LIVING DIVERSITY SHARING METHODS FOR DIVERSITY EDUCATION
YOUTH WORKER EXCHANGE, 10.-16.02.2020, IN MANNHEIM
B ROCHURE: METHODS FOR DIVERSITY EDUCATION
TOOLKIT CONTENT
Introduction .............................................................................................................................................. 2 Inclusive Methods in Non-Formal Youth Work .......................................................................... 4 1. Theatre of the Oppressed ........................................................................................................ 4 2. Biographical Theater.................................................................................................................. 6 3. Participatory Theatre ................................................................................................................. 9 4. Betzavta ........................................................................................................................................ 11 Inclusive Ice Breakers & Warm-Ups ............................................................................................... 18 Warm-ups with focus on emotions............................................................................................ 24 Energizers ............................................................................................................................................ 25 Trust and sensory games ............................................................................................................... 26 Cooperative games .......................................................................................................................... 27 Biographical Theatre/Warm-Ups ................................................................................................ 28 Theatre of the Oppressed/Warm-Ups ...................................................................................... 30 Links ........................................................................................................................................................... 32 Organizing partners ............................................................................................................................. 35 Imprint .................................................................................................................................................. 36
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B ROCHURE: METHODS FOR DIVERSITY EDUCATION
INTRODUCTION The increasing heterogeneity in society and linked constructions of social, gender, ethnic, religious, body and cognitive differences make it necessary to have a dialogue with youth about "diversity", as prejudices often harden in adolescence, when young people construct their own identity, and may lead to conflicts. The level of awareness raising on diversity and anti-discrimination is still insufficient in many social realities such as schools. It is necessary that non-formal programmes support the promotion of diversity. We
observe
that
youth
of
different
backgrounds, environments and abilities rarely touch base or live common experiences together, which is highly important for an equal, open and inclusive Europe. In this project, we will celebrate diversity and recognize the peace and solidarity that has been
built
up
over
the
past
years.
The youth worker exchange in Mannheim welcomes
practitioners,
educators
and
multipliers to exchange experiences and improve practices in the field of diversity education. It seeks to create more synergy effects as well as new networks. Intercultural competence, respect and tolerance are generally regarded as key qualifications in society to assure an equal and dynamic cohabitation. They require a critical and reflected treatment of difference constructions and forms of discrimination based on various personal characteristics. Therefore, this project aims at giving space for a dialogue among youth workers of different backgrounds and trains them in interactive and inclusive methods to promote diversity in non-formal youth work.
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B ROCHURE: METHODS FOR DIVERSITY EDUCATION
Supporting the development of intercultural awareness and diversity, this exchange will actively promote the EU youth strategy. Due to the current political and societal developments, we want to re-think our roles in the EU and promote an active, diverse and fair European citizenship. In living diversity 2020, we want to experience what a ‘Europe of diversity’ feels like and get inspired by new forms of methodologies around diversity education. The promotion of good practice in international youth work will elaborate common, interchangeable strategies and methods for youth workers in European countries.
BACKGROUND The exchange and collaboration had the aim to equip youth workers with key competencies and international experiences. They can multiply their learning back home and help youth to perceive and experience diversity in a positive way. The experience made during the exchange and the collaborative learning inside the group can enhance social, communicative and intercultural competences of youth workers and foster the international dimension of youth work. The youth worker exchange included four training sessions that were carried out by experienced trainers of the partner network. They taught relevant methods that are powerful and effective when working with youth with & without disability and of different backgrounds. The trainings focused on the following methodologies: -
Betzavta Biographical Theatre Theatre of the Oppressed Participatory Theatre
As one week of exchange can be quite limited in terms of time and capacity, this exchange was not about getting highly qualified professionals in the methods mentioned. It was about getting the chance to dive into different worlds of methods, to get inspired and to understand that there are many ways of engaging with youth of different backgrounds that could be further explored after the youth worker exchange. The participating youth workers got the chance reflect the various methods learned throughout the week. The following chapters will give insight into the learnings.
