report ii

Deliverable no. 2, point III b from the Project Description

EVENINGWITHOMBUDSMAN

Report IIReport on the methodology for social theatre that will

be used in each participating country

EVENING WITH OMBUDSMAN - Empowering rural communities through knowledge on fundamental rights

Report II Report on the methodology for social theatre that will be used

in each participating country.

(Deliverable no. 2, point III b from the Project Description)

Project co-funded by the DG Justice

EVENING WITH OMBUDSMAN - Empowering rural communities through knowledge on fundamental rights Summary

The main idea of the report is to present the social theater method and the best practices of its usage as the source of inspiration and practical knowledge for the Evening with the Ombudsman project.

The analysis has presented to present the idea, technique and advantages of social theater method; has analysed the potential of social theater method in the field of active citizenship engagement focusing upon fundamental rights; and has described implemented projects based on social theater method concerning fundamental rights.

The conclusion is that the method “social theatre” can serve as a support for education and raising awareness in the fight for human rights (and not only). A multitude of examples proves that the potential of drama has been recognized, both in terms of a more affordable and efficient transfer of information and, more importantly, to motivate people to be more active.


EVENING WITH OMBUDSMAN - Empowering rural communities through knowledge on fundamental rights Charactersistics of Drama Method1

The method of drama involves taking on different roles, so that the participants can watch and experience reactions stemming from personal experiences as well as those that result from the role. They have the opportunity to see the bigger picture and analyze the problem, to name the emotions that accompany them, to better understand themselves and others and to train new behaviors and skills. The effectiveness of drama is based on the commitment of the mind, feelings and emotions. The essence of drama is the identification with the characters portrayed while improvising. The improvisation used in drama allows for the experience, while in safe conditions, in the so called role coat, without any real consequences of ones actions, but with the ability to draw conclusions from them.

Applied drama is aimed at exploiting the potential of exercises and techniques used in drama, to achieve the desired educational and social change. Drama creates learning situations by involving participants on three levels:

physical (movement of the body during improvisation) emotional (emotional involvement in the role) intelectual (a summary and discussions after the improvisations)

Drama is used in education as a method of teaching / learning by improvised activities in roles. In the essence, drama means putting the participants in conflict situations and finding the answer to the described problems - employing theater techniques. Using theatrical means (eg, gesture, movement, facial expressions, intonation, dramatic tension) the students can by themselves gain knowledge and skills, and form life attitudes. The main goal of the course is for the participants to discover truth about themselves and others, to gain knowledge of reality, all as a result of creative activities in fictional situations. The role protects the participants against direct exposure, while still allowing to gain experience without pain, without any real consequences of decisions made, which would not be possible in real life.2

Advantages of the method The results of international research on drama from the years 2008-2011, carried out

under the DICE project (Drama Improves Lisbon Keys Competences in Education) on a group of more than 4,500 people from 12 countries, indicate that the activities conducted using drama in education, strengthen social cohesion, active citizenship, intercultural dialogue and gender equality. Moreover, they have a positive effect on the development of creativity, understanding of the human rights and respect for democracy. What's more, drama experiences teach tolerance and respect for other people and cultures, and promote a sense of belonging to the European community.

1 Tekst zaczerpnięto ze strony Stowarzyszenia STOP KLATKA http://stop-klatka.org.pl/

2 http://www.drama.edu.pl/drama-metoda.php



Drama, through its unique way of working, shapes social and intellectual skills of the participants, such as teamwork, cooperation, effective communication skills, empathy. The participants can observe the emotions, problematic situations and their solutions, and expand their ability to understand the attitudes and behaviors of others. One of the essential functions of drama is to show the motives and consequences of a particular behavior, analyzing the attitudes and increasing the awareness of human relationships.

The great advantage of drama is that it gives the participants a chance to perceive the possibility of the so-called other, emphasizing their identity and efficacy, "Yes, I can behave differently, if I choose. It's up to me how my surroundings look, the way people speak to me, how they treat me." Drama, thanks to the actions taken in the world of fiction, makes it easy to change in real life.

