CHOOSE YOUR CHARACTER WEAR YOUR MASK - A GUIDE OF GOOD PRACTICE

CHOOSE YOUR CHARACTER WEAR YOUR MASK

GUIDE OF GOOD PRACTICE

ANISOARA AYDIN

CHOOSE YOUR CHARACTER WEAR YOUR MASK - A GUIDE OF GOOD PRACTICE-

Editura MOROȘAN BUCUREȘTI, 2021 ISBN: 978-606-626-176-0 1

CHOOSE YOUR CHARACTER WEAR YOUR MASK

GUIDE OF GOOD PRACTICE

No.ref. 2018-1-UK01-KA229-048059

PROJECT TEAM Mrs. Paula Blackburn, Germoe Community Primary School, Penzance, UK Nikos Athanasiou, 2nd Primary School of Iraklia, Serres, Greece Aydin Erdemil, TUZLA DEDE KORKUT ORTAOKULU, ISTANBUL, TURKEY

ROMANIA, SCOALA GIMNAZIALA NR.1, BRANESTI, ILFOV Nicoleta Tone, Headmistress Anisoara Aydin, coordinator Tatiana Badea, teacher Andreea Maruntelu, teacher Roxana Geambasu, teacher Georgeta Ungurenci, teacher Rodica Gita, teacher Rodica Stanciu, teacher Elena Nutu, teacher Simina Zega, teacher Angel Ionut Tasloveanu, teacher

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CHOOSE YOUR CHARACTER WEAR YOUR MASK CONTENT PROJECT SUMARRY CHAPTER I LESSON PLANS CHAPTER II DRAMATIZATION

CHAPTER III RESEARCH

CHAPTER IV INNOVATIVE LEARNING ACTIVITIES CHAPTER V VIRTUAL COLLABORATIVE PLATFORMS

CHAPTER VI PRODUCING TOYS, MASKS, PUPPETS, KARAGOZ CHARACTERS

GUIDE OF GOOD PRACTICE

3D MODEL- THE CASTLE NASTRATIN HOGEA ORIGIN TRISTAN AND ISEULT THE GIANT RADISH TWO COUSINS-APHRODITE AND APOLLO THE OLD WOMAN'S GIRL AND THE OLD MAN'S GIRL THE STORY OF CURIOUS LITTLE ELEPHANT DRAMA CLUB ACTIVITIES COMMON LITERARY CHARACTERS IN ENGLISH, GREEK, ROMANIAN, AND TURKISH FOLKTALES, MYTHS, AND LEGENDS THE MANDALA OF FOLK TALES COLORATORUL- THE COLOURED ONE PARTS OF A COMIC BOOK LIVEWORKSHEETS.COM CLASSTOOLS.NET OZOBOTS FOR INCLUSION- MULTICULTURAL EDUCATIONAL ACTIVITY ACTIVITY TO DEVELOP PUPIL’S SELF- ASSESSMENT COMPETENCE WOODEN SPOON DOLLS KARAGOZ CHARACTERS EBRU, THE TURKISH ART OF PAPER MARBLING TEMPLATE FOR DIY MASKS – THE PUPPY PRACTICAL ACTIVITY PBL- BODY PUPPETS RIDDLE ME THIS, RIDDLE ME THAT! ERASMUS PLUS DATS- EXTRACURRICULAR ACTIVITY ETWINNING PLATFORM

ERASMUS + DISCLAIMER

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Page 4 Page 6 Page 9 Page 10 Page 17 Page 19 Page 21 Page 24 Page 26 Page 33

Page 48 Page 50 Page 52 Page 53 Page 55 Page 56 Page 57 Page 58 Page 59 Page 62 Page 63 Page 64 Page 65 Page 66 Page 67

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PROJECT’S SUMMARY This project will be a bridge between European countries and generations.

Its aim is to provide students and teachers with a learning approach beyond the classroom constraints, in a non-formal learning context based on active learning. We will share good practices to encourage direct student participation to their own learning and personal development. In this adventure of knowledge, they will discover, under supervision, the treasures of their national and European literature. Understanding how to make masks, how to create and use puppets for Shadow Theatre, and how to write and act in a Drama play. To integrate their language skills and ICT skills. They will discover all of these using the internet and books and the most important resource: their grandparents, parents, and elderly from their local community.

The puppet theater is the most accessible artistic genre in which all human types, all levels of society, all crafts and occupations are easily found. It helps the child to understand himself, and develop communication and social insertion skills.

It is related to 2015 Paris Declaration on promoting the common values of freedom, tolerance and non-discrimination through education, as the strategic framework in Education and Training 2020.

Making lifelong learning and mobility a reality. Improving the quality and efficiency of education and training. Promoting equity, social cohesion, and active citizenship, enhancing creativity and innovation.

Including entrepreneurship, at all levels of education and training. Our Project gives equal opportunities to boys, girls, and students with special needs. It is designed according to all kind of intelligence: linguistic, emotional, logical-mathematical, musical, rhythmic, visual-spatial, bodily-kinesthetic, naturalistic, intrapersonal, and interpersonal. Students from 4 partner schools will become more confident and proud of their success.

Our Project is designed for the benefit of our students. They will collaborate for 2 years with their European peers. The 2 short-term exchanges of groups of pupils will ensure a better language competence, especially in English as this language will be a very important tool for our Project. Getting in contact with natives is a great opportunity for pupils and staff. All of them will become more confident in using it. Our objectives: 1. To teach 30 teachers from 5 partner schools from Greece, UK, Romania, Spain and Turkey the 30 effective methods of interactive teaching during 2 short-term joint staff training events in Turkey and Greece between 01.09.2018-31.08.2020; 2. To explain to 50 students from the 5 partner schools new insights into what it means to be a citizen of Europe through Projects activities and 2 short-term exchanges of groups of pupils between 01.09.2018-31.08.2020; 3. To improve language competences and relationship skills among 3000 pupils from 5 partner schools from Greece, UK, Romania, Spain and Turkey during the Project’s activities and during 2 4

CHOOSE YOUR CHARACTER WEAR YOUR MASK

GUIDE OF GOOD PRACTICE

student exchanges in the short term between 01.09.2018-31.08.2020 3. To develop among 3000 students and 150 teachers from the 5 partner schools the sentiment of European identity between 01.09.2018-31.08.2020; 4. To strengthen the international dimension of 5 partner schools from Greece, UK, Romania, Spain and Turkey by participating on this Project between 01.09.2018-31.08.2020 The methodology includes project based learning, critical thinking, emaze presentations, team works, surveys, observation forms, , evaluation forms after each LTT and the final report.

Tangible results will be Project’s website and TwinSpace, Drama Clubs in all 5 partner schools who will remain even after the Project ends. Online events and webinars on etwinning, an integrated optional curricula “ Superheroes with superpowers”, a guide of good practices, articles in media, workshops, wooden toys, karagoz Turkish characters, flyers,postcards,a book containing common myths/ legends/ tales and characters in English and mother tongue with photos made by pupils,2 calendars, lapbooks, playscripts, Project’s poster. Intangible results will be: leadership, practical abilities, ability to relate to others, public speaking and self-knowledge, increasing self-esteem, improved ICT skills, as literacy and language skills.

Our students will gain socio- cultural knowledge of the partner countries. Teachers from 5 partner schools will improve the quality of the educational act for a relevant 21st century education and to implement new educational approaches that would match the student of the 21st century. Teachers will exchange good practices, through short term joint staff training events will become innovative and adaptable.

Our Project will internationalize the schools and create a European dimension in curricula

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CHAPTER 1 LESSON PLANS

LESSON PLAN NO.1 TITLE: 3D MODEL- THE CASTLE Curricular area: Technological education Discipline: Practice skills Learning unit: Collages and models Content details: 3D Models - "The Castle" Lesson Type: Developing key Competencies and Skills Training SPECIFIC COMPETENCIES 1.2. To use simple cardboard processing and construction techniques 2.1. To identify the stages of realization of a finished product Operational objectives: O1. To observe the elementary properties of some materials such as: cardboard, paper, wire, etc.

O2. To make a product, according to the requirements of the presented worksheet O3. To describe correctly and completely the activities carried out by himself or of the group of which he was part O4. To consciously analyze the works of the members of the other teams O5. To show initiative, spirit of cooperation and mutual help in the group of students in which they work.

