Intercultural Workshops

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DLV 21

Deadline 31.05.2011

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Lifelong Learning Programme

Comenius - CMP

Grant Agreement No 2009-3903 001-001 Author:

Prof. Sofia Gavriilidis

Scientific Committee Member and WP6 Leader

University of Thessaloniki, Greece

The Part Three of this document has been done with the collaboration of all the participants in the Intercultural Workshop

Any document produced by the P.IN.O.K.I.O. project can be downloaded free of charge and by previously signing in for personal use and for personal study purpose only. It is strictly forbidden to copy, reproduce, translate, distribute it as a whole or in parts, even in a school environment or scientific/scholar environment for any purpose and use including commercial or work purposes without authorization. For authorization requests, please turn to the Fondazione Nazionale Carlo Collodi, [email protected].

"This project has been funded with support from the European Commission. This document reflects the views only of the authors, and the Commission cannot be held responsible for any use which may be made of the information contained therein."

Intercultural Workshops EN Version

Contents

I. Part one

Preface or The value of narration in the life of the Intercultural Workshop 6

II. Part two

Intercultural Workshop: doing together, learning together

1. Why an Intercultural Workshop? Brief Introduction 11

2. Objectives of the Intercultural Workshop

2.1. General objectives: key-skills 12

2.2. Specific objectives 12

3. Methodological proposals

3.1. The “project method” 13

3.2. Phases of the “project method” 13

3.3. “Project method” and Intercultural Workshops 14

4. Organisations of the Intercultural Workshop 15

5. Proposed activities 15

Bibliography 23

III. Part three

1. P.IN.O.K.I.O.'s testing activity in Italy, Portugal, Switzerland and United Kindom 28

2. Final Considerations 66

Part one

Preface or

The value of narration in the life of the Intercultural Workshop

Sofia Gavriilidis

Aristotle University of Thessaloniki (GR)

In his book Mimesis: The Representation of Reality in Western Literature, which has caused a lot of discussion, Erich Auerbach contrasts two narrative modes: the one of the Odyssey and the other of the Bible, which represent, as he claims, the two basic styles of narration: the first one is characterized by the explicit statement, the clearness of monosemy and the restriction of human issues, while the second one by the projection of some parts and the obscurity of others, the evocativeness of the allusion, the polysemy, the need of interpretation. Alessandro Portelli (2009), on the occasion of this specific reasoning of Erich Auerbach, mentions in an article (which defends the value and reliability of oral sources in historiography) that there are two modes of “thinking”: the mode of Ancient Athens and the mode of Jerusalem. The mode of Ancient Athens, which has legated the method adopted, tried and brought out by the philosophers, means to make a logical reasoning, to clarify amphisemies. The mode of thinking of Jerusalem, which has legated the Bible, means narration of a story. Without underestimating documentation as a necessary process in the transfer of informative material, Portelli defends the value of narrating a story, not only as a source of information but as a parameter of the interpretation of this information too. In this way he invites us to think of narration as an action, not limited to information and reason, but open to new interpretations, capable of enveloping the information in the particular personal way of talking and feeling of everyone who takes part and interacts, meaning the narrator and the auditor or auditors, during the narration. Because narration is a way of communication and the auditor has an important role to play in its structure. Interaction between the narrator and the auditor is immediate and vivid. It assumes a unique personal 6

character that the specific actual conditions form. This is the reason why oral narration, or exchange of narrations, surpasses a text’s lecture.

By the early 1960’s, but mostly through his recent work (1990; 1999; 2003), Jerome Bruner had set off narration, as a parameter of knowledge, thoughts and feelings, as a particular mode of thinking and argumenting, innate of the human nature. The narrative mode of thinking, which, as he points out (1990), occurs when the thought follows the mechanism of narration, coexists with the scientific, rationalistic though, but has a different function. Through scientific thought, which is necessary but not enough so that we understand the world, we explain issues and events, which we verify based on specific criteria and on “cause and effect” relationships. The narrative mode of thinking, or the narrative construal of reality, is consequently the way we structure our knowledge about the world and the human behaviour, the way of interpreting our experiences and of giving a meaning to them.

In order that Bruner (1999) replies to the questioning: “what does it take to create a nurturing school culture that empowers the young effectively to use the resources and opportunities of the broader culture” he suggests the practice of “mutual learning cultures”. He claims that school environment is a place suitable “in consciousness raising about the possibilities of communal mental activity and as a means for acquiring knowledge and skill” because group activities are characterized by “mutual sharing of knowledge and ideas, mutual aid in mastering material, division of labor and exchange of roles”.

In case that narrative either of a well-known story or of an experience is scheduled within the framework of “mutual learning cultures”, the narrator/pupil, apart from the content of the story, he communicates his thoughts, his vision or leaves some traces of his deepest feelings. He shares ideas and thoughts with his classmates, who complete in turn their images of human nature and study cultural codes through mental procedures.

The vital importance of narration and its contribution, not only to the emotional and cognitive development of children, but to the development of intercultural conscience as well, result from various researches (Fox, 1993; Wells, 2009). Data indicate that combining storytelling with post-performance discussions enhanced pupils’ ability to clarify and examine their value systems and when they were presented with a variety of stories from disparate cultural texts, they began to examine their own biases and conceptions (Mello, 2001).

Mingshui Cai (2002) mentions that, within the classroom, narrations having a common subject related to some issue of general interest can be juxtaposed (such as work or friendship) in order to conclude to the fact that the needs of all people in all societies are common. But this wouldn’t be enough. Differences should be discussed too. Because various universal issues pander, consciously or not, racist conceptions and that is where we have to focus, it is about these conceptions that we have to discuss. Cultural similarities can be considered as a means of connection with other cultures.

Another interesting remark οf Mingshui Cai concerns the institution of “multicultural weeks or months” adopted by several schools in the USA. They are called the four F: food, festival, fashion, folklore. In his opinion, these holidays or

celebrations are characteristic of the superficial approach of multiculturalism within the classroom. He believes that the development of literature (and/or narration) has a greater dynamic in the broadening of the vision related to the culturally different. Events during multicultural weeks are pleasant, funny, festive, interesting and offer a lot of information, but they do not allow a deeper approach and a more essential understanding of diversity and everything that this results. On the contrary, he believes that folktales as well as some literature texts invented by authors in order to promote the intercultural conscience, are the most proper material on this purpose, provided that they are optimized within a chosen methodological framework, which sets the rules and the targets of narration, re narration and the activities framing them eventually.

According to Jane Yolen (2000) tales are a perfect guide to the human soul because they treat eternal matters related to important issues of life, such as love, otherness, sincerity and honesty, friendship as well as problematic relationships with friends or family, death, loss, harsh punishment, threat. But also they constitute “safe” places of visit. In the Brothers Grimms’ tales, for example, the pattern of child abuse is frequent, as well as the neglecting and the abandonment by adult narrative figures (Zipes, 1995). This pattern may be an opportunity for discussion, to reveal the problematic nature of social relationships, to reconcile the children with stressful situations, to enable them to see others with more understanding and to highlight alternative ways of managing an offensive or intractable situation. In “The transactional self” of Jerome Bruner (1987) it is made clear that folk tales and stories, which serve as guidelines of behavior and thought in all civilizations, are not simple moral stories which show the right and wrong. They transmit to children some truths having sociological and anthropological dimension. They transmit also the message that some truths are common in every civilization, due to the fact that tales of various countries have common collective images, despite the cultural differences that might be registered in them. Besides, Italo Calvino (1988 [1983]), whose work comprises collections of folk tales too, claims that “there are things that only literature can give us, by means specific to it”. On the other hand, there are things that only narration of stories can give us, by means specific to it.

A narrating project acts as a magnifying glass focusing on human expectations, actions as well as on their consequences. It indicates the infringement and the rules respectively; it reveals the effect of specific choices, which means the prize for certain desires and the prize for the achievement of exact goals. As proven by Propp (1968), narration into its simplest structure, begins with the disturbance of an initially equilibrium because of a matter/problem that comes along, goes on with its solution/handling, presupposing taking initiatives, making decisions and taking action, and ends up either with the return to the initial situation or with the conception of a satisfying convention. The plot usually holds for the main/classic characters various trials putting their life in danger, demanding sacrifices, brave, painful choices, taking initiatives, inventiveness and strength. They are forced to pass certain limits in order to defend their goals, which are generally related to some eternal and universal value. As a result, narration can be considered in a way as a technique of taking initiatives, of resolving problems, of facing difficulties.

Narration of stories, as method, as well as content, is a way of developing different skills due to its capacity of acting, according to what has been already mentioned, in various levels as:

1. Privileged language of communication contributing to:

- create meanings and understand our world - build an identity - bridge the gap between cultural stereotypes - linguistic or other expression

2. Means of organizing former experience into:

- emotional and cognitive development

3. Technique in:

- taking decisions - solving problems - managing human experiences

4. Passage for:

- transmission of knowledge and culture

For all the reasons above, during the Intercultural Workshop by the Project P.in.o.k.i.o, narration has been proposed as the basic practice for its creation, organization and development. Τhe following Intercultural Workshop, contains six units (Bibliography included): the first four (Brief Introduction, Objectives of the Intercultural Workshop, Methodological proposals, Organization of the Intercultural Workshop) are more theoretical, while the fifth (Proposed activities) is more practical, it suggests ways of application of what has been mentioned in the theoretical part. Nine activities are suggested, each one of them including another three or four activities. In each activity the objective or the objectives corresponding to the specific competencies of the Project P.in.o.k.i.o are mentioned. Each activity suggests the practices of “narrating” and “doing”, while “doing” is present in the activities of re narration (verbal and pictorial narration, musical and kinetic, oral or written) or invention of new narrations. Besides, the invention of a new story (which presupposes understanding and processing codes, decoding them and then organizing and recoding them) activates mechanisms of critical self-knowledge and development of various competencies related to defining goals and developing strategies for their achievement. Furthermore, through the cooperation that the creation/narration of stories and the activities that will be followed demand, the sense of collectivity and belonging to a team is enforced and differences are gradually eliminated.

Part two

Intercultural Workshop:

doing together, learning together

1. Why an Intercultural Workshop? Brief Introduction

1. Research, studies, statistics and data deriving from international libraries highlight the need for cultural awareness training to be part of our modern society. Living in a multicultural environment, it is important to distinguish without discriminating”, (Pascua, 2003). Everyone has their own identity and is unique because of their own special characteristics different from others, but all of us, more or less, have some similarities. In addition, each of us is in a continual process of changing our own identity.

2. It has been proven that to embrace, to accept, to respect various and diverse forms of cultural expression enriches our own culture and contributes to collective and personal progress.

3. It has been recognised that childhood is the period in which intercultural awareness is developed more easily and effectively. Consequently, family and school play a significant role in the development of intercultural awareness.

4. Classrooms are frequented by students who are the bearers of cultural, linguistic, religious, ethnic and biological diversity as well as social, economical and character diversity, and their own personal circumstances. Therefore, the school environment offers the opportunity to think about the concept of diversity/identity, culture/monoculturalism/multiculturalism and presents suitable conditions for intercultural education.

5. Interculturalism, as an anthropological, social and political challenge (Marcheschi, 2010) within education is primarily about providing equal educational opportunities to all, regardless of each social or cultural situation. Intercultural education is not connected to a subject or a school curriculum, but provides the way to approach and conceive subjects and the world around them.

2. Objectives of the Intercultural Workshop

2.1. General objectives: key-competences1

- Communication in the mother tongue (1): to interact appropriately and creatively on a linguistic level within a whole range of cultural, social, domestic, etc. contexts.

