Culture dans tous les Sens
(please see page 7)
Movement & Freeze
The national newspaper „Süddeutsche Zeitung“ has taken notice of „Die Blindgänger” (the german word “Blindgänger” means both – a blind man and a dud): “(…) Shakespear’s “Tempest” feels like a mild breeze when you see “Die Blindgänger” storming onto stage. (…) “Die Blindgänger” irritate and that’s what they want to. (…) The actors – blind, visually handicapped, accompanied by mental and physical problems – go to their limits. (…) Sacha Anema, theater director of “Die Blindgänger”, pushes them onto big stages usually reserved for professionals.”
Presentazione IMAGINE (PDF 3 MB)
MEETING IN CLERMONT-FERRAND
MARCH, 31TH TO APRIL, 4TH 2014
IMAGINE MDVI — An Inclusive forum to develop Movement, Action, Gesture, Improvisation, Negotiation and Expression of Multiple Disability Visual Impairment adults
Sunday, March 30 th
Welcome and reception of the company Die Blingänger
Monday, March 31th
|9.00 a.m – 5.00 p.m.||Repetitions of the Tempest by Die Blingänger|
|6.00 p.m.||Arrival Day – Check in at Hotel, Clermont-Ferrand
Dinner all together in Clermont
|8.30 p.m.||LEE VOIRIEN Presentation|
Tuesday, April 1 st
|9.00 a.m. – 5.00 p.m.||„Die Blindgänger“
Repetitions of the Tempest
|9.00 a.m. – 12.30 p.m.|| All participants
Work on the project
|12.30 – 1.30 p.m.||Lunch|
|1.30 – 3.00 p.m.||Work on the project
|3.30 – 5.30 p.m.||Visit of the museum “L’Aventure Michelin”|
|5.30 – 7.00 p.m.||Shopping or leisure time|
|7.00 – 8.00 p.m.||Fast dinner in the theater|
|8.00 p.m.||Show “The Tempest” by Die Blindgänger and Lee Voirien|
|10.00 p.m.||Cocktail with actors and staff|
Wednesday, April 2 nd
|9.00 a.m. – 12.30 p.m||Work on the project
|12.30 – 1.30 p.m.||Lunch|
|1.30 – 6.00 p.m.||Visit of “Vucania”
“Vulcania offers you the chance to share unique experiences in a spectacular natural setting:
the Volcanoes of Auvergne.”
|7.30 p.m.||Dinner in a restaurant in Clermont|
Thursday, April 3 rd
|9.00 a.m. to 12.00 p.m.||
Work on the project
existing contents and presentations correct in good English,
|12.00 – 1.00 p.m.||Lunch|
|1.00 – 3.00 p.m.||Evaluation of the Meeting|
|3.30 – 5.00 p.m.||Afternoon with games within the framework of the festival “Culture dans tous les sens”|
|5.00 – 7.00 p.m.||Shopping or leisure time|
|7.30 p.m.||Dinner at a restaurant in Clermont|
Friday, April 4 th
Monday 31st March 2014
Group met and watched a production of the Tempest by Lee Voirien. This was followed by a meal.
Tuesday 1st April 2014
Present: Michael, Aine, Jan, Nicolleta, Gianni, Fiametta, Celine, Guy
Michael welcomed everyone to the meeting.
Michael reviewed and discussed agenda for next few days.
The notes from the meeting in Edinburgh were circulated.
The video from Italy cannot be placed on IMAGINE home page due to difficulties with copyright. It may be possible to create original music.
Italy produced new DVD footage to show the other countries.
Discussion took place around the steps taken to achieve the outcome viewed.
Clients need to be very comfortable in the roles before they can begin to learn the text. Step 1 needs to be that clients are secure.
The DVD of the second step could be shown on the website and this could highlight the challenges.
This should be seen as a positive challenge, not a barrier to working with MDVI clients. The text should not be a barrier; it can be changed to meet the needs of the client group.
A discussion took place around the different emotions, actions and experiences contained within the Tempest.
Different steps are very important to be included in the guidelines.
It is especially difficult to learn text with deaf clients.
Expressions must be brought out in the theatre.
The production from France used lots of text. Between January and March this was the only text actors from France worked on.
France again emphasised it was very important to feel the emotion of the characters prior to learning text.
Different methods had to be used to learn text. These included Braille, use of audio equipment. It is also important to ensure that clients without verbal communications have the opportunity to participate. This can be done through use of repetition and rhythm.
If the feeling is there then it is the same commitments to theatre, even without the use of formal text. The steps of the process need highlighted in the guidelines.
There should be a strong statement at the beginning of the guidelines. Different methods, ideas and experiences should be included. This could be supported by photographs.
The photographs need reviewed. Photographs need to be gathered from every participating country, however these should explain the different methods used.
Discussions took place around the continuing work on the Tempest in the participating countries.
Scotland expressed that it was very powerful to see MDVI clients with very complex needs participating in theatre in a meaningful way.
Discussions took place around it is also important to look at the use of music within theatre.
Music can help clients build an understanding of the text.
Vocalisations from clients can also be used.
These can all help build the emotional connection.
Varying emotions can be expressed within the emotion of the music.
Music ca help clients express themselves.
Structure of guidelines
Music – Words should be included in the guidelines
Steps of the process need to be included.
Spend time creating context through music, physical movement, objects, materials, props
Examples from the tempest should be used throughout to illustrate methods used.
Information was collated and discussed and then first draft of the guidelines was compiled.
In the evening the Group viewed a production of The Tempest by the client group from Germany, followed by a buffet meal with the actors from both France and Germany.
Wednesday 2nd April 2014
Group joined by Kuni
Meeting began with reflection and discussion on both productions of the Tempest.
Dissemination discussion:-Larger group for guidelines –Teachers, National agency, Parents, Clients, Board of institutes.