O6. To participate with pleasure and interest in all the moments of the lesson, knowing the usefulness of the made objects

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Heuristic teaching strategies: Methods and procedures:

Teaching tools/instruments

Forms of organization:

 Outdoor learning

• carton

Activity:

 PBL

• twigs

 collective

 conversation

• trees made in paper molding

 individual

 analysis

technique

 teams

 explanation

• glue

 exercise

• crepe paper

 role play

• glazed paper

 directed

• scissors

 independent

Participation:

• glitter • polystyrene board

Tasks:

• toothpicks

 individual

• cotton wool

 in teams

• watercolor

 Show and Tell

• board

Lesson’s moments Preparing the necessary materials to start the lesson • Ensuring a climate of mutual trust • “Spring” talks to students, asking them a series of questions and asking them for help in making the gift for their father • Presents a drawing to represent it.

•

Fortune teller:

I have a tree with 12 branches: There are 4 nests on each branch, And in each nest there are 7 eggs.

Guess what?

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• It is announced that the students have to make together the 3D model “The Castle” and that they will receive folders with work tasks that they have to share and work • The tasks of each team are read • Explanations are given, where appropriate • Students share their work tasks • Performs team tasks • Songs specific to the four seasons are sung • Poems specific to the four seasons are recited • The model is decorated during the completion of the work • Present the final work in front of everyone * The teams appreciate each other • Collective work is appreciated

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LESSON PLAN 2

NASTRATIN HOGEA ORIGIN

PROIECT DE GRUP Carry out a group research in which to highlight similarities and differences between the parables from various countries where the literary character Nastratin Hogea appears. Insist on the values that these parables convey.

Write your data on an A3 board, and at the end display it on the classroom wall. Actively participate in the Gallery Tour, pasting post-its with your comments on the boards of others. Discuss them in class. Listen carefully to the teacher's feedback!

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LESSON 3 TRISTAN AND ISEULT 

SPOILERS: Here are some keywords:

Cavalerii Mesei Rotunde

Tristan and Iseult

knight

Love

King 

What it simbolises?

Dragon

Travelling

What it simbolises?

PREDICIONS: Based on the above keywords, what do you think will happen in this literary work? Why do you think this?



READ THE LEGEND. Your predictions have been confirmed? Explain! Talk to your colleagues and teacher about it!

Use of emoticons by pupils to evaluate their own activity

CRITERIA

Clear presentation of the topic, identifying elements relevant to the SUPERHERO Capitalizing on the text, the image associated with it and the information acquired in other disciplines Writing a coherent text Integration of images, drawings, schemes, quintet, heraldry Identify the values identified in the text

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LESSON PLAN 4 SECOND LIFE-TRAJAN Curriculum

Foreign Language

Area Subject Area Grade level Audience Topic Lesson Title

Subject Area: Latin 101 Grade: College Freshman Trainee Audience: Distance Learning Freshman Students attending Erudite University (EU) Topic: An Immersive Virtual Latin Language Experience Week 6: Trajan - A Latin Language Virtual Vignette For learning foreign languages, many believe that immersive environments are more effective than traditional brick and mortar, or online, learning environments. Subsequently, many students travel to enhance their foreign language learning opportunities. Obviously, this is not an option for Latin language students. To mitigate this problem, this course is presented in a 3D

Rationale for

virtual environment to provide Latin language students with a virtual immersive

Lesson

learning experience.

Furthermore, this lesson enhances students’ opportunities to hone their Latin language skills by presenting the material in the context of the culturally and historically significant reign of the Roman emperor Trajan. Trajan was one of five consecutive Roman rulers who ruled during the high point of Roman civilization.

Co-Creation and Role-Play

Learning

§ Co-Creation allows students to benefit from a social networking activity. This

Archetype

exercise will reinforce learning by providing students with opportunities: 

To impart information to their peers 11

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

To benefit from the knowledge of their team members



To recall vocabulary and practice the pronunciation of Latin phrases, which

were presented in three earlier classes § Role-Playing in the Second Life 3D synchronous environment is less intimidating, for many students, than face-to-face role playing. In addition, when students’ avatars don togas and interact in a virtual environment reminiscent of ancient Rome, they become fully engaged with the activity and subsequently the Latin language becomes more meaningful to them.

The student will: § Accurately translate at least 25 phrases from English to Latin text in a collaborative creative storyboard activity § Demonstrate appropriate use of Latin phrases in a historic and cultural context in a collaborative production of a short vignette Learning

§ Accurately pronounce at least five Latin phrases in his or her group’s

Objectives

machinima § Accurately answer questions about relevant historic and cultural contexts § Express relevant opinions about the historic, cultural, and language aspects of the exercises on the class blog § Contribute his or her opinions about the historic, cultural, or language aspects of the exercises to the class discussions

SL Location)

Roma: http://slurl.com/secondlife/Roma/232/40/22/?title=ROMA Students will:

Instructional

1. Transport to the Roma amphitheater class site where they receive a brief

Procedure

introduction that includes: § A brief whiteboard presentation about the emperor Trajan 52-117 C.E.

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§ An instructor- led discussion about the Roman culture and history during this era 2. Organize themselves in to four groups of five students (at least one student in each group should have video editing capabilities) 3. Receive welcoming note cards with assignment details that include: § Lesson objectives (see learning objectives) § Basic concepts for several vignettes, each designed to promote recall of Latin phrases and to reinforce the Trajan presentation § Assigned workshop locations for each group - to avoid voice chat confusion 4. Disperse to explore the Roma site to discover potential locations for the assignment.

5. Complete the assignment by collaboratively: § Selecting one of the vignettes § Write a five scene script for machine using at least 25 distinct Latin phrases (from a list of 100 phrases from 3 previous class lessons) i. First, in English ii. Second, in Latin iii. Each scene must have at least five distinct Latin phrases § Use interactive whiteboards to create storyboards for each scene, which include: i. A background image of the Roma location ii. A text-based English-Latin translation § Producing machinima of the vignette including: i. VoIP ii. Latin translation version of the script 13

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iii. Relevant settings in the Roma environment iv. Each scene should be at least 45 seconds in duration, but should not exceed one minute. v. The total project should be no longer than 5 minutes vi. Credits, which identify the actors and the director - camera operator (each member will direct, operate the camera, and capture the video for one scene) While in Second Life each student will complete a five-question multiple choice quiz. Students may access the quiz by “touching” the golden obelisk in the Roma classroom in Second Life. Results will automatically be transferred to the Sloodle learning management system § (Q) Why was Trajan so popular? (A) He released unjustly imprisoned individuals and returned confiscated private property § (Q) Of the Five Good Emperors of the Roman Empire, what number was Trajan? (A) He was the second § (Q) During Trajan’s reign, did the territory controlled by the Roman Empire expand, contract, or remain the same? (A) It expanded § (Q) Historically, Trajan is best known as a: (A) military commander § (Q) The Roman Senate eventually bestowed upon Trajan the honorific of optimus, which means: (A) the best Each student will: § View the other three group machinimas § Post a short reflection on the class blog about his or machinima creation experience § Post his or her interpretation of at least one of the other machinimas Each group will:

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§ Provide the instructor’s avatar with a copy of the whiteboard/storyboard assignment § Post the machinima assignment, as directed, on http://youtube.com § Post the time of their scheduled Roma visit on the Google class calendar. Due to server limitations only one group may access the Roma site at one time.

The class will, during the next class meeting: § Watch all four machinimas § Discuss the machinimas As specified in the rubric in the course syllabus, the evaluation for this lesson includes: § The group whiteboard/storyboard assignment § The group machinima - overall Evaluation Strategies

§ Individual student’s pronunciation and grammar of Latin in the machinima § Individual student contributions to the class blog § Individual student contributions to class discussions § Quiz results automatically recorded in the Sloodle learning management system After working in Second Life for several weeks, the students will be familiar with the Second Life interface. However, due to sporadic technical limitations, the instructor will: § Record the class session as a machinima and post the machinima

Adaptations

on http://youtube.com and will also distribute the file to each student via email § Have a Graduate Assistant available to present the whiteboard presentation, lead the class discussion, explain the assignments, and answer questions Second Life servers are equipped to handle a finite number of avatars simultaneously in each location. Therefore, Roma has agreed to reserve 30 15

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minutes each week for EU Latin 101 class meetings. However, the groups may only access the facility one at a time according to the schedule which is posted in the Google class calendar.

Students who do not complete the assignments during class time may access the school computer lab or work at home. All components must be completed by the following week before class.

Students who have questions or need assistance may contact the instructor in person during class, and during scheduled office hours, or by phone, or email.

Group projects often create conflict. Typically, groups will resolve disagreements internally. Nonetheless, the instructor will intervene, if the Anticipated difficulties

problem is escalating, persistent, or if the root problem violates school policy.

Technical problems Since this will be most students’ first attempt at creating a machine, related technical problems and questions are anticipated.