- Learning to learn (5): to organise their learning through effective time and information management, both individually and in groups.

- Social and civic competency (6): to develop personal, interpersonal and interculturally related concepts of democracy, justice, equality and citizenship.

- Cultural awareness and expression (8): to be aware of the importance of creative expression of ideas, experiences and emotions considering a wide variety of means of communication, including performing arts, music, literature and visual arts.

2.2. Specific Objectives

- To understand the beauty of being different

- To recognise the right to be different / have different opinions not always shared by others

- To appreciate the wealth obtained through the study of other cultures

- To recognise the need to have all of the “other”: the other culture, the other country, the other people

- To recognise that we all have the same or similar needs: to love and be loved, to have and be friends, to eat, sing, work, learn and educate ourselves, to dream, to plan our lives, etc.

- To overcome prejudice and stereotypical views

- To understand in more depth the concepts of globalisation, culture, multiculturalism

- To speak and communicate in a critical and constructive way

- To search, collect and process information

1 The definitions under the “Recommendation of the European Parliament and the Council”, Official Journal of the European Union, Council, December 18th, 2006 (2006/962/CE).

- To acquire awareness with respect to their own learning/assimilating processes of new knowledge and skills

- To preserve the various expressions of cultural heritage such as music, literature, language, art and become more aware of their cultural roots

3. Methodological proposals

3.1. The “project method”

The planning, organisation and implementation of the Workshop activities can be supported by the proposals of the "project method”, which is based on experiential learning (Chrysafidis, 2000). The "project method" is a complex form of teaching and of development of creative activities that have specific and concrete questions/hypotheses as their starting point. It is a child-centered approach that emphasises the process and not the result. The fundamental principle of this method is that each process of “teaching” must be connected to real life situations. It focuses and then adapts to the needs, experiences and skills of the children, where active participation in planning and organising an activity, or an educational process, is essential (Fried-Booth and Maley, 2002). According to this perspective, participants develop a sense of responsibility, social qualities and cooperation, and the capacity to problem solve. The main characteristics of the "project method", highlighted as follows, help to better understand its advantages and its application within school:

 Guidance for the interests of children participating

 References to real situations and experiences

 Creativity in producing work

 Active participation at various levels

 Parallel development of many senses and skills

 Social learning

 Cognitive development

3.2. Phases of the “project method”

The process of creating a task can be organized and thus understood through the following phases (Fried-Booth and Maley, 2002):

 Planning: the planning stage where participants reflect, discuss and exchange views on the choice and organization of the task to be undertaken. The teacher helps the participants in choosing stimuli. The

stimulus can be obtained from the story of a fable/fairy tale. If deemed necessary, participants will form two or more working groups.

 Preparation: comprises the carrying out of activities (for example, gathering material, classifying it, expressing thoughts, etc.). The teacher here has a consultative role as a discreet coordinator. They intervene only when they consider it appropriate to do so.

 Presentation: final preparation and presentation, if necessary, of the activity (eg, exhibiting projects, theatrical/musical performances). It represents an important step, showing among other things, the direct reward of the participants.

 Assessment:self-criticism and reflection on things done/tested/developed. Acquiring knowledge about what was learned and experienced. If the teacher, individually (to gain experience of the stages) wants to "evaluate" the results of the activity, this can be done by using various tools (eg free discussion, questionnaire).

3.3. “Project method” and Intercultural Workshops

The teacher using the "project method" for the organization of creative activities in the context of intercultural education must take into account the following:

- Contact and cooperate with family members of children. Listen carefully to their voices. Ask for their support and participation in task/demonstrations of the class. Parental involvement in school life is important because they play an important role in shaping the cultural identity of children and modelling their behaviour, prejudices, values and perceptions of the world around them.

- The degree of difficulty should be proportionate to the skills and characteristics of the children: age, special needs, language skills, etc.

- It is better to have an incomplete activity rather than one created by the teacher.

- The task should refer to their own experiences, stimulate interest and provide inspiration for the participants.

- Value diversity through non-verbal language. Some kids cannot express themselves with linguistic codes or can express themselves better with extralinguistic codes. In this case you have to provide extra-linguistic communication activities (which include playing musical instruments, pantomime, paintings etc.).

- Respecting the mother-tongue of participants is essential. Foreign participants will be able to practice their mother-tongue: this is significant

as they will not only express themselves in the dominant language but also in their own.

- Bring out the various skills and talents of each participant.

- Stimulate creativity and cooperation.

- Stimulate mutual understanding and acceptance. It is not necessarily important to have friendly relationships, it is important however to cooperate with others and respect them. Good cooperation enables the ability to deal with personal, cultural and interpersonal conflicts.

- Promote a positive attitude towards life (according to modern principles of intercultural education).

Prior to the task you need to prepare well regarding the choice of story, the objectives of the activity, the type of activity, and the materials.

4. Organisation of the Intercultural Workshop

- Organised in a place with a suitable space to accommodate physical activities and with basic furnishings (tables, chairs, pillows, puff, terrestrial globe, map etc.)

- Artwork

- Musical Instruments (bonghetti, tambourines, sticks that can be built by children, etc.)

- Multimedia instruments (blog, podcast, movie etc)

5. Proposed activities

Let us begin to narrate2. We narrate ourselves, we narrate life, pain, suffering, hunger, fight, peace, dreams, beauty, travel, games ... Describe and listen to narrate …

Once upon a time ...

There once was a boy, blond like linen, with freckles on his nose, who wore wooden clogs, darned socks and leather trousers with patches. His name was Nils Holgerson. One day, idler as he was, as making fun of people was his favourite occupation, he met a troll and made fun of it. And the troll

2 Concerning the concept of “narrative/storytelling in the classroom” see: Jerome Bruner, Acts of Meaning, 1990, same author, The Culture of Education, 1996 and Sofia Gavriilidis, “Glossary Section”, 2010.

made Nils become smaller. Nils, in this unfortunate situation, realised he was able to understand the language of animals.

I) Exchange gnomes, exchange stories, exchange fears

Objectives: Use intercultural activities to become aware of (their) cultural heritage and understand the links between their own and other cultures. Respect the values and beliefs of other cultures. Explore aspects of their culture. Develop cooperation skills with their peers and with adults.

Reflect: Understand that all people express similar and comparable fears, torments and beliefs through their traditions and this makes them invent similar creatures. The troll who meets Nils could be comparable to the Italian elf or the English goblin, the German kobold, the Brazilian saci-pererê or the Greek kalikanztaros3. Although the Greek kalikanztaros is an evil, bizarre monster, not all the fabulous creatures of popular imagination are evil. Think of the mysterious beings who inhabit the fables around the world. Then, the troll shrinks Nils, making him smaller, changing him. And, with his new size, Nils acquires a new skill: he can understand the language of animals. Nils has been transformed. He returns to a normal man after having learned so much from new friends/animals that he has accompanied. We recall to mind fairy tales with characters that were transformed, usually into animals or beasts (by sorcery, or perhaps an evil person) and then returned to their previous state.

Narrate: Stories that we know with fantastic beings handed down by families and familiar stories that focus on metamorphosis. The adult members of families can contribute significantly to this activity with their stories and recollections. We discover that different traditions are closely linked with universal ones. We also discover that popular tradition has close links with children’s stories.

Doing: Situations: A mysterious and fantastic creature visits us and asks for our hospitality. We question it to make it speak of itself. We act like reporters: working together to create questions to ask the strange visitor. A child volunteers to act out the creature and answer the questions.

One day, Nils Holgerson, clinging to to the neck of a goose, crosses his own country, Sweden.

II) Knowing countries

3 The Greek kalikantzaros is a monstrous creature, covered with thick black fur and is half man half animal, living all year round in the centre of the Earth devouring the tree of the Earth. You can see them on the 25th December for twelve days, until they return to the underworld to terrorize people and to steal, causing disturbances and hostility, but they can never return.

Objectives: Use intercultural activities to learn about other countries and understand our own. Identify similarities and differences between countries/ cultures. Understand that all countries have positive and negative aspects, no country is perfect. Develop the ability to work together with their peers and with adults and take the initiative to explore aspects of their native countries. Search, collect and process information. Develop the ability to speak aloud in public.

Reflect: We understand that Nils knows Sweden, his own country, best. If Nils Holgerson travelled across your native country, what places would he stop at?

Narrate: We plan, with the help of a person in our family, the journey of Nils Holgerson through our own country this time. We can make Nils have various adventures and experiences related the customs of our country and get Nils to talk about what he has seen and visited.

Doing: The children with people in their family (or with you yourself) will know their country. With the help of parents or adults, try to gather artistic-figurative materials related to the natural beauty of their country or culture.

Nils Holgerson, on the wings of a goose, had a “marvellous journey”, and had wonderful experiences. He had made friends, behaved well, and learned a lot thanks to the wide horizons offered by travelling.

III) Travelling

Objectives: Use intercultural activities to reflect on the concepts of globalisation, similarities and differences in geography (and cross-cultural perspectives of time). Develop cooperation skills through learning how to gather information and express themselves.

Reflecting: If a person travels, they have several interesting experiences.

Narrating: Have you travelled? Have you had interesting experiences? Do you want to talk about them?

Doing: With the help of the teacher and by looking in books we can check what time it is now in Lapland – where Nils has gone to – or what time it is in Egypt, or Beijing, etc. A globe or map would help a lot with this activity.

Nils Holgerson flies with migrating geese. They travel to find better living conditions, food, climate.

IV) Travelling for ...

Objectives: Develop concepts of difference and of similarities: we all have the same needs. Develop the ability to cooperate, to express themselves and communicate, to process information. Discover modes of extra-linguistic communication (singing, dancing, playing musical instruments, painting, etc.) Develop the ability to speak in public.

Reflecting: Migratory birds, such as friends of Nils, wild geese, as well as search for food and better living conditions, sometimes find old friendships they had made in previous years. And maybe they feel very happy about this. Or they make new friendships and feel happy all the same.

Narrating: We know that many people travel, move house, and make changes to improve their lives, to work, to study or to meet the person they love. Do you know anyone who has travelled to make their lives better or who were forced to do so for various reasons? Let us remember the fairy tales we know in which heroes leave their homes, travel to find work (or meet a loved one or to learn something or because they are banished). What have they done? What luck did they have? Could you tell us a story?

Doing: We create our own fable with travelling heroes. We agree to write it, illustrate it, act it (intercultural empathy), enrich it with music. With musical instruments we express the feelings (anxiety, fear, joy, satisfaction, etc.) of the travelling heroes. The teacher strives to ensure that the children participate in and assume similar roles, and roles that help them express themselves or enhance their talents.

... Upon entering his house, Geppetto took his tools at once and began to carve and make his puppet. – What’ll be his name? – he said to himself. I want to call him Pinocchio. That name will bring him luck.

... It’s a beautiful flower! – said the woman, and kissed the red and yellow petals, but as she kissed it, the flower opened with a bang. You could see it was a tulip, but in the middle, on the green stamen, there was a tiny girl, delicate and graceful; she was no bigger than a thumb, and therefore was called Thumbelina.

Giufa the crafty one in the market: - What’s your name?- - I have the same name as my father! - What’s your father’s name? - He has the same name as my grandfather! 18

- And what’s your grandfather’s name? - The same as me! - And what’s your name? - The same as my grandfather!

[- And how do they call you to come and eat? - Do not call me, I go there alone.]

V) My name is ...

Objectives: Use intercultural activities. Recognise the beauty of being different. Recognise the beauty of creating things together. Practice language skills.

Reflecting: Everyone has a name and nickname. Names are given according to practices and rituals that vary from culture to culture, from family to family, from generation to generation. What is your name and surname?