Home page: – A review of the home page was undertaken by member countries.
Photos from Edinburgh to be sent to Michael. Notes from Edinburgh to be emailed to Michael. Newsletter to be compiled of Edinburgh meeting by Italy, Germany, Scotland.
Photos of artists from Clermont and Munich should be sent to Michael for inclusion.
Dissemination: – 12th – 17th May 2014 Initial discussions – final draft programme issued at meeting
Arrive 12th May 2014
Tuesday 13th May – Am Project work, PM Rehearsal for theatre performances.
Wednesday 14th May – AM Project work – Set up for dissemination event. PM Performance of French/Italian work.
3-5pm Dissemination, 5.30pm Performance
Time slots need to be very clear and adhered to during dissemination.
Intro Patrizia 5 mins, each country 3 mins max each.
General presentation – including homepage
3pm France performance
3.45pm Intro Patrizia – 5 mins
3.50pm Scotland – 15mins, France 3mins, Germany 15mins, Italy 5mins
4.30pm Homepage 5mins
4.35pm Guidelines talk by Jan 10mins
5.40pm Conclusion – Michael and Patrizia
Approx. 5 clients per workshop.
Workshop will last for approx. 1 hour – all will run at the same time.
1 workshop – music – Scotland – Children – AM 15/5
1 workshop French clients PM15/5, Caleramo PM 15/5
Karl will be available to work with French clients as well as Italian clients when Osimo as he will not be involved with project meetings.
Karl is also available Friday AM. Will join with Music department.
Staff will be allocated to accompany and assist Karl
15th May 2014
Members will spend day preparing final report. Presentation work should be undertaken prior to the meeting at Osimo.
Evaluation will be incorporated into final day.
The afternoon was spent at an exhibition about the Changing world, followed by a meal.
Thursday 3rd April
Images for guidelines to be sent to Michael.
Review of what we have done so far and what still has to be completed.
Kuni to put newspaper article and comments on discussion/evaluation of discussion on website.
Kuni to translate article to English and send by email to project members.
Recap discussion on website
For Karl – In Osimo they have 4 drums, cymbals, xylophone, piano, big chimes, thunder drum, 2 guitars, maracas, tambourines, little bells – they will get a violin, Speakers for iPad, iPhone.
Check with Karl exactly what he needs. Instruments can be put in a car from Munich if extra are needed.
Karl to create a list of what he needs – if not available in Osimo. Michael may be able to bring from Munich.
In Osimo performance – there is live music. It would be good if Karl can join in with this. He can join the Tuesday rehearsal to work this out. Where can he improvise? Good example of cross-cultural working.
Discussion about sound in the theatre. The stage mics should be enough – Michael can bring 5 headsets from Munich if necessary.
France will bring all costumes with them to Munich. Italy to find tables and fabric for Prospero in the French performance.
National events – Publicity in newspapers etc. How will we publicise results- all for final report.
Final reports to be compiled by 31st July. Your own event in own institutes. Best to do this before the deadline. Can write what you are going to do. Event with parents, interested others etc.
In final report need to write up what will happen. It is important to share your results in your own country event.
Can share in other parts of the UK.eg. Go to Dublin, Worcester .. Give a presentation of the event. Munich to go to Holland and present the results.
Website:-Recap on what we have agreed – Jan read out to all reminding everyone of homework.
Michael to change structure of the website on the drop-down menu.
Michael to add new DVD’s to the website
Kuni to make badges/buttons of the logo for Osimo.
For dissemination, we will require display boards.
2 display boards for each organisation. All members responsible for bringing pictures to display.
Laptop/electricity to be provided for running the website or DVD’s in the theatre foyer. Italy to organise.
Tables to be provided(Italy)
Each country to bring information about their organisation. Something about the culture of each county.
Organise something to drink.
Please remember to send photos to Michael ASAP.
Italy will organise the poster for the event with client. A1 size.
Discussion about wording – ‘actors’ ‘performers’
Need a paragraph at the beginning of the guidelines – we do not use the word ‘clients’
Discussion about words. Agreement we will use ‘performers’ as the common description of MDVI service users.
Review of timetable for Osimo.
IMAGINE MDVI Edinburgh September 23rd – 27th
Mon 23rd September
|Travel Day. Arrival times to be confirmed.|
|7.30pm||Meet at hotel foyer|
|8.00||Walk or bus to ‘Salisbury Arms’|
Tues 24th September
|9.00am||meet Travelodge lobby. Walk to Craigmillar Campus. (approx. 15mins)|
|9.30 – 12.00||Meeting Time (with coffee break)|
|Meet head of school||Aine|
|Discussion and a short presentation (Website)||Aine, Michael|
|Introduction of the daily program, further proposals for the agenda and agreements to a changed agenda||Michael|
|brief report about the local examination of the National Agency||Michael|
|12.00 – 1.00||Lunch|
|1.00 – 2.30||Meeting Time|
|Actual developments of the „Tempest“
Presentation of different versions of „The Tempest“
Considerations, experiments and experiences
Consequences and results for our Guideline
|all Partners discussion|
|2.30 – 3.15||Tour of school|
|3.15 – 4.15||Free time/back to hotel|
|4.15||Travel to city centre for a Magical Mystery Tour! (Wear warm clothes)|
|8.00||Meet at Restaurant ‘Loch Fyne’|
Wed 25th September
|9.00am||meet Travelodge lobby. Travel to Canaan Lane Campus.|
|9.30 – 10.30am||Tour of Canaan Lane Campus|
|10.30 – 12.00||Meeting time (with coffee)|
|Continuation of presentations
Experience from the realization of the theme
What kind of results we can transfer in our Guideline
|all Partners discussion|
|1.00 – 2.00||Meeting time
Summary of results and assignment to the 6 points
|2.00 – 3.15||Music workshop in Forward Vision|
|3.15 – 4.00||Afternoon tea in Forward Vision|
|4.00 – 5.30||Meeting time
the attempt of a draft common version of the Guideline
based on the structure (6 points)
|6.15pm||Meet at restaurant ‘Howies’ followed by pub crawl!|
Thurs 26th September
|9.00||meet Travelodge Lobby. Walk to Craigmillar Campus.|
|9.30 – 12.00||Meeting Time
Summary of Results
Agreements and homework for the next meeting
|12.00 – 1.00||Lunch then presentation of certificates from head of school|
|1.00 – 1.30||Evaluation|
|Italian colleagues leave|
|1.30 – 3.00||Music workshop (Louisa)|
|Shopping/ sightseeing time|
|7.00||Reverie Pub for meal and music|
Friday 27th September
Tuesday 24TH September 2013
The meeting opened with the head teacher of the Royal Bind School and the Chief Executive of Royal Blind welcoming everyone to Edinburgh.
