Meeting in Osimo


Meeting in Osimo

4th-7th March 2013

Tuesday 5st March

Introduction of the daily programMeeting in Osimo

  • further proposals for the agenda and
    agreements to a changed agenda
  • Evaluation
    Review of the conference in Munich
    Results of the evaluation of our meeting in Munich
    What findings should we just transpose in Osimo
  • Project webpage
  • Logo
  • Guidelines
    Main principles to be observed in terms of advice, resources and materials for  professionals working in the theater’s work with MDVI.
    We will analyze this and create a set of guidelines to be used by any professionals working with MDVI in the area of theatre

Visit  to the rehabilitation centre

Wednesday 6th of March.

’The Tempest’Osimo
examples of the work how we plan to integrate it into the theatre work
The significance of the results for our guideline practice and visions,
discuss how to join  the different ideas
•    Practicalities of being on stage and having things in place
•    Methodologies used for this client group.
•    Establishing a structure and formulation of the first draft

Examples and concrete ideas for implementation of „The Tempest“
•    e.g. script, Cast, and text equipment
•    Definition of responsibilities
•    Involvement of our clients
Visit to the tactile museum in Ancona

Thursday  7th of March

Dissemination planMeeting in Osimo
DVD Production of the different work from each partner country.
What Equipment will be compatible for editing the material.(Storyboard)
How we can show the process arising  the production until the final result in Osimo
financing and personal support
Summary and Evaluation
Agreements for the next meeting in Clermont
Visit to the caves of Frasassi


Minutes Osimo

Meeting 2 held in Osimo, Italy 5th -7th March 2013

Osimo1Present: Michael, Kuni (Germany), Seline, Guy, (France), Aine Murphy, Jan Thomson, Margaret Simpson, (Scotland) and Patrizia, Jessica and Nicoletta (Italy).

Michael as co-ordinator of the project welcomed all participants to the meeting in Osimo,
Aine raised that some member counties had not returned evaluation forms from the last meeting in Munich. Some evaluation discussions will take place during the first session of this meeting; however, it is important that forms are returned to Aine as soon as possible.

Members viewed photographs and video evidence of the interactive workshop from the last meeting in Munich in November. Discussions took place as to how positive this had been.

A discussion took place around the differences between client groups in each of the member countries, and how all clients have differing abilities. The group went on to discuss that for children and adults with significant multi-disabilities as well as a visual impairment it is important to identify any barriers to meaningful participation, and to ensure that any barriers identified where possible are overcome.

Evaluation from Munich meeting
There appears to have been some difficulty for some members in receiving the evaluation forms circulated by Aine. Hard copies were issued to members for completion by week ending 15th March 2013. Evaluation forms from Osimo should also be completed.

The questions from the form were projected for members to view and the following comments were discussed and noted.

Osimo8Guy from France who is blind commented that he struggled to understand when there was more than one conversation going on. However, he felt that the presentations in Munich had been good, and being able to review the theatre work of the clients in Germany had also been very good and informative.

Members agreed that only one person should speak at a time and that if necessary there should be a pause in the meeting following this for any necessary translations to take place. The group acknowledged that there were challenges to working within a multi-lingual group, but that these could be overcome and that there were many positive aspects of working and learning in this situation.

Scotland raised that they felt that the Project was progressing well, and that it was good to see different client groups and to have opportunities to see and discuss different methods of good practice.

Italy agreed with this, and felt that knowledge will expand and be collected as the project progresses. The Project has enabled boundaries to be pushed and for member institutions to look at activities in a different ways. It will be important for the Guidelines reflect this by enabling different services to look at practice in a different way. This will in turn hopefully change the perception of the general public of disabled people, and particularly their view of people who are MDVI.

Osimo3Scotland explained that at the Royal Blind School all pupils have expressive arts as part of the curriculum, however, out with this not all young people have the this opportunity. It was important to ensure that the skills gained in the educational setting were transferred when young people moved on to adult services. Discussion took place that expressive art was often a safe environment for people to be able to express their feelings. Scotland gave an example of practice where a young person was able to express anger and how he was able discuss his feelings with the educator following this.