Narrating: Talk about the conditions under which people are named. Find similarities and differences between cultures and family practices. Ask parents if we value the same practices in naming nowadays as in their generation.

Doing: Play with letters. Indentify the letters that our names shares with our favourite hero. For example, my name is Tommy and my favourite hero is Nils. Our names don’t share any letters. But with Pinocchio, which is another favourite hero of mine, we have one letter in common: “o”. Then divide the class into two random groups. Each group creates a bridge that unites them with the other (two bridges) using letter cubes. Each group’s cube will have the same letters that include the names of the participating children. Invent rhymes with our names.

- You open the door, I tell you! –Geppetto roared again – If you don’t, I’ll teach you about cats once I do get in!

- Papa, believe me! I can’t get up! Oh, poor me! Poor me, I’ll have to drag along on my knees all the rest of my life! ....

- My dear little Pinocchio, how in the world did you burn your feet off?

- I don’t know, Papa. But believe me, I’ve had such a long night of hell … I put my feet on the brazier to dry them … and my feet were burnt off, and all the time I kept getting hungrier and now I don’t have feet any more! Boo-hoo-hoo- hoo!

Once upon a time there were twenty five tin soldiers, all brothers, for they were all born from an old tin spoon. They kept their guns in hand, and always looked straight ahead, in a beautiful blue and red uniform...The soldiers looked 19

alike in every detail, only the last one was a bit different: he had only one leg because he had been mad last and there wasn’t enough tin! However he was as straight on his one leg as the others were on their two legs...

VI) The other Pinocchio

Objectives: Develop “intercultural empathy”. Develop the ability to deal with intercultural situations. Try to perceive others accurately.

Reflecting: Pinocchio cannot walk: he has burnt his feet. How does Pinocchio feel? What difficulties are faced? What can/should he do?

Narrating: Has it ever happened to you, or has a person you know been in a similar situation, where they are not able to, for example, move their feet or hands, for a few days or longer? Would you talk about it?

Doing: Reconstruct the story of the “Tin Soldier” from the perspective of the soldier: he talks about it in first person.

A lion catches a little mouse and decides to eat it. The mouse asks him to spare his life, and in return offers him friendship. The lion lets him live and goes on his way. But he is captured by a hunter and tied to a tree. The mouse sneaks up and gnaws the ropes that bind the lion, setting him free.

VII) Talking about friendship

Objectives: Learn about fundamental human values such as friendship and unity. Express feelings, memories, expectations and hopes. Develop cooperation skills with peers and adults. Develop language and expression skills. Cultural exchanges.

Reflecting: Be aware of and affirm the universal values of precious friendship and unity that erase all forms of violence. The differences between people regarding external aspects and materials. The lion is big, and the king of animals, the mouse is tiny, black, but they have become friends, and each has saved the other’s life.

Narrating: The story’s main characters were the lion and the mouse. Let’s talk about animals that live in your native country. Think of the most popular stories in your country. Can you talk about one?

Doing: First we split the class into two or more groups and recreate the story of the mouse and the lion, in the social context of everyday life, keeping specific parts of the story but replacing the heroes with people. The teacher discreetly guides the children. In Italian there are many proverbs that talk about the value 20

of friendship, such as: He who finds a friend, finds a treasure/ A true friend is one soul in two bodies/ With the help of parents identify proverbs of your culture/language that promote friendship. Explain the special meaning of each proverb. Identify the possible similarities between proverbs.

There once was an old donkey who had worked hard his whole life. He was no longer able to carry weights and got tired easily, so his master had decided to consign him to a corner of the barn to await death.

The donkey however did not want to spend the last years of his life this way. He decided to go to Bremen, where he hoped to live as a musician. He was just walking there when he met a dog, thin and panting.

“Why are you out of breath?” he asked.

“I had to escape in a hurry to save my skin” the dog replied. “My master wanted to kill me because now that I am old I am no longer needed”.

“Unfortunately it’s true – he continued – I can’t chase the wild game as I once could, and I am so weak that I don’t scare anyone. But how am I going to get food to eat?” he concluded, depressed.

“Come to Bremen with me” suggested the donkey. “Over there we’ll have luck with music: I’ll play the lute, and you’ll make rhythm with the drum”

The dog accepted the proposal and walked with his new friend.

They didn’t walk far before they came across a cat that meowed desperately.

“What happened to make you complain in this manner?” asked the donkey.

“I am old and I suffer from arthritis, so I am not as agile as I once was and I have to stay warm. But seeing me stand next to the fireplace yesterday, my master was furious and accused me of being a slacker, and he reprimanded me that I could not even catch a mouse, and I was driven from home. No mercy! To think that I have served him faithfully for a lifetime!... Now I don’t know where to go, I don’t know how to make ends meet!” the cat said, sobbing.

“Then come with us to be a musician in Bremen” the donkey and the dog said together. The cat did not need to hear it repeated twice and joined them hopefully...

VIII) Come with us

Objectives: Learn the fundamental human values of friendship and unity. Educazione ai fondamentali valori umani come l’ amicizia e la solidarietà. Express feelings, memories, expectations and hopes.

Reflecting: The conditions of old age and the concepts of unity.

Doing: Invent a continuation of the story, all together, in groups or one by one. We can act it out, illustrate, write it in comic form.

IX) The favourite fairy tale

Each child has their favourite fairy tale. We work together to identify common features that are in different fairy tales, our fairy tales, the fairy tales of everyone: people, trends, patterns, in other words the needs, feelings, dreams, and desires that are not achieved can be achieved, through the variety of living and sharing.

We speak of the symbolic figures of demonic forces that allegorically represent great difficulties or enemies that you face, of the losing of control and of the resulting consequences of metamorphosis and the harshness of punishments, the warning of fatal events through the voices of animals, the struggle of the hero against difficulties and the friends he meets who help him, the ultimate price to pay and his rebirth.

Children can little by little comprehend what the comparative studies of fairy tales has shown: that fairy tales of every place are variations of fairy tales from all around the world (Loukatos, 1992). The basic components and the narrative structures of fairy tales of all people are similar, the representation of values and ideals expressed are multidimensional and schematic, the universality of fairy tales is obvious4. And that’s not all. We discover that what we find reflected in fairy tales is the fantastic projection of the possibility of life conditions that are not alienating, like Jack Zipes said (1991), arguing that the magic is used, paradoxically, not to delude us and deceive us but to enlighten us. It seems true that, setting aside aesthetic or moral evaluation criteria, the fairy tale motifs continue to live in a post-traditional, modern society, being one of the most important elements in establishing a culture of childhood (Richter, 1995).

4 It is true, however, that despite the similarities, the way of understanding the world, conditions, occupations, life experiences, hopes, all that constitute the special characteristics of the people that re-narrate and reshape according to their particular conditions, seep into and are portrayed in the narratives, in some symbolic forms, in some allegorical. One example is that the peculiar narrative presenting certain types of Cinderellas in the world.

Bibliography

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Buongiorno, T., 2001. Dizionario della letteratura per ragazzi. Milano: Fabbri Editori.

Collodi, C., 1883. The adventures of Pinocchio. Tale of a Puppet. Translated from the Italian by M.L. Rosenthal (2000). Pescia: Fondazione Nazionale Carlo Collodi.

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Baliani, M., 2005. Pinocchio Nero. Diario di un viaggio teatrale. Milano: Rizzoli.

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Bettelheim, B. 1976. The uses of enchantment. The meaning and Importance of Fairy Tales. New York: Vintage Books.

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Bottigheimer, R., 1987. Grimms’ Bad Girls & Bold Boys: The Moral and Social Vision of the Tales. New Haven and London: Yale University Press.

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Bruner, J., 1999. The Culture of Education. 5th ed. Cambridge MA: Havard University Press.

Bruner, J., 1990. Acts of Meaning. Cambridge Ma: Havard University Press.

Bruner, J., 1987. The transactional self. In: J. Bruner and H. Haste, eds. Making Sense. The child’s construction of the world. London: Methuen & Co, pp. 81-96.

Bruner, J. and Weisser, S., 1991. The invention of self: autobiography and its forms. In: D. Olson David and N. Torrance, eds. Literacy and Orality. Cambridge and New York: Cambridge University Press, pp. 129-148.

Byram, M. S., 1997. Teaching and Assessing Intercultural Communicative Competence. Cleveton: Multilingual Matters Ltd.

Cai, M., 2002. Multicultural Literature for Children and Young Adults: Reflections on Critical Issues. Westport, Conn: Greenwood Press.

Calvino, I., 1988 [1983]. Lezioni americane. Sei proposte per il prossimo millennio. Milano: Garzanti.

Cederna, G. and Muiruri, J., 2005. Le avventure di un ragazzo di strada. Milano: Giunti.

Chiarioni, T., 2005. Ti racconto una fiaba… La narrazione come percorso interculturale. Carocci: Roma.

Chryssafidis, C., 2000. Learning through experience and communication. Αthens: Gutenberg (in Greek).

Fish, S., 1980. Is There a Text in This Class? The Authority of Interpretive Communities. Cambridge, MA: Harvard UP.

Fisher, W., 1985. The narrative paradigm: In the beginning. Journal of Communication 35(4), pp. 73-89.

Fox, C., 1993. At the Very Edge of the Forest: The Influence of Literature on Storytelling by Children. London: Cassell.

Fried-Booth, D. and Maley, A., 2002. Project Work. Oxford: Oxford University Press.

Gavriilidis, S., 2010. Children’s Literature. Glossary section (term: narration/ narration in classroom). Available at: [Accessed 8 October 2010]. 24

Giannikopoulou, A., 2009. Direct and Indirect Ideological Messages within the Intercultural Illustrated Book (in Greek). Keimena, [e-journal] 9. Available at: [Accessed 17 Dicember 2010] (in Greek).

Golden, J., 1990. The Narrative Symbol in Children’s Literature. Explorations in the Construction of Text. Berlin & New York: Mouton de Gryter.

Helm, J. H. and Katz, L., 2001. Young Investigators: The Project Approach in the Early Years. New York: Teachers College Press.

Jean, G., 1990. Le pouvoir des contes. 2nd ed. Bruxelles: Casterman.

Kanatsouli, M., 2002. Ambiguities in Children’s Literature. Between greekness and multiculturality. Athens: Sygxronoi Orizontes (in Greek).

Loukatos, D., 1992. Introduction to Folk Greek Tradition. 4th ed. Athens: Istituto Culturale della Banca Nazionale (in Greek).

Lüthi, M., 1976. Once upon a time: on the nature of fairy tales, Indiana University Press.

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Portelli, A., 2009. Un lavoro di relazione: osservazione sulla storia orale. Associatione Italiana di Storia Orale [AISO], pp. 124-134. Available at: [Accessed 9 December 2010].

Propp, V., 1968. Morphology of the folk tale. 2nd ed. Translated from Russian by L. Scott. Austin: University of Texas Press.

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Soulioti, E. and Pagghe, Tz., 2004. Interdisciplinary Approaches and Teaching. The Project Method. Nea Paideia, 112, pp. 40-50 (in Greek).

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Translated from Italian to English by Daniella Margaret Latham

Part III

The Intercultural Workshops were planned to take place from September 2010 to May 2011.

During this activity, online tools for children and the possible effectiveness of the P.IN.O.K.I.O's methodology are tested with parents, migrant parents and their children.

In Italy, Portugal, Switzerland and United Kingdom the trained teachers with the supports of P.IN.O.K.I.O.'s partners have managed these Workshops.