In Poland, the high educational value drama was confirmed by, for example, three years of research conducted through Polish Centre of ASSITEJ (1998-2001). These studies have shown that students in drama classes have an advantage over students from control classes, in terms of creativity, inventive and productive thinking, the ability to use and process personal experiences, and social and emotional intelligence. Emphasized as a major advantage of the drama method is the creation of spaces and conditions for the students to learn, to make discoveries.

For drama to be effective, some elements are important, such as ritual leaving of the role (helps with the tension of what was difficult or uncomfortable in the role), understanding the needs of the group participating in the activities and deepening of the communication using Kolb cycle3, which is used in active methods of teaching both adults and young people:

● experience (emotions, actions) ● reflection (discussion) ● analysis (generalization, summary) ● application

Drama experience that engages emotions of participants requires an analysis of the observations and conclusions of the experience, meaning discussion and a summary. In addition, it is important that the experience and knowledge gained through drama is used in trying to have a deeper reflection on the given problem. Examples of drama techniques There are many different drama techniques and many possibilities of their application (depending on the goal of the classes). Some of them are: improvisation - spontaneous creative activity involving role-playing for situations outlined in the drama, for example, it can be used to enhance communication skills. gallery - involves the presentation of internal states and emotions of individual characters; eg, used for increasing empathy.


EVENING WITH OMBUDSMAN - Empowering rural communities through knowledge on fundamental rights leader in role - the lecturer takes on a role of a character in a drama situation; used in the introduction of educational content. expert’s coat - involves entrusting the group a task compatible with the competence of experts, in the role of which are members; used the introduction of educational content. bait - involves the leaders using the selected objects or information carriers in order to increase interest of the participants; role on the wall - involves presenting the participants with cards containing specific roles, markers of time and place, which make up the dramatic situation; introduces to improvisation; Drama is used as a method of activation in school. In addition, drama projects are created for schools prepared by organizations and associations involved in the field.

Institutions conducting classes and drama projects in Poland Society of Practical Drama STOP-KLATKA- http://stop-klatka.org.pl/

An institution in Poland that is most most actively dedicated to the teaching of applied drama and leading projects using drama is the STOP-KLATKA Society. The Society brings together drama practitioners who use the method in areas such as education, prevention, rehabilitation, development of interpersonal skills, social and civil rights, anti-discrimination and anti-marginalization and building relationships in the local communities.

The Society began its work in 2002 and has so far implemented 55 drama projects with more than 25 thousand project participants. The Society is also involved in popularizing, promoting and teaching methods of applied drama. It regularly conducts drama courses and workshops (more than 2500 participants from all over Poland), organizes international conferences and forums for drama practitioners, and publishes certificates of drama coaches and supervisors. The Society provides training in drama, carried out on behalf of public and private institutions, including the substantive and organizational needs (for teachers, psychological counseling centers, wardens, correctional facilities workers, NGOs, government officials, psychologists). The Society's training includes also educational workshops on the use of drama in human rights education. During the workshop, participants familiarize themselves with exemplary scenarios of classes implemented under the project of the Association Human Rights - Your right to know. Some of the projects of the Association are: Drama Voluntary Academy, FOTEL Theatre Forum against early school leaving, Interactive Theatre for elementary schools, How to flourish in Warsaw?, Patchwork - drama in a multicultural society, Perspectives, Seniors and youth in the creative action, SPOKO - for secondary schools , SUBST. Reorientation, Seeking a man. The Society also released four publications popularizing the method of applied of drama, among others: Drama_łączy. The method of of drama in building social capital and Drama in STOP-KLATKA. Towards positive social change. Polish Centre of International Association of Theatre for Children and Young People ASSITEJ

In addition to the STOP-KLATKA, since 1987, drama and theater courses for teachers and educators are organized by the Polish Centre for International Association of Theatre for Project co-funded by the DG Justice

EVENING WITH OMBUDSMAN - Empowering rural communities through knowledge on fundamental rights Children and Young People ASSITEJ. ASSITEJ courses were completed by more than 2,700 teachers and educators from across the Poland. Drama workshops in PO ASSITEJ are lead by theorists and practitioners: teachers, faculty universities of pedagogical, theater instructors. Drama Way Foundation of Education and Culture

The Foundation was established in March 2011 and has been using drama in the field of culture, education and personal development. Earlier, Drama practitioners in Poland have been developing, since 2004, a unique method of Theatre in Education and Theatre with the local community. Foundation was appreciated by, among others, Institute of Psychiatry and Neurology - PRO-M Laboratory, Institute of Social Prevention and Rehabilitation, as well as many schools and Social Welfare Centres. Projects of the Foundation:

● Daily Theatre - training project aimed at people working in the field of cultural education;

● Polyphony - alcohol prevention program for youth; ● My New Way - a program of psychological and psychosocial support, rising competence

and anti-aggression of convicted persons; ● ART-GENERATIONS - intergenerational cultural education project.

