afternoon is not yet perfect28:00but if you want to use to face a28:04return28:05It gives like screwdriver28:06damage are useless because28:08first you are listening context and28:12group of people you want28:14to work28:16Adults experience with Loba28:19adults and teachers who28:21

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when they made the desired formation28:24company themselves and make them28:27same28:28applying the methodology including28:30but also very interesting was the28:33transformer they were not28:36integration working status28:37simply working methodology28:39the processing for all of them28:42on all primary field28:50for these two extremes especially28:55because at school or know as28:57any party is that they are most29:01women are not going to do my time, a29:05little but if we are thinking of all29:09neighborhoods where you could develop29:12a wolf type activities you think29:18Transversal values are things29:20the points of convergence that can29:22yy exist between an environment other than29:26whether he29:27in a context of odor or teachers29:29accused flavors including work29:37team trust and confidence and29:42diversity that makes us different29:45

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It makes smarter trust and29:50and certainly not everyone know29:52do the same but that the union of29:54everyone and our capabilities29:56different29:58It makes us realize important things and30:01there is the issue of teamwork30:05It is also solidarity as30:10we need to work together if today you30:12something happens we'll be there30:15that assembly which fits and30:18shares how he has been the work eugenio30:20We had proposed that we30:22got that we have not achieved and30:24What it has been the ability to analyze30:26solving ability and autonomy and30:33autonomy of that trust that the30:35self-empowerment presale30:38and increased tolerance30:42frustration with this weekend and30:46patience with the conflict or30:48frustration knowing who is watching30:51for the sustainability of the project30:54nothing happens we will continue to let30:56continue and we will overcome these30:59

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the ability to overcome obstacles is31:03It is also very I will highlight the31:05ability to overcome31:07then in any environment they are31:09welcome all capabilities31:12this values31:15the ability to create together questions31:18and again how it affects life pink31:23for pp is the one who knows and loves his31:29need31:32It is also and has been visiting31:35create a tornado just wanted anathema31:40of multiple intelligences31:42this project has alternated does not know if31:46eloped thought he was making a football31:49It was like now is so diverse and music31:53there is all that there is somehow this31:57fits well with multiple intelligences32:01I do not know if this is a value that has been32:04uploaded on the project and how not to get your32:08theme32:09before this is a concept that integrates32:13explicitly both the project or32:20technology32:22I think so but just do not talk32:26

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directly from youtube I do not know what I know32:30I think this depends on each32:34He explains the teacher I am not training32:36of those eight days of the Royal Theater32:39We may not speak of intelligences32:41multiple but very simple but there32:43several people who do not know or32:45perhaps the two professions do32:48the separation of the bags32:49Multiple Intelligences saying good32:51because here are the intelligence32:53musical and intrapersonal because they are not32:56compartmentalized32:58all have these intelligences what33:01All you have students students in the33:05time and are needed to develop more33:08This is a very important reflection33:11the time requesting the33:14There are some professions will that33:17It has a mathematical logical intelligence33:21linguistic and musical developed33:24He also listed the interpersonal or33:28It has more to do with him and out33:30little personal relationships has33:34developed much requested result33:37

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the profession of public relations33:40translation is in those three33:44I professions if you plan to develop more33:47the teacher can decide for themselves very well33:51This will not going to give this profession and33:54otherwise normally given34:01congratulations to indicate something like that but34:07He added that this is not telling34:09see how we are going to make us see34:14the end yes that has made them little34:17so little has not been wrong34:19in that smart34:22multiverse a natural product of34:26No political environment these teachers34:31I have not read the theory of34:34intelligences his work it is called this and34:42that which is breaking all34:43They have a name very well34:48I have many more many more products34:51I have no products of a thing34:54maybe if you want to add desired34:59Good luck and keep in touch35:02with these animals in our35:10process enjoyed many frictions35:13in the vote35:17

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both this and the truth is that35:18I enjoyed recording is not you35:22It happened on his day but I would like35:26presidential me a second35:30a presentation of production35:33We do not know work if you think of me35:37anyone tell me the presentation of the35:42classes and also to know much about the35:47organization of the challenges I do not think35:51be thoroughly enjoyed having a35:55the impressive work colleagues how36:00He had solved the issue of height36:06break for me was not the function36:09have much capacity36:11self so that later maybe I36:22He commented that there were children as36:2745 and seeing how peak peak36:36desmaquillaba like putting things in36:41self-managing your website goes all the36:43material that partial opera36:47there had been things that had not36:48worked the opera36:52Estrosi said today someone IOTC last36:55corrada raised his hand music that37:00He is looking at the actress playing again37:05

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but as explained has not happened37:12music today sounds a bit odd as37:16He was able to say those things must go37:19Patia with him was good for me37:24makeup37:24impressive to see the ability to37:26self-control when to paint the37:28for of course face and me37:41interested not take me but noted yy37:45if one day he did and that would be very37:48interesting that the government send a37:50we note and seeking to combine37:56possibility to deny availability37:58these days38:00asked teachers and teachers38:03used to having visitors do not38:05matter because for the company for38:07It is always a little strange that someone38:10it was because he wants and there38:13others are very flexible they are38:17very accustomed they can take away from you38:20a session because I now38:22I am developing nova in this course38:25I am and we are behind we are38:28seeking funding to38:31

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develop the penitentiary38:34Soto del Real38:37the center that has much support good38:42for activities autonomously38:44cultural activities but not38:46has budget or states that38:50They support us fully in prison38:53Sociologist coordinator of the38:55activities38:57direction is surely also38:59all for but we have to39:01seek funding as too much39:04luck with it is so easy not39:07easy and the worst is that it is not easy but39:18social freedom while 200,00039:20euros39:21Seeking league39:24and state39:27this the beginnings of the European project39:2836 countries39:30belgrado 7 for background work39:34restitution of art form39:36stories of women of a wheel and39:39cultural exchange creations39:41Different companies have company39:44

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yy output end because management39:49administrative for me is very large39:51you can search for an agency but no39:56type and much to play in the team's40:07Meetups this management capacity40:10they also do at work and40:15until then where is the management40:19If I do believe I'll be like40:25habit or you wonder if you know of any40:28project is underway and simple if not40:30can then passed makes an observation40:34and water to people40:36all this for the project is40:39I also went to their consumption40:42phenomenal and I think the best thing40:44talk to Peter because he is who40:48coordinates all then he is quite the40:51So that the moment are some40:55processes so that you can also see40:59different things to look for this41:00managed this proposal because why41:05each company also there is a41:07calendar more or less in each41:09the company is carrying as they can41:11say that I am developing the process41:13

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Community theater in a neighborhood41:17just change there are many41:18nationalities41:20and I am using the methodology41:22home but much shorter process41:26only four months are young41:29different nationalities and are41:32creating musical theater women41:40neighborhood that are most all41:43Spanish and neighborhood life is41:50very rich and of course the methodology41:53Working with text42:01beyond these holidays42:09prostitute remarkable theaters will42:15leave here42:17thank you very much if you do not care very42:20little touch from time to time if I42:22ask any questions yy thanks for42:24being so generous with your time and42:28knowledge42:29we will be going to when he overcame many42:34Thank you and bye bye

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