The total duration of the Workshops was 6 hours divided in two or more sessions implemented within max 30 days from the first session. The First Session was dedicated to local and migrant children and their parents. The Second Session was dedicated to intercultural exchange.

Part III was completed thanks to the engagement and the valuable contribution of all the members who participated in the organization, the development and the implementation of the Project Pi.n.o.k.i.o.

Special thanks are extended to the children, parents, friends who worked for the Project and to the teachers.

P.IN.O.K.I.O. Intercultural Workshops – PI.N.O.K.I.O. Project - in Italy

For Italy the official testing phase is organised by Fondazione Nazionale Carlo Collodi (FNCC – project promoter) in Tuscany. There is also an extra-testing activity managed in Sicily by Officina Creativa Interculturale (P.in.o.k.i.o.’s ‘Associated partner’).

Data summary for all the Italian schools involved in P.IN.O.K.I.O. activities.

TESTING PHASE – ITALY

Testing area Schools N. Teachers N. Classes N. Pupils

TUSCANY 6 17 14 316

SICILY 2 3 3 54

Total 8 20 17 370

TUSCANY

In Tuscany, all the schools involved in the P.in.o.k.i.o. project, belong to the State Didactical Direction - Second Circle – located in Piazza Monsignor Simonetti, 4 - 51017 Pescia (IT). For further information about the schools - http://www.pescia2.it For the testing phases PINOKIO foresees the involvement of 5 schools - of which 2 pre-primary and 3 primary schools – with 3 teachers for each of the school involved - tot. 15 teachers; a total amount of 10 classes (2 classes for each school), therefore a total of children in between 100 and 200, age 4-8 years old.

During the implementation phase the expected results have been overcome, till the totals number of 6 schools involved (3 nursery and 3 primary schools), 17 teachers, 14 classes and more then 300 pupils

Team members: CIRDFA – Cà Foscari University (IT)

Barbara Bevilacqua, Alida Favaretto, Juliana Raffaghelli, Annalisa Zapperini and

for FNCC: Edi Fanti, National Coordinator of the project

Testing phase

1. Nursery N. of N. N. of im- Nationality WP6 Intercultural Workshops Schools classes pupils migrant of pupils immigrant Pinokio foresees 6 hours – pupils divided in two sections of 3 hours each

Periods of activities A lot of activities have been accomplished on the basis of Pippi Longstocking tale. C. Collodi –V. 2 58 9 3 Romania Pasquinelli 2 Albania 25.02.2011 (2h): Reading of a story on Swiss 1 Tunisia traditions Collodi (PT) 1 Kenya 1 Russia 10.03.2011 (2h): A fairy tale from Africa 1 S. Domingo 14.03.2011 (2h): Talks about African customers

March 2011 – An Italian mother on African cultures thanks to her Kenyan daughter.

15.03.2011 (2h)- The ‘Suka story’: A mother of Kenya has shown the use of a foulard as a dress in African daily life.

17.03.2011 - A Swiss mother on the ‘Ursli bell’ story. Children cast out winter ringing the Ursli bell in the Romansh part of Switzerland.

21.03.2011: Spring festival – creation of flowers crowns and bells made up by children, according to Swiss-Romansh traditions.

14.04.2011(2h): A mother from Romania has talked about the history of Dracula. After having briefly presented her country with the help of a map made by the children, she told the story of the Count of Transylvania, easily and in a playful tone, suited to the children age. They then made a book with pictures found by children and the mother, along with a little game that children were taken home.

13.05.2011: On the occasion of Mother's festival, children have created a recipes-book with recipes from all over the world. The first was that one of Pippi’s biscuits, directly experienced by them.

24.03.2011 (2h)- A Workshop with a Russian mother 8 Albania on ‘The fox and the wolf’ story. Pesciamorta 2 58 13 1 Egypt –V. Romana 1 Marocco March 2011 (2h): A Workshop with an Egyptian father 1 Romania who spoke about his religion, showing music Pescia (PT) 1 Russia instruments and traditions. The children then made a 1 Ukraina bookmark with images of ancient Egypt, writing also children’s names using the Arabic alphabet.

March 2011 (2h): A Workshop with an Albanian mother. She prepared and cooked biscuits supported by children, that are usually eaten on 14th March to celebrate the arrival of Spring.

292 11.03.2011 (2h): Mother from Danmark, cooked typical biscuits and singing songs in Italian and Danish. Torricchio - 2 50 21 11 Albania School center After having described her country, prepared with the ‘La Pineta’ V. 5 Romania children some Danish biscuits, following an old family Aldo Moro – recipe. Also two songs were sang: the first "Fra Uzzano (PT) 3 Nygeria 'Martino" (both in Italian and Danish), the latter a "lullaby of the elephant" (in Danish). Children have then represented the elephant on corks. 1 Marocco

Children have also sang the Italian national Anthem for 1 Russia her!

April-May 2011: Children created a book with all the activities accomplished with foreign parents. The book was entitled “flavours from the world” because it gathers all the cakes receipts brought by all parents.

11.04.2011 (2h): A mother from Morocco presented to children some features of her country. She brought some ingredients for Marocco’s biscuits. During the preparation, she has pronounced first in Arabic, then in Italian, each ingredient. The recipe contained special ingredients that we Italians use less frequently in our kitchen and this made children very curious! The cookies were placed in the oven and then tasted by the children ... getting a real success! Then mother and son, both excited and happy, have sang in Arabic, a lullaby dedicated to the Moon and the children were very fascinated by the sound of those words!

12.04.2011 (2h): A mother from Albania, with the help of the globe, has shown where are Italy and Albania, stressing their closeness. She told, first in Albanian and Italian, Albanian traditional story entitled "A jar full of gold." The children were very curious to hear another new language. Before greeting the children's the mother sang a song typical of Christmas. During these Workshops the children along with their foreign mothers have felt very proud and happy to present their origins to the other classmates.

29.04.2011 (2h): A mother from Nigeria showed on a globe where the country is and told to the children a tale on the 5 fingers in English and in ‘Edo’, a dialect from Lagos where she use to live.

The Workshop continued with the presentation of typical cakes of Nigeria that have been tasted by all. The children were later involved in a game that was to attempt to find the cakes’ ingredients, really funny for them! Finally, the mother sang a song in her dialect.

Nursery 6 166 43 Schools - Total

303 2. Primary - N. of N. N. of Nationality of WP6 Intercultural Workshops Schools classes pupils immigrant immigrant pupils pupils Pinokio foresees 6 hours – divided in two sections of 3 hours each

Periods of activities ‘Monsignor 2 38 10 2 Romania 21.02.2011 (4h): 4th class: a Workshop with a Simonetti ‘ - Piazza Swedish mother focused in particular on Swedish Simonetti, 4 - 1 Albania customs and S. Lucia traditions, cooking biscuits. 51017 Pescia (PT) Pinocchio and the Swedish Pippi Longstocking tales 1 S.Domingo have been described.

2 Sweden 17.03.2011: Workshop with students coming from different parts of the world (in particular Finland and 1 Brasil China). They were in Italy thanks to an European mobility programme. 1 Marocco 18 and 26.03.2011 (4h): The children have cooked 1 Chile biscuits with a receipt coming from Perù, thanks to their classmate Jessica. 1 Perù 06.04.2011: Preparation of Easter cakes and bread with a Bulgarian mother.

08.04.2011: An Italian mother who use to live in Ireland talked about cakes, customs and traditions of that country.

April 2011 (4h): Meeting with mothers from Albania, South America, Romania and Sweden. Comparison among Easter traditions.

14.04.2011: An Albanian mother talked about their Easter traditions, cheese and bread preparation, along with the Cafja Pashkève…the Easter coffee.

15.04.2011 (4h): Meeting with parents from Brazil and Chile. Both mothers talked about their countries and after that, children looked at the music video “mulekada” with typical Brazilian dances: samba, axe and forro, along with have eaten the Alfajores biscuits from Chile.

30.04.2011: The ‘daily bread’ as common food, transversal among different cultures (see blogs).

313 ‘A. Bartolozzi’ - 3 47 5 1 Bulgaria 3rd & 4th classes: From the involvement of these School center ‘La 1 Russia two classes it has been passed to the involvement of Pineta’ V. Aldo Moro 1 Argentina the whole school. – Uzzano (PT) 1 Ireland 1 Albania 25.03 and 01.04.2011: Appointments with a mother and the aunt of a pupil from Bulgaria. They talked about the legend of "martenich"on Easter and Spring traditions: the small dolls made by white and red wool which should be wear on the 1st of march and put on trees on the 21st of the same month.

29.03.2011: Cakes from Romania, along with traditions, dances, customs, peasants life, Dracula castle etc.

30.03.2011: The Romanian Martisuare have been created as a symbol of friendship that is celebrated on the first day of spring (which is the 1st March in Romania). Teachers and children left school with martisuare as a reminder of this moment and also of fun!

19.04.2011: A mother from Albania spoke especially on Christmas and Easter traditions and other country’s features.

Torricchio (full 3 65 18 8 Albania 23 .03.11 (2h): A mother from Romania talked time) - School 4 Russia about a Rumanian fairy-tale on friendship – songs center ‘La Pineta’ V. 1 Marocco and singing poems, played with a LIS language Aldo Moro – Uzzano 1 China (language for the deaf). (PT) 1 Poland 1 S. Domingo 30.03.2011 (2h): With 2 parents from Romania – 2 Romania Creation of ‘martisuare’, as a Romanian friendship symbol, within spring traditions. They also talked about Drakula’s story.

31.03.2011 (2h) – A mother from Albania told an Albanian fairy tale. The children will represent the characters of the tale doing collage and other activities.

06.04.2011: The same mother from Romania again for wool dolls mascot creation.

07.04.2011: A mother from Albania on Easter traditions.

14.04.2011: Conclusion of the activities with the mother from Albania with Easter coffee traditions.

2.Primary 8 150 33 Schools -Total

Total 1.+ 2. 14 316 76

323

Activities: Storytelling, narration, play, production of blogs, video and podcast

Nursery School “Collodi”:

Activity: The game of Pippi

The journey of Pippi is a simple version of snakes and ladders. It becomes wonderful with the use of a “magical” map, serving as the backdrop to the game.

Activity: “The Big Bell”: Some parents have presented their countries to the children, narrating tales, customs and traditions. The experience began with the narration of a mother from Switzerland who told “The Ursli’s Bell”. This story is about an old tradition of the Calenda of March, the feast of “romance” children to chase away the winter with the sound of the bells. Then she said how this feast is realised today. The children were involved in the narration.

Activity: “The Big Bell” narrated and illustrated by the children: http://www.slideshare.net/lpuccinelli/storia-campana and http://www.pinokioproject.eu/blog/?cat=54

333 Activity: The Spring Festival: Celebration of the arrival of Spring, like “romance” children

Activity: The children act out the story “The Suka”: http://www.pinokioproject.eu/blog/?p=1261 , told by a mother of a school girl from Kenya. In this way, they have understood the use of the African scarf in activities of daily realities.

Activity: Workshop with a parent from Kenya who made children familiar with some aspects of the African culture. In short, it was a virtual trip to Africa. The children were very affected by this experience.