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B ROCHURE: METHODS FOR DIVERSITY EDUCATION
INCLUSIVE METHODS IN NON-FORMAL YOUTH WORK
1. THEATRE OF THE OPPRESSED Facilitator: Serge O'Sullivan, sbergei@hotmail.com The Theatre of the Oppressed describes theatrical forms that the Brazilian theatre practitioner Augusto Boal first elaborated in the 1970s, initially in Brazil and later in Europe. In the Theatre of the Oppressed, the audience becomes active, such that, as "spect-actors" the audience explores, shows, analyses and transforms the reality in which the "spect-actors" are living. Boal was known to quote William Shakespeare's Hamlet in which Hamlet argues that theatre is like a mirror that reflects our virtues and defects equally. Alike Hamlet, Boal liked to think of theatre as a mirror but in which one can reach in to change reality and to transform it. During the development of Theatre of the Oppressed, Boal worked with many populations and tried many techniques. Nowadays, his techniques and learnings are used in many theatre companies but also in prisons, in training schemes and with social workers. We can use this form of theatre in youth exchanges to consolidate the sense of working as a team and to enhance trust and empower participants. During the week, we explored some games from Augusto Boal's Games for Actors and Non-actors to build confidence in a group and also "Image Theatre" to use non-verbal communication. More information: Games for Actors and Non-Actors, Augusto Boal 1992), The Rainbow of Desire, Augusto Boal (1995)
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B ROCHURE: METHODS FOR DIVERSITY EDUCATION
CHORUS EXERCISES Time: 1h00 Number of participants: max. 30 Material: none
Exercises to warm up the group and get a sense of trust and togetherness: A- Balancing the Stage (Objective : Feeling the Space around you and with the other people on stage) B- Walk/Stop/Justify (Objective : moving on stage and understanding physical attitudes) C- The Invisible Sword (Objective : moving together on stage)
IMAGE THEATRE Time: 2h00 Number of participants: 12-20 Material: none
Divide in groups of 3/4 people. Each group gets a theme based on oppression/conflict (inspired by real-life situations or inspired by movies or plays). Each group will work on their theme : in turns, each member within each group will get to sculpt the other members to form an IMAGE of the theme. The result of this work will be showed to the other groups and spect-actors will be encouraged individually and successively to re-sculpt the image to finally establish a REAL IMAGE of the theme. Then, the group members will define an IDEAL IMAGE of their theme, whereby the oppression/conflict situation will be transcended and solved.
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B ROCHURE: METHODS FOR DIVERSITY EDUCATION
2. BIOGRAPHICAL THEATER Facilitator: Wiebke Weinbrenner, wie-wei@gmx.net In biographical theater, actors utilise their personal experiences, desires, opinions and values to develop a piece of theater together. This synthesis of biographical work and theater has its roots in the 1970s. The aim was to provide “culture for all” - especially for socially deprived people - and to have an emancipatory effect. Originally, the main aim was processing own experiences and (self-)reflection of life circumstances (like with Boal). In the 1990s, the “aesthetic education” became the main focus for some theater makers and pedagogues. They wanted to enable people to find aesthetic images for their own concerns, to reflect them and to present them to a public so that the core of the story reaches the audience (the presentation adds the political dimension of social participation to a biographical project). This meant that playing theater became more interesting for people, who didn't have much contact with theater before, because they didn’t consider it to have anything to do with themselves. If the content of the play has a big relevance to the actors, they act with great presence and they can have a big impact on the audience. The biographical material, that is generated for the play, is personal but never private. On stage, these personal experiences will never be “exposed”, because actors use aesthetic means to transport them. The self-portrayal becomes a role in the play and the person becomes a character. Participants of biographical theater projects also learn to distinguish between “life” and “biography”. Biography is a constructed narration. We tell and construct our own story in retrospective from today. We interpret our experiences and how we do things. More information: Norma Köhler, Biografische Theaterarbeit zwischen kollektiver und individueller Darstellung. München: Kopäd 2009
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LOOK AT ME Time: 20 Min / Variable Number of participants: 6 - 16 Material: none
Work in pairs. Participants take turns looking at each other like precious statues. Later they decide every instant, if they want to look at the other person, or be looked at. Participants experience that they can read in another person's body expression and eyes. They see only the person, without knowing for instance about achievements or background. If they know the other person, the person's “biography” gets less important. Both players are just two human beings living their life on planet earth and have a lot in common. It can be interesting to do this exercise, when participants don't know each other well yet - but also if they do! Participants need to feel safe in the group, the exercise can be very intimate.
FAKE BIOGRAPHY Time: 10 Min for writing, 5 Min each for presenting Number of participants: 6 - 16 Material: paper and pencil each
Pairs sit down together, looking at each other. They invent the other person's story, ending by the present day, taking notes to remember. Childhood, experiences, family history, everything you want. Later, they present the Person to the group. The person itself stays neutral and looks as if every word is true. Reflection: How do we view people? Where do we put our focus? It is easy to impose things on people. It can be a relief, that our biography is not all that counts. Lesson for the stage: details are credible / convincing. Understand that we can mix truth and fiction on stage and don’t have to expose ourselves when we go on stage. We search for pictures that transport our “collective truth”.
