ART and INCLUSIVITY in YOUTH WORK

ART and

INCLUSIVITY in

YOUTH WORK An e-book for youth workers and trainers working with people with disabilities

created by the participants of the Erasmus+ KA1 project “ARTinclusive” (2019-2-LU01-KA105-050158)

Editors Seg Kirakossian, Narek Minasian

Financed by

Yerevan, Luxembourg. 2021

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Organized by

DOCTOR CINRMA

Table of Contents PREFACE

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HISTORY OF DISABILITY

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TYPES OF DISABILITIES (NEEDS, TREATMENT/SUPPORT)

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Supporting colleagues with hearing impairments

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Supporting colleagues with visual impairments

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Supporting colleagues with physical impairments

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Supporting colleagues with neurodiverse conditions RECOMMENDATIONS ON INCLUSIVENESS IN THEATRE AND PERFORMANCE ARTS

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Teaching Deaf Participants

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Teaching Blind and Visually Impaired Participants

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LIST OF ACTIVITIES

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VOCABULARY (INCLUSIVE LANGUAGE)

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Communication (Braille, ASL)

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Braille

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Best practice

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Best Practice Gallery

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About ARTinclusive project

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ARTinclusive part I in Luxembourg

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ARTinclusive part II in Yerevan

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To read & to watch

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The information is created and collected by the participants of the “ARTinclusive” Seminar: Dali Mosulishvili, Giorgi Nadiradze, Elina Ghazaryan, Ana Mónica Parreira, Róża Leśniewicz, Piotr Jankiewicz, Stanisław Blechacz, Evmorfia Athanasopoulou, Angeliki Chlapana, Stelios Chliaras, Tomaz Klipsteter, Tamara Muhic, Stefan Simoncic, Artem Firsov, Ana Sofia Faria da Costa e Sa, Sona Arsenyan, Albert Movsesyan,

with participation of the attendees of the “ARTinclusive” Training Course: Melani Potrč, Sabina Majerič, Benjamin Dvoršak, Róża Leśniewicz, Piotr Jankiewicz, Stefanos Miliotis, Faidra Aikaterini Kotea, Sotiria Vrana, Andranik Ugujyan, Marietta Mkhitaryan, Thaer Shkeir, Rawan Abuteir, Mariami Razmadze, Elene Burtchuladze, Rahib Raza Malik, Khachik Makyan, Luís Filipe Peixoto Pimenta Vilar, Tânia Filipa da Mota Fernandes, Ani Sirekanyan, Kateryna Palazhyi.

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PREFACE A good will is important but not always enough for implementing successful and effective actions to help other people and one’s own self. Working with people with disabilities especially requires knowledge and skills to avoid miscommunication, insults or overcare.

This e-handbook is created by the youth workers and trainers based on the knowledge they learned and practiced during the ARTinclusive project and out of it. It’s created for the people who are interested in organizing initiatives and projects with participation of people with disabilities and where art forms, particularly theatre can serve as tools for better communication and work. In the following pages you can find historical facts, inspirational stories, activities with instructions.

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HISTORY OF DISABILITY Sigerist (1951) identified four differing attitudes toward disability during this early period. The ancient Hebrews viewed disability as punishment from God for having sinned. The Greeks considered disability a matter of economics and social status, and thus people with disabilities (who often were beggars) were viewed as socially inferior; however, the Christians viewed disability as a curse or as being possessed, thereby needing prayer and charity. Today, despite the fact that many view disability primarily in a clinical sense as an organic chronic illness or disease, there are still others who believe disability to be caused from having sinned.

Some evidence exists that people with severe disabilities sometimes survived adulthood but still not a normal life expectancy during early civilizations (Lowenfeld, 1975). Archeological and anthropological skeletal finds suggest that people with spina bifida lived during the Neolithic period (Sigerist, 1951). Venzmer (1968) reported evidence of disability during the Old Stone Age, again with the remains of people with spina bifida being found as well as osteomyelitis, congenital hip dislocation, and spinal tuberculosis. With physically disabling conditions such as these, it is obvious that even back then, it would seem likely that loved ones must have taken care of their disabled members. As no evidence of adaptive aids such as wheelchairs or walkers exists, it is believed that nondisabled family members may have carried their disabled loved ones from place to place.

The Greeks believed the body and soul were one entity and that a blemish to the body (disability) also signified a blemish to the soul (Dickinson, 1961).

The Greek physician Hippocrates, however, rejected this premise and instead believed that the cause of mental illness was because of environmental reasons and brain impairment (Coleman, 1964). As a result, Hippocrates established the first sanitarium for what turned out to be well-off families who had a member with mental illness. Other people with mental illness did not fare as well and were often starved, chained, whipped, caged, or put to death (Sand, 1952).

The Middle Ages were dominated primarily by the principles of Christianity. Medicine and the medical profession were poorly regarded because physicians were not well trained and often ineffective in treating people with various diseases. The public opposed human dissection, and thus medical knowledge and understanding slowed considerably during this period (Rubin & Roessler, 1995). Chubon (1994) noted that medicine became a moral issue because disability continued to be largely viewed as a punishment from God. Physicians were replaced by monks and priests; whose initial practices were humane. People with disabilities were treated in monasteries and hospitals where methods such as exorcism, prayer, incantations, magical herbs, and laying on of the hands were used (Obermann, 1965). Despite best efforts, the monasteries

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and the hospitals were too few to meet the needs of the poor, the homeless, and those with disabilities.

During the period between 1500 and 1700, attitudes began to change regarding disability and treatment modalities. Coleman (1964) noted how the view of people with mental illness as possessed slowly changed to them being viewed as sick or ill. People with mental illness and mental retardation began being sent to the ever-growing number of asylums rather than monasteries. The asylums, unfortunately, offered no treatment or therapy, and instead functioned as prisons, some of which chained and caged noncompliant or acting-out patients (Coleman, 1964). During the great witch hunts between 1480 and 1680 reported in the Malleus Maleficarum book known as The Hammer of Witches (Kramer & Sprenger, 1971), it is estimated that between eight and 20 million people, mostly women, were tortured and put to death as witches in Europe. A good portion of this population often had a mental illness, or a visible disability, or a disfigurement. The book identified how to spot witches by their impairment or by giving birth to children with impairments.

In 1752, Benjamin Franklin aided the Quakers in establishing the first colonial hospital in Philadelphia (Miller, 1966). Although this hospital was designed to treat all disorders, including mental illness, the quality of care was lacking (Grob, 1973). A second hospital was built in 1791 in New York. A few years later in 1798, the first Marine Hospital service was opened to treat merchant seamen with disabilities, and this eventually evolved into the U.S. Public Health Service (Singer, 1928).