(Video: Africa: http://www.pinokioproject.eu/blog/?cat=54)

343 Nursery School Pesciamorta

Activity: Memory game: “The Musicians of Bremen”

At the end of the project the children have created a “Memory” game by drawing and colouring the four animals – protagonists of “The Musicians of Bremen” – the environments in which the tale takes place, the other characters, and musical instruments. Some photos are following:

Nursery School Torricchio

Activity: Workshop with a mother from Albania: The mother has shown on a globe that Italy and Albania are very close. Then she told a traditional Albanian story and sang a typical Albanian song. The children were very affected by hearing another language. The immigrant children were very proud and happy to present their origins to the other classmates:

353

Activity: Workshop with a parent from Denmark

The mother from Denmark after having described her country, prepared Danish biscuits with the children. Afterwards two Danish songs were sung. The children have participated actively during this new experience and they made some very appropriate questions and observations

(audio from Denmark: http://www.pinokioproject.eu/blog/?cat=53)

Activity: Workshop with a parent from Morocco

Ilyass’s mother, originally from Morocco, came to the school and brought along the ingredients to prepare Moroccan traditional biscuits. The recipe contained special ingredients that other people use less frequently in their kitchen and this has intrigued the children. The biscuits were tasted by the children joyfully. Illyass and his mother sang in Arabic a lullaby and the children were very fascinated by the sound of the words. It was a really exciting time for everyone.

363

Activity: Workshop with a parent from Nigeria The mother of Vincenzo and Benedetta came to the school and showed where her country of origin is on a globe. She told the limerick of the five fingers both in English and in Edo, the dialect of the place where she grew up. The Workshop included the animation of the limerick, the presentation of typical Nigerian sweets and a game that was to attempt to find the of the sweets’ ingredients. It was another exciting experience for the children.

(see also the video with the activities: http://www.pinokioproject.eu/blog/?cat=53)

373

Activity: “Flavours from the world”: Is the title of the book with the activities accomplished with the foreign parents created by the children.

383 Activity: Let’s play Memory with “The Musicians of Bremen” (material created by the children)

Activity: An e-book produced, “The Musicians of Breme”: http://www.slideshare.net/fabry5005/i-musicanti-di-brema-5810536 and http://www.pinokioproject.eu/blog/?cat=53

393

Primary School “Simonetti”, Class IV:

Activity: Blog posts

This school year we have experienced a lot of new things:

The arrival of three new school mates in our classes and a huge adventure around the world with the magic Pippi Longstocking!

We have explored and known many countries, cooked and baked biscuits typical of foreign countries and we have eaten them all!

We have discussed and thought about how important the respect of rules is in a society and invented the game “Did you learn the rules? Give us a demonstration!”

We have invented, illustrated and recorded the story “Xin Hu, a special girl arrives in our school” and after we have produced two movies on it.

Activity: Sing with us: We have learned the March for children’s rights!

Activity: Evviva la “Mulekada”: http://www.youtube.com/watch?v=HvSYlepUEgg&feature=youtu.be

Activity: Workshop with a parent from Albania: An Albanian mother visited the school and talked about Easter traditions of her country, the Cafja Paskéve, the Easter coffee (cafja e pashkeve_0002), cheese and bread preparation. She also narrated an Albanian tale.

404

Activity: Come and play with us

414 Activity: Play with Pippi

Primary School “Torricchio T.P.” - Class V

Activity: Let’s play with “The Musicians of Bremen”

Activity: Workshop with a parent from Albania: The mother of Deborah presented her country. At first she explained that Albania means “place of eagles”, that’s why the flag depicts an eagle. Formerly it was called Illyria which means freedom. She told about the religion in her country, the customs, the natural environment, and some food products.

Activity: Play in English with Pinocchio: http://www.pinokioproject.eu/blog/wp- content/uploads/2011/06/PLAY-IN-ENGLISH-WITH-PINOCCHIO.html

Activity: Pinocchio Crosswords: http://www.pinokioproject.eu/blog/wp- content/uploads/2011/06/pinocchio-in-cruciverba1.html

424 SICILY

In Sicily, OCI – the Officina Creativa Interculturale (casaofficina.it) took part in the project as an ‘associated’ partner on a voluntary basis, then without any specific and compulsory tasks. According to this premises, an additional activity has been accomplished with the aim of supporting the experimentation and enlarge the number of schools and people involved. The testing phase has been organised in the State Didactical Direction ‘F. P. Perez’ Circle – located in Piazza Perez, 1 – 90127 Palermo (IT). OCI has managed all training activities, supported by the CIRDFA team – Cà Foscari University. For the testing phases PINOKIO foresees the involvement of 2 primary schools (3 classes), 3 teachers and 54 children.

Membri del Team: CIRDFA – Cà Foscari University (IT)

Barbara Bevilacqua, Alida Favaretto, Juliana Raffaghelli, Annalisa Zapperini and

Per OCI: Maura Tripi and Giuseppe Rizzuto

Testing phase

Primary N. of N. N. of Nationality of WP6 Intercultural Workshops Schools classes pupils immigrant pupils immigrant pupils Pinokio foresees 6 hours – divided in two sections of 3 hours each

Periods of activities ‘Francesco Paolo 1 Polish 02.03.2011: Meeting for Intercultural Perez’ - Via 1 Romanian Workshops planning- 2 h Oreto, 106 – 2 33 5 1 Ghana Palermo 2 Mauritius 14.03.2011 (4h): Meeting with children, parents and teachers. Storytelling in Central school italian and Arabic of ‘Heina and Ghul’. ‘F. P. Perez’ – Final sonf ‘hearth’ and a party with Piazza Perez, 1 1 21 3 3 Morocco Sicilian biscuits, Arabic cakes and tea – Palermo mint.

16.03.2011 (4h): Workshopwith teachers and parents and fairy tales charatcters

Total 3 54 8

434 Activities: Storytelling, narration, production of blogs, video and podcast

Activity: See the tale “The Ugly Duck”: http://www.youtube.com/watch?v=0vDqAxq6U e-book, and http://www.youtube.com/watch?v=EvUxgZWSwn8 movie

Activity: Storytelling bilingual in Italian and Arabic by Tariq and his mother

Tariq’s mother offers tea after the narration of a story

Activity: Narration of folk tales with parents, children and teachers. At first narration of the Japanese tale “How did the chrysanthemum” as a means of communication and self-expression took place. Then the children narrated their stories and experiences, and they drew.

Activity: Creating together

444 P.IN.O.K.I.O.

Intercultural Workshops – PI.N.O.K.I.O. Project– in Portugal

In Portugal, the University of Madeira is implementing the training and the testing activities of the P.in.o.k.i.o. project in 6 local schools. Since the Secretary of Education has approved the project the UMa’s team has decided with the Regional Secretary to involve 6 schools chosen by the Regional Secretary. Each school has involved one group of classes that have tested the activities, along with other classes that have represented the ‘control group’ for the test.

Team members: University of Madeira: Prof. Alcina Sousa (Applied Linguistics, Prof. Aline Bazenga (Linguistics), Prof. Carlos Valente (Design & Multimedia), Prof. Luísa Antunes Paolinelli (Literature), Prof. Luísa Soares (Psychology), Prof. Minh Ha LoCicero (Language), Prof. Paulo Brazão (Educational Science: Production of School Material)

Collaboration: Dr. Manuel André, Secretary of Education; Vice-Director of the Regional Direction of Education Madeira.

Testing phase

Schools N. N. N. N. N. N. N. N. of im- Nationality Inter- involved Nursery Primary classes control Teach. pupils pupils of migrant of cultural Schools Schools involved class ‘control pupils immigrant Work- classes’ pupils shops

Dates of activities

British School of 1 1 2 1 4 20 20 14 Italian June Madeira Brazilian 2011 English American Dutch

Internazional / 1 1 1 2 15 10 15 English June School of South Africa 2011 Madeira Irish Dutch

School B1/PE / 1 1 1 4 21 20 4 Venezuela May 2011 São Filipe Chinese Romanian Polish

School B1/PE / 1 1 1 3 19 14 5 Venezuela May 2011 São Gonçalo Chinese Brasilian Romanian

School B1/PE / 1 1 1 4 28 32 3 Romenian February- Santa Maria Ukraina March2011 Major Brazilian

Totale 1 5 6 5 17 103 96 41

454 Activities: Storytelling, narration, play, production of blogs, video and podcast

British School of Madeira

Activity: Imagining and Creating

Activity: Imagining the characters and the world

Activity: Writing and drawing Pinocchio. Creating a picture book

Activity: And we? How are we? Here we are, seen by the others

Activity: The characters and their characteristics

Activity: A script written by the students. It tells of an Italian girl who has to interact with her foreign colleagues

48 Activity: Portuguese, Italians, Brazilians, English all together in the theatre

Activity: The puppet theatre of the British School

Escola Basica Faial – Santa Maria Maior

Activity: The crianҫa and the book

49 Activity: Rap Pinokio (see the video: http://www.pinokioproject.eu/blog/?cat=71)

Escola Basica S. Filipe

Activity: The tale of Europe - The students of 2nd year represented the theater “The Tale of Europe” for the students participating in the exhibition (see the video: http://www.pinokioproject.eu/blog/?p=2126 http://www.youtube.com/watch?feature=player_embedded&v=YIdo7l6ovFU)

Activity: Participation of foreign parents in the Intercultural Workshops: watching, telling stories and singing.

International School of Madeira

Activity: Pinocchio has arrived to Madeira, in a little house created by the children

Activity: The Pinocchio’s journey. Pinocchio came from Venezuela, passed through Brazil …. Where, in Brazil, he found an object brought by Brazilian boys: the statue of Yemana, a goddess of the ocean in Brazil, originated from the Yoruba Religion in Africa, protector of children.

Activity: … and finally Pinocchio goes home

52 Activity:The other Pinocchio” – “O Outro Pinóquio”: Based in Prof. Sofia Gavriiliidis suggestion included in the website of the Pinokio Project.

The Library of Câmara de Lobos hosted the Intercultural Workshop “The Other Pinocchio”.

News of the Intercultural Workshop were published in the local press

http://www.jornaldamadeira.pt/not2008.php?Seccao=13&id=185673&sup=0&sdata=

Activity: Build a Web to link the children

Activity: Reading Carpet!! Discovering the story and playing with the characters.

54 P.IN.O.K.I.O. Intercultural Workshops – PI.N.O.K.I.O. Project in Switzerland

The P.in.o.k.i.o. project has been carried out in Switzerland by the non profit Organization Seed (www.seedlearn.org) and the testing phase has involved 2 primary schools, one located in Lugano (CH) and a second one in Italy, but very close to the border, with a number of children coming from the near Switzerland.

The total number of classes involved is 5, with 5 teachers and 2 support educators. The number of children involved is around 90 children. Seed is a ‘silent partner’ of the PINOKIO project and as such it has tested the activities on a volutary basis, according to the local context’s requests.

Team members: Seed Organization Luca Botturi, Chiara Bramani and Ugo Grandolini

Testing phase

Primary - Schools N. of N. N. of Nationality WP6 Intercultural Workshops classes pupils immigrant of involved pupils Pinokio foresees 6 hours – immigrant divided in two sections of 3 hours each pupils

Periods of activities

“Il Piccolo Principe” Ukraina In the school”Il Piccolo Principe” 2 hours at – Lugano (CH) the beginning and 2 at the end of the 2 32 3 Iran project (with the 2 ladies from Tunisia and Turkey) (tot 4 hours)

Institute of Orsoline 3 60 7 Burundi In the school “Orsoline”2 hours at the San Carlo Como (IT) beginning and 2 hours in May with the Germany father from Burundi

Ireland th on the 7 June final PINOKIO party of 2 Total 5 92 10 hours with all the parents (TOT 6 hours) Uk

55 Activities: Storytelling, narration, play, production of blogs, video and podcast

Primary School “Il Piccolo Principe”, Class II

Activity: Storytelling/inventing stories: Two women, coming from far away, from Turkey and from Tunisia, came to the school especially to contribute to the project’s activity and they narrated stories from their counties of origin, but they have told only part of these stories. The children listened with attention and then, after a few days, they have invented their own endings to the two stories. The women visited the school again to listen to the stories of the children and to reveal the actual ending of the two stories. After having listened to the stories there was also time to make some questions. The guests told the children about their customs and the reasons of their coming to Switzerland. It was really very interesting.