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B ROCHURE: METHODS FOR DIVERSITY EDUCATION
THINGS TO KEEP IN MIND FOR BIOGRAPHICAL THEATER It is important to create an atmosphere of trust among the group. Creating a safe space is always important for free play - here the space is extended to opening up and telling personal stories. Participants always decide themselves what they want to contribute. The biographic material that is to be generated for a project should refer to a topic of common interest to the group. The topic can be set or the group can find one together. Biographical theater is not a therapy - facilitators should pay attention to their own and their participants' boundaries. Still, playing theater can have quite an impact: Life influences the play and the play can influence life. Participants get to reflect and integrate their points of view and to articulate their desires. They understand their own biography better and can see themselves from a “meta-level”. Biographical theater projects can use an individual approach and focus on multi perspectives, or they can use a collective approach, looking for similarities. Both is fine, but the facilitator should be clear about the choice. In any case, many exercises for group cohesion should be offered to the group. It should be made clear that this is not about telling the accurate truth. We can call our material “true fiction” or “collective truth”. There should be plenty of time for feedback and reflection of the developed scenes. The facilitator needs to have the big overview, select, remember and make a plot / dramaturgy. Process: Generation of Material > character development > theatrical staging Most of the time, biographical theater projects take time - the whole process can take about a year.
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B ROCHURE: METHODS FOR DIVERSITY EDUCATION
3. PARTICIPATORY THEATRE Facilitator: Rodrigo Pozo, pozo.rodrigo@hotmail.com ‘Mixing Console’ is part of Participatory Theatre and consists of 500 cards of various colors, each of them representing a different form of theatre (orange: aesthetics, red: activities, yellow: emotions, dark blue: choreographies and building blocks, light blue: spatial dimension, etc.). The guiding principle is to break theatre down to its most basic components and combine these in brand new ways. With the help of the cards, the players can gradually create images, design actions and perform scenes. Every game makes new experiences possible – both at aesthetical and at interpersonal level (how should I interact with others so that we can develop a successful performance?). This makes the theatre ‘mixing console’ a method and a system that everyone can try out and enjoy. It looks like a mixing console with
many
switches
and
buttons that can be used by a DJ.
The
players
decide
themselves what they want to see next. This joy of playing encourages
creativity
and
constantly
creates
new
aesthetic forms that serve as a basis for further activities. Participants of such a theatre programme are given the opportunity
to
be
actors,
directors or authors of a scene. More information: Maike Plath about “Mischpult-Prinzip”
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B ROCHURE: METHODS FOR DIVERSITY EDUCATION
DJ AT THE THEATRE MIXING CONSOLE Time: 30 minutes Number of participants: 10-20 Material: mixing console and microphone Two players in turn act as moderators of the game and direct the rest of the group using the microphone and the cards of the mixing console. Music is playing in the background and the other players move freely around the room, carrying out the instructions given by the moderators. At first, the moderators only read out one card at a time, but after a while they start combining cards from different categories, for example “time lapse” and “air guitar”. The roles are swopped after six turns and new moderators take over the direction of the game. If a player comes up with a new instruction that could be integrated into the game, he or she can write it on a blank piece of paper and hand it to the moderators any time.
BUILDING CHOREOGRAPHIES Time: 0h30 Number of participants: 10-20 Material: mixing console The players split up into groups of 5 to 7 people. Each group designs a short choreography using cards of their own choice from the mixing console. The start and final scene of the choreography should be clearly defined. The players don’t get specific instructions but the content of the choreography: the only goal is to unleash creativity and involve each and every participant in the design and performance of the scene. If a player comes up with a new instruction that could be integrated into the game, he or she can write it on a blank piece of paper and use it. A music background and stage props can be used to enhance the performance.
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B ROCHURE: METHODS FOR DIVERSITY EDUCATION
4. BETZAVTA Facilitators: Katrin Wenzel, katrin.wenzel1987@gmail.com; Britta Berndt, britta_berndt@yahoo.de
Betzavta, “together” in Hebrew, is a pedagogical method which was created by Uki Maroshek-Klarmann in Israel. The goal of Betzavta is the recognition of every individual’s equal right to freedom. The starting point is the individual with her/his values, wishes and tabous as well as her/his relationship to the group and the reactions, emotions and conflicts that may result from it. The reflection on personal values, often contradictory, and the experience of (non) democratic processes within the group allow a deeper understanding of structures, norms and principles of our society. Betzavta also allows the participants to reflect on and question their personal contribution to a more democratic living diversity. Each democratic conflict is turned into a personal dilemma of contradicting values which facilitate the understanding and recognition of others which is then brought back to the group to find a democratic solution to the initial conflict. Betzavta’s uniqueness is the combination of the personal and the political: the awareness of oneself as a prerequisite to work together as a group and positively affect society. Betzavta thus promotes a “bottom up” approach to learning.
