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SOCIAL INCLUSION RESOURCE PACK FOR INTER-CULTURAL CONTEXTS
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ABOUT! ! ! ! ICE-BREAKER:! ! ! WARM-UP: ! ! ! ! DEFINITION:!! ! ! DEFINITION:!! ! ! EXPLORATORY:! ! ! PERCEPTION CHALLENGING:! DECISION-MAKING:! ! REPRESENTATION:! ! INTERPRETATION:!! ! PROMOTION:! ! ! FEEDBACK:! ! ! ! DOCUMENTATION:! !
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APPENDIX 1:!! APPENDIX 2:! APPENDIX 3:! APPENDIX 4:!
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MORE INFORMATION:! ! CONTACT INFORMATION!:!
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INTRODUCTION & BACKGROUND! OUR WORLD MAP! ! ! ! CIRCLE OF EXCLUSION! ! ! WHAT IS SOCIAL INCLUSION! ! WHAT IS SOCIAL EXCLUSION! ! HANDS-ON: INCLUSION/EXCLUSION! LIFE STORIES TV SERIES PART 1! ! LIFE STORIES TV SERIES PART 2! ! FRAMING INCLUSION PART 1! ! FRAMING INCLUSION PART 2! ! PROMOTING INCLUSION!! ! EVALUATION! ! ! ! GRAPHIC HARVESTING! ! !
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03 05 06 07 08 09 10 11 12 13 14 15 16
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WORKSHOP CHECKLIST! ! HELPFUL DEFINITIONS! ! RESOURCES CHECKLIST! ! TEMPLATES!! ! !
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18 19 20 21-25
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BACKGROUND & FURTHER TRAINING ! CONTRIBUTORS DETAILS! ! !
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SOCIAL INCLUSION RESOURCE PACK FOR INTER-CULTURAL CONTEXTS
ABOUT INTRODUCTION THIS RESOURCE PACK AIMS TO PROVIDE USEFUL AND PRACTICAL TOOLS TO FACILITATORS WISHING TO EXPLORE SOCIAL INCLUSION IN INTERCULTURAL CONTEXTS FOR ANY AGE-GROUP WITHIN A WORKSHOP FORMAT. It also provides some useful guidelines for the development of participatory arts projects including some optional suggestions for ‘Digital Media Extras’ that enable integration of digital and multi-media arts.
INTER-CULTURAL CONTEXTS The HSE (Health Services Executive) presents a definition of Inter-culturalism as one in which cultural difference is acknowledged, respected and provided for in a planned and systematic way in all systems, processes and practices. As a group of facilitators, we recommend applying this interpretation to the methodology of working in contexts where there are mixedculture participants in order that each individual’s rights be represented under a agreed ethos of mutual respect, tolerance and willing to share experience.
AIMS The chief aims of this programme are: • To introduce participants to the facts and information relating to social inclusion • To create the space for participants to express their opinions on social inclusion • To facilitate creative activities and thus engage participants in active promotion of social inclusion EACH ACTIVITY INCLUDED HERE DESCRIBES A SPECIFIC RANGE OF OBJECTIVES AS WELL AS STEP BY STEP INSTRUCTIONS FOR THE FACILITATOR. RESOURCES NEEDED ARE LISTED CLEARLY ON EACH PAGE AND TEMPLATES ARE PROVIDED IN THE APPENDIX. THE ACTIVITIES ARE DESIGNED TO BE TAILORED TO THE NEEDS OF GROUPS OF ANY AGE.
N O I S U S L T X C E T N I N O L C A L I A R C U T L SO U C I T L U M R O ACK F RESOURCE P
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SOCIAL INCLUSION RESOURCE PACK FOR INTER-CULTURAL CONTEXTS
OUR WORLD MAP ICE-BREAKER ACTIVITY OBJECTIVES • To provide an energizing team activity • To relax participants and encourage sharing of personal information on a one-to-one basis • To recognise a diversity of interest and experience in various geographic locations • To highlight and promote links between cultures
INSTRUCTIONS 1. Think of a place in the world that is important to you and what you would like to share about your experience there. 2. Place yourself somewhere in the room that represents the location of the place you have thought of. (This will involve some team work in order to decide where is North/South/East /West and the positions of the seven continents) 3. Turn to someone beside you and explain why you are where you placed yourself.