Istituto Orsoline San Carlo

Activity: P.in.o.k.i.o. entering Africa: The father of a pupil came to the school to tell a story of his country of origin, Burundi. It was a magical experience for children and adults. The story, entitled Turakeneranie (each one needs the other), narrates the adventures of an ant in difficulty and of a bird which, passing, enabled it to survive. But, on the most critical point of the story, the father has interrupted his narration and has given to the children the task of pursuing it, imagining what might happen and how it ends.

Activity: Storytelling/inventing stories: The children created the end of the story that the father told them (two different endings for the two groups, 2A, 1B+2B). The characters of the story were created by the children. Every one has expressed his own idea. All ideas were written on the board and their meanings and significance were discussed. Then they voted the best proposal. It was interesting to see the collaboration between the children, in an atmosphere of great joy, and their passion to participate in this activity. All children were involved and all were very pleased.

Here’s how the characters have been interpreted by some children:

Two videos have produced by the children:

- Video produced by the children of the second year of the primary school Istituto Dedalo Orsoline di San Carlo in Como for the project Pi.n.o.k.i.o. – in Italian. See on website: Turakeneraniye_Orsoline_MaestraMaddalena.wmv

- Video produced by the children of the first and second year of the primary school Istituto Dedalo Orsoline di San Carlo in Como for the project Pi.n.o.k.i.o. – in Italian. See on website: Turakeneraniye_Orsoline_ViaBellinzone

Activity: Stop! Story about a mouse in search of adventure

Video produced by the teachers of Orsoline Institute. Starring is Wilfred!

See also the video: http://www.youtube.com/watch?v=HrsJwNz81Lo&feature=player_embedded

P.IN.O.K.I.O Intercultural Workshops – PI.N.O.K.I.O. Project in UK

The Intercultural Workshops provided experiences of sharing stories and creativity within a learning environment where children, teachers, parents, and even grandparents took part.

The activities were based mainly on storytelling and on games that would enhance communication and imagination.

To initiate an interactive way of bringing to the group elements of everyone’s culture and language was at the core of the activities

Team members: The Mosaic Art And Sound – UK

Deborah Newbold, Teresa Dello Monaco, Paolo Cremona

Testing Phase

1. Nursery N. N. N. of im- Nationality of WP6 Intercultural Workshops Schools classes pupils migrant immigrant pupils pupils Pinokio foresaw 6h – Devided in two sessions of 3h each

Date of activities Sacred Heart 2 44 28 Romanian, Bulgarian, At Sacred Heart Nursery and Primary Nursery Italian, Spanish, Islington: Islington Portuguese, Russian, Ghanaian, Pakistani, Storytelling around the world with games of 68 Georges South African, ‘creative stories cards’ with participation of Road - London Cameroon, Kenyan, parents Turkish, Albanian, N7 8JN Slovenian, Estonian, 30 May 2011 (2 h) Jordanian, Cambodian, Iranian 10 June 2011 (2 h)

Martin Nursery - 2 45 23 Portuguese, Spanish, 28 June 2011 (2 )- including party East Finchley Swedish, Chinese, Russian, Ukrainan, At Martin Nursery and Primary Islington: Plane Tree Walk Albanian, Irish, - East Finchley Romanian, Nygerian, Storytelling around the world with games of Congolese, Gambia, ‘creative stories cards’ with participation of London - N2 9JP Ethiopian, Mauritanian, parents Syrian, Kazakhstani 27 May 2011 (3 h)

23 June 2011 (3 h)- including party

1.Nursery 4 89 51 Schools - Total

58 2. Primary - N. N. N. of im- Nationality of WP6 Intercultural Workshops Schools classes pupils migrant immigrant pupils pupils Pinokio foresaw 6h – Devided in two sessions of 3h each

Date of activities

Sacred Heart 4 classes 92 53 Turkish, Albanian, At Martin Nursery and Primary Primary School Portuguese, Serbian, Islington: Islington Romanian, Bulgarian, Italian, Spanish, Storytelling around the world with 68 Georges Road YEAR 4: 2 Brazilian, Colombian, games of ‘creative stories cards’ with classes Venezuelan, Ghanaian, participation of parents London Congolese, Mauritanian, Pakistani, Iranian, 27 May 2011 (3 h) N7 8JN Australian, Chinese, YEAR 5: Philippine, Bolivian 23 June 2011 (3 h)- including party

2 classes

Sacred Heart 2 classes 45 28 Saudi Arabia, Pakistani, At Sacred Heart Primary School RC Primary School RC Ghanaian, Congolese, Battersea: Battersea Moroccan, Algerian, Storytelling around the world with Este Road YEAR 6 : Turkish, Albanian, games of ‘creative stories cards’ with Portuguese, Cuban, participation of parents London 2 classes Spanish, Philippine 14 June 2011 (3 h) SW11 2TP 27 June 2011 (3 h)

Martin Primary 2 46 27 Spanish, Albanian, School classes : Portugal, Chinese, Cypriot, Italian, http://www.youtube.com/watch?v= East Finchley YEAR 3 Lithuanian, Ukrainan, 72SG7NxWZ04&feature=youtu.be Bulgarian, Romanian, Plane Tree Walk 1 class Iranian, Argentinian, Colombian, East Finchley YEAR 6 French speaking Africa

London N2 9JP 1 class

2.Primary 8 184 108 Schools -Total

Total 1.+ 2. 12 273 159

Activities: Storytelling, narration, play, production of blogs, video and podcast

Primary School Sacred Heart– London

A very interesting and analytical example of the practical scheme of work in classroom can be found in: http://www.pinokioproject.eu/node/32

60 Parents told known fairytales in their original language. A very successful example: a mother from South America telling Cinderella in Spanish. All children were amazed to discover that they could understand many words and it was fun to discover how the characters from the stories were named in a different language.

Another example of activity is the ‘Creative Storytelling Game’.

Ten cards had been prepared showing different objects. The teachers started an imaginary story and this would be continued by children and parents. One child would pick a card and add a new part of the story by inventing a new episode based on the object depicted on the card and how this would stimulate his/her imagination. The object would represent an element for the continuation of the story. Some words from different language background had also to be included in the narration. Then a parent would pick a card and would go on with the story...and so on... until the last card.

..What an amazing result and what a great fantasy not only by the children but also by their parents!

The Creative Storytelling Game was a way to share imagination, cultural hallmark, creativity, figurative language.

Photos with the children during the activities of the Intercultural Workshops. See also: < http://www.flickr.com/photos/pinokioproject/5934382409/in/set- 72157627188137486 >, < http://www.pinokioproject.eu/blog/?cat=27 >

Nursery School - Sacred Heart – I – London

and Martin– London

Playing with the ‘ugly ducklings’: narration and simple dramatizations

Parents telling stories in a multicultural atmosphere... in between the nappy changing!

More photos with the children during the activities of the Intercultural Workshops: http://www.flickr.com/photos/pinokioproject/5934565649/ http://www.pinokioproject.eu/blog/?p=2407

Sacred Heart Primary School RC – B – London

Improvising a dramatization:

More photos with the children during the activities of the Intercultural Workshops: http://www.flickr.com/photos/pinokioproject/5934490523/ http://www.pinokioproject.eu/blog/?p=2409

65 Final Considerations

“Sauntering” the activities performed during the Intercultural Workshop of the project P.in.o.k.i.o., I believe that their assessment would help their “reading”. Therefore, if we sum up all parts of the activities, which constitute and answer the Intercultural Workshops’ main purpose, it results that:

1. The activities were collective. This means that they contributed to the interaction and the development of the skill of collaborating and to what this may result. The pupils’/children’s meeting in an activity presupposes a negotiation with themselves and with the other(s): we seek at least the minimum of understanding, in order to complete the action filtering into the others’ optics. The specific procedure, though, demands a basic reasoning: “And we? How are we? Here we are, seen by others”, an action developed along with the similar one “The characters and their characteristics” by the British School of Madeira. Similar activities were chosen by other schools as well: by the Istituto Orsoline San Carlo for instance, where the characters of the story “Turakeneranie” (each one needs the other) were created by the children and everyone expressed his own idea; the meanings of the children’s ideas were then discussed. 2. The practice of narration was adopted in most of the activities. Narration, as a basis of the other forms of cultural expression, was utilized creatively in all its forms: oral, written, kinetic, painting, musical, digital. Every kind of narration presupposes the development of strategies that enforce the understanding of social/cultural realities, personal and collective. Therefore, it is believed that competences connected to the organization and expression of experiences were developed. More specifically: 2.1. Oral narration of well known stories, or invention of new ones, was in the heart of the Intercultural Workshop. For the structure and consummation of the narratives, a particular way of organization of thinking was needed. This contributed to the understanding of the different way in which people (as the persons of each narration) feel, react, behave. Through conversations and actions performed, children penetrated unconsciously into the human nature. With the intention of knowing different ways of thinking and acting and finally of developing the intercultural competence, narrations tended to deviate from the traditional models of facing the “other” (meaning the assimilation) and suggested his incorporation. Besides, oral narration prevails reading, as it is a way of training in order to communicate, we get used to “listening” to the others’ optics, their realities, their voices. This training on the others’ voice seems to be the most functional means of developing intercultural competence. The purpose set is the achievement of empathy, meaning that I am capable of becoming the other, of sharing his perspectives and his anxieties (as opposed to sympathy in literature, which implies feelings of pity or compassion). Focusing at the activities and discussions held, strong

66 practices contributing to the achievement of this inner feeling, the empathy, are spotted. Let us mention an example: If my donkey would be old and tired? … I would bring him to the vet/ I would give him more food … are some of the children’s answers of the “Sacred Heart Primary – I School” after the narration of “The Bremen Town Musicians’ ”. 2.2. Oral narration performed by parents coming from cultural systems other than the dominant one, who told stories from their countries, seemed to be the most intense intercultural moment of the Intercultural Workshop. Parents who brought in the classroom stories from their countries, they also brought authentic pictures, colours and sounds from them. Besides, parents, from an insider prospective of their culture, provide culturally authentic narration. Their narrations, apart from the events described, have shown different cultural structures and collective images, which helped everyone become aware of the cultural coordinates and look more closely into human condition. Although their main subjects were not related to matters of otherness/identity, their content had the potential to empower critical approach to cultural peculiarities and human behaviour, apparently enforcing the children’s respect towards otherness. This can be explained by the fact that many cultural elements are included in their narratives, as a civilization context constitutes the narration’s environment. Among the narrated stories, let us mention indicatively the story “Il suka”, dramatized and registered digitally at the Nursery School “Collodi”. Under the pretext of the multiple and various uses of the valuable African kerchief “suka”, we manage to learn about the cultural and personal everyday realities of the young boy named Chalò and of the girl named Mwendè. We should not forget that knowing about other cultures through folk narratives shows not only which of its elements are important, but also why. Every child had the chance to become aware of his cultural tradition and its interdependence with other cultural traditions in an unforced and pleasant way. Apart from that, children felt the desire to learn new words and songs coming from these foreign countries, as observed at the Nursery School Torricchio, when parents from Albania, Denmark, Morocco and Nigeria visited school. This operation has led to a first interlingual communication, which was believed to encourage in future the intercultural communication. The parents’ participation has generally occasioned the crossing of the border lines by the children, making them recognize different elements of their culture as a resource of knowledge. 3. Intercultural communication has been undertaken in some cases, emphasizing on local clothing and cuisine. Needs and cultural reality of each classroom, where activities were tested, vary, and the teachers’ experiences too. There were, therefore, some differentiations for the different school groups in reaching the goals of the Intercultural Workshop. Approaches focusing on cultural particularities having an ethnic character, if they are not oriented by a well programmed teaching plan, they may lead to

67 the reproduction of cultural stereotypes and be unable to respond to the needs of an essential intercultural communication. They tend to set off particularities, they indirectly suggest tolerance, maybe without leaving room for mutual understanding. However, with proper handling by a well informed teacher on intercultural education guidelines, they constitute a first step for questioning and thinking about the value of intercultural communication within the modern multicultural classrooms. 4. ICT skills of teachers participating in the project’s experimental phase, as well as of pupils were enforced. As teachers from the “Sacred Heart Primary – I School” (UK) mention: “We also learnt more about using computer software to create beautiful works with children, e.g. using audacity to record voice and sounds to use in a movie or an e-book. We discussed on how to write a story-board and also how to use a Blog!” ICT constitute a powerful tool for intercultural narration as they reinforce the act of giving new sense to a story, they raise pupils’ competences and strengthen relations and interaction between them. 5. Pleasant and warm atmosphere within the classroom was the first and remaining sensation that reading of children’s activities exuded. We had the impression that they were funny, with lots of humour, aiming at their active and functional participation.