In the 1970s, disability rights activists in the USA lobbied Congress and marched on Washington to include civil rights language for people with disabilities into the 1972 Rehabilitation Act. In 1973, the Rehabilitation Act was passed, and for the first time in history, civil rights of people with disabilities were protected by law.

The Industrial Revolution between 1790 and 1870 brought some interesting developments concerning people with disabilities. With industrialization came a new type of prevalent disability: injured workers. Workers who were injured on the job were often customarily fired if they could no longer produce, leaving them without any recourse but to sue their employers as workers’ compensation legislation did not yet exist. Historically, the first workers’ compensation legislation was passed in Germany in 1884, Hungary in 1887, Great Britain in 1897, and in the state of Maryland in the United States in 1902 (Worrall & Appel, 1985).

Sources: https://connect.springerpub.com/highwire_display/entity_view/node/108293/content_details https://www.adl.org/education/resources/backgrounders/disability-rights-movement

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TYPES OF DISABILITIES (NEEDS, TREATMENT/SUPPORT) There are four main categories of special needs: · Physical – multiple sclerosis, allergies and asthma, juvenile arthritis, leukemia, muscular dystrophy, epilepsy. · Developmental – Down syndrome, autism, dyslexia, dyscalculia, dysgraphia, dyspraxia, aphasia or dysphasia, auditory processing disorder, visual processing disorder. · Behavioral/emotional – obsessive compulsive disorder, dissociation, post-traumatic stress disorder, anxiety, depression, attention deficit (hyperactivity) disorder, bipolar. · Sensory-impaired – blindness, deaf or limited hearing, visually impaired.

Supporting colleagues with hearing impairments Arrange meetings in quiet and well-lit areas.

This makes lip-reading easier and helps colleagues with residual hearing.

A purple illustration showing a speech bubble.

During meetings, always speak one at a time.

This makes it easier for colleagues to lip-read and follow the conversation.

A purple illustration showing a hand waving.

Get someone’s attention before speaking.

Wave or lightly touch their shoulder so they know you’re talking to them.

A purple illustration showing a person smiling.

Always talk clearly and not too slowly.

Make sure everyone is included in office chatter. Use normal lip movements.

A purple illustration showing a person talking.

Talk to your colleague, not their interpreter.

Always address the person you're speaking to directly. Don't ignore them.

A purple illustration showing two hands.

Try learning basic phrases in sign language.

This will help you communicate more easily with colleagues who sign.

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A purple illustration showing an exclamation mark.

Make sure you project your voice, but don’t shout!

This can be uncomfortable for someone who is using a hearing aid.

A purple illustration showing a handshake.

Always speak directly to your colleague about how you can support them.

Avoid making assumptions about a person’s capabilities.

Supporting colleagues with visual impairments Be tidy, and be mindful of workplace clutter.

Think about drawers, bins or cables that might be a hazard if they can’t be seen.

A green illustration showing an exclamation mark.

Don’t move someone’s belongings without asking.

Also, avoid changing where things are kept without letting people know.

A green illustration showing a person speaking.

Always greet colleagues with sight loss.

Announcing yourself by name lets them know who is talking to them.

A green illustration showing speech bubbles.

When starting a new conversation, address your colleague by name.

This will let them know you’re talking to them.

A green illustration showing question mark.

Be as clear as possible with everything you say.

Remember, your colleague may not be able to see your facial expressions.

A green illustration showing speech bubbles with the words hello, look and see.

Feel free to use words such as ‘see’ and ‘look’.

People with visual impairments are unlikely to be offended.

A green illustration showing a map.

Think about providing orientation training.

This will help any new colleagues to find their way around the office.

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A green illustration showing two people.

Always speak directly to your colleague about how you can support them.

Avoid making assumptions about a person’s capabilities.

Supporting colleagues with physical impairments Make sure entrances and walkways are kept clear.

This ensures that colleagues with physical impairments have plenty of space to manoeuvre.

A purple illustration showing a desk.

Ask your colleague about potential barriers and solutions.

For example, they may prefer their desk to be in an area that’s easier to access.

A purple illustration showing a speech bubble.

Don’t leave people out of the conversation.

If a colleague is a wheelchair user and accompanied by someone else, address your colleague directly.

A purple illustration showing a question mark.

Ask your colleague if they want help.

For example opening a door, picking up large items or carrying a drink. But don’t assume they need it.

A purple illustration showing a disabled parking space.

Be considerate of other people’s needs.

Only use disabled parking spaces and toilets if you are entitled to use them.

A purple illustration showing an exclamation mark.

Never move someone’s mobility aid or wheelchair without asking.

They may have positioned it so it can be accessed easily.

A purple illustration showing a chair.

If you’re having a long conversation, sit down.

It’s easier to make eye contact with a wheelchair user if you’re seated.

A purple illustration showing a thought bubble.

Always speak directly to your colleague about how you can support them.

Avoid making assumptions about a person’s capabilities.

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Supporting colleagues with neurodiverse conditions Before a meeting, let your colleagues know in advance what you want to discuss.

Send calendar invites so they have a record of the meeting. ● A lilac illustration showing a sound icon with a line through it.

Arrange meetings in a quiet, calm location.

Bright lighting, strong scents, or temperature changes can also be distracting. ● A lilac illustration showing a person talking.

When starting a conversation, address your colleague by name.

This will let colleagues know who you’re talking to. ● A lilac illustration showing a checklist..

Follow up important points in writing.

Providing short bullet points or lists of agreed tasks can often be helpful. ● A lilac illustration showing a pen.

If someone doesn’t understand what you’re saying, don’t just repeat it.

Instead, try rephrasing it or writing it down. ● A lilac illustration showing eyes.

Your colleague may not look at you while you’re talking.

Some people may find it easier to focus if they look elsewhere. ● A lilac illustration showing boooks.

Don’t overload your colleague with too much information.

Keep things clear and focus on one point at a time. ● A lilac illustration showing two people talking.

Always speak directly to your colleague about how you can support them.

Avoid making assumptions about a person’s capabilities.