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CHAPTER II DRAMATIZATIONS THE GIANT RADISH

Source of the image https://www.youtube.com/watch?v=Q38KntA85L4

PLAY SCRIPTS

Presenter 1:

Presenter 2:

Presenter 3:

Welcome here, in the world of

In a country where time flew to

Early in the morning the sky

fairy tales for the little ones!

foreign lands, on a hill where the

washes his face with silver drops

Come to our enchanted country

wind blows. Among the bushes,

of dew and let them fall through

which begins with: "Once upon

among the flowers, a house rises

the gardens, on the flowers. The

a time"! Come to our world of

like some kind of mushroom

old man saw something. What

miracles. We invite you to listen

with a beautiful garden. A! But

can it be? Right in the middle of

to the tale of a huge radish.

what a miracle it looks In the

the path. A giant radish!

garden as it rises?

Radish:

The Old Man:

(to the public) -But it don't even

-Oh, how happy I am! I will not

-This huge radish is just right

care, it doesn't want to come out

be removed by the old man! And for the meal. I’ll take it out for

of the ground. Wife, wife, come

I will sleep among the

our salads. I'll grab it by its

fast! Help me get it out!

vegetables like a king in the

leaves, and I'll get it out well.

The Old Lady:

palace. Ha, ha, ha!

Without any help. (to radish) -

-Yeah, I'm coming! But why did

Presenter:

Come on, huge radish! Let me

you shout at me so loud?

An Old Man stopped. He looked

take you to my house!

at it surprised, and said: 17

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The Old Man:

The Old Man:

Marry

-Let’s pull out this giant radish!

-Come and help us! Grab my

-Maybe it would help our puppy

shirt and let’s pull together!

Azor. Azorel, Azorel!

Both:

All:

Azorel (it comes barking woof-

- Come on, huge radish!

-Hey- rup! Hey-rup! Giant

woof!):

radish, let us to take you home!

-Ham, ham, ham! I, Azorel the

Oh, my God, this is so difficult!

puppy, I showed up for the call.

The Old Man: -Wow, it is so hard to get it out!

I can give you the strength of my The Old Man:

my paws!

The wife:

- Let's call for more help!

All: - Hey-rup! Hey-rup!

-We are not strong enough!

Peter:

Marry:

Let’s call Peter to help us! Peter!

-Marry, sister, come quickly to

-How about to call the kitten

Peter!

the garden! This giant radish is a

We could pull out the radish

stubborn one!

together. Kitty, Kitty, come

Peter:

quickly to the garden!

-Yes, yes, I'm in the garden in a

Marry (comes running):

Kitty

second! I’m on my way!

-I’m here! Allow me to help

-Oh, my! Meow, meow! I will

you!

give you the strength of my

All: Hey-rup! Hey-rup! Get out,

whiskers!

giant radish!

All: -Hey- rup! Hey-rup! Huge radish, get out!

-We're not enough, you see…

The Old Man

Marry:

Here's a mouse coming. Could it

-I get its leaves like that. Wife,

-Kitty, grab Azorel by its tail!

help us?

grab my shirt!

All:

The mouse

Wife:-Children, grab my skirt!

-Come on! Hey –rup! Hey-rup!

- I'm the little prince of this

Peter:

Come on, huge radish, Let's take

house. How may I help you?

-Come on, Azorica, grab my

you home ! Yay! Succes!

-Help us with this radish, you

trousers and pull as hard as you

Mighty prince of the house!

can!

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GUIDE OF GOOD PRACTICE TWO COUSINS

APHRODITE AND APOLLO

By Nuta Iuliana, pupil, 5th B Grade

[On Mount Olympus. Two golden chairs and one golden bench on the back. A Ionic column at the right. White and blue curtains as a gazebo. Flowers everywhere, and an olive tree. Enters Aphrodite, picking the petals of a daisy.]

Aphrodite: Fisherman, soldier, sailor, humble man, rich man, poor man, blacksmith– oh no, I’m going to marry a blacksmith!

Again (singing) Fisherman, soldier, sailor, humble man, rich man, poor man, blacksmith– oh no, I’m going to marry a blacksmith!

(Grimacing) Not Hephaistos!

[Enters Apollo with Servants 1 and 2] Apollo (taking a bow): Good morning, Aphrodite, good morning, my dear cousin! (Aphrodite is ignoring him.)

Apollo (astonished): Well, don’t you have a tongue?

Servant 1: He’s the mighty Apollo!

Servant 2: The god of the Sun, of the archery, music and dance, truth Aphrodite Sketch by cherrykiiss on DeviantArt

and prophecy. [Aphrodite backs away.]

Apollo: Don’t look so shocked, my dear cousin. Olympus is a very beautiful place, I am beautiful too, I am modest too ha-ha! And I welcome you. Let’s see it together! Today seems to be a very beautiful day.

Aphrodite (determined): No! Apollo: Why not? Or you prefer the world mastered by our dear uncle, Hades? (With devilish eyes)You know, he has an amazing pet.

Apollo sketch by Hemachatus on DeviantArt

Aphrodite (curious): A pet? What pet?

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Apollo: Cerberus, a three-headed dog. (To the servants) Let’s go to my carriage!

[The servants go out with Aphrodite. Apollo follows them reciting a poem) “What a triumph! Oh what – “(talking to himself) Hmmm, what rhymes with triumph?

Aphrodite (from behind the scene): Do stop making up poetry!

Apollo (imitating her voice) “Do stop making up poetry!” (Serious) Nah, no way! Ha-ha-ha!

The curtains drop.

https://ro.pinterest.com/pin/361273201361238351/

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THE OLD WOMAN'S GIRL AND THE OLD MAN'S GIRL

THE STORYTELLER: Once upon a time there was an old man and an old woman. The old man had a beautiful, hardworking and obedient girl and her grandmother had a slut, lazy and bad-hearted. your old man and she worked because she was hardworking but still a it seemed to the old man that she was lazy. One day old man, poor as he was Grandma called the girl and said, GRANDFATHER: Dad's daughter hurts my soul that I'm telling you, but you have to go in the world to manage as best it could because at this house it is no longer you live.

GRANDFATHER'S GIRL: Okay daddy, then take me but know that I'll be back- what the.

THE STORYTELLER: The girl walked until she met an injured puppy, a hair full of caterpillars, an abandoned fountain and oven.

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PUPPY: Diligent and beautiful girl, take care of me that I will be useful to you ever! HAIR: - Hardworking and beautiful girl clean me and take care of me ever catch well! SOURCE: -Diligent and beautiful girl wear me whitewash me because you cold and clear water!

OVEN: Diligent and beautiful girl, stick to me because she will give you hot bread!

THE STORYTELLER: The girl gladly did these things and then left only a grandmother greeted him and said gently: SAINT SUNDAY: What are you looking for baby in these places?

GRANDFATHER'S GIRL: What to do aunt, I'm looking for a job with a master!

SF. SUNDAY: No, you got it right, we really need help I go to church look these kids of mine need to be wash and feed.

GRANDFATHER'S GIRL: Good aunt I'll do it!

THE STORYTELLER: The girl bathed all the old woman's jivins, fed them and he cleaned the house.

SF. SUNDAY: My daughter you worked well go to the attic and choose a la- give what you want as a reward. NARRATOR: The girl chose a small, erased box and left. On the way met with the puppy, the hair, the fountain, the oven they have reward her with yellows, pies, pears and cold water. he got home and opened the box from which the cattle herds came out, many riches. The grandmother with her daughter when they saw so wonderfully, they cracked up in spite and the grandmother's daughter said: BABY'S GIRL: Leave mother, because the riches of the world are not over, I'm going and I will bring you many. BABA: Go to your mother's daughter, but be careful not to get tired.

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NARRATOR: And he's gone. On the way he met the puppy, the hair, the oven, the oven, who asked for his help.

BABY'S GIRL: But what drove you crazy? you want me to soil my gloves white and clean!

THE STORYTELLER: He left and arrived at the court of Holy Sunday just going to church.

SF. SUNDAY: If you're still looking for something to work on, you see I'm going to church and thou shalt take care of my children: wash them, and feed them to clean. And grandma's daughter instead of doing what sf. Go sleeve, burned the food and scalded the chickens .When he came from church of st. On Sunday he put his hands on his head and sent her to take a crate from the attic and leave. On the way he met the puppy, the hair, the fountain, the oven, which they did not let her take from their goodness. When she arrived home hungry and thirsty, she said: BABY'S GIRL: I arrived, mother, look what a big and beautiful box I brought, let's undo it!

BABA: Dear mom, come on!

BOTH: Alas, what snakes! And what great dragons! Let someone escape us!