RESOURCES NONE REQUIRED
DIGITAL MEDIA EXTRA
USE A DIGITAL STILLS CAMERA TO RECORD THE WORLD MAP FORMED BY PARTICIPANTS.
SOCIAL INCLUSION RESOURCE PACK FOR INTER-CULTURAL CONTEXTS
CIRCLE OF EXCLUSION WARM-UP ACTIVITY OBJECTIVES • To introduce the theme of inclusion and exclusion in a fun and hands-on way • To enable participants to work together and develop their communication skills • To initiate a discussion and provoke debate
INSTRUCTIONS 1. Participants must arrange themselves into two groups: Group A and Group B
RESOURCES NONE REQUIRED
2. Group B must leave the room. When Group B are gone, Group A are instructed to form a tight circle (facing inward) and not allow any member of Group B to enter unless they can break the Entry Code. Group A must decide what the Entry Code will be (e.g. a word, a gesture, an action)
DIGITAL MEDIA EXTRA
3. Group B return to the room and are instructed to try to gain access to the inside of Group A’s circle by cracking the Entry Code. (A time limit should be set in case this activity drags on.)
USE A DIGITAL AUDIO RECORDER TO RECORD THE RESPONSE OF PARTICIPANTS.
4. When Group B have gained access to the circle (or the time limit is up), invite all participants to discuss their experience of excluding/being excluded.
SOCIAL INCLUSION RESOURCE PACK FOR INTER-CULTURAL CONTEXTS
WHAT IS SOCIAL INCLUSION? DEFINITION ACTIVITY OBJECTIVES • To gauge the existing understanding and level of awareness in the group which the facilitator can assist in developing • To formulate a shared understanding by participants • To facilitate bonding by encouraging development of ideas within small focus groups • To create a context-specific definition based on the understanding drawn from the personal experiences of participants • To highlight the complexity of generalising definitions of social inclusion
INSTRUCTIONS 1. Each participant receives a piece of paper in the shape of a speech bubble and writes a word or phrase that they feel should be considered in a definition of social inclusion. 2. All speech bubbles are collected and placed in view of everyone. As a group, all the words/phrases must be considered in the final definition which is written and displayed alongside the speech bubbles.
RESOURCES SPEECH BUBBLE TEMPLATE PENS/MARKERS BLU-TACK PAPER & PENS/MARKERS
DIGITAL MEDIA EXTRA
USE A DIGITAL STILLS CAMERA TO RECORD THE DISPLAYED DEFINITION WITH SPEECH BUBBLES
SOCIAL INCLUSION RESOURCE PACK FOR INTER-CULTURAL CONTEXTS
WHAT IS SOCIAL EXCLUSION? DEFINITION ACTIVITY OBJECTIVES • To follow on from the previous activity “What is Social Inclusion” • To highlight what factors would lead to exclusion and who might be affected by it • To highlight the complexity of generalising definitions of social exclusion
INSTRUCTIONS 1. Each participant receives a piece of paper in the shape of an arrow. All are invited to describe factors that could cause individuals to be excluded e.g. age, gender etc 2. All arrows are collected and arranged in a circle pointing outwards in view of everyone 3. Extra arrows are added to the display for additional contributions by participants
RESOURCES ARROW TEMPLATE (SEE APPENDIX) BLU-TACK PAPER & PENS/MARKERS
DIGITAL MEDIA EXTRA
USE A DIGITAL STILLS CAMERA TO RECORD THE DISPLAYED DEFINITION WITH ARROWS
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SOCIAL INCLUSION RESOURCE PACK FOR INTER-CULTURAL CONTEXTS
HANDS ON: INCLUSION/EXCLUSION EXPLORATORY/REFLECTION ACTIVITY OBJECTIVES • To facilitate personal engagement with the theme for all participants • To demonstrate how exploration and expression of lived experience can reinforce storytelling potential and identification by audience • To promote self-awareness and to build tolerance towards diverse experiences • To offer a reflective opportunity for individuals that may not have previously considered the relevance of the subject in their own lives Or for individuals who have felt marginalised by an experience that others have not shared
INSTRUCTIONS 1. Participants cut out tracings of their own hands 2. On the left palm each writes/draws about an experience of inclusion. On right palm, each writes/draws about experience of exclusion. 3. Participants shares their experiences of inclusion and exclusion by reading/displaying the content of the palms. 4. Next, individuals define the experiences detailed in gt palms by writing one word descriptions that summarise how they felt on the fingers of each hand. Participants can help one another to devise the one word definitions 5. On completion, participants arrange their hands as a display on a large sheet of paper to graphically represent shared experience of inclusion and exclusion.