Members discussed that expressive art enabled people with MDVI to boost their self-esteem, feel more stimulated, have more awareness of self, and that all of these factors helped to work towards inclusion of MDVI adults in general society. Germany explained that one of the main aims of their institute was to enable clients to participate in theatre work as paid employment.
Scotland raised concerns regarding taking a production into an open forum such as a large theatre. Clients in Scotland are used to thinking about performing in the familiar surroundings of the school setting. In June of this year clients from Scotland will be preforming in a local theatre and during this a short section of the Tempest will be performed. However, it was difficult to see how this would fit in with the production which may be undertaken at the end of the Project. Italy expressed that they had experienced similar problems, but were able to give an account of work undertaken with clients to prepare them for performing in different settings, and this had resulted in a positive outcome.

Osimo2Members agreed that it would be important to include this point in the Guidelines as it is essential to prepare clients for the experience of performing in the theatre.
Members stated that it had been helpful to travel to Munich and see different client groups. Germany was able to give an account of the progress made over a ten year period.

Summary of session:
Many possibilities to develop talent of clients but it will be necessary to look at different clients and at each meeting it would be beneficial to look at what each member country is doing. This should include looking at what difficulties if any, had arisen. Members acknowledged that it important to ensure that honest reflection of outcomes and experiences took place.

A very important factor was that members had to acknowledge that the term MDVI meant different things to each member country, and that reference to this should be included in the Guidelines. All aspects/abilities of people with MDVI should be included in the Guidelines.
Members also raised that expectations of what had to be prepared prior to meetings should be clearer. if presentations for example were to be undertaken then it should be clear what these were not just appearing as an agenda item.

This was highlighted as a learning outcome from the first meeting, and that clear statements/guidelines of what had to be prepared by member countries prior to the next meeting should be in place. Member counties should be more aware of what it is necessary to bring to meetings to `showcase‘ work being undertaken in member institutions.

Members also identified that it was important to have an open mind regarding audience participation, particularly parents of clients as it can often be difficult from them to see their family member in a different setting. The experience in all member countries was that families were often narrow minded regarding the abilities of disabled people.

Various examples of practice were discussed by all member countries. Agreed actions:
Evaluation forms to be sent to Aine (Scotland) -Scotland will then collate and prepare summary which will be circulated prior to next meeting, and any issues or concerns will be discussed at the first session of the next meeting in France.

Members viewed a DVD showing the work, and facilities of the Centre in Osimo. This included testimonials from clients, parents and families of clients, various professionals as well as volunteers.

Osimo6The group enjoyed a tour of the Centre.

Members visited Kalorama, a residential service for clients in Osimo, and then members watched a production of Le Bohiem performed by clients of the Kalorama Theatre group. This was followed by a visit to a workshop in Osimo.

The day concluded with members of the group enjoying a trip to the nearby Conero Rivera followed by dinner in Osimo.

Wednesday    6th      March 2013
The meeting started with Margaret Simpson from The Royal Blind School in Scotland giving an account of her role at the school and this impacts on the education of pupils and how in turn expressive arts impacts on this.
Margaret discussed how visually impaired young people have difficulty with expression. Photographs of the work being undertaken at The Royal Blind School were circulated.
Scotland also explained how use of masks will be used during a performance of The Tempest in June 2013 in an external theatre production.

Materials to make masks were circulated and members were asked to make masks. Once the masks were made members had to explain why they had produced them the way they had, and what their feelings were, and how this could relate to the clients within the member countries.
Scotland went on to explain how tactile methods were used with young people with MDVI to explore different experiences and often these methods were used to produce scenery or backgrounds of dramatic productions. Often music will also be used. MDVI pupils are also involved in sensory stories and Scotland gave examples of this work, and CD’s were shared with the group. A general discussion took place around how this enables MDVI clients to participate in theatre/drama even when stories are complex. An example of a complex American folk tale was played to give the group an idea of how this feels for MDVI clients, and how even complex stories such as the chosen text of The Tempest can be shared and experienced by MDVI clients.