Therefore, it can be easily conceived that everyone who participated at the Intercultural Workshop, but children especially, had many opportunities of unforced and essential intercultural communication within a friendly, cheerful environment presenting a variety of stimuli. We would like to hope that the activities’ theoretical framework, as well as the activities’ implementation, contribute creatively to the problematic and the research in this field.

Intercultural Workshops IT Version

Indice

I. Parte prima:

Prefazione o Il valore della narrazione nella vita dell’Intercultural Workshop 72

II. Parte seconda:

Intercultural Workshop : fare insieme, imparare insieme

1. Perché un Intercultural Workshop. Indicazioni introduttive 77

2. Obiettivi dell’Intercultural Workshop

2.1. Obiettivi generici 78

2.2. Obiettivi specifici 78

3. Proposte metodologiche

3.1. Il “project method” 79

3.2. Fasi del “project method” 79

3.3. “Project method” e Intercultural Workshop 80

4. Organizzazione dell’Intercultural Workshop 81

5. Attività proposte 81

Bibliografia 90

III. Parte terza

1. P.IN.O.K.I.O. sperimentazione della attività in Italia, Portogallo, Svizzera e Regno Unito 95

2. Considerazioni Finali 133

Parte prima

Prefazione o

Il valore della narrazione nella vita dell’Intercultural Workshop

Sofia Gavriilidis

Aristotle University of Thessaloniki (GR)

Nel suo libro Mimesi: La rappresentazione della Realtà nella Letteratura Occidentale, che è fonte di numerose discussioni, Erich Auerbach contrappone due modi di narrare: quello dell' Odissea e quello della Bibbia che rappresentano, come lui sostiene, i due stili di base della narrazione: il primo è caratterizzato dall' asserzione esplicita, dalla chiarezza di monosemia e dalla limitazione dei problemi umani, mentre il secondo dalla chiarezza di alcune parti e dall' offuscamento di altre, dall'evocazione dell'allusione, dalla polisemia, dal bisogno di interpretazione. Alessandro Portelli (2009), in relazione a questo specifico ragionare di Erich Auerbach, menziona in un articolo (che difende il valore e l'affidabilità di fonti orali nella storiografia) che ci sono due modi di "pensare": il modo di Atene Antica e il modo di Gerusalemme. Nel modo pensare di Atene Antica, che è rappresentativo del metodo adottato, sperimentato e rivelato dai filosofi, significa fare un ragionamento logico, chiarire le ambivalenze. Nel modo di pensare di Gerusalemme, che è rappresentato dalla Bibbia, significa la narrazione di una storia. Senza sottovalutare la documentazione come un processo necessario nel trasferimento di materiale informativo, Portelli difende il valore di narrare una storia, non solo come una fonte di informazioni ma anche come parametro dell'interpretazione di queste informazioni. In questa maniera ci invita a pensare alla narrazione come un'azione, non limitata all' informazione e alla ragione ma come un' azione aperta a nuove interpretazioni, capace di avviluppare le informazioni attraverso una maniera personale di parlare e sentire di ognuno che prende parte e interagisce, cioè del narratore o di chi ascolta la narrazione. Poichè la narrazione è un modo di comunicazione e chi ascolta assume un ruolo importante nella struttura della narrazione. L' interazione tra il narratore e chi ascolta è immediata e viva. Essa assume un carattere personale ed unico che è caratterizzato proprio dalle condizioni specifiche. Questa è la ragione per cui la narrazione orale, o lo scambio di narrazioni, supera la lettura di un testo.

Agli inizi degli anni Sessanta, ma soprattutto attraverso il suo recente lavoro (1990; 1999; 2003), Jerome Bruner aveva iniziato a considerare la narrazione come un parametro di conoscenza, pensieri e sentimenti, come un modo particolare di pensare ed argomentare, innato nella natura umana. Il modo

72 narrativo di pensare, come lui indica (1990), accade quando il pensiero segue il meccanismo di narrazione, coesiste con il pensiero scientifico, razionalistico ma ha una funzione diversa. Attraverso il pensiero scientifico, che è necessario ma non sufficiente alla comprensione del mondo, noi comprendiamo il mondo, spieghiamo problemi ed eventi che verifichiamo basandoli su specifici criteri e sulle relazioni di "causa ed effetto". Il modo narrativo di pensare, o la costruzione narrativa della realtà, è conseguentemente la maniera con cui noi strutturiamo la nostra conoscenza del mondo e del comportamento umano, la maniera di interpretare le nostre esperienze e di dare loro un significato. Tanto che Jerome Bruner (1999) risponde alla domanda: “In che modo è possibile creare una scolastica capace di fornire ai giovani la possibilità di utilizzare efficacemente le risorse e le opportunità di una cultura più ampia” egli suggerisce la pratica delle "culture di reciproco apprendimento." Egli sostiene che l'ambiente della scuola è un luogo appropriato "per promuovere la consapevolezza sulla possibilità di attuare attività mentali che possono essere condivise e che possono essere strumento per acquisire conoscenza e capacità" perché le attività di gruppo sono caratterizzate da "una condivisione reciproca di conoscenza e di idee, aiuto reciproco nel dominare materiale, divisione di lavoro e scambio di ruoli”. Nel caso che la narrazione sia quella di una storia nota o quella di un'esperienza, se essa è programmata all'interno della struttura delle "culture di reciproco apprendimento", il narratore/alunno, separatamente dal contenuto della storia, comunica i suoi pensieri, la sua visione o lascia delle tracce dei suoi sentimenti più profondi. L' alunno condivide idee e pensieri coi suoi compagni di classe che completano a loro volta con immagini proprie relative alla natura umana e studiano codici culturali attraverso procedure mentali.

L'importanza vitale della narrazione ed il suo contributo non solo allo sviluppo emotivo e conoscitivo dei bambini ma anche allo sviluppo di una coscienza interculturale risulta da vari studi (Fox, 1993; Wells, 2009). I dati indicano che unendo attività di storytelling e un confronto verbale alla fine si migliora l'abilità degli alunni di chiarire ed esaminare i propri sistemi di valori e se le attività richiedono di conoscere molteplicità di storie tratte da testi culturali diversi gli alunni cominciano a prendere in esame i propri pregiudizi e concezioni (Mello, 2001).

Mingshui Cai (2002) ricorda che all'interno della classe, narrazioni che hanno un soggetto comune riferito ad un problema di interesse generale possono essere giustapposte (come il lavoro o l'amicizia) per concludere che i bisogni di tutte le persone in tutte le società sono comuni. Ma questo non sarebbe abbastanza. Anche le differenze dovrebbero essere discusse. Perché varie questioni universali fomentano, consapevolmente o non, le concezioni razziste e questo è dove noi dobbiamo focalizzare, è su queste concezioni che dobbiamo discutere. Somiglianze culturali possono essere considerate come un mezzo di collegamento con altre culture.

Un altro commento interessante di Mingshui Cai riguarda l'istituzione di "settimane o mesi multiculturali" adottata da molte scuole negli Stati Uniti. Sono stati chiamati i quattro F: cibo, festival, moda, folclore (food, festival, fashion, folklore). Nella sua opinione, queste feste o celebrazioni sono caratteristiche di un approccio superficiale al multiculturalismo nell'ambito della classe. L'autore crede che lo sviluppo della letteratura (e/o narrazione) abbia una dinamica più importante in relazione all'ampliamento della visione riferita al culturalmente diverso. Eventi durante le settimane multiculturali sono piacevoli, divertenti,

73 festosi, interessanti ed offrono molte informazioni, ma non permettono un accesso più profondo ed una comprensione più essenziale della diversità e di tutto quello che da qui risulta. Al contrario, lui crede, che le leggende popolari, così come i testi di letteratura inventati da autori per promuovere la coscienza interculturale, siano i materiali più idonei a questo scopo purché siano ottimizzati all'interno di una struttura metodologica scelta che determini le regole e gli obiettivi della narrazione, ri-narrazione ed eventualmente delle attività che le inquadrano.

Secondo Jane Yolen (2000) i racconti sono una guida perfetta per l'anima umana, perché trattano questioni eterne relative a questioni importanti della vita, come l'amore, la diversità, la sincerità, l'onestà, l'amicizia così come i rapporti problematici con gli amici o la famiglia, la morte, la perdita, le punizioni severe, le minacce. Ma essi costituiscono anche luoghi "sicuri" da visitare. Nei racconti dei Fratelli Grimm, per esempio, è frequente nella narrazione il modello di abusi sui bambini così come l' abbandono o la trascuratezza dei bambini da parte di figure adulte (Zipes, 1995). Questo modello può essere un'opportunità di discussione, per rivelare la natura problematica delle relazioni sociali, per riconciliare i bambini con situazioni di stress, per permettere loro di vedere gli altri con più comprensione e di evidenziare modi alternativi di gestire una situazione offensiva o intrattabile. Ne "The transactional self”di Jerome Bruner (1987) viene precisato che racconti popolari e storie, che servono come linee guida di comportamento e di pensiero in tutte le civiltà, non sono semplici racconti morali che mostrano il giusto e sbagliato. Essi trasmettono ai bambini alcune verità che hanno dimensione sociologica e antropologica. Trasmettono anche il messaggio che alcune verità sono comuni ad ogni civiltà, perchè racconti di diversi paesi hanno in comune immagini collettive, nonostante le differenze culturali che potrebbero essere registrate. Inoltre, Italo Calvino (1988 [1983]), il cui lavoro comprende anche raccolte di racconti popolari, sostiene che "ci sono cose che solo la letteratura ci può dare, con i suoi mezzi specifici". Parafrasando questa frase si può dire che ci sono cose che solo la narrazione di storie ci può dare con i suoi mezzi specifici.