More information: - Adam-Institute for Democracy and Peace in Jerusalem - Gustav-Stresemann-Institut in Bad Bevensen - Centre for Political Research , Ludwig-Maximilians-Universität München
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B ROCHURE: METHODS FOR DIVERSITY EDUCATION
EXEMPLARY WORKSHOP ON BETZAVTA 9H30 - 11H15 Ask for 3 volunteers that will leave the room and come back later. 3 volunteers leave the room (with one instructor). The rest of the group gets 10 minutes to think about (with some help of the other instructor) -
-
A topic they want to discuss in front of the volunteers by using an analogy to ta(e.g. they talk about the weather but the secret topic is climate change) 3 group characteristics/signs:
1. symbols (e.g. everyone is sitting cross-legged or changes their hair style) 2. Non verbal codes (when one says “liberty”, everybody touches his/her head…) 3. A so-called « tabou » (when one in the group crosses his/her legs, everybody says “buuuh”)
Let the group start the discussion. Then bring the first volunteer inside. 5 minutes later comes the second. Another 5 minutes later the third. The volunteers are only instructed to go in the room, where or how they will sit next to the discussion group is up to them. Let this “GAME” last for a maximum of 25 minutes. Reflection about the emotional state / feelings of all participants (5 min)
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B ROCHURE: METHODS FOR DIVERSITY EDUCATION
How do you feel → just put one card in front of you, choose from
or
Each participant gets 2 or 3 minutes to talk (35 min) How did you behave during the exercise? Why? Are you happy with your behaviour?
11H15 - 11H30 Break
11H30 - 12H30 « I don’t care » Let each particant think about “groups”or attributes he/she belong to, such as : heterosexual, cyclist, curly hair. Be creative! Questions for everyone : 1) 2)
Do you see each other as a group? Would you like your group to be recognized by society?
The instructors than propose these categories : Thin - not thin Privileged - non-privileged We try one “attribute” chosen by the group, and give the second if it did not work.
Evaluation: How was the decision process within each group? Did you all agree? Why or why not?
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12H30 - 15H00 Lunch
15H - 16H30 5 ways to treat a minority Warm-Up: Preparation: 14 to 15 participants 1 majority group = 7 Minority = 1 Observers = 6
We sit in a circle. After each case is discussed, people move by one chair, clock-wise. WE SWITCH PEOPLE IF NECESSARY (still in this case volunteers do not switch places) 1)
For 5 minutes, everyone thinks about one situation in which she or he belonged to a minority, in a private or professional context of everyday life (and where a conflict was included)
NOTE : the situation should belong to your past and not evoke strong emotions anymore. Everybody notes the key ideas on cards. 2)
Case progression ●
● ●
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Choice of the volunteer: who would like to present his/her story (with an open end) Placement of people in the circle Presentation of the 5 ways to treat a minority (paper board) :
B ROCHURE: METHODS FOR DIVERSITY EDUCATION
Exclude the minority. Convince the minority that the majority is right. Skip the minority. Allow the minority to behave as she/he would like to. Give the minority the possibility to convince the majority. Presentation of the first case: •
•
•
The majority chooses one way to treat the minority in the given situation. (7 min) During that time, the observers take notes. The facilitator notes the results on the paperboard: Way to treat the minority and number of voices The volunteer tells the end of the story
3) Case 2, then case 3 4) Evaluation of the outcome (paper board/ type of decision : majority decision, consensus, even). Reflection about the emotional state / feelings of all participants (5 min) How do you feel → just put one card in front of you, choose from or Let the volunteers speak first. How did you feel during the process? Are you happy with the decision? Would you have prefered another decision? Have the needs of the minority been considered? Let the observers speak (the ones who would like to share something): How did you live the different processes? How would you classify the decision taking process of the majority group?
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16H30-16H45 Break
16H45-17.30 Reflection In the end, let the majority talk. How did you behave as a member of the majority? Which were the reasons for your decision? Were you happy with the decision process? Was it democratic? Was there a discrimination of a minority in the majority? When do majority decisions (classical way to take decisions in a democratic system) seem appropriate? If the group did not take a decision, find out why. Was there a motivation to not skip certain people? If the proposed possibilities to treat the minority are not convenient: how would you have reacted? In the evaluation phase, you should address : –
the emotional state of the minority
–
the character of the taken decision
–
The way the majority took its decisions
17h30 - 18H30 Final discussion and Evaluation 15 min: Brainstorming In your opinion what does Betzavta stand for, what are its objectives? 15 min: Presentation of Betzavta
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B ROCHURE: METHODS FOR DIVERSITY EDUCATION
History: 1983 - Peace Manifestations against the Lebanese war: internal discussions about conflict lines in Israel 1986 : Creation of the Adam Institute for Democracy and Peace and développement of Betzavta (Together in hebrew) Goals: -
-
Development of a qualitative democratic comprehension Assimilation of the basic principle in society: the
recognition of every individual’s equal right to freedom We live in a world of contradicting values that are all equal (except those that violate humanity) : respect rules - allow exceptions chaotic, but quick - organized, but slow Enjoy individual freedom - decide as majority
Betzavta wants to help us understand that everybody is equal, that each individual has the equal right for freedom (= horizontal respect); that all values equal each other “Value square” 30 min: How could Betzavta be useful in your job/projects?
- End of Workshop -
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INCLUSIVE ICE BREAKERS & WARM-UPS
BINGO Time : 10 - 15 minutes Material : Bingo-grid, pens Goal of the game : Get to know each other. Exchange about (cultural) diversity and share it with the group. How to play : Find people who correspond to the given facts. Ask them the corresponding question and collect their signatures. Try to collect as many different signatures as possible. To resume : Come together and ask the questions to the whole group to find out who corresponds to which fact.