A discussion took place around the provision of services for disability people and the difficulties and non-specific services for disabled people.
The daily agenda was discussed and arrangements explained.
There had been difficulties with film supplied by Italy as it contains music which required a performing arts license. Member countries explained this was the same in all member countries.
Member countries need to try where possible to include original music or free music. Michael gave examples of difficulties experienced by other European projects. Members of the project need to check that any text used is also available to use and does not incur costs.
Scotland explained that work had been done in Forward Vision over the summer period where a music specialist had composed music, which could be used in the dissemination in Italy.
Michael asked members for an update off progress of project.
Alne explained how summer music workshops had worked over the summer. Alne explained that music, lights and technology had been used, photographic evidence was circulated.
Acknowledgement was made to the fact that the method used needs to reflect the client group involved.
Italy had decided to have two groups undertaking different activities again depending on ability of clients. It is important to ensure there are no barriers to participation. Expressing emotion is very important for clients.
Germany explained they have been working on body movement, feeling and emotions. Exercises have been undertaken looking at what it would be like to live on an island, i.e. isolation. Germany explained there was no fixed.
France explained that improvisation is also very important for them. Exercises have also been undertaken.
Scotland explained that last June, 7 young people performed in a mainstream theatre using characters from The Tempest. Scotland explained this also helped young people with the concept of leaving school and moving on. Scotland felt this had been very powerful for the audience.
Italy explained during the summer they had undertaken work including improvisation.
Acknowledgement was made to the fact that four countries had undertaken the work four different ways with respect for their own culture.
The member countries acknowledged that it was important to ensure that this was shared on the end report and guidelines, and that examples of good practice are shared.
It is important to evidence how the project runs and that our experiences and way through the process are clearly evidenced, Photographs and videos could also be used as evidence.
Discussion of final report for agency — Our written experiences. what we learned from one another is very important.
Need to talk about progress and how the clients change and develop through the process. They are motivated because they are emotionally engaged.
`The Tempest‘ is just the starting point — each country has taken it in their own way. Germany found that there was a lack of acceptance for `theatre‘ as work so they have to change opinion and belief. Theatre work is not valued in the German community. They see it as a game.
Should be in guidelines — to encourage all teachers.
Michael reported back from his audit from the German Nation Agency, Michael had created a file with different chapters explaining each aspect of the project.
His report commented on the leadership, quality and professional competence of the project was done. He pointed out that results must be published on the website.
Thank you to Jan and Aine for reports and newsletters. These are important evidence for the project.
Kuni fed back her experiences and discussions with the auditor.
The guidelines — Michael proposed that we discuss the basic structure of these guidelines.
Structure for Guidelines
Important to ensure that guidelines reflect that there is no barrier to participation in theatre.
Explanation could be given i.e. sensory, exploring, improvisation, pictures showing different types of client groups.
Italy felt that it was important to acknowledge that our clients also experience a buildup of emotion similar to that which most people experience in theatre work or setting.
Germany gave examples of connection.
Theatre can be an instrument for many of our clients.
Target group for guidelines — should be people working with people with MDVI. Teachers/professional actors/funding bodies — i.e. professionals.
Message should be that all is possible if you prepare well then anything is possible.
Scotland gave the example of Forward Vision where there was no theatrical background and that they had been able to embrace the challenge of ensuring that MDVI clients are able to parti9cipate in theatre with the appropriate support and preparation.
It is also important to reflect the different cultures from member countries.
A method could be developed which can be used in the workplace. This would aid confidence, ability and opportunities for MDVI clients. Drama can be used to help minimise problems and issues.
Acknowledgement needs to be made to the fact that often it is difficult to monitor feelings and expressions of MDVI clients and interpret them appropriately.
Expression can also change depending on the situation. Photographic evidence will be very important for the guidelines. Clients from Italy will be performing in Italy next week in a festival. It will also be important to reflect on audience participation.
Group were given presentation by Germany. Discussion took place around the different aspects and expectations.
Presentation will be included in the notes circulated.
Wed 25th September 2013
The day commenced with a tour around the Canaan Lane Campus of The Royal Blind School, where members were able to view residential and class areas and resources. Members were able to observe practice.
Agreement that Kuna should complete presentation in 20 mins. Each other member country should have 10-15 mins to present.
A discussion took place regarding the fact it was important to promote that theatre work can be undertaken in every setting and with varying resources.
Italy then presented DVD evidence of their progress on `the Tempest‘ which had been undertaken over the summer.
Scotland circulated photographs and dialogue of their suggestions for inclusion in the guidelines.
France brought to the meeting a DVD of workshops. They also provided photographs and dialogue which could be used in the guidelines.
Scotland shared their DVD’s One from Forward Vision – Karl working on `The Tempest‘ magic theme. And one showing a rehearsal for a performance where young people had ;earned lines from the original script.