RESOURCES PAPER & PENS/MARKERS SCISSORS
DIGITAL MEDIA EXTRA
USE A DIGITAL STILLS CAMERA TO PHOTOGRAPH THE COMPLETED DISPLAY
SOCIAL INCLUSION RESOURCE PACK FOR INTER-CULTURAL CONTEXTS
LIFESTORIES TV SERIES PART 1 PERCEPTION CHALLENGING ACTIVITY OBJECTIVES • To facilitate character creation and involve reflection on stereotypical interpretations as part of the process of creation. Encourage development of 3-dimensional characters • To develop critical thinking on representation and characterisation in various forms of media. • To demonstrate how stereotyping can lead to experiences of exclusion • To reflect on how individuals can be included or excluded in society depending on how they are represented in the media or other fora
INSTRUCTIONS Each participant is given a one-line character description from a list prepared by facilitator. All are invited to apply for a spot in a documentary tv series where each episode is based on a character’s lifestory. Each participant speaks for max of 2 minutes on why their lives should be featured in the documentary. To prepare what they want to say they follow these steps; 1. Make a character synopsis by filling the area outside the character outline with keywords about the character’s traits. 2. Discuss what a stereotype is. Display the character outlines in progress. Identify which trait keywords are ‘stereotypical’ by circling them with a coloured marker. 3. Next fill the area inside the character outline with nonstereotypical traits. To achieve this, encourage reference to hobbies, past experience, future ambitions etc for the character. Each participant presents each character.
RESOURCES LIST OF CHARACTERS CHARACTER TEMPLATE (SEE APPENDIX) PAPER & PENS/MARKERS
DIGITAL MEDIA EXTRA
USE A DIGITAL STILLS CAMERA TO PHOTOGRAPH THE CHARACTER OUTLINES. THIS COULD FORM THE INTRODUCTION TO THE ‘TV SERIES’ OR MAKE AN INTERESTING SLIDESHOW.
SOCIAL INCLUSION RESOURCE PACK FOR INTER-CULTURAL CONTEXTS
LIFESTORIES TV SERIES PART 2 DECISION MAKING ACTIVITY OBJECTIVES • To follow on from the previous activity “Lifestories TV Series Part 1” • To challenge and explore decision-making processes and reflect on the effects that different methods may have on the circumstances and individuals concerned • To practice alternative methods of decision-making and contrast with the typical decisionmaking experienced in various aspects of daily life
INSTRUCTIONS 1. All participants reflect on the characters presented in the previous exercise. As a group, participants must decide: • Who to select for inclusion in the documentary tv series • How to select the character for inclusion
RESOURCES PAPER & PENS/MARKERS
2. The facilitator proposes a number of methods with which to make the decision e.g. by lottery, by majority vote, by consensus, by elected representative with casting vote 3. Participants propose additional methods and create a list of possibilities. (If time allows, participants can identify what decisions affecting daily life are made using which method.) 4. Partipicants select one method and make the selection based on this method. 5. When the selection has been made, discuss whether all participants are satisfied with the decision. Discuss which methods are most inclusive.