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The Story of Curious Little Elephant Drama play created by pupils

The storyteller: He was once, long ago, a very curious elephant. One day he woke up with a new question: "What does the crocodile eat in the evening?"

So he went through the forest to ask the animals. He met with the Teddy bear and asked him: The little elephant: Little cub, what does crocodile eat in the evening?

The Teddy bear: I do not know, but go to the lake and you will find out.

The storyteller: and the elephant went further to look for the lake. On the way he met a little Frog: Elephant: Little Frog, what does crocodile eat in the evening?

Little Frog: I do not know, but go to the lake and you will find out.

The storyteller: Near the lake, the little elephant met with Snake Boa: 24

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The little elephant: Snake, what does crocodile eat in the evening?

The snake: I do not know, but here's the lake here, I'm sure you'll find out.

The storyteller: Just then the crocodile water came out. The elevation approached him, but he did not know he even talks to the crocodile: The little elephant Excuse me, please, do you know what the crocodile is eating in the evening?

Crocodile: Come almost to tell you in your ear, not to hear anyone.

The storyteller: The little elephant also approached the Crocodile, "Hat!", Grabbed his nose, that at that time the elephant had a nose like all his nose, little.

And as the Poor Elephant to escape from the crocodile mouth came quickly, quickly Snake Boa, who was nearby and began to pull it on the tail elephant. And so much pulled the nose crocodile and the boa snake, that he eventually managed to save the element, but his nose had stretched so hard he was almost hanging.

Since then, all elephants have long trump.

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MONTH

WEEK

ACTIVITY

ALTERNATIVE ACTIVITY ACCORDIND YOUR SCHOOL’S PROFILE

DETAILS/ DESCRIPTION at your choice

Sept.

1

Announcement

On Erasmus+/ eTwinning/ Drama Club board

2

Receiving

Gathering the CVs

Pupils CVs 3

Selection

Selection of pupils.

Results of the

Publishing the results on Erasmus+ board

selection

Oct.

4

Leaflets

Designing

1

Planning of

Brainstorming

activities 2

Mirror mirror!

Mirroring is a way of developing concentration skills, and of honing those skills. It can be used to help cast members bond, and develop that instant

Magnifying

communication so necessary for really fine

Mirrors

theatre. It teaches careful observation skills,

Shrinking

which serve students well not only in the Theatre,

Mirrors

where it helps them to develop accurate and believable characterizations, but in all aspects of their increasingly complex life.

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Everyone takes a partner. (If there is an odd number, the teacher pairs with someone.) Partners stand facing each other, about three feet apart. One is the leader, the other, the "mirror." Moving only from the waist up, the leader begins to make simple gestures or movements. The "mirror" duplicates the leader's movements exactly--just as a mirror would.

3

Statues

The students learn to express ideas and emotions kinesthetically, and become comfortable with their

Frozen images

bodies (a myth at your a. Creating the Sculptures:

choice)

One student is the “sculptor”, the other the “ clay”. b. Gallery tour: Each artist must explain his/her work of art. c. After the tour, the students change their role.

4

I am anyone

The teacher ask the students to be a statue

and anything I

representing an object or animal.

want!

Be a dog!

Be a chair!

Be a tree! Etc. The teacher as the pupils to form using their bodies an image (volunteering) - at the pool - in the classroom 27

CHOOSE YOUR CHARACTER WEAR YOUR MASK

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- in the park etc.

Nov.

1

2

Let’s learn

The students learn about EU, as the myths from

about EU!

other countries.

Let’s learn

The students learn about EU, as the myths from

about

other countries.

ourselves and about others!

3

Christmas/

Designing the cards

New Year cards 4

Let’s Learn

e-Twinning and Project’s TwinSpace

more about Etwinning!

Dec.

1

Winter

Preparing the show

holidays 2

Winter

Preparing the show

holidays 3

Winter

Rehearsals

holidays 4

Winter

Show

holidays Jan.

1

TwinSpace

Materials made by students

posts 2

Frozen images

The teacher decompose the myth in 4-5 scenes.

The students will form a representative image

(a myth at your

using their bodies

choice) 3

EU myths

Research 28

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4

GUIDE OF GOOD PRACTICE

TedEx

Talking in public about the myths from our own country and the educative value of them

Feb.

1

Masks

Creating masks

2

Valentine’s

14th of February

Day

Research, drawing

Love in European myths 3

21st of February

International Mother

Research

Language Day 4

European Fair

Producing materials

in Greece Mar.

1

Freedom,

Visits at the museums

tolerance and nondiscrimination 2

The

Photos of our moms

International Women's Day 3

Let’s Learn

Students learn English by using web tools 2.0

more English!

4

ICT –web

Using web tools 2.0 to create short drama plays

tools 2.0 Apr.

1

2nd of April

International Children's Book Day

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2

GUIDE OF GOOD PRACTICE

Puppets

Creating puppets inspired by myths

Newspaper

It builds teamwork and can bring a cast to a closer

puppets

collaboration Divide the students into groups of three or four, and give each some newspapers and some tape.

Each group must build a giant figure--it can be a person or an animal, real or fantastic--out of rolled up, folded or wadded newspaper and masking tape. Generally limbs are made by rolling paper into long, stiff tubes held together by tape, while solid masses, such as torsos are made by loosely wadding paper and wrapping it thoroughly with tape. In general the figures should be about the size of the students themselves (although they are of course much lighter) and the more flexible joints and movable limbs the better. Even as they are building the figure, the group should be thinking about how it will move. This is not the kind of puppet one puts hands inside, but rather the kind one manipulates from the outside. All team members should have a role in manipulating the finished puppet. (For instance, one might operate the feet, one the hands, one the head, etc.)

3

Puppets

Students learn how to make a shadow puppet by using only their hands.

Shadow Hand animal 4

Puppets

Play

Shadow Hand animal

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May

1

GUIDE OF GOOD PRACTICE

Found Object

The students will manipulate any kind of object in

Puppets

order to become a character. ie. Sunglasses, with their bows spread wide, become a very convincing ant's head, complete with reflective eyes and two antennae. A shoe has a tongue and can talk, or it can use its laces like tentacles. The paper-punch can obviously become a barracuda. If it has a hinged lid, a cardboard box becomes a big-mouthed character with a ferocious appetite. (Mine is named "Stocky," because he used to contain a stock pot, and his shtick is boxrelated humor: "Hey, Stocky--what's your favorite food?" "Box lunch." "Who's your favorite actor?" "Bruce Boxleitner." "Where did you

2

grow up?" "Boxborough.") A ruler behind a

Found Object

notebook becomes a shy character who keeps

Puppets

Jun.

3

The EU Day

4

Be inclusive!

1

Be a writer!

2

Be a writer!

3

Our drama

peeking out and darting back out of sight.

9th of May –on-site event

Students learn how to write a drama play.

Students’ show

play

Jul.

4

Our etwinning

Uploading made materials

1

Choose your

Working on Project at your choice

character, wear your mask

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2

GUIDE OF GOOD PRACTICE

European

Intangible heritage- research

Heritage Days 3

(songs, games, traditions etc.)

European Heritage Days

4

30th of July

International Friendship Day

Aug.

1

Choose your

Working on Project at your choice

character, wear your mask 2

23rd of August

Choose your character, wear

Workshops with parents and grandparents

your mask 3

Twin Space

Pupils work on Project’s Twin Space

4

Report of the

Writing the Report; proposing activities for the 2nd

1st year

year. OR REPEAT

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RESEARCH COMMON LITERARY CHARACTERS IN ENGLISH, GREEK, ROMANIAN, AND TURKISH FOLKTALES, MYTHS, AND LEGENDS -Research-

Ref.no. 2018-1-UK01-KA229-048059

DISCLAIMER

“The European Commission support for the production of this publication does not constitute an endorsement of the contents which reflects the views only of the authors, and the National Agency and Commission cannot be held responsible for any use which may be made of the information contained therein”.

Research premises European folk literature abounds in memorable characters, from Prince-Charming, wise men, to mythical creatures, petrified creatures, sea creatures, giants, etc. There are many that we find in many countries. Our aim is to present you a few of them: Nasreddin Hodja, imaginary creatures (such as mermaids, sirens), and petrification of the main character, all of them being present in folktales from England, Greece, Romania, and Turkey, and find similarities and differences (if there is any).

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Nastratin Hogea (ro.)-Nasreddin Hoca (tr.)- νασρεντίν χόγκα (gr.)