Drama as a method of education for human rights3

A key element of education for human rights is to provide a specific theoretical knowledge about human rights, but also to develop awareness of the presence of human rights in social reality. Knowledge should therefore be accompanied by the desired attitudes and behavior. Therefore, speaking of education of human rights, usually three areas are determined: 1. transfer of knowledge; 2. skills development; 3. shaping attitudes, the development of a value system. “Something about Kacper” project leading by STOP-KLATKA Society "Something about Kacper" is a project addressed to middle school students, that aims to spread the theoretical knowledge of human rights and the social development of students practical skills (including skills related to the spread of the idea of human rights in schools and communities) as well as shaping the attitudes of tolerance and respect for another culture. The project consists of two three-hour meetings: a drama workshop, combined with a mini lecture, and interactive presentation of Forum Theatre. The entire story is based on Kacper, a first-year high school student who inspired by his Vietnamese friend, becomes interested in Buddhism and the culture of Vietnam. Both his parents and friends don't understand his new interests, which causes conflicts. Consequently, this leads to the boy's run from home.

3 TIE jako narzędzie edukacji na rzecz praw człowieka, Maria Depta Project co-funded by the DG Justice


During the workshop, students have the opportunity to create their own version of the history of Kacper. The starting point for their investigations are various items belonging to Kacper, (eg, a page from the diary, a book, a floppy disk, web addresses, text documents on human rights, etc.). Next, students participate in an interactive theater production presenting "the true story of Kacper." They have the ability to enter the stage to address the problems of the main character and try out different methods of solution of its conflicts. Program ends with a reflection on the history of Kacper, as well as a discussion on the possibility of the protection and promotion of the idea of human rights in the local community of students. At the beginning of the first session - a drama workshop- students examining Kacpers things find the Children's Rights Conventions. Students enter into the role of detectives and form investigation groups. On the second day of the project the students watch a performance that is also directly related to the subject of human rights. There is also the point at which parents are searching Kacpers things, and the main character refers to his right to privacy. Mini-lecture and a discussion is also a part of the project. The aim of the project is to develop an attitude of respect for the idea of human rights, in particular the attitude of tolerance and respect for other cultures. The idea was that the participants identified themselves with Kacper, and somehow took his positive attitude to people of other nationalities, openness to other cultures and a desire to defend the rights of others. Kacpers history implies questions about racism, its causes and effects, but does not present clearly negative characters. The Teacher, which in the script breaks Kims rights, the father who does not understand why Kacper could not "find a normal girl", a friend who called Kim "yellow", they do so largely because they do not understand other cultures and not really know how to to behave, or do not realize that their behavior can hurt others. Together with the students during the project, the intentions of the individual characters were analyzed, it was debated what could be done to not only change the attitude of not going into further conflict, but also to make the human rights be respected in their school and local community. “Human Rights — Your right to know” leading by the STOP-KLATKA Society “Human Rights — Your right to know” is an educational project addressed to young people and those interested in promoting human rights through Drama and other interactive learning methods. The project was developed in July 2003. The authors are the members of of the Drama Society STOP-KLATKA, specialists in the field of human rights, and graduates of educational courses of Helsinki Foundation. The pilot version of the project, with funding grant from the European Youth Foundation, was carried out between February and July 2004. The innovative nature of the project involves a holistic approach to work with the participants of the workshop. Applying the techniques of Drama and theater in the Course on Human Rights causes the audience of the project to be fully engaged in the process of acquiring knowledge. An equally important goal of the project is to improve the social skills of young people, such as decision making and problem solving, assertiveness, self-presentation and others. Integral parts of the project are: peer education and educational opportunities for those interested in popularization of human rights with the use of Drama and other interactive learning methods. Project co-funded by the DG Justice