We all took part in a workshop hosted by Forward Vision music group. 4 young adults and all of us joined in. We then met staff over afternoon tea.
The Final Session
Germany will take a group from SWW to the next meeting in Clermont Ferrand during the festival.
Discussions took place around format of final arrangement for Osimo. The first question would be how long group members would be able to travel to Osimo for this would include client travelling.
Rehearsals need to take place for any final production. This needs to include time for workshops, dissemination. The suggestion was that the meeting may need to be 4 days in length rather than 3 as at previous meetings. Discussions took place around that it may be easier for performance to be at the beginning.
ecisions need to be made by the end of October to make appropriate travel and accommodation for the dissemination.
Travel day 12th May
13th Meeting am = Clients prepare for performance – Workshop pm 14th Performance and dissemination.3.30/4pm onwards
16th Evaluation to include final report.
Final programme to be arranged in France.
Professional arrangements to be done by e-mail.
Germany still has to decide if clients will travel and if so how many. France will send Italy all information as soon as possible.
Scotland will check what musical instruments will be required and Italy will check if any are duplicated.
Scotland will advise Italy haw the workshops will be structured. Italy will send approximate numbers of clients to Scotland. The workshops may be offered to other services in local area in Italy.
The day concluded by members gathering in a restaurant to enjoy Scottish food. The group were joined by Elaine Brackenridge – Head Teacher at The Royal Blind School and Richard Hellewell Chief Executive of Royal Blind.
Thursday 26th September 2013
Michael recapped on the work we have already seen from one another institutes. Structure for introduction.
Discussion took place whilst working on each part of the guidelines around methodology.
DVD to be produced.
All photographic material to be sent to Michael. This should be sent as a data file not as a DVD or a CD.
Photographs and information brought to meeting in Edinburgh by all member countries will be gathered by Scotland and placed in the section Practical ideas. Scotland will merge all words, around photos and Michael will then do final edit.
Guy from France gave details of the method in which his organisation worked with people who are blind or visually impaired. This included technology and the need for contract and orientation with people who are sighted and support them.
The final paragraphs for the conclusion will be drawn together in Clermont Ferrand in spring 2014.
The purpose of this Questionnaire is to gather your comments:
Describe how the Project has gone for you to date?
We have progressed well. All members completed homework tasks and this was shared and circulated. This was done through sharing DVD,s, photographs and power point. This was very positive for all of us.
Have any challenges presented themselves as a result of this Meeting, and how did you resolve them?
What positive aspects do you see for yourself and your organisation at this point in working transnationally on the specific subjects of this Project?
Getting ideas from one anothers work and DVD,s. Learning from one anothers work and experiences. Getting new inspiration. The opportunity to promote the project with Headteacher and Chief Executive raising the profile of the project within the organisation. Reflecting on our own work and culture in a different way.
Were there any uncertainties about preparing information for the meeting? If yes, what were they? How could this have been made clearer?
What are highlights will you share with colleagues from within your organisation? (Apart from the food and the beer…….)
The sharing of practice and looking at DVDs from other institutions was excellent. We will continue to share this with our colleagues who are becoming increasingly aware of the project and its value.
What are factors from this Meeting will contribute to your own professional development and how will this influence your daily practice?
Thinking of THIS Meeting …..
Are you clear about what your Objectives are for the next period?
Yes, we are clear that we continue working in a practical way and move towards bringing all of our findings together.
Do you anticipate any problems in meeting these Objectives?
Has the Meeting been the right length and format?
Have the accommodation and meeting places been satisfactory?
Finally, what would you like to see included in the next meeting? (including social aspects)
4th-7th March 2013
Tuesday 5st March
Introduction of the daily program
- further proposals for the agenda and
agreements to a changed agenda
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
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.
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
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
IMAGINE PROJECT Clermont Ferrand
Present: Michael, Koni, Jan, Aine, Celine, Guy, Patricia, Nicholetta, Janni
Michael welcomed everyone to meeting in France.
Group introduced themselves to each other and gave an outline of their institutions and the services they provide.
Form of evaluation for Grindvig to be completed during this meeting. This has to be submitted soon.
Both these should be completed by the end of this meeting. Time allocated Thursday morning.
Change of the Agenda may need to change due to there being no train on Friday which would result in being late for check in at Lyon airport.
Amendments will be made accordingly to agenda to ensure all work covered.
Members to outline what their production of The Tempest will be.
Germany have discussed the production with clients who questioned whether this would be for a wider audience. German clients feel that it would be difficult to put on four performances. German clients don’t want to just perform is Osimo. Suggestion that Shakespeare is the theme not just The Tempest. German members felt this had been a very positive move for their clients as they previously accepted guidance from staff.
Discussions need to take place regarding what to expect in Osimo next year. This should include a discussion regarding resources, it is important to ensure all member countries are represented.
Guidelines – first draft to be drawn up at this meeting. Work to be undertaken during the first session.
Member countries to present progress update on work being undertaken.
Clarification of agenda items – visit to MDVI centre and workshops was given by France.
Logo, website will be reviewed on Wednesday 8th May. Decisions will be made at the is point.
Evaluation and interim reports will be undertaken on Thursday morning.
The thoughts from the last meeting on the guidelines were circulated and discussed.
A general statement should include an acknowledgement of the differing abilities of client groups in member countries. Statement should include that any barriers should be overcome.
Structure of Guidelines
- Principals –differences in clients
- Practical – examples of practice
Suggestion for Scotland that guidelines should be user friendly ensuring that:
Need to describe differences in clients groups.
Maybe necessary to collate small leaflet/book rather than simply guidelines.
Pictures could be used to illustrate practices, which would show different steps.
This would also help to show that theatre is for all by having photographs of different client groups.