One of the most researchers on this character is Prof. Mikail Bayram (University of Ankara), who found out interesting things on the wise man. The full name is Nasir ud-din Mahmood al-Khoyi, his title Ahi Evran (as being the leader of the ahi organization). Nasreddin was born in the city of Khoy, Iran. He was sent to Anatolia by the Khalif in Baghdad to organize resistance and uprising against the Mongol invasion. He served as Islamic judge and ombudsman in Kayseri. He became the vazir at the court of Kaykaus II. This character was embraced by various nations and cultures, as Turkey, Greece , and Romania.

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According to Wikipedia (https:// en.wikipedia.org/wiki/Nasreddin), “Nasreddin or Nasreddin Hodja or Mullah Nasreddin Hooja (/næsˈrɛdɪn/) or Mullah Nasruddin (1208―1285) was a Seljuk satirist, born in Hortu Village in Sivrihisar, Eskişehir Province, present-day Turkey. The wise man died in 13th century in Akşehir, near Konya, Turkey.”

Yearly, between the 05th and the 10th of July , there is celebrated in Sivrihisar The International Nasreddin Hodja festival.

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Nasreddin Hodja is considered a wise man, remembered for his funny stories and anecdotes, with a subtle humor and a pedagogic nature. The tales purvey a pithy folk wisdom that triumphs over all trials and tribulations. The oldest manuscript of Nasreddin dates to 1571.

Here are a few tales: TURKISH

ENGLISH

NE KADAR

HOW (FAR)

Hoca hızlı ve yüksek sesle bağırmaya çalışıyordu. Biri

Hoca was shouting loudly. A man saw him and

onu gördü ve ona bir şey olduğunu sandı. Hemen

thought that something had happened to him.

Nasrettin Hoca’nın yanına kadar koştu ve sordu:

He immediately run to Nasrettin hoca and asked him:

-Hocam ne oldu?

Nasrettin Hoca bağırmaya devam etti ve dedi ki,

-What happened Hoca?

-Ben, benim sesimin ne kadar uzağa gittiğini merak

Nasrettin hoca continued to shout and said:

ediyorum…

-I’m curious how far my voice can reach…

ROMANIAN

ENGLISH

GRIJILE-S LA CREDITORI MAI MULT DECÂT LA

CONCERNS WITH CREDITORS MORE

DATORI, de Anton Pann

THAN DEBTORS, by Anton Pann

Unul, întâlnind pe Hogea, s-a oprit a-l întreba

One man, meeting Hogea, stopped to ask him

De ş-a plătit datoria. Iar el îi răspunse: Ba!

If he paid his debt. And he said: Nope! "

- Dar ce umbli fără grijă, când te ştii că eşti dator?

-But why are you worriless about when you

- Grija – zise el – s-o poarte cel ce este creditor.

know you're in debt?"

-The worries, he said, belong to the creditor."

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GREEK

ENGLISH

.Ένας γείτονας του Νασρεντίν Χότζας είχε μικρό σπίτι

A neighbor of Nasreddin Hoca had a small

και πολύ μεγάλη οικογένεια. Συχνά παραπονιόταν στο

house and a very large family.

Νασρεντίν για τη δυστυχία του αυτή και ζητούσε από το σοφό μυαλό του Νασρεντίν κάποια λύση. Εν τέλει ο He often complained to Nasreddin about this

Νασρεντίν αποφάσισε να τον βοηθήσει. «Έχεις δύο κατσίκες», του είπε, «να τις βάλεις και αυτές μες στο σπίτι».

misery and asked Nasreddin's wise mind for a solution. In the end, Nasreddin decided to help him.

«Ζητάς τη βοήθειά μου», είπε ο Νασρεντίν, «θα μ’

"You have two goats," she told him, "put them

ακούσεις λοιπόν;»

in the house too."

"You are asking for my help," said Nasreddin,

«Θα σ’ ακούσω… αλλά… αυτό δεν είναι λύση…»

"will you hear me then?"

«Έχε μου εμπιστοσύνη», είπε ο Νασρεντίν.

"I will listen to you… but… this is not a

Ο γείτονας έκαμε όπως τον συμβούλεψε ο Νασρεντίν.

solution…" "Trust me," Nasreddin said.

Έβαλε στο μικρό του σπίτι και τις γίδες. Η κατάσταση

The neighbor did as Nasreddin advised. He put

έγινε πολύ δύσκολη. Όταν συναντήθηκαν ύστερα από

the goats in his little house. The situation

δυό μέρες, ο Νασρεντίν ρώτησε το γείτονα πως τα πάει

became very difficult. When they met two days

τώρα με το στενό του σπίτι.

later, Nasreddin asked the neighbor how he was

«Πολύ δύσκολα», είπε ο γείτονας.

doing now with his cramped house.

«Να βάλεις μέσα στο σπίτι και την αγελάδα σου τώρα»,

"Very difficult," said the neighbor.

πρόσταξε ο Νασρεντίν.

"Put your cow in the house now," Nasreddin ordered.

Ο γείτονας υπάκουσε, έβαλε και την αγελάδα. Όταν

The neighbor obeyed, and put the cow.

συναντήθηκαν τρεις μέρες μετά ο Νασρεντίν ρώτησε:

When they met three days later, Nasreddin

«Πώς πάνε τα πράγματα γείτονα;»

asked, "How are things, neighbor?"

«Ασφυκτικά», απάντησε ο γείτονας.

"Suffocating," replied the neighbor.

«Βάλε ακόμα και το γαϊδούρι», πρόσταξε ο Νασρεντίν.

"Even put on the donkey," Nasreddin ordered.

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Έβαλε και το γαϊδούρι μέσα στο στενό του σπίτι ο

The neighbor also put the donkey in his narrow

γείτονας. Τα πράγματα ήταν αφόρητα, όπως λένε,

house. Things were unbearable, as they say,

τραγικά. Όταν μετά από δυό μέρες συναντήθηκαν, ο

tragic. When they met two days later, the

γείτονας είπε στο Νασρεντίν.

neighbor told Nasreddin.

«Αμάν σοφέ Νασρεντίν, είναι πια μαρτύριο. Ποιά άλλη

"Aman Sofe Nasreddin, it is now martyrdom.

ποινή θα μου βάλεις;»

What other punishment will you impose on

«Να μένετε έτσι εκεί όλοι μαζί για τρεις μέρες ακόμα»,

me? "

είπε ο Νασρεντίν.

"Stay there like that for three more days," Nasreddin said.

Στις τρεις μέρες που συναντήθηκαν, ο γείτονας είπε:

On the three days they met, the neighbor said:

«Είναι αβάσταχτο Νασρεντίν, κάμε κάτι, είναι

"It is unbearable Nasreddin, do something, it is

απερίγραπτο».

indescribable."

«Να βγάλεις έξω το γαϊδούρι», πρόσταξε ο Νασρεντίν.

"Take the donkey out," Nasreddin ordered.

Έβγαλε ο γείτονας από το στενό του σπίτι το γαϊδούρι.

The neighbor took the donkey out of his narrow

Ένιωσαν όλοι κάποια ανακούφιση. Σε λίγες μέρες που

house. Everyone felt some relief.

ανταμώθηκαν είπε ο Νασρεντίν: «Βγάλε τώρα και την αγελάδα».

In the few days that met, Nasreddin said, "Take out the cow now." The neighbor took the cow out and everyone felt great relief, the house began to become comfortable.

Έβγαλε έξω και την αγελάδα ο γείτονας κι ένοιωσαν όλοι μεγάλη ανακούφιση, το σπίτι άρχισε να γίνεται

When they reunited, Nasreddin said, "Take the

άνετο. Όταν ξανανταμώθηκαν είπε ο Νασρεντίν:

goats out now." The man also took out the

«Βγάλε τώρα και τις κατσίκες». Ο άνθρωπος έβγαλε και

goats. The house was suddenly so comfortable

τις κατσίκες. Το σπίτι ξαφνικά ήταν τόσο άνετο που ο

that the neighbor and his children were happy.

γείτονας και τα παιδιά του ήταν ευτυχισμένοι.

When they met again, Nasreddin asked how the neighbor was doing with his small house.

Όταν ξανασυναντήθηκαν, ρώτησε ο Νασρεντίν πως τα

"Very comfortable, we are so well, thank you

πάει ο γείτονας με το μικρό του σπίτι.

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«Πολύ άνεση, είμαστε τόσο καλά, σ’ ευχαριστώ πολύ

comfortable and I owe that to you," said the

Νασρεντίν, το σπίτι μου είναι πια μεγάλο κι άνετο κι

neighbor.

αυτό το χρωστάω σε σένα», είπε ο γείτονας.

Many writers has been inspired by them, collected the tales and published them.

In Turkey, Nasreddin Hodja (published by NET) is a collection of stories compiled by Alpay Kabacali, and illustrated by Fatih M. Durmus capturing the essence of Hodja humor.