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B ROCHURE: METHODS FOR DIVERSITY EDUCATION
Has two animals
Plays an
Celebrates
Sings in a
instrument
Carnival
choir
Which ones ?
Loves to paint
What ? Which one ?
How ?
Since when ?
Likes to wake up
Lives in another
Goes often to
Takes the
Could discuss
early
country than the
the cinema
bike to go to
philosophical
one he / she was
work
topics for hours
Where ?
Which films do you prefer ?
How long does it take ?
Which ones interest you the most ?
Knows a song in
Likes to cook
Speaks a
Likes to visit
Experienced a
a foreign
plates from all
dialect
museums
traditional feast of
language by
over the world
Which ones do you prefer ?
Which one ?
Can you sing it ?
Your favorite one ?
Which one ? Can you give an example ?
Practices
Knows a poem
Is interested in
Can dance a
Has an older
religious
by heart
other cultures
traditional
brother
Quote it !
Why ?
When ?
born in
heart
a foreign country
traditions
dance
Which religion ?
Can fold a paper
How old is he ? Which one ?
Plays theater
boat
Was involved
Speaks three
Has still been in
in a project
languages
Mannheim
Since when ? Demonstrate !
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What kind of ? Which ones ?
When and why ?
B ROCHURE: METHODS FOR DIVERSITY EDUCATION
CALL MY NAME Material: none The whole group stands in a circle, always in pairs, one person standing next to his partner with a little space in between. Only one person is alone and calls a name of any other player. The called player runs towards the single player in order to form a new pair. But his own partner tries to catch him by the shoulders to hold him back. If he succeeds to escape, the player who is alone now needs to call someone else's name and so on. After some time, the game proceeds on level 2 – which means that the names are swapped within the pairs. Now one person has to try to escape when the name of the partner is called. Confusion guaranteed ;)
SHI-HA-TSU / SAMURAI GAME Material: none Players stand in a circle. The group can choose a „battle“ ritual to start the game, like a Samurai chant or something alike. The First player - A - raises the outstretched arms above his head, where both hands are holding an imaginary Samurai sword. This sword strikes any other player in front of him - player B (not necessarily the immediate neighbors right / left) with a loud and belligerent “SHI“. Player B receives the impulse and raises both hands up, palms showing to the center and shouts “HA”. The two players to the left and right of B then beat with their fictional, taken from both hands sword to the hull of B and scream during the impact loud and combative „TSU“. Player B now proposes with a loud and belligerent "SHI!" towards any other player C. etc.
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B ROCHURE: METHODS FOR DIVERSITY EDUCATION
Players can make a mistake by either reacting too slowly or making the wrong move or sound. In that case she or he dies a slow and painful death in the middle of the circle and then steps out of the circle or remains lying on the ground like a dead corpse. The remaining Samurais continue. The dying part can be obviously over-dramatized and slapsticked, depending on how fast the group wants to move on what aspect the group leader wants to emphasize in the game (e.g. fast reaction vs. free play). The winners are the two samurais who remain. It is important for the players to move quickly but also focused in this game and always keep eye contact. Additions: The group can decide whether to appoint a referee to guarantee fair play (e.g. the first dead corpse becomes the referee). (Source: Improwiki.com)
PIG-RACE Material: none The whole group sits or stands in a circle. The narrator tells a little story about a pig running away from the farm – and a farmer trying to catch it in a Formula 1 car. Then the narrator sends an impulse to his right neighbour by moving the head in his/her direction while grunting like a pig – that’s when the race begins. The next person takes the impulse and passes it on grunting. Then the narrator sends the The Formula 1 car- impulse to his/her left neighbor, who passes it on to the circle with a Formula 1 car sound and the same head movement… the game moves on until the car catches the pig.
SQUASH (ALSO PLAYED AS ZIP ZAP BOING OR ZIP ZAP ZOOP) Material: none The whole group stands in a circle. In this warm-up, one of the players points to another player to one side of them and says ‘squash’. That player turns to the next
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B ROCHURE: METHODS FOR DIVERSITY EDUCATION
player in the circle, points to them and says ‘squash’. Thus the ‘squashs’ squash around the circle in one direction. At any time a receiving player can say ‘boing’ to the person pointing at them, holding the hands up and making a little jump in the air. When they do so the player that said ‘squash’ and was pointing at them must change the direction of the pointing. This means that they must quickly turn around, point and say ‘squash‘ to the person that just pointed at them. Now the ‘squash’ can squash around the circle, but changing direction every time there is a ‘boing’. Lastly, the person that receives the ‘squash’ may elect to yell ‘pow’ and point at someone anywhere in the circle with a „gun“. That player then restarts the ‘squash’ going in the direction of their choice. The group must really pay attention to this to work. Who makes a mistake is out. Addition: several sounds/movements can be added, depending on how quick and fit the group is: e.g. “freak out” – all the players screech, run around and change places in the circle; “lambada” – everyone dances towards the inner of the circle and ends with a kick singing LAMABDA; “sumo”, etc. etc. (source: https://improwiki.com)
BLINKING PLACE CHANGE Material: a chair for each player minus one chair All the players are sitting in a circle, one (A) stands in the center. Now the players are looking for eye contact with each other in a circle. When two pairs of eyes have found each other, the two players blink secretly at each other in order to "communicate secretly", then start running at the same time and swap seats as quickly as possible. They have to be fast enough so that the player in the center cannot take a seat on a free chair. More than 2 players can swap chairs at the same time. Note: Players are not allowed to stay seated for more than 10 seconds. If the player in the center gets a free chair, the person who was heading towards the same chair goes to the center.