Suggestion that each country could provide A4 sheet with practical ideas which would also contain photographic illustration.
Not too many words using descriptions should be used. Only clear ideas of how to work with clients should be used.
Guidelines should be clear for workers who may not have as much experience working with MDVI clients.
Emphasis should be placed on promoting ability to build confidence and self-esteem.
Outcomes should include integration/confidence building.
Differences in client groups can be acknowledged in photographs.
- Statement – Different client groups acknowledged.
- Principals and methods
- Practical ideas with photos of different client groups
- Possible outcome summary
- Mission statement
Clarification of funding for leaflet. This will take the form of a leaflet on the home page. Scotland questioned whether this was written within guidelines of project. It was felt that it was.
Discussion took place as to whether some hard copies should be available for final meeting in Osimo. A suggestion was made that a small flier be made or some posters to draw attention to the project website address.
This could also ensure that the information was available in different languages. A pen drive could also be made available.
Badges could also be made available.
No more than five practical ideas and five photographs for this section. Additional photographs should be brought for other sections of guidelines. Any description should be brief.
Key word from the title should include – these are movement, action, gesture, improvisation, negotiation and expression.
Role and responsibility of education should be included in principals and methods section.
Four to six lines could be included, or art work to illustrate that it is possible to include clients in all aspects of theatre work from performance to set production and this can happen on different levels based on ability of client.
One page of pictures to be produced by Scotland.
Four lines for the outcome summary should be produced for ideas for the summary. These will be discussed and collated in Edinburgh.
Also for inclusion in the guidelines could be a short section looking at practical aspects of technical support or making areas safe to enable all people to participate. It may also be necessary to refer to resource aspects.
Discussion took place that all member countries have different resources and that emphasis should be made that simple solutions can overcome this.
Discussion took place that often resources were available for children’s services; however this was not often reflected in adult services. This appears to be the case in all members’ countries. Scotland was able to give practical examples of this.
A sentence regarding the mission of this project which would be to promote the importance of the continuation of expressive art once a client reaches adulthood. Practical examples were also given from Germany of issues with resources, and the inequality of work for able bodied actors and those with a disability.
All pieces of work on the guidelines to be sent to Michael in Munich by 9th September 2013.
The morning session concluded with short presentation by France on the work undertaken at association Lee Vonen and a festival held recently in the area where with disabilities and non-disabled participated together. 4000 visitors and 620 actors attended.
Tuesday Session 2
This was followed by a short presentation of the work undertaken by young people at the Royal Blind School in Edinburgh on the chosen text The Tempest.
A DVD of this presentation will be placed on the website.
Italy then presented by way of a DVD an update of the work they have been undertaking on the text.
Discussion took place around the benefit of presenting different interpretation of the Tempest.
Language may also be a difficulty which would further complicate the issue.
Italy may present one part and acknowledgement has to be given to the fact that many clients do not have verbal communication. Italy suggested that a small descriptive leaflet could be circulated.
Clients from Germany felt that they would pick topics from The Tempest such as Jealousy, Emotion.
Italy indicated that their presentation would last approximately 20 Mins. Discussion took place around that the presentation from clients from Germany would be inspired by The Tempest and these would relate to life experiences by clients.
Michael raised that it was important to ensure that any dissemination would be in line with the objectives of the project. Michael questioned whether putting on different productions of the same play would evidence this, members felt that it would, as it evidenced that productions could be undertaken in different ways. A discussion ensued regarding how long the production should last. The group explored that an integrated performance from all members clients would be difficult for clients to cope with. A workshop/festival approach maybe the best approach.
The performance will take place in a venue in Osimo yet to be decided.
Germany gave a practice example of a festival they had held.
It was highlighted that time needed to be allocated during the final meeting for project meetings not just preparation for The Tempest production.
The target group for the audience would be parents/relatives of performers, local people/people from National agencies.
Michael raised that he would like production to be only for clients from member countries rather than involving clients from other services. It will also be important for clients from member countries to spend time together. Attention needs to be given to meeting time.
France have also been working on the Tempest and taking one section and working with a mixed age and abilities of clients. A group of around seven or eight may attend the production in Osimo.
The group from France will perform for approx. 20 min at presentation in Osimo, but may have a longer production for general use.
Germany may make presentation in Clemont Ferrand in March next year. A longer version may be presented there, and a shorter version in Osimo. The possibility of a seminar around the presentation will be discussed in Edinburgh.
Suggestion that one member country performs 20 mins then video presentation by Scotland another member country for 20 mins, followed by another short video performance by Scotland, and then last members country would perform their 20 min slot. Attention would need to be paid to technical details if DVD’s are used.
Reflection was given to the fact that multimedia was also used in many main stream theatre’s.
Italy commented that it was important that a discussion was made regarding the type of presentation. I.e. Video/DVD only would result in seminar type and it would be important that the event was marketed import.
Scotland raised that it was important that if clients were coming to Osimo events then staff needed to be allocated to them as members groups would have to concentrate on the project.
Discussion took place as to whether seminar type event maybe easier to organise. Photos could be used, questions could be asked of clients. Live performances could also be incorporated. Clients from Germany, Italy, France could be present in Osimo.
The initial decision to hold live performances may need to be reviewed. It was felt that at least a preparation could be done at the Festival in France in March.
The seminar could be for professionals in the field.
Italy raised the people would be unlikely to travel for a 3 hour seminar.
A further discussion needs to take place on Wed 8th May 2013.
Members then visited CRDV a rehabilitation centre for MDVI, this was followed by members of the group participating in a theatre workshop before enjoying a meal at the local restaurant.
Wednesday 8th May 2013
Members reviewed the suggestions. The group expressed their thanks to Margaret Simpson from Scotland for her art work for the Logo.