In Romanian literature, Anton Pann was the one who edited a compilation in 1853 “Nazdravaniile lui Nastratin Hogea”, and Ion Barbu –“Nastratin Hogea la Isarlâk" 70 years later. The Graeco-Armenian mystic G. I. Gurdjieff often referred to "our own dear Mullah Nasr Eddin", also calling him an "incomparable teacher", particularly in his book Beelzebub's Tales. In the UK, this character fascinated illustrators and storytellers: Tales of the Hodja, retold by Charles Downing, illustrated by William Papas. Oxford University Press: London, 1964; “ The Turkish Jester or, The Pleasantries of Cogia Nasr Eddin Effendi (in English) at Project Gutenberg by George Borrow; The Wise Old Man: Turkish Tales of Nasreddin Hodja, told by L(yon Bajar) Juda, illustrated by Tessa Theobald., Thomas Nelson and Sons Ltd: Edinburgh, 1963.

LEGENDARY CREATURES England, Greece, Romania, and Turkey are rich in traditional folklore, legends and mythology greatly influenced by their historic and cultural connections, by many other influences. This way were born throu centuries fabulous legends, tales and stories, creatures as knockers, buccas, piskies and giants, mermaids, etc.

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MERMAIDS IN MYTHS, LEGENDS, AND FOLK TALES According to Britannica, the mermaids are “gentle creatures who live their lives as seals while in the water and shed their skin to become human on land, but they're frequently equated with mermaids because in Gaelic stories they are associated with maighdeann-mhara, or "maid of the sea." Selkie legends usually end in tragedy; the folktales almost inevitably feature a selkie's sealskin getting stolen and the selkie getting married and having children with a human, only to later find its old sealskin and get called back to the sea.”

The word, “mermaid,” is derived from a combination of “mere,” an old English word meaning “sea,” and “maid,” as in “woman.”

The myth of the mermaid fascinates poets, proses writers and playwrights throughout the centuries. They are beautiful, alluring, have half human bodies, half fish tails. They have fairy faces, sing very beautifully, and fall in love with a man being that they often sacrifice or sacrifice themselves for saving the loved one, without ever reaching the final fulfillment of love. According to legends, they sing to sailors to try and enchant them, so they will be distracted from their work, not taking care of the ship and where it is going. In some other legends, the creatures enjoy taking men to their underwater lairs. There are other related types of mythical, legendary creatures that fall into this category:fish that are able to transform themselves into human beings-and vice-versa (ie.in Romanian mythology- lostrita),water-nymphs and selkies, etc.

Siren Painter. Odysseus & the Seirenes. Digital Image. British Museum, London,United Kingdom, n.d. Web. 29, Mar.2015.

<http://www.theoi.com/Gallery/O21.3.html>.

Image painted on a vase circa 480-500 B.C is depicting various important aspects of the Sirens as creatures.

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The ancient poet Homer, in the poem Odyssey which tells the story of Odysseus' journey after the Trojan War, back to his home situated in Ithaca Island mentions them (sirens) trying to trick the sailors. Odysseus and his crew escaped alive due to witch Circe’s advice. He tied himself to the mast so that he could not leave the ship, and the others covered their ears with wax so that they would not hear the enchanted song.

According to Circe, the sirens “sing most beautifully in a field of flowers”, and they live on an island .Their song “can tell everything that is going to happen over the whole world”. Their song is magical and enchanting.

According to www.secred-texts.com, in British folklore, the mermaids foretells disaster and sometimes even maliciously provoking it, too, as on the ballad “Sir Patrick Spens “ (Scottish origins) : a mermaid speaking to the doomed ships.or telling the sailor they will never see land again. In Corwall, the small village of Zennor is home to the medieval church dedicated to Saint Senara.

Inside the church there is a 600 years old wooden bench that has a strange image carved on its end: a mermaid with long flowing hair.It is the Mermaid of Zennor holding a comb in one hand, and with the other a mirror. The bench is known as The Mermaid Chair. It is said to be the seat she used when she visited the church.

The Mermaid of Zennor The legend says that a local squire's son named Matthew Trewhella was a member of the church choir and was known for his pure singing voice. A mermaid named Morveren, hearing his song, came into the church to listen. She was smitten by Matthew and lured the chorister into the sea at nearby Pendour Cove. He never returned, and on warm summer evenings it is said that their voices can be heard joined in song, emanating from beneath the waves.

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In Turkish mythologies, the mermaid is known under the name of Susulu, an aquatic creature with the upper body of a female human and the tail of a fish.

She is the daughter of the Sea King. In folklore they are unlucky omens (portent or presage a phenomenon that is believed to foretell the future, often signifying the advent of change). Susulus swim up rivers to freshwater lakes. They appear as beautiful young women with long green hair and pale skin that can be seen after dark, dancing together under the moon and calling out to young men by name, luring them to the water and drowning them.

Mankind, fascinated by the mysteries, has created a fantastic literature that talks about them. The belief in underwater beings is ancient in Romanian folk tales. In one of them, the mermaid appears on an enchanted chariot: “It was made of a huge water lily leaf loaded with delta flowers and pulled by four mustachioed cod. On the flower bed sat the girl, beautiful as I had only heard in the story that it was Ileana Cosânzeana.

She was dressed in a bright green frog silk dress, and her body line to her legs was so sweet that I immediately realized she had a fishtail instead of legs. On her head she wore a crown of yellow and blue marsh irises, beaten with dew gems, and on her chest a brooch that represented a little lad.” As in the Greek mythology, the mermaids try to seduce the man by using their enchanted voice and words: “We are the mermaids of the sea, they sang, come with us! On stormy nights you will see the deadly waves rising to the sky, you will hear the death thunder of ships and you will see on the decks the terrified sailors waiting for the terrible death. But over the thunder of the waves and the blinding lightning you will hear our sweet voice singing, and then you will see the sailors stretching out their arms to us and, forgetting their horror, they will run to our calls.”

On the short story “Lostrita”, by Vasile Voiculescu, the prologue mentions a Romanian myth regarding the origin of a fascinating creature similar to a mermaid: “Nowhere does the devil hide better than in the water.

The Pond’s Devil, it is known, is indispensable among people and the most deceptive. It takes many forms: 42

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from the light that flickers in the darkness of night and pulls the lost traveler to the depths, to the whistling face that bathes in vultures and is nothing but a cunning trick, a trap set for ignorant lads to drown them. On Bistrita river, the Un-Clean had long ago ordained a strange creature with the appearance of a mermaid, who, when she wants to deceive the one she set her eyes on, grows three times as much and changes her appearance. She comes out and lies down softly on the wound. From afar, you'd say she's a sun-drenched lady on the silver sandy beach. The enchanted mermaid seduced many people. Skillful fishermen stretched out their nets, but they fell into the charming nets, to go to the bottom forever. She trapped troubled lads and led them into temptation by her unrequited beauty. Greedy for fish, which she swallowed relentlessly, but especially hungry for human flesh, she became more and more daring, more beautiful, more alluring.

Everyone knew her and avoided her, and still a few young men drowned, seduced by her.”

The legend “The Stone Girl” presents the love between the daughter of the king of the sea, Heracleea, and a man, George. She was of a charming beauty: “eyes as deep as nights, shining as stars, caressing and loving, and whoever looked at her would fall on her dear place […] hair dripping on her shoulders, close to the heel, with green eyes, piercing like those in the fiery hearts of the mighty. And the speech?… Shall I tell you the speech? Her word was like the soft whisper of the waves on the sand, like the breeze of the wind on summer nights, or like the intoxicating scent of the flowers on the plain. ”. George falls in love with her. The two are united by a strong and pure love, for which they are willing to sacrifice their lives. They met in secret, in the moonlight on the rocks. Unfortunately, Tauctis, “emerald-green skin dragon with three heads, three hearts and three poisoned claws”, has feelings for Heracleea. A battle starts. The princess is hidden by her family in a fortress, on land where the dragon could not reach. She meets George and swears eternal faith to each other. Gheorghe participates in the battle to protect his beloved one helped by the other fishermen and Nahado, the spirit of the fishermen. But Tauctis wins and the man in order to save the princess wants to sacrifice himself. She finds out and choses to remain petrified to save him. Before he died of old age, the human threw a flower into the water for his lost love. Thus, Popina Island in Lake Razelm has the shape of a pink marble bed on which Heracleea sleeps, next to which is a stone flower.