DIGITAL MEDIA EXTRA
USE A DIGITAL AUDIO RECORDER TO RECORD STATEMENTS AT THE END OF THE EXERCISE BY PARTICIPANTS RELATED TO THEIR EXPERIENCE OF DECISION-MAKING
SOCIAL INCLUSION RESOURCE PACK FOR INTER-CULTURAL CONTEXTS
FRAMING INCLUSION PART 1 REPRESENTATION ACTIVITY OBJECTIVES • To explore representation in a hands-on way by integrating the subjects, characters and possible scenarios proposed in all the previous activities • To consider the role of the audience and engage them in the theme • To develop representation/performance and communication skills • To introduce principals behind methods of Theatre of the Oppressed by using image theatre • To consider the real-life locations where these experiences can occur and reinforce awareness
INSTRUCTIONS 1. Arrange the participants into small groups. Each group chooses one experience of exclusion presented in any of the previous activities or another source (eg. newspaper ) 2. As a group, participants create a ‘Freeze Frame’ to represent the chosen experience of exclusion. The group must then devise and perform 2 further freeze frames that represent: 2. a turning point and 3. a resolution (inclusion) The group may choose to storyboard all 3 images before rehearsing them. 3. Each group presents the three images to an audience comprised of other groups. On completion, the audience is invited to interpret the narrative and characters. This exercise is a variation on a series of techniques called ‘Image Theatre’ developed by Augusto Boal and detailed in
RESOURCES PAPER & PENS/MARKERS STORYBOARD TEMPLATE
DIGITAL MEDIA EXTRA
USE A DIGITAL STILLS CAMERA TO PHOTOGRAPH THE ‘FREEZE FRAMES’. IF RECORDED USING A CAMCORDER AGAINST A ‘GREEN SCREEN’, BACKGROUND SCENERY CAN LATER BE INSERTED INTO THE SHOT TO PLACE A GEOGRAPHIC CONTEXT ON THE IMAGE.
‘Games for Actors and Non-Actors’, Routledge, 2002. 12
SOCIAL INCLUSION RESOURCE PACK FOR INTER-CULTURAL CONTEXTS
FRAMING INCLUSION PART 2 INTERPRETATION ACTIVITY OBJECTIVES • To follow on from the previous activity “Framing Inclusion Part 1” • To recognise creative achievement and thinking behind the images presented • To develop analytical skills by interpreting differing subjects and modes of representation • To identify instances (narratives) relevant to social inclusion • To develop critical interpretation skills and examine what is necessary to include in the creation and presentation of images in order that the message be communicated effectively
INSTRUCTIONS Images of the Freeze Frames from the previous activity are printed and copies supplied to each group of participants. Sheets of tracing paper is also supplied to each group. 1. Each group discusses the narratives portrayed in the images and identify themes/subjects and characters. One person from the group traces the subjects with pen/ marker on tracing paper and writes notes to add a ‘layer of interpretation’.
RESOURCES PAPER & PENS/MARKERS PRINTS OF FREEZE FRAMES TRACING PAPER BLU-TACK
DIGITAL MEDIA EXTRA
2. The tracing paper layers are displayed so that all groups can see the varying interpretations. 3. One representative of each group then describes the actual concept of their Freeze Frame series so that the interpretations can be compared.
USE A DIGITAL SCANNER TO SCAN TRACING PAPER INTERPRETATIONS FOR PRESENTATION BACK IN DIGITAL FORM
SOCIAL INCLUSION RESOURCE PACK FOR INTER-CULTURAL CONTEXTS
PROMOTING INCLUSION PROMOTION ACTIVITY OBJECTIVES • To consolidate the learning from previous activities • To conclude the experience by creating an image and slogan representative of the participants views/advocacy on social inclusion • To initiate an awareness-raising campaign based on the specific context of the participants
INSTRUCTIONS 1. As a group, participants choose a strong image taken from any of the previous activities that clearly and effectively communicates a positive message about inclusion.
RESOURCES PAPER & PENS/MARKERS SCISSORS GLUE
2. As a group, participants devise a slogan to attach to this image and choose/design a suitable font with which to display it. 3. Participants combine the image and slogan as a collage and display the finished work.
DIGITAL MEDIA EXTRA
USE A DIGITAL SCANNER TO SCAN THE FINAL COLLAGE. THIS COLLAGE CAN THEN BE USED ‘SOCIAL INCLUSION’ CAMPAIGN BY BEING PRINTED AS POSTERS, BADGES, FLYERS, BANNERS, PLACARDS OR T-SHIRTS
SOCIAL INCLUSION RESOURCE PACK FOR INTER-CULTURAL CONTEXTS
EVALUATION FEEDBACK ACTIVITY OBJECTIVES • To wrap up the process and create a conclusion for the previous activities • To reflect on the learning process, particularly peer learning opportunities • To assess the impact of participation in the activities on the participants • To contribute to planning for further or repeated work on the subject by the facilitator
INSTRUCTIONS 1. Collect all of the material produced in the previous activities and display appropriately. This process of ‘Graphic Harvesting’ facilitates creative modes of documentation of the experience.