After a vote the logo was chosen. Germany will take the drawings to their IT department for making up.
Format of Final meeting
France keen to travel to Osimo with actors
Germany keen to travel to Clermont Ferrand for a production of The Tempest at the festival in March where video could be taken.
Dissemination could take two forms – live performance and seminar (conference Style)
Conference during the day – live performance during the evening.
Clients would be available to answer questions on what theatre means to them.
Italy and France to give performance.
Scotland and Germany to provide DVD footage.
Scotland stated that music teachers from Scotland could present workshops if required.
Italy raised concerns that people may not stay after the Seminar for the live performances and that any ideas should be carefully thought through.
Germany suggested that the event takes place in the afternoon to try to encompass all parts of the programme at the one time.
France felt that they would be able to travel with a group. It may not be possible for young people from CRDV to travel and it may be a group of adults only. Costing’s will also need to be dene to see how viable any trip will be.
Further discussions need to take place in Edinburgh to work on the finer details of the programme.
Italy voiced concerns regarding the event in Osimo. The concerns were around the fact that the centre already utilizes the services of a music therapist, with additional support from other music professionals and had recently offered an event regarding music input for MDVI.
Discussions took place around where the events could be held. A suggestion that a hotel cold be used as a venue.
Ideas for dissemination meeting.
Workshops for MDVI clients
Seminar for professionals who were around
Live performances could follow
Germany Suggested :
Examples of practice could be shown. Followed by lecture for one afternoon. The anticipated audience could be teachers and professionals.
The guidelines could be launched at this point.
AM – Lecture
PM – Examples of practice
Followed by live performance in theatre
Italy suggested that we needed to look at a wider audience.
After performance there could be a launch of guidelines with interested people.
Discussed need to clarify what is required for dissemination: Live performance – Italy/France – for public audience.
Other possibilities – seminar for education
½ day client’s workshop – Music – Therapy workshops
Need to incorporate video performances.
Pictures could be available in exhibition of process which would be available during break.
Music teachers from Scotland could provide workshops for clients from Italy, Germany and France. A venue cold be arranged for this and volunteers could be available. This could take place 3.30 -4pm for one hour. This could be combined with theatre workshops.
Short lecture from officials from National agency as this is in original proposal so needs to be adhered to. This would last for approx. 30 mins. Theatre in Italy starts at 9pm. The event would then last until around 11pm.
Target group for dissemination:
2 or 3 officials from agency and sometimes political figures.
Can be open to all.
Scotland raised that it was difficult to encompass two events.
Italy was asked to give examples of how other European projects had resolved this. The suggestion was that seminar took place later in afternoon, followed by the other events.
Scotland suggested that perhaps a further date could be arranged – This was.
Germany suggested Italy ask their national agency if they would be interested in attending.
Italy explained that in another project had added dissemination into another conference. Germany felt that organising a conference was too much to organise.
8pm dissemination – if not interested then attend @ 9pm for performance.
Italy raised that the wider audience may then wonder about the project if they had not been present at dissemination event.
A further discussion took place whether it was possible to have the event in the afternoon into the early evening. This may be more beneficial for parents/professionals and national agencies.
Followed by dissemination event
Followed by Live performances
Venue needs to be identified. Italy needs to check whether theatre will be available for event date of 14/5/13. Concerns were raised that if there was a small audience then a big theatre then a big theatre would not be best venue.
Consideration needs to be given to best venue for clients/audience and for positive outcome for project. Questions were raised if an outside venue cold be used, but there may be issues with light.
Michael and Patricia will visit theatre in May 2013 and then decision will be made regarding an appropriate venue.
It is also important to consider clients as they would benefit from performing in a theatre.
Workshop for clients of institution as fun event. Run the day before the dissemination with input from Scotland music teachers and Italy Music specialist and theatre groups from France and Germany.
Afternoon with presentation of project to be decided in Edinburgh.
Exhibition and live performance.
Patricia and Michael to review location later this month. Audience will be invited once location has been decided.
Final decisions will be made in Edinburgh in September 2013.
Attention will be need to be paid to regulations around use of music.
Discussions need to take place once venue and programme has been decided to ensure resources are shared by member countries. Italy will provide estimated costs at the meeting in Edinburgh.
Logo to be changed in line with one chosed by group members. It was felt background was good and gave good contrast. Participant’s page should have institute names with links to each organisation.
Link addresses to be sent to Kuni as soon as possible.
Results section needs updated on website. Summary of notes from Osimo and Clermont Ferrant.
Photos of the group should also be put on the website. These summaries could also be used for newsletter.
A drop down for a newsletter will also be created. This will contain structure of guidelines. Scotland will undertake this task. A photo of each meeting will be included.
Photos should also be sent to Michael for inclusion on photo section on the website. This should also include photographs of the cultural activities.
Michael will inform Group members when the website has been updated.
Thursday 9th May
Michael concluded the meeting by thanking the group for their contributions, and everyone thanked France for their hospitality.
The group enjoyed a sightseeing tour of Clermont Ferrand followed by the rescheduled visit to the volcano at puy de Dome. The evening concluded with a visit to a local restaurant where a French meal consisting of snails and frogs legs was offered to group members.
Notes taken by Jan Thomson (Scotland)
Meeting 2 held in Osimo, Italy 5th -7th March 2013
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.
Guy 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.
Scotland 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.
Members 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.
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.
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
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
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
Be able to involve appropriate support – i.e. volunteers, supporters, carers
Builds self esteem
Promotion of art (for more able adults)
Workplace – employment opportunities
involvement of clients who are new to theatre/expressive art
Important 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.
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.
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.
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)
MDVI Euronet is committed to improving knowledge, understanding and good practice in the education of children and young people with a severe visual impairment and additional disabilities by:
Raising awareness of the needs of children and young people with MDVI.