Sources: https://www.sightsavers.org/perspectives/supporting-colleagues-with-disabilities/ https://www.care.com/c/types-of-special-needs

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RECOMMENDATIONS ON INCLUSIVENESS IN THEATRE AND PERFORMANCE ARTS Don’t be afraid to talk about seeing and colour with blind students as long is it is backed up by a textural or sound reference to enable them to develop a full understanding of what it is you want them to do. Words like ‘walk’ around the space can easily change to ‘move’ around the space. If people are ‘listening’ to something ask Deaf people to sense the feeling of rhythm and style of sound / music from watching the body movements and reactions of other students. If someone has a differing speech pattern, they may not be speaking clearly but ask for focus on breath control and emotional integrity.

Depending on the needs identified, you may work in a setting that includes any one or combination of the following: - Access Support Worker - Sign Language Interpreter - Communication Support Worker - Creative Enabler - Audio Describer - Scribe or Note-taker - Speech to Text or Palantypist - Lip-speaker A student may also use their own Personal Assistants (PA) or Enablers. However, additional support may still be required, as a PA may not understand the learning environment or be able to provide the appropriate level of support for such situations.

Below is a specific information relating to Access and Teaching Tips associated to the following particular impairments: - Deaf, deafened and hard of hearing participants (for the rest of this document we will use the term Deaf).

- Blind or visually impaired participants.

- Participants who have mobility and physical impairments.

- Participants with differing speech patterns.

Teaching Deaf Participants Ensure you are aware of individual communication needs – if in doubt, ask.

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- If you are using any English text within the workshop/teaching session make it available to any Deaf students in advance (1 week minimum) – this is important to allow students time to prepare adequately / translate the text.

- Allow enough time for communication needs and for individuals to make contributions. Working though an interpreter will always mean a slight time delay in information being received. It is particularly important to remember this in group discussions.

- Make certain that you always address the participant and not the interpreter (SLI or CSW).

- Ensure that you discuss the structure of the day and establish break times with any support staff – for example SLIs will need regular breaks (every 45 minutes) if they are working alone.

- Remember that the SLI, CSW or ASW is there for the participants and not as a general assistant or additional actor – unless this has been pre-agreed with the group.

- Lighting is a very important factor in clear communication for Deaf people; ensure the working environment is well lit and let everyone know if you are about to change a lighting state.

Deliver information facing the group as a whole or the Deaf individuals; avoid talking with your back to a group, even if there is an interpreter present.

- Be aware of where a SLI or CSW is standing / sitting and try not to move around in front of them.

- If you are using or showing any film or audio material, it is important to give that to interpreters in advance so any translation can be prepared.

- If you have not understood what someone has said, ask him or her to repeat it.

- In all scenarios, the first port of call is to identify which of the different means of communication is preferred by the Deaf student and remember that clear communication is common sense for all ranges of hearing.

- When the class formation changes from, say, lecture mode to small group discussion, it is crucial that the teacher, SLI, and Deaf person shift to where there is clear access for communication.

Obviously, the dynamic shifts when working in a group, as everyone will want to put forward their ideas. The student has a responsibility to ensure they can see the teacher and SLI, or lipreader, clearly.

- It is useful to generate a consistent ‘code of practice’ with your Deaf student (i.e. when you’re demonstrating something, everyone needs to watch the demonstration first and then it is repeated so that Deaf students can watch the SLI). This also gives the SLI the opportunity to understand the concepts.

Rapport is naturally built through direct eye or tactile contact, gesture, and modeling exercises to back up the spoken word. You will want to reconsider whether the exercises with eyes closed are really necessary and, if so, how they can be made accessible for Deaf students.

- When you are setting up a group discussion appoint a chair in order to ensure that people speak in turn without interruptions. The chair, of course, needs to point to whoever is speaking next.

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If the group discussion is small and informal, develop a code of practice so that Deaf students aren’t excluded as a result of overlapping conversations or people covering their mouths when speaking.

- It is easy to assume that BSL users do not need to do voice work. However, strong breathing and the ability to place an emotional vocal register within the body are crucial tools in voice work and are vital to being an actor.

- BSL users should have the opportunity to learn the rudiments of breath work, and should be able to place vocal sound within their bodies. They then need to work with someone who can bring together ‘breath’ and emotional mapping, and work with them on translating this into ‘breathing through BSL’. Vocal work can be a highly emotive and sensitive area of work for Deaf people as a result of negative or oppressive past experience.

- For those Deaf students who may be confident in using their voice, it will aid their development if they are given one-to-one attention before being drawn into group voice work. This gives the students time to develop vocally, using the resonance and vibration of the tutor’s voice to guide them and to develop an awareness of the sound they are making.

Teaching Blind and Visually Impaired Participants - Use a large print. However, participants with some forms of visual impairment such as tunnel vision may see better if the print is kept small; - Use varied colors of print and paper such as black on white, black on yellow, white on black; - Use Audio and video materials; - Use Braille systems. Computers may include Braille displays or specialist portable Braille notetakers, which can interact with standard computers enabling printouts in both Braille and print; - Using Personal computer, so that information can be accessed via a screen-reading program such as Jaws or text HELP, or a magnification program such as Supernova; - Avoid placing text over a background illustration or pattern; - Avoid expressions such as “here”, “there”, or “like this” which require visual demonstration in order to be understood. Substitute more detailed descriptions such as “at the back of the room” or “with one hand in the air”.

It is particularly important to ask visually impaired people what helps them most, because the support they require may vary from one individual to another: · Some participants find it easier to use an audio recorder, as it may be the most efficient way for them to review materials and ideas. Arrangements should ensure the best possible sound reproduction.

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· Always read out what is written when using a whiteboard, overhead transparency or PowerPoint presentation, and explain fully any diagrams, illustrations, acronyms or videos you use. · Use black or blue pens and not red or orange on a whiteboard. Ensure that you always address the participant and not the support worker or personal assistant (PA). · Remember that the support worker is there for the participants and not as a general assistant or additional actor – unless this has been pre-agreed with the group. · Plan and discuss breaks in advance, in order that participants may schedule their support workers’ coming and going. If you are using or showing any film or audio material, it’s important to give that to participants and their descriptors or access workers in advance so any access / translation / description can be prepared. · Ask the group to say their name aloud at the start of a session to give a sense of orientation to others in the room. · Set up respect rules around touch. · If you think making physical contact will assist in the learning, ask the VIP if they are comfortable being touched. Describe where you are going to place your hands to avoid startling.

You may also wish to offer them your hands first, and allow them the power to move them as you direct verbally or describe. · Gestures in exercises can be taught verbally and physically and supported through finger drawing on the back. · Find ways of making exercises accessible rather than avoiding them altogether. · Verbal description can be part of an exercise and may actually enhance it for everyone. · Some level of access can be created through alternative means such as sound, connected dialogue or words inspired by a posture, gesture, or tableaux. · Be clear about the purpose of an exercise that involves having eyes closed.