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BILLY BILLY BOB! (ALSO KNOWN AS KENNEDY) Material: none The group stands in a circle, one player in the center. The person in the center points at any other player keeping eye contact. While he is pointing, he says a certain phrase. Now the player being pointed to must work together with the players to his left and right and, as quickly as possible, portray the character denoted by the phrase. If one of the three players is too slow, or plays an incorrect character, he must go to the center of the circle. The following characters are possible: “Billy billy bob!”: The chosen person in the circle has to say “Bob!” before the person in the center. If he/she is too slow, they change position. “Bob!”: The chosen person is not allowed to show any reaction – if he/she does, they change position. In the following figures the chosen player (“one”) and his/her two neighbours are involved – if anyone makes a mistake or forgets to take part in the character, he/she goes to the center. “palm tree”: one stands with folded hands over his head, the neighbors form the waving leaves of the palm tree with their arms “toaster”: the neighbours form a rectangle around the chosen person with their arms, the chosen person jumps like a toast “James Bond”: one acts as if he/she had a gun in his hand, the neighbors “fondle” him/her on the sides and say “ohhhh, James” “(vomiting) kangaroo”: one forms a bag with his arms in front of his belly, the neighbors “vomit” into it “mixer”: one puts his/her index fingers on the top of the head of each of the neighbours, they both start to spin around „Washing machine“ one Stoops himself in front and rolls the arms in front of the body. The neighbours do the same, only turned in the direction of the middle player.
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Note: In order to keep the proper pacing of the game, the player in the center can also count. E.g. "washing machine 1 2 3 4 5". The player and his two neighbors have time to form the character until the number "5" is reached. Start with a few figures, which are to be memorized and then increase their number. (source: https://improwiki.com)
WARM-UPS WITH FOCUS ON EMOTIONS
BALL SEQUENCE GAME Material: balls of different sizes The group stands in a circle. One ball is thrown from one person to another, each person should get the ball only once before returning it to the person who started. 1)
Repeat it in the same order again
2)
Faster
3)
add a second ball
4)
Start to move around in the room while maintaining the same order
5)
Add music or emotions “in love”, “stressed out”, “grumpy”… still throwing the balls
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B ROCHURE: METHODS FOR DIVERSITY EDUCATION
MONSTER AND PRINCESS Material: none The whole group stands in a circle, always in pairs, one person standing behind the other. 2 people are left – one is a monster (A) (moving and sounding like a monster) trying to catch the princess (B) (moving and sounding like a princess who is afraid). The princess goal is to run away from the monster and hide behind any pair, becoming thus the third person in that row. If the princess succeeds, the first person in that row (C) becomes a new monster trying to catch the new princess (A) (who was the monster before). If the monster catches the princess before she can hide behind a pair, they change roles immediately.
ENERGIZERS NINJA Material: none The whole group stands in a close circle. On player leads the group. On his/her “1-23” the other players taks one step back and bring themselves to a ninja fighting position, with both hands in front of thems and straight hands. The person who starts can take one step to any direction and tries to “chop” the arm of another person off by touching it with the stretched fingers before the other person can move away (one step only!) If he succeeds, the victim loses one arm and puts it behind the back. The attacked person goes one with the next move and attack. If the second arm is chopped off, the person is out and choses a next person to move on. The attacked person is not allowed to attack the same person back immediately.
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BALL TEAM GAME WITH NAMES Material: 1 little ball or cloth 2 teams + 1 referee. Each member of one team chooses one person in the other team as a “secret” partner, communicating it to the own team members, but not to the opposing team. Now the ball or object is placed on a middle line between the 2 teams who stand in a row next to each other on their base line. The referee calls a name and this person + the “secret” partner of the other team runs towards the ball to grab it and tries to bring it to the own baseline to score. If one person has the ball in his/her hands and is touched by the other person, the game is lost. If the person who has the ball throws it to one of his teammates on the baseline and is touched by the other person before crossing the baseline himself, the ball is lost too. The team which scored ten points wins.