IMAGINE MDVI. Meeting in Munich, Germany. 20th – 22nd November 2012. Partners from Association Lee Voirien, France, The Royal Blind School, Scotland, SWW, Munich and Lega del Filo D’oro, Italy met in Munich for the first meeting for this project.
In this first meeting, we started to explore the meaning of theatre in each culture by looking at our own practices, sharing ideas and finding the common ground. In each partner countries organisation, we engage in drama and theatre activities but in different ways. Through discussion, sharing pictures and DVD’s it become clear to us that the outcomes and response to theatre of each various client group was very similar. This is a first step towards creating a set of ‘Guidelines’ – a document that will offer advice, resources and materials for professionals working with MDVI groups in the theatre environment.
One of the aims of the project is to choose a classic script where each participant would create an adaptation suitable for their own client group. We opted for Shakespeare as so many of his plays evoke a dramatic atmosphere create a sensory environment and demand an emotional response. It can be interpreted on many different levels depending on client group. So, from now until June 2014, each country will work on their individual interpretation of Shakespeares ‘The Tempest’. This is a hugely exciting and creative part of the project.
On a final note, Munich is getting cold and gearing up for the Christmas Markets, which we missed by days! We managed to take part in a tour with an aptly chosen dramatic tour guide who filled us in on the history of the city. And of course warm up in a famous Munich beer keller. All on track for the next meeting…
|The purpose of this Questionnaire is to gather your comments:|
|About how the Project has gone for you to date|
|About how working transnationally is helping you|
| About how the Project is helping you and your organisation to work
towards its aim
— An Inclusive forum to develop Movement, Action, Gesture, Improvisation, Negotiation and Expression of Multiple Disability Visual Impairment adults
|Describe how the Project has gone for you to date?|
Good progress has been made in all areas. DVD presentations were viewed and it was good to see what progress has been made by member countries and in the different ways in which they have been working with MDVI clients.
Review was undertaken of the Project website and adaptations and amendments will be made.
Work has also been very productive on creation of a logo, with art work provided.
Interesting to meet with clients from Clermont Ferrand, and to see how they worked. This gave us more of an understanding of the work undertaken. Very good to see members of the group working in their own setting with particular reference made to the work undertaken by Guy, and how inspirational his work can be for other people, both with and without disabilities.
|Have any challenges presented themselves as a result of this Meeting, and how did you resolve them?|
|There was a number of technical difficulties with some parts of the programme. For example, the train on one of the sightseeing trips was not operational, however, it was evident that the group are now working very closely, and were able to talk through the difficulties and work out an alternative programme. There was initially a difference of opinion as to the way in which the dissemination would be presented, but again through open and honest discussion any difficulties were resolved and an initial proposal was put in place for discussion again in Edinburgh.|
|What positive aspects do you see for yourself and your organisation at this point in working transnationally on the specific subjects of this Project?|
|Working transnationally gives all members the opportunity to reflect on their practice. An example of this was reflection on the fact that the Project has members from Italy, Germany, France and Scotland who all speak different languages. This reminds us that for many of the clients that we work with who have no, or little verbal communication that life can often be quite isolating and how difficult it can be when you cannot communicate what you want or need. Members are able to share details of the Project are able to share with their clients, and this has resulted in them having more of an understanding of people with MDVI in other parts of Europe. The production of a DVD will enable professionals in other countries to look at other methods used by other European partners.|
|Were there any uncertainties about preparing information for the meeting? If yes, what were they? How could this have been made clearer?|
|No not on this occasion as lessons had been learnt and adopted from previous meetings.|
|What are highlights will you share with colleagues from within your organisation? (Apart from the food and the beer…….)|
|Information will be shared with colleagues regarding the logo and website. Knowledge gained about the service in Clermont Ferrand, and lessons and opportunities from the theatre workshops will be shared with colleagues and clients. Information on resources was also helpful and could be shared in home services. Informal discussions about other partner services have also be informative. Visit to the CRDV centre for MDVI people of all ages and stages was helpful and will help inform practice and service development.|
|What are factors from this Meeting will contribute to your own professional development and how will this influence your daily practice?|
|Thinking of THIS Meeting …..|
|Have you been able to raise and discuss points within the group that you wanted to? If not, please explain why?|
|Yes – discussions were open and honest and members were able to voice their opinions and feel listened too.|
|Are you clear about what your Objectives are for the next period?||Yes||No|
|Yes. Detailed notes were taken and these will be circulated amongst group members will action points clearly highlighted.|
|Do you anticipate any problems in meeting these Objectives?||Yes||No|
|Has the Meeting been the right length and format?||Yes||No|
|Have the accommodation and meeting places been satisfactory?||Yes||No|
|Finally, what would you like to see included in the next meeting? (including social aspects)|
| Progress DVDs of work being undertaken.Photographs would also be helpfulMore information about dissemination.Tasting of Scottish products such as A man in a kilt!!!Exchanges with music department.The chance to catch up with other RBS colleagues.Braille Press visitArrange with Marketing Dept interview with local press.