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HOW TO MAKE ONLINE MEETINGS MORE INCLUSIVE ● Turn on your video. ● When you are not talking, go on mute. ● The chair of the meeting should do a roll call at the beginning of each meeting. The easiest way to do this is go to the participants list and say "In today's meeting we have Anne, Joe, Jack, Jane..." etc. ● Introduce yourself when you start speaking, or have a question. But you do not need to do it every single time in a conversation.

M: “Melissa speaking, so Natasha, can you please tell me how to get into the update this week” N: “Natasha speaking, just go into box A and click line B” M: “Melissa speaking, thanks for that.”

Its very cumbersome and unnatural – it’s better to acknowledge just once what’s happening, for example: M: “Melissa speaking, so Natasha, can you please tell me how to get into the update this week.”

N: “Just go into box A and click line B” M: “Thanks.” ● When you use interpreters in a virtual meeting platform, provide them with the link to join the meeting so they can join the conversation and interpret like they are in the room. The Deaf person can “Pin” the interpreter to their own screen so they can always see the interpreter when a conversation is happening. ● Closed captions can also be enabled on many virtual meeting platforms. Don’t rely or trust automatic captioning that some online platforms have.

Go for a proper provider, for example: 1.

2.

3.

4.

Interpreting and captioning:www.expression.com.au Interpreting only: www.auslanservices.com Captioning only: www.captioningstudio.com Captioning only: www.ai-media.tv

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● Have an agenda to follow just like you would in a face-to-face meeting. An agenda helps to keep the meeting on track and lets participants know what to expect. ● Practice and use your online meeting app before the meeting. Familiarise yourself with the features and think about how they might be used in your meeting. You don’t want to be that host who is wasting time fumbling around with technology on the day. Consider using a co-host to back you up. ● Understand your audience. In your meeting invitation and registration forms ask participants for their accessibility needs. ● Using slides? Some people may need these provided to them beforehand in an accessible format. ● Using multimedia? Make sure it is accessible. Video and audio content should have closed captions (used by Deaf people), and videos should be audio described (for people who are blind or have low vision). ● Create pauses. This gives note-takers, people with slow Internet bandwidth, or people using captions or Auslan interpreters time to catch up. ● Don't worry about making mistakes.

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LIST OF ACTIVITIES Music Box Members sit in a circle. One comes in the middle and makes a repetitive and rhythmic movement with a sound. Others should observe the movement and suggest their repetitive movement, filling the first member in a situation. Maximum number of people should be three.

The aim is to create a rhythm and music using their suggestions.

Type: Improvisation Images / Perform for 3 types of audiences All members split into groups. The trainer secretly shows them an image. The group has to brainstorm and find a way to present and perform the shown images in an act for three types of audiences using everything to create sounds and visuals.

Audience Types: 1. The deaf 2. The blind 3. People with no disabilities Type: Inclusive Situations / Perform for 3 types of audiences All members split into groups. The trainer gives them a daily situation. The group has to brainstorm and find a way to present and perform the situations in an act for three types of audiences using everything to create sounds and visuals.

Audience Types: 1. The deaf 2. The blind 3. People with no disabilities Type: Inclusive Travelling Balls Members lay on the ground, relaxing their body and eyes closed. Imagining a small hand sized ball inside the center of their body. The ball begins to move and travel from one body part to another. Later the ball earns a small amount of speed and travels a bit faster. In the end when the ball has the maximum level of speed, it makes the body move unconsciously from place to place.

Type: Improvisation / Imagination Circles hands Members find a pair, calling them N1 & N2. N1 makes a circle with his/her hands somewhere around N2, locking the hands and freezes. N2 then has to come out of the circle and make another one while N1 is frozen with the previous pose.

Type: Game / Reaction / Imagination

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Strings Members find a pair and hold a stretched string. The whole group starts to walk with their pairs simultaneously while keeping the string stretched all the time. The mission is to face the challenges while traveling with others.

Type: Game, Concentration, Reaction Let your body make THE MUSIC Members form a circle. One suggests a rhythm by hitting somewhere on his/her body. Others have to feel the rhythm suggest their own hits. Later we have a bunch of hits from everyone, creating music. The members can also use vocals and lyrics.

Type: Game, Improvisation, Music Translating texts to body moves All members should choose a few sentences from their favorite book, story or it can be the lyrics of a song. Translating every idea and word to movements they should end up making a choreography, with the hidden sentences.

Type: Inclusive, Contemporary dance Translating movements using our body condition The purpose of this exercise is to announce the idea that nobody is “perfect“. We see lots of amazing dance techniques or movements at the dance performances. We think sometimes…

“Let's give it a try“.. and we work hard, struggle to make that quality.

And what about disabled people? Can they do the same or even try to do it?

With the help of this experiment, a member from the group suggests a movement based on his/her body condition. Later the rest of the group should “translate“ the same movement according to their possibilities.

Type: Inclusive, Contemporary dance Welcome to my story (created by Artom Firsov) Duration: approximately 2 hours max.

Material: simple instruments, moderator, space Number of participants: 10-15 people Goals of the exercise: training communication, interaction, improvisation, artistic expression, story telling, personal expression, public speaking.

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Instructions: · Divide the group into smaller teams of 5 to 6 persons per team. · The members of each team tell a very personal real story involving a positive/negative/emotional/romantic experience/reaction/interaction with a person/group with special needs. · The team democratically chooses a story (out of the 5, 6) for their team story. · The stories are presented to the whole group, and the participants can decide, in which story they want to participate and how (musicians or actors). They can also just be spectators. Musicians and actors are in communication with each other. · The team creates a short stage performance, the screenplay does not have to strictly follow the original story, they members also can freely chose the character they want to play and add some facts in the original story. · They teams can liberally choose the style of the performance (drama, dance, musical, eclectic)…

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VOCABULARY (INCLUSIVE LANGUAGE) General Guidelines for Talking about Disability ● Refer to a person's disability only when it is related to what you are talking about. For example, don’t ask “What’s wrong with you?” Don’t refer to people in general or generic terms such as “the girl in the wheelchair.” ● When talking about places with accommodations for people with disabilities, use the term “accessible” rather than “disabled” or “handicapped.” For example, refer to an “accessible” parking space rather than a “disabled” or “handicapped” parking space or “an accessible bathroom stall” rather than “a handicapped bathroom stall.” ● Use the term “disability,” and take the following terms out of your vocabulary when talking about or talking to people with disabilities. Don’t use the terms “handicapped,” “differently-abled,” “cripple,” “crippled,” “victim,” “retarded,” “stricken,” “poor,” “unfortunate,” or “special needs.” ● Just because someone has a disability, it doesn’t mean he/she is “courageous,” “brave,” “special,” or “superhuman.” People with disabilities are the same as everyone else. It is not unusual for someone with a disability to have talents, skills, and abilities. ● It is okay to use words or phrases such as “disabled,” “disability,” or “people with disabilities” when talking about disability issues. Ask the people you are with which term they prefer if they have a disability. ● When talking about people without disabilities, it is okay to say “people without disabilities.” But do not refer to them as “normal” or “healthy.” These terms can make people with disabilities feel as though there is something wrong with them and that they are “abnormal.” ● When in doubt, call a person with a disability by his/her name.