TRUST AND SENSORY GAMES
PHOTOGRAPHS Material: none Players pair up. One (A) is the photo camera, the other (B) the photographer. (A) closes the eyes, while B stands behind and by a gentle touch on his/her shoulders, leads A around the room. The photographer (B) chooses a secret “topic” (like squares, scriptures, wood, flowers…) that he wants to pursue in his photoshoot. B guides A in front of 10 spots of his/her interest and in front of every chosen spot slightly pulls A’s earlobe – the sign for A to open the eyes for a few seconds and “take a picture”.
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Note: The game is played in silence. After one round A and B have a quick exchange, where A might guess the secret topic or both can share their experience. A and B then switch roles. Note: The photographer can gently arrange the position of the camera – moving his/her head or giving nonverbal signs to lean forward or kneel down for example.
COOPERATIVE GAMES PENGUIN AND POLAR BEARS Material: chairs The chairs are placed all over the space and all the players (polar bears) except one (penguin) are seated. One chair (figurally the “ice sheet”) is left but far away from the penguin. The penguin player starts to waddle slowly towards the free chair conquer it. The polar bears want to be faster than the penguin (the players can move a little faster, but not run) and sit on the free ice sheet before the penguin reaches it. That way new chairs/ice sheets get empty and the penguin will waddle on and make his way to them. If the penguin reaches a free chair on time, the polar bear who was sitting on that free chair before is now the new penguin. Note: The game is played in silence. A polar bear who got up from his chair is not allowed to sit down on the same chair again.
CROSSING THE RIVER Material: 1 sheet of A4 paper or cardboard for every person (minus 1), 3 treasures of any kind, 2 lines on a gym floor of 2 ropes to indicate the banks of the river
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The treasures are put at any spot in the “river” by the referee before the game starts. The whole group gathers at one bank of the river. The referee explains the rules: The aim of the game is that all the members of the team reach the other side of the river with the 3 treasures. The river is very deep and can be crossed only with the help of the magic stones (cardboards). The players can step only on the cardboards – and move forward by putting more cardboards. More than 1 player can stand on a cardboard. If a player steps in the river, the whole team has to start from the beginning. The same happens if a treasure falls into the river. If a magic stone in the river is not touched by a player’s foot or hand, it will sink (is taken away by the referee). When the rules are clear, NOBODY IS ALLOWED TO TALK and the game starts.
SECRET DANCE (WIDE ANGLE VIEW TRAINING /COOPERATION) Material: none The group sits in a circle on the floor. The task is, that one person after the other stands up without any verbal communication (and no signs) until the whole group is standing and sits down until the whole group is sitting again. If two persons move at the same time, the whole group has to start from the beginning.
BIOGRAPHICAL THEATRE/WARM-UPS HOME Material: none/music The whole group moves through the space. The leader can increase and reduce the speed in the group (1-5) , all the space should be used and covered by people moving. Different tasks can be introduced by and by:
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Walking with another person for a while and separate again
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The magic hand (putting the hand on the shoulder of someone makes him/her fall asleep and lie down slowly – the hand on the shoulder again makes him/her wake up and walk again
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Chose a secret person (later 2) who you will always follow with your eyes – you are always aware where the person is in the room
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HOME: everyone chooses his/her favorite spot and position in the space and sits/lays/stands there
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Embryo: everyone lies on the ground in embryo position wherever he stands when “embryo” is said
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Row: the whole group together forms a line standing side by side
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Spread: the whole group protects the common space by standing somewhere at the boundary of the space and spreading the arms and hands to both sides
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Machine: someone starts with a simple repetitive move and sound, one by one the others add to the machine with their sound and move
After some time the group leader steps aside and the group is asked to initiate and react to non-verbal impulses of any player independently. Everyone can decide whom he wants to follow or not. All the tasks above can be used.
DANCING WITH THE STICK Material: wooden or bamboo sticks of about 1m of length, music
2 people get 1 stick and start to move with the stick – each one holding one end. Guiding, following, dancing, …
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THEATRE OF THE OPPRESSED/ WARM-UPS WATER PLANT Material: none 2 people working in pairs: 1 person is like a water plant, relaxed… the other person gives physical impulses by touching the shoulder, knee… the water plant reacts to the impulses with gentle movements like a water plant in the water
SHOWER Material: none The whole group stands in a circle or spread in a space where everybody can see the person who guides the “shower” from the toes to the head rubbing and massaging all the parts of the body.
PLANK (TRUST EXERCISE) Material: none Players stand in a small circle. One person is in the center, closes the eyes and forms a plank. His/her feet have to remain on the same spot on the floor and the body remain tense, but not stiff. He/she starts to gently fall back- and forward, into the hands of the group. The group will make the person move around in circles and back and forth. Especially at the beginning, it is important that the person is caught quickly and moved gently. For the person in the middle it is important to keep the body tension.