References In Polish:

● Clifford S., Herrmann, A. (2003) Teatr Przebudzenia: strategie milowego kroku: praktyczny przewodnik dla instruktorów prowadzących zajęcia teatralne z młodzieżą, Łódź, Warszawa: Mała Litera, Cyklady

● Gersie A., King, N. (1999) Tworzenie opowieści w edukacji i profilaktyce, Warszawa: Cyklady

● Królikowska J. Wychowawcza funkcja dramy stosowanej, w Pedagogika społeczna "Zagrożona młodość. Innowacyjne formy interwencji społecznej", Elżbieta Bielecka (red.) Rok IX/2010 nr 2 (36), s. 83-93

● Jagiełło-Rusiłowski A.(red) (2010) Drama jako „poruszający" dialog, Gdańsk: Pomost Stowarzyszenie Integracji Humanistycznej.

● Jagiełło-Rusiłowski A. (red.), Drama w STOP-KLATCE w kierunku pozytywnej zmiany społecznej, Stowarzyszenie Praktyków Dramy STOP-KLATKA, Warszawa 2010.

● Markowska-Byczek, K. (red) (2007) Drama stosowana jako narzędzie społecznej interwencji. Teoretyczne i praktyczne aspekty metody, Warszawa: Stowarzyszenie STOP-KLATKA

● Pankowska, K. (2000) Pedagogika dramy. Teoria i praktyka. Warszawa: Wydawnictwo Akademickie Żak

● Pankowska, K., Jastrzębska-Gzella H., Madziara, A. (2006). Drama w przekraczaniu granic niepełnosprawności, Warszawa: Wydawnictwo Akademii Pedagogiki Specjalnej

● „Drama” - czasopismo specjalistyczne wydawane przez „Animatora” od 1991 r. Dotychczas ukazało się 51 zeszytów „Dramy”.

In English: Neelands, Jonothan

● (1990): Structuring drama work. A handbook of available forms in theatre and drama. Cambridge University Press.

● (1992) Learning through imagined experience. The role of drama in the national curriculum. Hodder & Stoughton, London

● (1984): Making sense of drama. A guide to classroom practice. Heinemann Educational Books, Oxford.

Woolland, Brian (1993): The teaching of drama in the primary school. The Effective teacher series. Longman, London and New York. Bolton, G.:



● (1998): Acting in Classroom drama. A critical analysis. Thornes (Publishers) Ltd, Cheltenham, England.

● (1992): New perspectives on classroom drama. Simon and Schusters Education, Cheltenham, England.

O´Neill, C: ● Drama worlds. A framework of process drama. Heinemann, Portsmouth. ● (1991): Drama structures. A practical Handbook for teachers. Stanley Thornes

(Publishers) Ltd, Cheltenham. Fleming, M. (1996): Starting Drama teaching. Wagner B.J. (1976): Dorothy Heathcote. Drama as learning medium. National Education Association of USA, Washington D.C. Hornbrook, David (1991): Education and dramatic art. Basil Blackwell, Oxford. Johnson, Liz & O´Neill, Cecily (toim) (1990): Dorothy Heathcote. Collected writings in education and drama. Stanley Thornes (Publishers) Ltd, Cheltenham. Jackson, T. (1993): Learning through theatre. New perspectives on Theatre in Education. T.J.Press (Padston) Ltd/ Routledge, Cornwall. Schutzman, Mady, Cohen-Cruz, Jan (1994): Playing Boal. Theatre, Therapy, Activism. Routledge, London. Rohd, Michael (1997): Hope Is Vital. An interactive theatre and community dialogue training manual for educators, youth, community workers and artists. Owings Mills. Boal, Augusto:

● (1979): The theatre of the oppressed. Unizen Books, New York. ● (1992): Games for actors and non-actors. Routledge, London. ● (1995): Rainbow of desire. The Boal method of theatre and therapy. Routledge, London. ● (1998): Legislative theatre. Using performance to make politics. Routledge, London.

Diamond, David (2008): Theatre for Living. Julkaisematon. Schutzman, Mady Cohen-Cruz, Jan (1994): Playing Boal. Theatre, Therapy, Activism. Routledge, London.


report ii

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