Describing people without disabilities Do not use words that suggest undesirable stereotypes of people with disability. When describing people without disabilities, don’t use terms like normal, healthy, able-bodied. Instead, use “non-disabled” or “people without visible disabilities.” Such terms are more accurate, because we often cannot tell whether someone has a disability just by their physical appearance.

Sources: https://www.aucd.org/docs/add/sa_summits/Language%20Doc.pdf https://disability.stanford.edu/sites/g/files/sbiybj1401/f/disability-language-guidestanford_1.pdf

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Communication (Braille, ASL) Braille The history of braille goes all the way back to the early 1800s. A man named Charles Barbier who served in Napoleon Bonaparte’s French army developed a unique system known as “night writing” so soldiers could communicate safely during the night. As a military veteran, Barbier saw several soldiers killed because they used lamps after dark to read combat messages. As a result of the light shining from the lamps, enemy combatants knew where the French soldiers were and inevitably led to the loss of many men.

Braille is a system of touch reading and writing for blind persons in which raised dots represent the letters of the alphabet. It also contains equivalents for punctuation marks and provides symbols to show letter groupings.

Braille may be produced by hand using a slate and stylus in which each dot is created from the back of the page, writing in mirror image, or it may be produced on a braille typewriter or Perkins Brailler, or an electronic Brailler or braille notetaker. The different tools that exist for writing braille allow the braille user to select the method that is best for a given task. For example, the slate and stylus is a portable writing tool, much like the pen and paper for the sighted. Errors can be erased using a braille eraser or can be overwritten with all six dots (⠿). Interpoint refers to braille printing that is offset, so that the paper can be embossed on both sides, with the dots on one side appearing between the divots that form the dots on the other. Using a computer or other electronic device, Braille may be produced with a braille embosser (printer) or a refreshable braille display (screen).

Braille is read by moving the hand or hands from left to right along each line. The reading process usually involves both hands, and the index fingers generally do the reading. The average reading speed is about 125 words per minute. But, greater speeds of up to 200 words per minute are possible.

Most importantly, braille gives blind individuals access to a wide range of reading materials including recreational and educational reading, financial statements and restaurant menus. Equally important are contracts, regulations, insurance policies, directories, and cookbooks that are all part of daily adult life. Through braille, people who are blind can also pursue hobbies and cultural enrichment with materials such as music scores, hymnals, playing cards, and board games.

Various other methods had been attempted over the years to enable reading for the blind. However, many of them were raised versions of print letters. It is generally accepted that the braille system has succeeded because it is based on a rational sequence of signs devised for the fingertips, rather than imitating signs devised for the eyes.

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Sources https://brailleworks.com/braille-resources/history-of-braille/ https://en.wikipedia.org/wiki/Braille ASL A village sign language, or village sign, also known as a shared sign language, is a local indigenous sign language used by both deaf and hearing in an area with a high incidence of congenital deafness. Meir et al. define a village sign language as one which "arise[s] in an existing, relatively insular community into which a number of deaf children are born."[1] The term "rural sign language" refers to almost the same concept.[2] In many cases, the sign language is known throughout the community by a large portion of the hearing population. These languages generally include signs derived from gestures used by the hearing population, so that neighboring village sign languages may be lexically similar without being actually related, due to local similarities in cultural gestures which preceded the sign languages. Most village sign languages are endangered due to the spread of formal education for the deaf, which use or generate deaf-community sign languages, such as a national or foreign sign language.

The same brain area is activated for understanding signs as for understanding spoken language.

Over 70 million deaf people around the world use sign language.

Different sign languages are used in different countries or regions.

American Sign Language (ASL) is a complete and organized visual language that is expressed by facial expression as well as movements and motions with the hands.

Sources https://www.mpg.de/16461250/0219-nepf-language-is-more-than-speaking-how-the-brain-processes-sign-language-149575-x https://www.nidcd.nih.gov/health/american-sign-language https://en.wikipedia.org/wiki/American_Sign_Language

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Best practice Title of the initiative/event Description of the initiative/event

Camden Summer School Summer school designed for middle and high school students with learning disabilities. In this particular case, a Stop Motion Animation course delivered for students who find themselves on the autism spectrum, counting with the aid of NHS Speech Therapy professionals.

Location

Camden, London, UK

Date

August 2021

Participants

Students 14-17 years old with autism espetrum

Organizers

Camden Council

Fields (Art, Medical, urban, etc.)

Film Production, Animation, Media, Therapy of Speech

Results/Social impact

A final product designed and executed by students with learning disabilities. It combines stop motion animation and in person interviews. Throughout the experience, students engaged in an activity that provided them with the safe ground for social skills practice under an umbrella of expression through art, that on itself is a crucial tool when it comes to development of young adults. The result was exibhited at British museum in London.

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Title of the initiative/event

Azdaki Garden

Description of the initiative/event

1 .Azdaki Garden is an integrated theater, founded by a young actor, whose inspiration became a person with disabilities, whom he met by chance at a drama theater lesson.

Azdaki Theater brings together professional actors and people with disabilities on stage and all this creates an amazing spectacle that you will never forget. This theater employs 20 people with disabilities who are involved in activities and help the team create a successful play.

2. Lile - This is a Georgian traditional choreographic ensemble, which is very popular not only in Georgia but also abroad, It is important that the members of the ensemble are deaf people.

3. Kedeli - This is a community in Kedeli where people with disabilities have been living together since 1999. They learn to make handicrafts, paint, dance on the spot every day and have interesting activities to develop their abilities.

Location

GEORGIA

Fields (Art, Medical, urban, etc.)