Osimo7The Guidelines
The processes discussed above should be reflected in the Guidelines by:
A statement should be included regarding acknowledgement of the differences of MDVI client’s abilities.
It may be necessary to include different sections for different client groups. A description of the target group which will include;

Clients who are:

  • Deaf Blind
  • Visual impairment – including additional support, psycho/sensory/motor disease, intellectual impairment
  • Nonverbal communication
  • Non ambulant-wheelchair users
  • Autism and Asperger’s Able blind
  • Three sections should encompass this which would be Severe/Moderate/Able blind

Method and Practice
Create emotional situations for clients to prepare for life situations
Develop imagination
Example of experience from member country institutions
Acknowledgement of different cultures from within members – in some cultures theatre promoted,
others not recognised
Acknowledgement of the fact that performances may be for social/educational/ employment needs There will be transnational aspects which may vary
Principals need described at beginning of guidelines
Performance is an instrument for social education and integration
The Process is an important aspect for MDV1 clients as it can aid self-esteem
Promotes ability over disability
Clients can use skills in many areas of their lives
May enable family and friends to see client in a different way
Role and Responsibility of Educator
What can I expect- what can I create
No barriers – ability to overcome barriers
Be open
Ability to experiment
Stand back and listen and see
Understanding of theatre/art in any form
Understanding of client group – acceptance of client for who they are
Be creative and be able to adapt creative ways
Ability to think in different ways

See potential in clients and be able to challenge and encourage them Sense of humour
Little crazy!
Be able to involve appropriate support – i.e. volunteers, supporters, carers

Builds confidence
Builds self esteem
Promotion of art (for more able adults)
Workplace – employment opportunities
involvement of clients who are new to theatre/expressive art

Osimo4Important to include in the guidelines as may give additional thoughts to expand ideas for inclusion of MDVI clients in theatre. For example, in set production rather than just performance art.
France gave practical examples of theatre work with children, and the group discussed that it was necessary to work in a different way whilst working with these different client groups.
Also during this session there was lengthy discussion by member countries regarding the differences in client groups, and their varying abilities, and of the purpose of theatre work.

Germany were keen to emphasise that work undertaken by their clients was to try and engage them in paid theatre employment, however, Scotland and Italy felt that it was unlikely that the client group they were working with were unlikely to be in this situation. There were also some differences in the way member countries viewed theatre work in that for some client groups the work would have a therapeutic element where as Germany felt that this was not the case for their clients and the aim should be paid employment. These differences were debated and discussed and the issues were resolved by members agreeing that the guidelines would have to be broken into different sections and categories to reflect the difference in ability of clients.
Suggested logos were circulated for consideration by group members. After discussion a logo with two faces was the preferred choice. France suggested use of Braille as well as the words IMAGIBE MDVI. Sketches were made and circulated. Work will be undertaken to include this on the web site, and members will approve at the next meeting.

Any information or photographs should be sent to Michael for inclusion on the website. Permission should be sought from clients or their guardians for use on the website.
A discussion took place that examples of good practice should be placed on the web site. Attention needs to be paid to copyright laws and regulations.
The next steps
Members shared examples of how they thought The Tempest will be produced in member counties.
A production of The Tempest will take place in Osimo at the final meeting of the Project in May 2014.
Different institutions may present different productions
Original aim of the Project included production of a DVD which may include testimonials/statements from families and people associated with clients.
Italy/Germany/France may be part of live production
Some partners may only produce DVD material- Scotland may produce backdrop/sounds/technical support and this may then be added to the final live production.
Suggestions were made that the play could be divided up into parts to enable all clients to participate in an active way in the final production. Discussion took place as to how this would work in practice, and as there was different viewpoints on this it was decided that members need to return to their institutions and reflect on how this could work in practice, and that further discussions will take place in May 2013. Decisions can be made as to which section/part each institutions clients can participate in.
Members were shown a presentation from Germany of the work undertaken by clients at SWW, and photographs were circulated.
The day concluded with a visit to the Tactile Museum in Ancona, a sightseeing tour of the town and then dinner in a nearby town.