RESOURCES PAPER & PENS/MARKERS SCISSORS BLU-TACK
2. Invite participants to add comments on the experience by writing or drawing in more speech bubble templates and arranging these around the display. 3. Prepare an evaluation form with a series of relevant questions on the experience and invite participants to fill these in. With permission, some of this feedback can be valuable to be shared at a later date.
DIGITAL MEDIA EXTRA
AN EVALUATION FORM CAN BE PREPARED DIGITALLY USING A TOOL SUCH AS ‘SURVEYMONKEY.COM’. DIGITAL AUDIO OR VIDEO RECORDERS COULD BE PROVIDED TO CAPTURE COMMENTS ALSO
SOCIAL INCLUSION RESOURCE PACK FOR INTER-CULTURAL CONTEXTS
DOCUMENTATION GRAPHIC HARVESTING ACTIVITY OBJECTIVES • To capture the main ideas and the meaning of key conversations taking place in the workshops in a visual way • To create a space where participants can see the progression of their work throughout the workshop and see at a glance some of the ideas generated within the group. • To have a clear graphic representation of the work done in the workshop, for use in reflection within the group and dissemination afterwards. • To consolidate the learning from the workshop
INSTRUCTIONS • Pick a color scheme and plan a rough layout of your graphic harvest to ensure the information is displayed in a visually conducive and accessible way. • Before the workshop prepare any visual props you may need for your graphic harvest, such as key words or headings.
RESOURCES PAPER & PENS/MARKERS MASKING TAPE/BLU-TACK PASTELS TEMPLATES PROVIDED
• Prepare the space by taping your paper to the wall. Separate walls can be worked on over a period and combined at the end. DIGITAL MEDIA EXTRA
• As participants discuss issues, the facilitator should engage in active listening, in order to pick out the main points of conversations and relevant topics for the themes. The facilitator then records these ideas using simple images, symbols and words that clearly represent the message the group are trying to convey. • At the end of the workshop invite the participants to walk around the space and look at the graphic harvest as a way of reflecting on the workshop and of learning from other ideas and perspectives in the group. • Photograph the Harvest for use in dissemination
THE GRAPHIC HARVEST ITSELF CAN BE DOCUMENTED VIA PHOTOGRAPHY, AUDIO AND VIDEO AND PRESENTED ONLINE OR IN A MULTIMEDIA FORMAT
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SOCIAL INCLUSION RESOURCE PACK FOR INTER-CULTURAL CONTEXTS
WORKSHOP CHECKLIST APPENDIX 1 THIS RESOURCE PACK PRESENTS AN OPPORTUNITY TO DEVELOP A SERIES OF ACTIVITIES INTO A GROUP PROJECT WITH POTENTIAL TO CONTRIBUTE TO A CAMPAIGN. BELOW IS A CHECKLIST OF QUESTIONS FOR BOTH FACILITATOR(S) AND PARTICIPANTS TO GUIDE THE DEVELOPMENT OF THEIR SHARED OBJECTIVES THROUGHOUT THE PROCESS.
PLANNING
What is the level of participation of the group? What is the level of participation/ engagement with audiences? Does the facilitator have a preconceived idea of the project/agenda. Is this balanced with consultation? What is the consultation process prior to delivery of the workshop? How can the consultation impact on the sense of ownership of the project? Has adequate time been given to the project to achieve its objectives? Is it realistic / feasible? Are the required resources available? If not, how can the activities by adapted?
EXPECTATIONS
Are the group clear on what they can expect? Have the group bought into the project in terms of responsibility for its success? Who holds responsibility for what? Is the project genuinely empowering? What are the limitations of the social impact of the project? Is the project attempting to change the situation or to increase awareness/change perspectives?
PROCESS
Is confidentiality respected? How does the project respect and engage with the knowledge/ expertise of the group?How is this balanced with external expertise perspective? What is the value of the external perspective and how can it be utilised? Does the project highlight the issue of the target group in a way that does not stigmatise? What are the factors and dynamics external to the project that may impact on it? What is the environmental impact of the project? Is the facilitator thinking outside of his/her own perspectives/paradigms? Is there a balance of perspectives represented in the project? Is the process therapeutic? Is the space for exploration safe and comfortable with a process conducive to exploration of the theme?