DANCE, Theater, Art

Results/Social impact

1. For people with disabilities it has become a motivation to be involved in social life. Azdaki Theater also has a school that allows people with disabilities to acquire all the skills that will help them find employment in the theater in the future.

2. to be dancer, hold concerts and always prove that nothing is impossible if you believe in yourself and have a favorite profession is huge motivation for everyone.

3 Community “Kedeli|” has a cafe which has high demend.

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Title of the initiative/event

Actors with and without disabilities together at theatre festival in Porto and Gondomar

Description of the initiative/event

On declarations to Lusa agency, the responsible for the organization of Extremus, Mónica Cunha, pointed out that this is an international festival that highlights the expressions in music, dance and theatre, without forgetting the formative aspect.

Refusing the 'label' of "inclusive or special theatre", the director of "Once upon a time? Teatro", a company of the Cerebral Palsy Association of Porto (APPC), highlighted the importance of involving the youngest in the project.

"Until now Extreminhus [name given to the children's side of the Extremus festival] invited children and young people to come to us, but now we are going to make itinerancy in schools because we think it should be part of the educational project to raise awareness about diversity", said Mónica Cunha. She hopes that "in the future, the idea that there is inclusive theatre will not be sold to children" because, she repeated and stressed, "there is no inclusive or special theatre, there is theatre". He added: "They are diverse people who are presenting a show. Let it be understood that a show with people with disabilities is a show like any other". Over the four days, more than twenty activities are scheduled, from plays, workshops, music and dance sessions, among others. The company "Once upon a time...

Theatre" company, from APPC, will host the cultural and educational projects brought by national and foreign companies such as the Bacantoh Company, from Barcelona, Spain, which will promote an inclusive dance workshop. “EXTREMUS 2019” nos palcos do Grande Porto - YouTube (dn.pt)

Location

Porto and Gondomar

Fields (Art, Medical, urban, etc.)

The main Idea that people understand that was shown with people with disabilities is a show like any other.

Results/Social impact

The main results of that Monica Cunha hope that "in the future, the idea that there is inclusive theatre will not be sold to children" because, she repeated and stressed, "there is no inclusive or special theatre, there is theatre".

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Title of the initiative/event

Barwistan

Description of the initiative/event

The project as a birthday present for a polish poet. Based on his poem W Barwistanie we created whole universe in a room where the poem was expressed for five senses with the professional harpist and five dancers sharing five different smells and a glass of water for each audience.

Location

Łazęga Poznańska, Poznań Poland

Date

13.09.2020

Participants

Performers: dancers, professional harpist, Audience: people with physical disabilities

Organizers

Piotr Jankiewicz and Zuzanna Głuchowska

Fields (Art, Medical, urban, etc.)

Art

Results/Social impact

“I got a new perspective on poetry”, said the audience representative.

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Title of the initiative/event

MOBILNE CENTRUM MUZYKI

Description of the initiative/event

Translation: Mobile Music Centre. It is an artistic initiative, creator to include all people in music therapy. The Music Bus with various instrument, little stage and special equipment, is driving around Poland ( Poznan mostly). It’s visiting disabled people’s houses, medical centres, hospitals ect. but also organizing events in open spaces for example parks, open city points. At that times everybody is free to join to the group to play and sing together. https://youtu.be/NIBcM0rHfyQ https://nordoff-robbins.pl/mobilne-centrum-muzyki/

Location

Poznań and not only

Date

Always

Participants

People with disabilities, Music therapists, Everyone

Organizers

Nordoff Robbins Polska

Fields (Art, Medical, urban, etc.)

Music

Results/Social impact

People with disabilities feel included, they are coming out of their houses, whole city wakes up!

Title of the initiative/event

Pretty Loud – Hip Hop concert

Description of the initiative/event

6 Roma woman hip-hopers from Serbia came to perform in Maribor on the Fair employment project.

Pretty Loud is the first Roma Girl Band.

It was started in the GRUBB centres by a group of young women, participants and workshop leaders aged between 14-26.

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Traditionally Roma women are homemakers, encouraged to leave school early and marry young.

Pretty Loud is breaking this mould by creating their own unique music, performances, and literary projects that aim to speak out for the next generation of Roma women.

They proudly blend rap and hip hop vocal styling with ancestral Roma music, and contemporary and urban movement with traditional dance.

Through their lyrics and writing they talk about their everyday challenges and hopes as well as more complex topics such as race, representation, and social justice.

They are passionate about putting an end to stereotypes about both Roma people and women. https://mladimaribor.si/dogodek/strokovni-zakljucekprojekta-fair-employment-2021-08-28-00-00-00/ Pretty Loud – objave | Facebook Location

Romani kafenava – first Roma restaurant that operates by the principles of social entrepreneurship, Maribor, Slovenia, EU

Date

August 2021

Participants

Roma woman Jerica Lorenci Petra Kovačec Nermina Simončič

Organizers

EPEKA Association, Social Enterprise

Fields (Art, Medical, urban, etc.)

Music

Results/Social impact

Social inclusion of Roma youth Roma into labour market

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Title of the initiative/event

Therapeutic Theater Group

Description of the initiative/event

Creation and presentation of a play.

During the rehearsals the actors and actresses have a team responsible for the medical part, movementdance exercise, creative writing, occupational therapy and theater exercises.

They work as a team with a theater director and they work with the same professionalism as other theater companies.

They present a play for the general public in diverses theaters of Portugal and they have a conversation with the public at the end of every show.

They put their personal mental health experience in a safe space where in colective with terapeutical and artist profissionals a play is building. They work on their body, voice, creation of characters, etc.

Location

Lisbon, Portugal

Date

Since 1968 until now

Participants

People undergoing treatment at the Júlio de Matos hospital (Psychiatric Hospital Center of Lisbon), outpatients and ex-patients from the hospital unit with mental health issues. The group normally have around 15 -20 adult people.

Organizers

Joao Silva, André Carvalho, António Vicente, Isabel Cristina Calheiros, Liliane Veigas

Fields (Art, Medical, urban, etc.)

Theater

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Results/Social impact

“Theater and therapy combine in a mixture with great therapeutic potential.

On stage, life is recreated, allowing us to break down barriers that prevent us from living it fully on a daily basis.

Theater acts directly on what is fundamental to the existence of every Human Being: having a space to be and living dreams, desires, fears, ghosts...

Theater for being life is therapy."

Title of the initiative/event

Te pinčardija – Let's get to know each other Exhibition of Roma cultural heritage

Description of the initiative/event

“TE PINĆARDIJA” (“SPOZNAJMO SE”) - EPEKA "It is the first solo exhibition of Roma women in Maribor.