Thursday 7th March 2013
Osimo5The day started with a visit to workshops in San Biagio.

Dissemination Plan
Michael should be made of any presentations which will be included in France prior to the meeting for inclusion on the agenda.
France will send work prepared for Osimo meeting to Michael for circulation to all members.
Italy gave presentation on work already undertaken on the Tempest with clients. This will be placed on the Imagine website.

Tasks were identified for completion before meeting in France in May 2013:

Goals for each member country will be discussed in France so thoughts should be given to this. – Scotland stated that clients currently involved will leave school in June, and that parallels and messages drawn from the story of the Tempest were being used to help young people with the transition process.

The group agreed that all messages given should be positive. It may turn out that audiences will devolve their own message from the various productions. Debate took place as to whether messages should be given or whether it should be open for messages to devolve from both member countries and their client groups, and this may continue to change and develop throughout the process. Acknowledgement needs to be made to differences in cultures and abilities of client groups.

Members felt that the process was progressing, however, Michael voiced concerns that it may be difficult to evidence how we have come to this result. Members reflected and discussed this. Michael felt it was important to identify what the end production would look like. However, members felt that further time was needed to allow process to develop. Members felt that at each meeting DVD’s and discussions were taking place which would devolve as the process develops and that this was evidence. It was highlighted however that there may be difficulties with continuity of technology. Live presentations at each meeting would also be evidence.
Scotland raised that it may be difficult to merge clients from all countries.

Time factors should also be taken into consideration at the final event.1.5 hours would probably be the maximum performance time.

Debate ensued regarding the possibility of an audience watching four productions of the same play. Time factors would then become an issue, as well as ensuring that the audience don’t become bored.

Scotland raised that it might be a good idea for each member country to perform part of the story. Workshops could take place in member institutions to ensure that clients had access to the whole story.

Osimo9Evidence should be brought to France in May regarding the progress of the Tempest productions in each country.

Some concerns were raised regarding merging live performance with media performances/links; however, members felt that this was now a method often used in theatre productions. Care needs to be taken to ensure that the final production is integrated. A suggestion was made that a narrator could be appointed. An alternative could be that a festival type format could be used. Music playing between sections and information on different services offered in different member countries could be provided. Photos and DVD footage could also be used.

There was a suggestion that other services and clients could be invited to the final production.

Summary and Evaluation
Food and cultural programme for meeting in France May 2013 will be sent by French member to Michael.

Presentations regarding progress in member institutions to be prepared for each meeting.

End production will be standing agenda item until the end of the process.

Further discussions need to take place regarding methods used. Points for Guidelines will be re-visited. Members should put together their own thoughts to add to points raised at this meeting.

Reports to Agency need to be undertaken shortly as Project reaches mid-point. 0.5 of a day will be allocated to this in France in May to complete this task.

Content of meeting in France May 2013 and member responsibilities.
Scotland to send logo ideas to Michael. Decision will be made on this at the next meeting.
Evaluation forms for Osimo meeting to Aine by 15.3.13 and also for Munich if not already returned.
Presentations from Osimo to be sent to Michael for inclusion on the website. Text from Scotland will be combined with music.
Full notes from meeting in Osimo as well as summary for inclusion in MDVI newsletter to be sent by Scotland to Michael.
Any presentations for inclusion at meeting in France should be notified to Michael for inclusion on the agenda.
Any further thoughts on the guidelines to be added to the collective point to be brought to the meeting in France in order that a first draft can be drawn up at this point.
Any items for inclusion on the agenda in France should be submitted to Michael by the end of April.home

Members felt that the time ratios between meetings, cultural and free time was appropriate.

The members of the group shared their thoughts and feelings of the progression of the Project over the last few days. Members from Scotland, Germany and France thanked Italy for their hospitality in Osimo over the last week which had been very positive for all group members.