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As Prof. Dr. Elena Trifan affirmed in the article “Aspecte ale mitului sirenei in literatura romana si universal”, "Mermaids, like other real or imaginary aquatic creatures, will no be banished from the sensibility and imagination of modern man who still feels the need for storytelling and sensationalism and who remains receptive to all that has been charming and captivating in human history." (Confluente Magazin, no. 2024 of the 16th of July 2016 - confluente.org) PETRIFICATION LEGENDS There are many petrifaction legends in the British Isles where people are turned to stone as punishment and are often used to explain the meaning of stone circles or standing stones. A Cornish legend tells of the Merry Maids stone circle of St Buryan.

The Merry Maidens, UK

The legend says that the nineteen maidens were dancing to the tune of the two pipers one Saturday night. The pipers hearing the church clock of St Buryan strike midnight realised It was Sunday and tried to escape and ran off but it too late and they were turned into two megaliths north-east and a little way up the hill from the stone circle. The nineteen maidens were caught on the Sabbath dancing in a circle and were also turned to stone.

Maybe the most known petrified character in Romanian folklore is Dochia. There are many legends and myths having her in the center. Here is one of them, representing the myth of the ethnogenesis of the Romanian people.

Baba Dochia, ROMANIA Dochia was the daughter of Decebalus, King of the Dacians.

When the Roman Emperor Trajan was conquering part of the Dacian territory, Dochia seeks refuge in the Carpathian Mountains in order to avoid marrying him. She disguises herself as a shepherd and her people as a herd. When she realizes that there is no escape she asks the supreme Dacian god Zamolxes to turn her and her herd into stone.

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One of the most famous Turkish legends, Sarıkız is about the highest peak of the Kazdağları Mountains in Turkey’s Marmara and Aegea regions. Nowadays the peak that has Sarıkız’s tomb is named after her, while the peak where her father is buried is called Babatepe (Father’s Peak).

The Myth of Sarıkız, TURKEY A beautiful girl named Sarıkız lived in the village of Güre and all the young men fell in love with her. They asked for her hand in marriage. When her father didn’t see any of them fit enough to become her husband, the young men turned against him and concocted a lie that Sarıkız had done something sinful, and demanded that he either killed her or moved away from the village. Because the father didn’t have it in him to kill his beloved daughter, he decided to take her far away to the peak of the Kazdağları Mountains hoping that she would survive on her own. And she did. She became a goose farmer. When her father found out that she was still alive, he visited her.

In Greek mythology, some characters had the power to petrify living beings and objects, such as Meduse and her consort, god Poseidon.

Medusa, GREECE Medusa was born in the subterranean caves found far beneath Mount Olympus. She was one of the three Gorgons, daughters of Phorcys and Ceto. She had two children: Pegasus and Chrysaor. She was a beautiful mortal, but transformed into a vicious monster with snakes for hair, and gazers upon her face would turn to stone. A person can only look at Medusa's eyes from a reflection, otherwise they're turned into a stone statue. Only Medusa has the power to turn people into stone. Medusa was killed by Perseus, who afterward used her still potent head as a weapon, before gifting it to Athena. Medusa's symbols were the Snake hair and the Stone gaze.

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CONCLUSION A folk tale, legend or myth is nothing without the characters that populate it. The heroes, gods, common people, creatures, ghosts, animals, etc. make us care about the adventures that unfold on each page. They are the ones that give breath to the written word- who take us along with them on a journey in which we can feel their highest highs and their lowest lows. It doesn’t matter who s/he/it is: heroes, villains, average Joes, plain Janes. All of them give us a view of another life in another, magical world. They stay with us long after the tale has ended, long after our childhood is only in our memories, whispering in our ears, making us to dream, being our role model. Living forever on in our imaginations. As it can be easily seen, all along Europe are similar characters, and this research is just a start, a challenge to the generations to come to go out there and make researches, so this amazing treasure not to be forgotten or lost.

References 1. *** Pilde, parabole si povestiri nemuritoare cu Nastrating Hogea, ed. Aramis, Bucuresti, 2012 2. *** Legende romanesti, ed. Gama, Bucuresti, 2014 3. Buxton, R.G.A.- The Complete World of Greek Mythology, publisher Thames and Hudson Ltd, 2014 4. Homer (Author), Virgil (Author), Bernard Knox (Editor, Introduction), Robert Fagles (Translator) - The Iliad, The Odyssey, and The Aeneid Box Set: (Penguin Classics Deluxe Edition) Paperback – Deckle Edge, September 30, 2009 5. Voiculescu, V.- Lostrita, ed. Floarea Darurilor, Bucuresti, 1995 6. Pann, A.- Nazdravaniile lui NAstrating Hogea, ed. Cartex, Bucuresti, 2019 7. Once There Was, Twice There Wasn’t: Fifty Turkish Folktales of Nasreddin Hodja by Michael Shelton, Publisher: Hey Nonny Nonny Press, 2014 8. https://www.greekmythology.com/Myths/Creatures/Medusa/medusa.html 9. Nasrettin Hodja in the Turkic World | Gülin Öğüt Eker- Academia.edu, by Prof. Dr. M. Canpolat Armağanı 10. Cornwall Myths, Legends and Folklore | Cornwall Guide (cornwalls.co.uk) 11. The Mermaid of Zennor and other Cornish Mermaids | Cornwall Guide (cornwalls.co.uk) 12. Mermaids_in_different_Cultures.pdf (galactic.to) 13. List of Turkic mythological figures - Wikipedia 14. Gods and Goddesses in Turkish Mythology – The Wise Magazine 46

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DISCLAIMER By using this Research, you accept this disclaimer in full. This Research has been produced solely for dissemination of our project results, an OER, and no other reason and therefore should not be relied upon by any third party. The contents of this Research is not advice and should not be treated as such. Neither the United Kingdom National Authority function for the Erasmus+ programme (the “National Authority”) nor the United Kingdom National Agency function for the Erasmus + Programme (the “National Agency”) nor any person acting on their behalf may be held responsible for the use which may be made of this Research and any information contained in this Research. The National Authority and the National Agency have not verified, nor do they make any representations or assurances as to, the quality, nature of, efficacy or otherwise of this Research or as to the accuracy, completeness or adequacy of any information contained in this Research. Should you wish to use the materials in this Research, you agree to acknowledge that the materials were originally developed by the National Agency for the UK Erasmus + Programme.

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CHAPTER IV INNOVATIVE LEARNING ACTIVITIES THE MANDALA OF FOLK TALES A collection of coloring pages with fairy tale characters, suitable for 6-11 years old pupils

1 EXTRA POINT

By coloring the children develop their ability to write and draw, they become familiar with coloring pencils and how to hold them in their hands. The teacher ask the pupils to create a cartoon based on this coloring page by adding the parts of a comic page, and fill in all its parts. Here it is an example!

The mother goat asked the 3 kids not to open the door to anyone but her.

DO NOT OPEN THE DOOR TO STRANGERS, KIDS!

OF COURSE, MOM!

YEAH, MAYBE ….

Free image by Vlad Botos, updated by Serban Antonio

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Here is a mermaid! There are so many myths, and legends having mermaids as characters! Or it can be used to sparkle pupils’ imagination and creativity!

The pupils, individually or in small groups, can create a comic book based on a fairy tale, folk tale, legend, or myth. Or, they can create a new tale, with unique, original characters. There is an example of a book created by a Romanian pupil, master Calin Ghinescu (5th A grade) using the web 2.0 tool Book Creator https://bookcreator.com/

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COLORATORUL- THE COLOURED ONE https://app.bookcreator.com/read/library/M7IWKzGyrhxlmH1U0tB/VP1brk8oZnUth4YRErlIZz0JHVI2/LOnXT9jLTvK FP8XyUk8XAw/ eRSDVgbiTleDb2lWIwhxEg

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What are the parts of a comic book/ page?  Title - Name of the comic or story.  Credits – Names of the writers and artists of the comic  Choose a grid format. White gutters (borders) defined each panel and the grid followed the Western method of reading – left to right.  Panel – One illustration in a square or rectangular frame. Sometimes in a circular or irregularlyshaped panel.  Gutter - The space on a comic book page that is outside the panels.  Speech Balloons – Contain what a character is saying. Usually round.  Thought Balloons - Contain what a character is thinking. Usually has lumpy edges, like clouds.  Pointers – Indicate which character is speaking.  Bubbles – Indicate which character is thinking.  Captions – Words that are not in speech or thought balloons. Usually in a square or rectangle. ( the narrator’s interventions)  Sound Effects - Words that depict noises or sounds.  The Focal Point

THE SOURCE OF THE FOLLOWING IMAGE: https://www.pinterest.com.au/pin/138626494760968221/

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VIRTUAL COLLABORATIVE PLATFORMS https://www.liveworksheets.com/ What is LIVEWORKSHEETS?