The exhibits or products were created by themselves and at the same time told different stories related to exhibited objects, thus broadening our awareness of their cultural heritage.

The exhibition exhibits dresses that Roma women put on on various occasions, as well as pictures of jewellery and sewing accessories that they use in their work. A special place is occupied by textile masks designed to prevent the spread of the covid-19 virus. maribor24.si

Location

Gallery EPEKA, Maribor, Slovenia, EU

Date

September 2020

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Participants

Roma woman Jerica Lorenci Petra Kovačec Nermina Simončič

Organizers

EPEKA Association, Social Enterprise

Fields (Art, Medical, urban, etc.)

Visual art and fashion

Results/Social impact

Social inclusion of Roma woman Roma woman into labour market

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Best Practice Gallery NCA. Small Theatre (Armenia) https://www.facebook.com/nca.smalltheater https://www.instagram.com/smalltheatre_nca/ “Ne Me Quitte Pas” 2014 - to date Contemporary Dance / 12+ Duration: 1 hour Language: Armenian with English subtitles A dance performance based on different interpretations of the well-known French song “Ne me Quitte pas”. Small dance stories about love, nostalgia, memory accompanied with candid interviews taken from dancers.

This performance was staged in 2014 in the frames of the British Council program-”Dance without borders” which aims to establish the first inclusive dance group in Armenia where people with disabilities perform with artists without disabilities.

Concept, scenography and staging: Vahan Badalyan Choreography: Teni Matyan

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“La Vie En Rose” 2017 - to date Contemporary Dance / 12+ Duration: 1 hour Language: Armenian with English subtitles Concept, scenography and staging: Vahan Badalyan

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“SHAKE” 2015-2018 Contemporary dance / 14+ Duration: 1 hour Language: English 2016 marks 400 years from the death of Shakespeare.

In the memory of the author, the NCA.Small Theater staged the contemporary dance performance ‘SHAKEspeare’, using scenes from the legendary tragedies ‘Hamlet’, ‘Othello’, ‘King Lear’ and ‘Macbeth’.

Idea, concept and staging: Vahan Badalyan Choreography: Toma Aydinyan

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“Ability On Stage” Master-Class at NCA. Small Theatre

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“MACCHINE” 2018-2019 Collaboration between Compagnia Giardino Chiuso and NCA Small Theatre.

Based on the novels “The death of Marks” by Sebastiano Vassalli.

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About ARTinclusive project The project originally had three phases: - the first phase - Training course: "ARTinclusive" was implemented in Luxembourg from 30 September to 09 of October 2019; - "Practice" phase of implementation of the theatre and art performance was a homework activity that should be implemented in the countries of the partners involved in the project; - the Evaluation meeting: "Reflection Group" was implemented in Armenia from 23 to 30 of September, 2021.

Video outcomes of the project created by the participants were shared online: https://www.youtube.com/watch?v=nhyawYt6Q40 https://www.youtube.com/watch?v=pcEeY9hsmlA https://www.youtube.com/watch?v=SrpRbTeyLTw https://www.youtube.com/watch?v=N4H50UIZ9IM ARTinclusive part I in Luxembourg The training aimed to support youth workers and youth leaders involved in educational art related to inclusion, diversity, and access. This part gathered 29 youth leaders and youth workers who were: - Involved in educational theatre and performance arts; - Active in working with young people with special needs on the promotion of human rights; - Interested in developing their competencies as promoters of the inclusive theatre; - Motivated and in a position to follow-up the training course with initiatives and art activities; ARTinclusive part II in Yerevan We consider the implementation of our project successful and that all the objectives of it were achieved. The indicators by which we conclude that we reached them are: Objective 1: To introduce participants and make them experience theatre methods (traditional and not traditional) as a tool for working with youth on the topics of inclusion and human rights. This objective was achieved throughout the first activity. Participants learnt about the basic theatre methods and how they can integrate those methods in youth work. They learnt about ethics in the work with people with disabilities, inclusion and fundamental human rights.

Objective 2. To develop new methods for communication and inclusion for people with special needs by carrying out a training course for youth workers on social theatre. This objective was accomplished with the help of one of the trainers. He is an experienced actor in "Small theatre" in Armenia, a unique playhouse famous for its social and inclusive projects and performances.

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Half of the actors involved in "Small theatre" are people with special needs. During the seminar in Armenia, participants had a chance to attend an inclusive performance in this theatre, and after that had a meeting and discussion with the actors. This meeting helped participants to understand the concept of social theatre in a more detailed way.

Objective 3. To put the new methods into practice. Participants practiced new tools during the training course in Luxembourg. As a result, they made four video etudes. The videos were published in the ALA's Youtube account and disseminated through partner's networks and social media (the links are shared in the “9. Dissemination of Project Results” part of the report). Moreover, during the local phase of the project, participants had a chance to apply the new skills and tools in real life. Some of the participants had inclusive art performances and other initiatives in their communities.

Objective 4. To exchange different experiences from the field of theatre and the various ways in which different organisations use theatre as a tool for inclusion through an evaluation meeting.

This objective was completed during all parts of the project and especially during the last part in Armenia. Participants had "best practice" sessions, during which they shared information about their local realities and initiatives from their organisations and countries. Besides, it was already mentioned they had the chance to meet with actors from the social theatre.

Objective 5. To share the impact of the previous training activity and build a platform of partners for new projects related to theatre for inclusion. The second meeting aimed to assess the project from the practical use of the methods and methodology learned during the training and, based on the assessment, create a booklet of the recommendations on inclusiveness in theatre and performance arts. The Evaluation meeting also had 29 participants, some of the newcomers and some of them were from the first part. Partners were from 9 Program and Partner countries (Luxembourg, Armenia, Georgia, Germany, Portugal, Slovenia, Poland, France and Greece).

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To read & to watch ● NCA. Small Theatre (Armenia) NCA.SMALL THEATRE is one of the most innovative theatrical companies in Armenia.