Notes taken by Jan Thomson (Scotland)

Evaluations from Osimo meeting

4th-7th March 2013
1. Describe how the project has gone for you to date.
All partners are agreed that the project has developed in the time between meetings. Some have focused on facial expression and body language and brought in the expertise of other specialist staff. Others have looked at their client groupings and examined how different client groups can best access ‘The Tempest’. With some it may simply be done using sensory stimulation and developing this. With more able participants, it will involve looking at characters, their relationships and the story. Most participants like the fact that we are collecting and collating information from each country. Photographs, artwork, DVD’s and PowerPoint presentations.
2. Have any challenges presented themselves as a result of this meeting and how did you resolve them?
Each participant highlighted the challenges faced in putting on a final performance next summer and how we get there. All agreed that we have still lots of decisions to make on how best to involve our clients to illustrate the best they can do. Also some people were concerned on how best to get their client group involved in work on ‘The Tempest’ – finding different methodologies that works for them. Others were restricted by the time-tabling constraints of their school and the existing work that needs to be completed. How best to fuse these different constraints to produce a piece of quality theatre where we are all represented equally? This is a big question that will be carried forward to our next meeting.
3. What positive aspects do you see for yourself and your organisation at this point in working transnationally on the specific subjects of this project?
Participants appreciated what they can learn from one another and how they can bring this to their own teaching. It was useful to see the work done in Italy with a different client group to Munich. Everyone enjoyed the show and seeing the enjoyment on the clients’ faces and enthusiasm of staff. Some participants mentioned that it gave them more of an insight of how a drama co-ordinator/teacher should be and highlighted the importance of teamwork. Each participant country was sympathetic to each other’s difficulties and celebrated their successes.
4. Were there any uncertainties about preparing information for the meeting? If yes, what were they?
Most participants felt that they were prepared for the meeting though it was raised that they were less clear on what the final outcome will be. It was pointed out that each participant country has developed their own way of doing ‘theatre’ and each method has a valid and important purpose.
5. What are the highlights you will share with colleagues from your organisation?
The observations in Osimo that partners liked were the language used in Italy to communicate with deaf blind clients, tours of the workshops with emphasis on independent, meaningful work and looking at different learning styles. Participants also highlighted the importance of sharing ideas and working methods.
6. What factors of the Munich meeting will contribute to your own professional development and how will this influence your daily practice?
All participants feel that they will have a more creative approach on their return to work. Adapting The Tempest may be a challenge met by using more music and finding ways for clients to be more independent in the knowledge that it is ok to try things out and make mistakes. The aim is to find out what works best for your own client group.
7. Have you been able to raise and discuss points within the group that you wanted to?
It was widely thought that ‘yes’ people were able to do this. The discussion was chaired and controlled. People found it easier to raise points now that the group have got to know one another better. Language continues to be a barrier and a difficulty for all.
8. Are you clear what your objectives are for the next period?
Yes, all participants are clear on this.
9. What specific elements have been gained from transnational working?
A general enthusiasm from all participants to achieve the best for their clients – this can be carried forward through the entire project. The opportunity to get to know different cultures and methods and that can reflect on and improve your own practice.
10. Do you anticipate any problems in meeting these objectives?
The public performance stands as a challenge to all. Participants highlighted internal problems, finding appropriate partnerships both inside and outside their organisations and constrictions imposed by timetables, educational holidays and deadlines.
11. Length of meetings, accommodation, future.
All participants were very happy with meeting time and accommodation. All appreciated greatly the Italian hospitality!
For future meetings, participants would like to see more examples of work in progress. To hear about the difficulties and what worked well in doing ‘The Tempest’. Some would like to attend and participate in theatre workshops. It was mentioned that we will need written scripts and clarify our responsibilities for the final performances. And participants would like to begin to put together the ‘guidelines’ as a way of moving forward.
All participants are keen to have a good time together!

Aine Murphy April 2013