Liveworksheets allows you to transform your traditional printable worksheets (doc, pdf, jpg...) into interactive online exercises with self-correction, the "interactive worksheets".

Students can do the worksheets online and send their answers to the teacher in real time. This is good for the students (it's motivating), and for the environment (it saves paper).Additionally, the interactive worksheets take full advantage of the new technologies applied to education: they may include sounds, videos, drag and drop exercises, join with arrows, multiple choice... and even speaking exercises, that the students must do using the microphone.

You can create your own interactive worksheets. Upload your document (doc, pdf, jpg...), and it will be converted into an image. Then you just have to draw boxes on the worksheet and enter the right answers.

There are also a few commands that you need to learn if you want to make other kind of exercises, like drag and drop, join with arrows, speaking exercises, etc. But it is very easy. Just have a look to the tutorial or video tutorial.

The platform doesn’t allow worksheets taken from other websites, scanned from text books or which include any copyrighted content without authorization to be shared.

There are two ways for the pupils to work on the workbooks or worksheets.

1. The students open the worksheet, do the exercises and click "Finish". Then they choose "Send my answers to the teacher" and enter teacher’s email (or secret keycode). There is no limit on the number of worksheets that pupils can send, but all their answers will be deleted after 30 days.

2. The teacher can make her/his own interactive workbooks, and add favourite worksheets (the ones they have created or shared by other teachers). Then the teacher have to register the pupils (they can also register themselves with teacher’s secret keycode) and assign them the workbooks.

After that the students can open the workbooks with their username and password, and do the exercises.

The teacher is able to check their work at any time, assign homework and add comments or notes.

Students may optionally register their email to get notifications of their homework and teacher's comments.

Interactive workbooks are highly customizable, allow teachers' feedback and save all your students' answers for unlimited time. The worksheets are also downloadable as pdf (if the author allowed this option).

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CLASSTOOLS.NET https://www.classtools.net

What is CLASSTOOLS? Classtools has more than 40 web 2.0 tools allowing you to create numerous resources for your class, as puzzles, crosswords, fakebooks, Venn Diagrams, QR codes, 3D Gallery, etc.

The template for 3D Gallery

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OZOBOTS FOR INCLUSION –Multicultural education activity-

Goal: Developed friendship among pupils by coding Ozobots Materials: Papers A3 format, markers (black, red, green, blue), Ozobot robot, color-code sheet Time: 50 minutes Age: All Number of pupils: All Activity Step 1- 5 minutes: Explain to the students how to use color-code (on black path add selected code for speed, direction, cool moves…)

Step 2- 5 minutes: Students need to make a common decision about what they will code. It must be related to the project (tolerance, empathy, friendship, diversity, love…)

Step 3-20 minutes: Students are coding their work.

Preparation: Yes  

divide students into mixed groups

Step 4- 10 minutes: Students are presenting their works and explaining why they choose that subject for coding in one sentence. They

give students materials, one Ozobot and color-code in each group

need to tell this sentence in all languages from all team members.

Step 5- 5 minute: From all coded works

Result (example)

students will make an exhibition on the display board.

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ACTIVITY TO DEVELOP PUPIL’S SELF- ASSESSMENT COMPETENCE

Highlighting the test paper

Using specialized language

Faced with the problem, persevering in finding the answer

Identifying several solutions

Eliminating the errors made through negligence

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PRODUCING TOYS, MASKS, PUPPETS, KARAGOZ CHARACTERS Wooden spoon dolls We recycle old wooden spoons. To offer children a workshop to develop their imagination.

Required materials:  3 or more wooden spoons;  paper tape;  watercolors and a brush;  eyes and mouths;  self-adhesive;  tassels;  colored paper;  bells

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KARAGOZ CHARACTERS

Karagoz is firmly rooted in the culture of Istanbul.

The Karagoz puppet theatre stage is separated from the audience by a frame holding a sheet of any white translucent material. It is mounted like a painters canvas, stretched taut on a frame. The size of the screen is 1 m x 1.60 m. The operator stands behind the screen, holding the puppets against it and using an olive-oil lamp as a light source from behind. The light is fixed behind and just below the screen. The light distance is determined by the need and curtain on which the shadow is to be thrown. The screen diffuses the light, and the light shines through the multicoloured transparent material, making the figures look like stained glass.

The puppeteer holds the puppet close against the screen with rods held horizontally and stretched at right angles from the puppet. With horizontal rods held at right angles to the screen there is far less shadow on the screen, but control is limited. The Turkish puppets are worked by horizontal rods.

There are two devices which provide alternatives to the usual horizontal rods employed in Turkish shadow show.

One is hayal agaci -puppet-tree-. The operator can manipulate only two figures at a time; so when there is a demand for more than two figures on stage, he uses this device.

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The puppet-tree is a Y-shaped rod. Y-shaped rods are stuck into the holes on the ledge at the bottom of the screen so that they stand vertically. The horizontal rods of the figures are placed in the cleft of these rods, so that when the puppeteer presses the ends of the horizontal rods against the screen with his chest or stomach, these figures stand still and do not move. Through this device a crowd scene can be easily accomplished.

The second device is called by the shadow puppeteer firdondu, a -swivel-, which is designed to overcome a disadvantage presented by the horizontal rods- that is, the puppets cannot be turned round to face the other way. This device is similar to that used in the Chinese shadow play. It is simply a rod wire fixed in a wooden handle, the curved end of which is inserted in small leather socket on the outer edge and at the back, in a sort of hinge attached to the figure. The puppeteer can give it a quick flip in order to make the figure face in the opposite direction.

There are a few Turkish shadow puppet theatre figures fitted with this device in the Hamburg and Topkapi Palace collections, showing that it has been known by the Turks for some time. Puppets are operated on the plane of action and the length of the control rods can be adjusted to the socket of the puppets, allowing the puppets to work in the upper areas without the shadow of the operator’s hands being visible. Along the bottom edge at the back of the screen is a batten to act as a rest for the legs of puppets. Underneath this there is a horizontal ledge to put the oil lamps on. This ledge also has some holes on its surface to stick the supporting rods, the puppet-trees.

Create your own karagoz characters and see you at the festival!

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EBRU, THE TURKISH ART OF PAPER MARBLING

EBRU is a traditional Turkish art of creating colorful patterns on thickened water, using brushes and metal pins, and then transferring them onto a sheet of special paper. During the Ottoman period, many apprentices were trained to become Ebru artists. The Ottoman Ebru artists produced various beautiful works of Ebru art.

WHAT ARE THE EQUIPMENTS? 1. Paper: The paper has to be a good absorbent.

2. Kitre: A kind of herbal gum to thicken the water.

3. Paints 4. Tray: It is the container in which we put the thickened water.

5. Brushes 6. Metal pins

HOW DO WE DO PAPER MARBLING? * Put the thickened water into a tray. * Put different paints in different jars. * Sprinkle the paints across the surface of the thickened water in the tray. * Use the metal pins in order to create your patterns on the liquid. * Lay a sheet of paper down onto the surface of the liquid to transfer the image onto your paper.

MAKING MASKS With the Ebru pieces we have created, we will make our own masks. We will also use some other materials during this process.

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TEMPLATE FOR DIY MASKS

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Practical activity PBL Body puppets Purpose of activity: Manufacture of bodily puppets for a play / dramatization in the Erasmus + project, Choose Your Character project, Wear Your Mask Working materials: - Cardboard - pieces of colored cloth - colored threads - Dress type socks for arms and legs - Colored paper or colored cardboard - Elastic band - Marker (2-3 colors), graphic pencil - Silicone glued pistol - Portrait / character sketch.

Stages of work: - The character's sketch is set, puppet - model, - Draw and cut the head and body, palms and shoes of the cardboard puppet, - Face expression is performed using elements made of colored paper and / or using the marker, - Details are made: hair, colorful garments, cloths, colored cardboard, - Attach the hands and feet (tights and palms and puppet footwear), then apply the elastic band on the back of the head, hands and feet. Elastic tape helps mawner handling.

Why use puppets?  Children can create their own stories and manifest their personality  Stimulates the attention and concentration of children,  Can help us in the act of teaching.

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RIDDLE ME THIS, RIDDLE ME THAT!

"Grandfather in the garden planted Wonderful turnip and poured.

He can not pull out the fruit!

Children, who will help him? ”

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ERASMUS PLUS DAYS

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ETWINNING PLATFORM

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DISCLAIMER

The European Commission support for the production of this publication does not constitute an endorsement of the contents which reflects the views only of the authors, and the National Agency and Commission cannot be held responsible for any use which may be made of the information contained therein.

BUCUREȘTI, 2021 ED. MOROȘAN ISBN: 978-606-626-176-0

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