Artistic Director: Vahan Badalyan https://nca.am/ ● Training Centre for Inclusive Performing Arts (Armenia) The first regional inclusive professional centre. https://www.facebook.com/147627248656783/videos/422515852594678 ● Candoco Dance Company (UK) Candoco Dance Company was founded in 1991 by Celeste Dandeker-Arnold OBE and Adam Benjamin. The Company developed out of integrated workshops at London's Aspire Centre for Spinal Injury and quickly grew into the first company of its kind in the UK – a professional dance company focused on the integration of disabled and nondisabled artists. https://candoco.co.uk/ ● Joel Brown (UK/USA) Dancer/Co\horeographer https://www.youtube.com/watch?v=SOc00PmlTYc&t ● Graeae Theatre Company (UK) Graeae is a force for change in world-class theatre, boldly placing Deaf and disabled actors centre stage and challenging preconceptions. https://graeae.org/ ● Nabil Shaban Nabil Shaban (born 12 February 1953) is a Jordanian-British actor and writer. He cofounded Graeae Theatre Company, a theatre group which promotes disabled ] performers. https://en.wikipedia.org/wiki/Nabil_Shaban ● Ale Minassian (Armenia) Ale Minassian is an ASL (American Sign Language) expert, interpreting famous songs using sign language. https://www.youtube.com/watch?v=tYqM8flA93s https://www.youtube.com/watch?v=7CqOTfRfbg4 https://www.youtube.com/watch?v=5WLd1upToW0 ● Holly Maniatty - American Sign Language interpreter Holly Maniatty is moving faster than anyone in the Wu-Tang Clan. She bounces up and down, her whole body undulates, her hands fly as she signs, her eyes flare precisely, her mouth articulates the lyrics. She is in the front row at the Bonnaroo music festival in

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Manchester, Tennessee, where she’s interpreting the concert for Deaf fans. The other American Sign Language (ASL) interpreter at the show looks at her in awe. Maniatty doesn’t pause. https://longreads.com/2017/06/27/faster-than-the-speed-of-sound-an-interview-withholly-maniatty/ https://www.youtube.com/watch?v=zPBLUKu-D_8 ● Chris Downey, Architect (USA) San Francisco architect Chris Downey is changing how design is employed for people with disabilities and redefining how architects can approach accessible design. In this article by Lamar Anderson on Curbed, we learn about how Downey has developed his own design methods and utilizes his rare skillset to draw attention to what architects often miss when designing for the public. https://www.hok.com/news/2019-01/chris-downey-an-architect-who-lost-his-sightshares-his-story-on-60-minutes/ https://www.archdaily.com/tag/chris-downey https://www.youtube.com/watch?v=apiScBmE6rA ● Pro Infirmis «Because who is perfect?»

Disabled mannequins will be eliciting astonished looks from passers-by on Zurich's Bahnhofstrasse today. Between the perfect mannequins, there will be figures with scoliosis or brittle bone disease modelling the latest fashions. One will have shortened limbs; the other a malformed spine. The campaign has been devised for the International Day of Persons with Disabilities by Pro Infirmis, an organisation for the disabled. Entitled "Because who is perfect? Get closer.", it is designed to provoke reflection on the acceptance of people with disabilities. Director Alain Gsponer has captured the campaign as a short film. https://www.youtube.com/watch?v=E8umFV69fNg

● UNLIMITED Festival (UK) Unlimited is an arts commissioning programme that aims to embed work by disabled artists within the UK and international cultural sectors, reach new audiences and shift perceptions of disabled people. https://weareunlimited.org.uk/ https://www.britishcouncil.ca/whats-unlimited-festival-2021 ● Zoe Partington (UK) Disability Art consultant and creative equality trainer for the arts, built environment, heritage and cultural sector. Supporting National and International Developments.

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●

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Zoe provides equality training, access auditing and inclusive management for the art sector which has been established over the last 25 years. https://www.zoepartington.co.uk/ https://www.youtube.com/watch?v=K6Br-3tK0TM Mat Fraser (UK) Mat Fraser (born 1962) is an English rock musician, actor, writer and performance artist.

He has thalidomide-induced phocomelia. https://www.youtube.com/watch?v=y05zx8TNjM0 James Lake (UK) Cardboard Artist https://www.youtube.com/watch?v=h3HS4Okf7-Q “Tramway” International Arts Venue (Scotland) Tramway is a renowned international arts venue with an interdisciplinary spirit whose mission is to enrich and inspire our communities by providing ambitious, innovative and culturally relevant contemporary visual art and performance. https://www.tramway.org/about-tramway/ Bridge of Hope (Armenia) Today Bridge of Hope is recognized not only in Armenia, but also abroad. Bridge of Hope was rewarded with the UNESCO/Emir Jaber al-Ahmad al-Jaber al-Sabah International Prize in 2014 for promoting inclusive education and won the Zero Project international award in 2016 for being an international exemplary project for inclusive education. https://bridgeofhope.am/?fbclid=IwAR0VhWeqg_u1860kSm7847NATWzKKACbcT27Grx w0uTmGDjX8UvYJq3s41I Unison NGO (Armenia) Unison NGO for Support of People with Special Needs was established on May 22, 2002.

Since its inception, Unison has aggressively designed and implemented many projects and programs for people with disabilities. http://www.unison.am/?fbclid=IwAR0ajiADwpxUBOs7UkYTSziVG6NFUC1DyJL1xyGLJwnsVBxlRzhoY-2Jv4 Eden Project (UK) The Eden Project (Cornish: Edenva) is a visitor attraction in Cornwall, England, UK. The project is located in a reclaimed china clay pit, located 2 km (1.2 mi) from the town of St Blazey and 5 km (3 mi) from the larger town of St Austell.

The complex is dominated by two huge enclosures consisting of adjoining domes that house thousands of plant species, and each enclosure emulates a natural biome. The biomes consist of hundreds of hexagonal and pentagonal ethylene tetrafluoroethylene (ETFE) inflated cells supported by geodesic tubular steel domes. The larger of the two

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biomes simulates a rainforest environment (and is the largest indoor rainforest in the world) and the second, a Mediterranean environment. The attraction also has an outside botanical garden which is home to many plants and wildlife native to Cornwall and the UK in general; it also has many plants that provide an important and interesting backstory, for example, those with a prehistoric heritage. https://www.edenproject.com/ ● Marisa Hamamoto & Piotr Iwanicki Infinite Flow - An Inclusive Dance Company uses dance as a vehicle to empower people and eliminate the stigma associated with disability. We challenge our artists to erase the line between "disability" and "non-disability" and strive for innovation. https://www.youtube.com/watch?v=v_JiNAK9dY8 ● A Guide to Inclusive Teaching Practice in Theatre https://graeae.org/wpcontent/uploads/2016/12/Teachers-Guide-Updated-May-2015.pdf

This project has been funded with support from the European Commission. This publication [communication] reflects the views only of the author, and the Commission cannot be held responsible for any use which may be made of the information contained therein.”

“Funded by the Erasmus+ Programme of the European Union.

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