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GUIDING THE SEER (TRUST EXERCISE) Material: none Players pair up in 2 or 3. One person closes the eyes and becomes the wise, old and blind seer. The other person(s) guide(s) the seer through the space, taking care of him and being alert to potential dangers for the seer. The group leader can add special tasks like “giving the seer something to eat and drink”, “making him rest”, … After a while, roles can switch.
RIVER OF LIFE (VISUAL GROUP FACILITATION) Material: paper roll (5 meters of packaging paper last for 3 days visualization and 10 participants), different drawing and painting tools like pencils, water-based and dry colours, wax colors, pots, brushes, etc. Time: 30-45min. incl. discussion By imagining that people or projects were a river (in our case: Living Diversity exchange), participants can articulate, using the landscape, water, boats etc., the major events and milestones in their lives or the lives of their projects. The method enables bringing several perspectives together and immediately offers to show the big pictures. Through the visualization the River can become a compass, a guide as it captures the milestones, failures and successes over time. Also, it offers participants to identify their roles, where they fit in the big picture and where they can make the most impact. Finally, this can be a great tool for introducing projects or organizations, people and their roles to newcomers and give them a quick and clear understanding of the “whole story”. After the activity, ask volunteers to talk about their pictures and allocate time to reflect on what they have learnt and what conclusions they can draw from the activity. At the end, take a photo of the drawings for possible future use and sharing. 31
B ROCHURE: METHODS FOR DIVERSITY EDUCATION
LINKS Resources in English:
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Collection of inclusive methods of European organisations (Salto-Youth): www.salto-youth.net
Resources in German:
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Language animations in German-French encounters www.dfjw.org/sites/default/files/sprachanimation.pdf
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Practice youth work www.praxis-jugendarbeit.de/spielesammlung/spiele-spielstrassegruppenspiele.html
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Educational games directory www.abenteuerprojekt.de/Spiele/
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Player reader spielereader.de/index.php?option=com_gamedb&Itemid=47
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Games and methods for workshops www.spielereader.org/spielereader.pdf
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Games for seminars / icebreakers http://quabu.files.wordpress.com/2009/10/spiele-fuer-seminare-workshops-1eisbrecher.pdf
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15 warm ups for intercultural training www.jugendstiftung.de/fileadmin/Dateien/Warmings%20up.pdf
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Method Box for intercultural seminars (DIJA) www.dija.de/nc/toolbox-interkulturelles-lernen/methodenbox-interkulturell/
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Educational materials against right-wing extremism, misanthropy and violence: www.vielfalt-mediathek.de/
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Union Peuple et Culture & Centre Français de Berlin: www.dfjw.org/ressourcen/gender.html
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Guide Europe, Europe Direct e.V. & Roudel: www.dfjw.org/leitfaden-europa
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Informations- und Dokumentationszentrum für Antirassismusarbeit e. V. (IDA): www.idaev.de/recherchetools/interkulturelle-oeffnung/
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The Franco-German Children's Box Platform, DFJW: https://kinderkiste.dfjw.org
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Resources in French:
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Educational resources, German-French youth programme: www.ofaj.org/ressources.html?category%5B%5D=5
Relevant platforms in Bosnia:
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INPUT - youth organization: http://www.inputcentar.com/
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Centar za edukaciju mladi (CEM) - youth organization: https://cem.ba/
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KULT - youth association: https://mladi.org/v2/en/ Mreža za izgradnju mira - Peace Network: https://www.mreza-mira.net/
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ORGANIZING PARTNERS Starkmacher e.V. (Germany) www.starkmacher.eu
in collaboration with
SCU (Bosnia and Herzegovina) www.scu-bih.ba
Les Petits Débrouillards (France) https://www.lespetitsdebrouillardsgrandest.org
FUNDERS The project “living diversity 2020” is co-funded by Erasmus+, the German-French Youth Exchange and Baden-Württemberg Stiftung.
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IMPRINT The provider of this booklet is Starkmacher e.V.: Starkmacher e.V. Coblitzallee 8 68163 Mannheim Germany Tel: +49 (0) 621 4960 2693 Fax: +49 (0) 621 4960 2694 E-Mail: info(at)starkmacher.eu Internet: www.starkmacher.eu Legally liable: Chairmen: Christian Röser, Nick Bosch and Johannes Epping Content and Editing: Maria Landricina, Teresa Boulle Liability note: The information provided in this booklet is constituted with great diligence. All information, expressed or implied, is given without legal liability. Legal note: If the brochure contains links or references of providers other than the Starkmacher association, then any of the other provider’s propositions are not covered by the herein enclosed company-specific information and references. It is permitted to redistribute or reproduce in any way parts of the contents. The project “living diversity 2020” is realized with the financial support of the Erasmus+ Programme of the European Union, the German-French Youth Organisation and the Baden-Württemberg Stiftung. “living diversity 2020” is licensed under a Creative Commons Attribution - Share Alike 4.0 International License.
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