Interview with local In site radio company to help with dissemination of Project
|9||Any other comments The group thanked members in France for their hospitality, and friendship during the meeting days. Signed (OPTIONAL):|
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
19th – 23rd Nov. 2012 Visit to Munich, Germany. First partnership meeting to get to know partners, agree project timings and activities, confirm roles and responsibilities and agree on evaluation questionnaires. Debate and discussion on final outcome of the project. Take part in practical workshops with client groups. Roles agreed and action points set out for next meeting. (more)
4th – 8th March 2013 Visit to Osimo, Italy. Each country presented a film of their work and discussed progress of the project. Involvement in Art Workshops and Drama Performances by clients. Start compiling guidelines. Review evaluations. Share design developments of logo and website. Roles agreed for work between and next meeting. (more)
6th – 10th May 2013 Visit to Clermont Ferrand, France. Complete all work on logo. Review and change website as necessary – agree on responsibilities for updating and adding new articles and films. Continue work on guidelines and agree on responsibilities for next meeting. Participate in practical workshops with clients. Review evaluations of previous meetings. Plan next meetings, future workshops and dissemination. (more)
23rd – 27th September 2013 Visit to Edinburgh, Scotland. Group were given presentation by Germany. Discussion took place around the different aspects and expectations. Italy then presented DVD evidence of their progress on `the Tempest’ which had been undertaken over the summer. France brought to the meeting a DVD of workshops. They also provided photographs and dialogue which could be used in the guidelines. Scotland circulated photographs and dialogue of their suggestions for inclusion in the guidelines. The day commenced with a tour around the Canaan Lane Campus of The Royal Blind School, where members were able to view residential and class areas and resources. Members were able to observe practice.(more)
31st March – 4th April 2014 Visit to Clermont Ferrand, France. Group met and watched a production of the Tempest by Lee Voirien. Group met and watched a production of the Tempest by „Die Blindgänger“, munich. Reflection and discussion on both productions of the Tempest. Information was collated and discussed and then first draft of the guidelines was compiled. Dissemination: Initial discussions – final draft programme issued at meeting (more)
Italy, Osimo 12th – 16th May 2014
The overall aim of the project is that, through transnational collaboration, the participants explore and develop the concept of Theatre for MDVI adults.
We have started to develop the potential and talent of our clients to enable them to be actively involved in public performance. During the meeting in Munich the member countries chose ‘The Tempest’ as the classic text. We have involved our clients in workshops and short performances, and this material has been shared through DVD’s, the website and observation at all meetings. Group members have also participated in interactive theatre workshops alongside clients from member countries. This has highlighted the fact that although there are different methods used by member countries, the outcome is the same. Sharing experience enables us to develop our practice in our own services. This experience has verified that MDVI individuals do become expressive, happy, vocal and that they enjoy performing in front of an audience. Clients were also very receptive to group members joining workshops, and our observations were that this helped to build confidence, self-esteem and social skills. Clients benefited from engaging with members from different European cultures, and this was seen to build confidence. This gave them a sense of the wider European community, and an awareness that there are many other people with MDVI throughout Europe. For members of the group it also reinforced the difficulties you are faced with, and how isolating it can be, if communication is limited. This in itself can be taken back to assist with improvement of practice.
We have started to produce a set of guidelines through open discussion, debate and sharing of experience of theatre in each country. The result of this is that five headings have been identified.
1. A statement of the different perceptions of abilities of clients with MDVI.
2. A section outlining the principles and methods of drama and theatre.
3. A look at practical ideas using photographs and films of clients from the different
4. Resource implications.
The guidelines will conclude with a review of the possible and probable outcomes for client groups along with a mission statement.
Group members have written articles for inclusion in MDVI Euronet publications. We have also written other articles, and promoted the Project both at International events and in our own countries.
It was identified that a logo was required. During the meeting in Munich we agreed the logo should consist of two masks. Consequently a number of professionals from different member countries designed appropriate logos. Members were given the opportunity to vote on their choice of design in Clermont Ferrand. The template selected will now be used for all promotional materials and on the website.
We decided the dissemination for the project will take place in Osimo in May 2014 and initial discussions have taken place regarding the type of presentation, target audience, venue and resources.
We have developed evaluation forms for each meeting. These have been completed by all members of the Project group. Evaluations have been completed, collated and disseminated after each project meeting.
All objectives are being addressed and on schedule. Any changes were out with the control of the Project.
In my own organisation, I have promoted the project with many classes and staff. We have filmed drama ‘methodologies’ based on The Tempest and the students have been very involved in this process resulting in a performance for their European peers.
We have worked with staff of ‘forward Vision’ our centre for young adults, to introduce a programme involving the Expressive Arts. This did not exist before and is a direct outcome of involvement with the project. We have engaged an Art Specialist to come in a do a series of workshops related to the Tempest. We are in the process of engaging a Music Specialist/Therapist to present a series of workshops over the summer holidays. This will be recorded and filmed for evidence for the project. The young adults will also help produce a CD of music that will be used in Osimo next year as part of the dissemination.
Two music teachers are currently putting together a practical music workshop for all members of the group when they visit in September. These staff will also provide workshops for clients in France or Italy next year.
Problems in the implementation of the partnership
The first difficulty was that we were unaware at the time of planning that two countries would not be participating in the project. Italy was in a standby situation awaiting confirmation of funding so we did not know if they would be involved. This impacted on the dates for the mobilities which had to be changed, so the programme had to be completely amended. As member countries of the project were reduced by two, the Project commenced later than anticipated. Further to that, meetings have been held twice in two of the member countries. The positive aspect to this is that members will be able to participate in a Theatre Festival to be held in Clermont Ferrand in March 2014.
Another outcome of the later start of the project was that there was a smaller timescale in which to hold the meetings resulting in some meetings being held in close proximity which had an impact for members in their workplace settings.
The number of mobilities in Italy have been amended. Italy was granted funding for 24 mobilities including clients, however, as Germany was refused this, it had an impact on the involvement of clients. Clients are still actively involved in the Project in the home countries, but the aspect of client travel is more limited.
Warning: sizeof(): Parameter must be an array or an object that implements Countable in /homepages/0/d763667656/htdocs/imagine.sww-muenchen.de/wp-content/plugins/aapp/aapp.php on line 450
Warning: sizeof(): Parameter must be an array or an object that implements Countable in /homepages/0/d763667656/htdocs/imagine.sww-muenchen.de/wp-content/plugins/aapp/aapp.php on line 451
Caliban described by Trinculo