OUTCOMES
What is the long term impact of the project? Is there continuity? Is the experience sustainable? Are there adequate supports in place for the group beyond the project experience? Do the participants know how their work and input will be used/presented? Has this been clearly defined and consent secured from all participants and contributors/supporters? Does the outcome respect and represent the individual and the individual input, perspectives of the participants and the complexity of the theme? (Beware of generalisations/universalising) If it is appropriate to show the outcome, is the group given the power to decide how their work / ideas are represented?
SOCIAL INCLUSION RESOURCE PACK FOR INTER-CULTURAL CONTEXTS
HELPFUL DEFINITIONS APPENDIX 2
SOCIAL INCLUSION Social inclusion is the sense of belonging, feeling respected and valued for who and what you are, feeling a level of support, care and commitment from others so that you can live and work to your full potential. However in order to fully understand social inclusion we must explore its counterpart social exclusion. A socially inclusive society is defined as one where all people feel valued, their differences are respected, and their basic needs are met so they can live in dignity. Social exclusion is the process of being shut out from the social, economic, political and cultural systems which contribute to the integration of a person into the community (Cappo 2002). It is the process which ensure that those at risk of poverty and social exclusions gain the opportunities and resources necessary to participate fully in economic, social and cultural life and enjoy a standard of living and well-being that is considered normal in the society in which they live.
SOCIAL EXCLUSION The term social exclusion refers to the process of detaching groups and individuals from social relations preventing them from participating fully in normal everyday activities within society in which they live. Social exclusion is evident in all societies but often worse within disadvantaged communities, as it is harder for people to participate fully in society. In these communities, there are generally weak social support networks along with access vital resources. Social exclusion and marginalisation is when people are excluded from participating in activities which are considered the norm for others in society. (National Action Plan for Social inclusion 2007-2016)
SOCIAL INCLUSION RESOURCE PACK FOR INTER-CULTURAL CONTEXTS
RESOURCES CHECKLIST APPENDIX 3 MATERIALS Plain A4 paper/card Coloured A4 paper/card Tracing Paper Wall/Display Space Large roll of white paper Pens/Markers Scissors Blu-tack Glue
DIGITAL MEDIA EXTRA Digital Stills Camera Digital Audio Recorder Digital Camcorder Tripod(s) Laptop with: photo display software photo editing software audio editing software video editing software Laptop Speakers Projector Printer A4 and A3 sized Paper
TEMPLATES/EXAMPLES
Fabric Transfer paper (for t-shirt prints)
Speech Bubble
Character Descriptions
Green Screen kit with: Green Screen Cloth C-stands/Screen Rods Crocodile Clips Lighting kit and stands Extension leads Gaffa tape
Character Outlines
Blank CD’s
Storyboard
Blank DVD’s
Arrow Hands
HTTP://ISSUU.COM/APDINCLUSION/DOCS/SOCIALINCLUSION
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SOCIAL INCLUSION RESOURCE PACK FOR INTER-CULTURAL CONTEXTS
TEMPLATES: SPEECH BUBBLE APPENDIX 4.0
SOCIAL INCLUSION RESOURCE PACK FOR INTER-CULTURAL CONTEXTS
TEMPLATES: ARROW APPENDIX 4.1
SOCIAL INCLUSION RESOURCE PACK FOR INTER-CULTURAL CONTEXTS
TEMPLATES: CHARACTER DESCRIPTIONS APPENDIX 4.3 PALESTINIAN DOCTOR SECRETARY IN ISRAELI EMBASSY VISUALLY IMPAIRED US WAR VETERAN VIETNAMESE ADOPTION OFFICER ELDERLY RETIRED BISHOP NORTHERN IRISH, POLITICALLY ACTIVE REVEREND AND WIFE PROPERTY DEVELOPER WITH THREE WIVES AND 5 CHILDREN TIBETAN CROSS-BORDER HUMAN SMUGGLER POLISH FAMILY ON RENT ALLOWANCE ROMANI GYPSY YOUNG TRAVELLER FAMILY KOSOVAN TV PRESENTER GAY RIGHTS CAMPAIGNER PREGNANT DRUG ADDICT
SOCIAL INCLUSION RESOURCE PACK FOR INTER-CULTURAL CONTEXTS
TEMPLATES: CHARACTER OUTLINES APPENDIX 4.4
SOCIAL INCLUSION RESOURCE PACK FOR INTER-CULTURAL CONTEXTS
TEMPLATES: STORYBOARD APPENDIX 4.4 Story Synopsis:
_________________________________________________ _________________________________________________ _________________________________________________ _________________________________________________ _________________________________________________ _________________________________________________
Freeze Frame 1:
_________________________________________________
Freeze Frame 2:
Freeze Frame 3:
SOCIAL INCLUSION RESOURCE PACK FOR INTER-CULTURAL CONTEXTS
MORE INFORMATION BACKGROUND ORIGIN The activities presented here were collaboratively developed by Sophie Breuker, Claire Coughlan, Maria Murray, and Siobhán Clancy participants of Arts Participation and Development: Creative Approaches to Global Education, a CIT approved Special Purpose Award at Level 8 (10 credits) certificate supported by Irish Aid. CIT Crawford College is the course provider. PILOT The activities were piloted within a two-day workshop with approximately 70 adult participants of the Digi-Media Course at Digital Skills Academy in The Digital Hub in February 2011. The rationale behind each activity was informed by the interests and perceived potential of the participants, as future digital storytellers, to bring issues of social inclusion to a wider public through the subjects and modes of production within their creative practice. Feedback from participants of the pilot programme included: “I found the exercise stimulating and challenging. It was intelligent and relevant to today’s world” “I thought the facilitators did not dominate the workshop but provided support and guidance” “It was a lot of fun and we got to know each other better.” “I’ve learned how to develop new things without huge resources.”
FOR DOCUMENTATION OF THE PILOT VISIT http://www.flickr.com/photos/apd_workshop/
FUTURE We invite creative practitioners and facilitators to use and expand on the activities detailed in this resource pack. For this purpose we have licensed this document under our collaborative identity CMSS with Creative Commons so the contents may be shared as long as our contribution can be acknowledged. If you decide to use this pack we would love to hear from you about your experience and outcomes. For more information on Creative Commons and copyleft in general see http://creativecommons.org/
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SOCIAL INCLUSION RESOURCE PACK FOR INTER-CULTURAL CONTEXTS
CONTACT THE CONTRIBUTORS CLAIRE COUGHLAN: Claire Coughlan’s involvement in community arts is informed by her background in art history, sociology and the visual arts. She uses art and creative methodologies as tools for education, community work and academic studies. MARIA MURRAY: Maria Murray is Cork-based designer working for CIT in design and educational research. She also maintains a freelance practice in design and creative facilitation. for more information, go to www.maria-murray.com SIOBHÁN CLANCY: Siobhán Clancy’s artistic practice explores the dynamics of collaboration and the dialogue that informs it. Her work is produced within site specific briefs that respond directly to the unique settings in which she works including community, healthcare, formal and informal education and youthwork. See www. siobhanclancy.com SOPHIE BREUKER: Sophie Breuker is currently studying International Development and Food policy in University College Cork. She has for years been involved with youth work in Scarriff, Co. Clare, where she has been organising and delivering workshop to and for young people in relation to topics of social justice and human rights.
FURTHER TRAINING We offer a training programme for facilitators interested in delivering this programme: 1. How to adapt the contents to your group’s needs 2. Training in use of basic digital media technology 3. Support for campaigns promoting social inclusion
FOR INFORMATION ON THIS RESOURCE PACK AND TRAINING PROGRAMME, CONTACT US AT
APDCULTURE@GMAIL.COM
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L P R A C T IC A D N A L U F IO N E USE L IN C L U S O P R O V ID IA T C S O S IM E A R CK XPLO H IN A O U R C E PA O U P W IT H IN G T O E R IS G W E S G T H IS R E S R A O R ANY FA C IL ITAT TEXTS FO N O TOOLS TO C L A - C U LT U R rts IN IN T E R O R M AT. rticipatory a F a p P f O o H t n S e K WOR velopm enable s for the de e n li e id Extras’ that u g ia d l e fu M e s l a u it e ig s for ‘D ides som l suggestion It also prov a n o ti p o e luding som rts. projects inc ulti-media a m d n a l a it of dig integration
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