Un progetto di narrazione agisce come una lente di ingrandimento concentrandosi sulle aspettative umane, sulle azioni e anche sulle loro conseguenze. Indica rispettivamente la violazione e le regole, rivela l'effetto di scelte specifiche, il che significa il premio per certi desideri e il premio per il raggiungimento di obiettivi precisi. Come dimostrato da Propp (1968), la narrazione, nella sua struttura più semplice, inizia con la rottura di un equilibrio iniziale a causa di una questione/problema che appare; va avanti verso la sua soluzione/gestione, che presuppone iniziative, decisioni e agire, e termina sia con il ritorno alla situazione iniziale e il ristabilimento dell'equilibrio, sia con la concezione di una soluzione soddisfacente. La trama generalmente prevede diversi personaggi principali/classici che mettendo la loro vita in pericolo, subiscono sacrifici, prove di coraggio, fanno scelte dolorose, prendono iniziative, utilizzano l'inventiva e la forza. Questi personaggi sono costretti a superare certi limiti per difendere i loro obiettivi, che sono generalmente legate a un valore eterno e universale. Come risultato, la narrazione può essere considerata, in una certa maniera, come tecnica di prendere iniziative, di risolvere i problemi, di affrontare le difficoltà.

74 La narrazione di storie, sia come metodo che come contenuto, è un modo per sviluppare competenze diverse per la sua capacità di agire secondo quanto è stato già detto, a vari livelli, come:

1. Un linguaggio privilegiato di comunicazione che contribuisce a:

- creare significati e capire il nostro mondo - costruire una identità - colmare il divario tra stereotipi culturali - espressione linguistica o un altro tipo di espressione

2. Mezzo per organizzare l'esperienza precedente in:

- sviluppo emotivo e cognitivo

3. Tecnica in:

- saper prendere decisioni - risolvere i problemi - gestire esperienze umane

4. Passaggio per:

- trasmissione di conoscenza e cultura

Per tutti questi motivi, durante l’ Intercultural Workshop nell'ambito del progetto P.in.o.k.i.o., la narrazione è stata proposta come la pratica di base per la sua creazione, organizzazione e sviluppo. Il seguente Intercultural Workshop contiene sei unità (Bibliografia inclusa): i primi quattro (Breve Introduzione, Obiettivi dell’Intercultural Workshop, Proposte metodologiche, Organizzazione dell’Intercultural Workshop) sono più teoriche, mentre il quinto (Attività proposte) è più pratico, suggerisce modalità di applicazione di quanto è stato detto nella parte teorica. Sono suggerite nove attività ognuna delle quali include almeno altre tre o quattro attività. In ogni attività sono menzionati l'obiettivo o gli obiettivi corrispondenti alle competenze specifiche del progetto P.in.o.k.i.o. Ogni attività suggerisce le pratiche di "raccontare" e "fare", mentre "fare" è presente nelle attività di narrazione re (narrazione verbale e pittorico, musicale e cinetica, orale o scritta) o di invenzione di nuove narrazioni. Inoltre, l'invenzione di una nuova storia (che presuppone la comprensione e l'elaborazione di codici, la loro decodifica e poi la loro organizzazione e ricodifica) attiva i meccanismi di una critica conoscenza di sé e lo sviluppo di varie competenze relative alla definizione degli obiettivi e allo sviluppo di strategie per la loro realizzazione. Inoltre, attraverso la collaborazione che viene richiesta per la creazione / narrazione di storie e le attività che sono collegate, si sviluppa il senso di collettività e di appartenenza ad una squadra e le differenze vengono gradualmente eliminate.

Parte seconda

Intercultural Workshop:

fare insieme, imparare insieme

1. Perché un Intercultural Workshop? Indicazioni introduttive

1. Ricerche, studi, statistiche e dati derivanti dalla bibliografia internazionale mettono in luce l’esigenza di una formazione alla conoscenza interculturale nell’ambito delle nostre società moderne. Vivendo in un ambiente multiculturale, risulta importante poter distinguere senza fare distinzioni (Pascua, 2003). Ognuno di noi ha la propria identità, è unico perché ha le sue caratteristiche particolari diverse da quelle degli altri, ma tutti, più o meno, abbiamo delle somiglianze. Inoltre, ognuno di noi si trova in un continuo processo di cambiamento della propria identità.

2. E’ stato provato che accogliere, accettare, rispettare forme di varie e diverse espressioni culturali arricchisce la propria cultura e contribuisce al progresso collettivo e personale.

3. E’ riconosciuto che l’età infantile è il periodo in cui si sviluppa la coscienza interculturale in modo più facile ed efficace. Di conseguenza la famiglia e la scuola svolgono un ruolo significativo in merito allo sviluppo della competenza interculturale.

4. Le aule scolastiche vengono frequentate da studenti che sono portatori di diversità culturale, linguistica, religiosa, etnica, biologica ma anche diversità sociale, economica, del carattere e delle proprie condizioni personali. L’ambito della scuola offre quindi l’opportunità di ragionare sui concetti di diversità/identità, cultura/monoculturalismo/multiculturalismo e presenta le condizioni adatte all’educazione interculturale.

5. L’interculturalità, come sfida antropologica-sociale-politica (Marcheschi, 2010), in ambito educativo significa soprattutto offrire pari opportunità educative a tutti, indipendentemente dalla propria situazione sociale o culturale. L’educazione interculturale non viene collegata ad una materia o percorso scolastico, ma riguarda il modo di approcciare e concepire le materie e il mondo intorno ad esse.

2. Obiettivi dell’Intercultural Workshop

2.1. Obiettivi generici: competenze-chiavi5

- Comunicazione nella madrelingua (1): interagire adeguatamente e in modo creativo sul piano linguistico nell’ambito di un’intera gamma di contesti culturali, sociali, di vita domestica, etc.

- Imparare ad imparare (5): organizzare il proprio apprendimento anche mediante una gestione efficace del tempo e delle informazioni, a livello individuale e in gruppo.

- Competenze sociali e civiche (6): sviluppare competenze personali, interpersonali e interculturali connesse a concetti di democrazia, giustizia, uguaglianza, cittadinanza.

- Consapevolezza ed espressione culturali (8): essere consapevoli dell’importanza dell’espressione creativa di idee, esperienze ed emozioni considerando un’ampia varietà di mezzi di comunicazione, compresi le arti dello spettacolo, la musica, la letteratura e le arti visive.

2.2. Obiettivi specifici

- riconoscere la bellezza di essere diversi

- riconoscere il diritto di essere diversi/ di avere opinioni diverse non sempre condivise da tutti gli altri

- riconoscere la ricchezza ottenuta attraverso l’approfondimento di altre culture

- riconoscere il bisogno che tutti hanno dell’ “altro”: dell’ altra cultura, altro paese, altre persone

- riconoscere che tutti abbiamo gli stessi o simili bisogni: di amare ed essere amati, di avere ed essere amici, di mangiare, cantare, lavorare, di imparare ed educarsi, di sognare, di progettare la propria vita etc.

- superare pregiudizi e idee stereotipate

- approfondire i concetti di globalizzazione, cultura, multiculturalismo

- esprimersi e dialogare in modo critico e costruttivo

- cercare, raccogliere ed elaborare informazioni

- acquistare consapevolezza rispetto al proprio processo di apprendimento/ assimilazione di nuove conoscenze ed abilità

5 Le definizioni secondo la “Raccomandazione del Parlamento Europeo e del Consiglio”, Gazzetta Ufficiale dell’Unione Europea, 18 dicembre 2006 (2006/962/CE).

78 - preservare varie espressioni del patrimonio culturale come la musica, la letteratura, la lingua, l’arte ed acquisire maggiore consapevolezza riguardo alle proprie radici culturali

3. Proposte metodologiche

3.1. Il “project method”

La pianificazione, l’organizzazione e la realizzazione delle attività del laborotorio possono essere sostenute dalle proposte del “project method”, il quale si basa sull’insegnamento esperienziale-comunicativo (Chrysafidis, 2000). Il “project method” è una forma complessa di insegnamento e di sviluppo di attività creative che hanno come punto di partenza questioni/ipotesi specifiche e concrete. E’ un metodo child-centred che enfantizza il processo e non il risultato. Principio fondamentale di questo metodo è che ogni processo di “insegnamento” deve essere collegato alle situazioni della vita reale. Si focalizza e si adegua quindi alle esigenze, alle esperienze ed alle abilità dei bambini, dove la partecipazione attiva dei quali alla pianificazione e all’organizzazione di un’attività o ad un processo didattico, risulta fondamentale (Fried-Booth and Maley, 2002). Secondo questa ottica i partecipanti sviluppano il senso di responsabilità, le qualità sociali e di cooperazione, le capacità di “problem solving”.

Le principali caratteristiche del “project method”, evidenziate a seguire, aiutano a capire meglio i suoi vantaggi e la sua applicazione nell’ambito scolastico:

- orientamento agli interessi dei bambini partecipanti

- riferimento a situazioni reali e ad esperienze

- creatività nella produzione di un lavoro

- partecipazione attiva a vari livelli

- sviluppo parallelo di molti sensi e capacità

- apprendimento sociale

- sviluppo cognitivo

3.2. Fasi del “project method”

Il processo della realizzazione di una attività può essere organizzato e quindi comprendere le seguenti fasi (Fried-Booth and Maley, 2002):

1. Pianificazione (planning): è la fase di progettazione in cui i partecipanti riflettono, discutono, scambiano opinioni sulla scelta e l’organizzazione delle attività da svolgere. L’insegnante aiuta i partecipanti nella scelta dell’attività procurando stimoli. Lo stimolo potrà essere ricavato dalla

79 narrazione di una fiaba. Se sarà ritenuto necessario, i partecipanti potranno formare due o più gruppi di lavoro.

2. Preparazione (preparation): comprende lo svolgimento delle attività (per esempio raccogliere materiale, classificarlo, esprimere riflessioni ect). L’insegnante ha qui un ruolo consultivo e di coordinatore discreto. Interviene solo quando considera che sia opportuno farlo.

3. Presentazione (presentation): preparazione finale e presentazione, se necessario, dell’attività (es.: mostra degli elaborati, spettacoli teatrali/ musicali). Rappresenta una fase importante, vista anche fra l’altro la gratificazione diretta dei partecipanti.

4. Valutazione (assessment): auto-critica e riflessione sulle cose fatte/ sperimentate/elaborate. Acquisire consapevolezza in merito a quanto appreso ed all’esperienza effettuata. Se l’insegnante, autonomamente (per acquisire esperienza utile alle fasi successive) vuole “valutare” i risultati dell’attività, lo può fare utilizzando vari strumenti (per esempio discussione libera, questionario).

3.3. “Project method” e Intercultural Workshop

L’insegnante nell’utilizzare il “project method” per l’organizzazione delle attività creative nel contesto di educazione interculturale, deve tener conto di quanto segue:

- Mettersi in contatto e cooperare con i membri della famiglia dei bambini. Dare ascolto attento alle loro voci. Chiedere il loro sostegno e partecipazione alle attività/manifestazioni della classe. Il coinvolgimento dei genitori nella vita scolastica è essenziale poiché essi svolgono un ruolo importante nel plasmare l’identità culturale dei figli e modellare il loro comportamento, i loro pregiudizi, valori, concezioni del mondo intorno.

- Il grado di difficoltà dell’attività deve essere commisurato alle capacità e particolarità dei bambini: età, bisogni specifici, competenza linguistica, ect.

- E’ preferibile un’attività incompleta piuttosto che realizzata dall’insegnante.

- L’attività deve fare riferimento alle proprie esperienze, stimolare interesse e essere fonte di ispirazione per i partecipanti.

- Valorizzare la diversità attraverso linguaggi non verbali. Alcuni ragazzi non possono esprimersi con i codici linguistici o possono esprimersi meglio con i codici extra linguistici. Quindi bisogna prevedere attività di comunicazione extra linguistica (che comprendono il suonare strumenti musicali, pantomime, dipinti etc).

- Rispettare la lingua madre dei partecipanti è fondamentale. I partecipanti stranieri potranno praticare la lingua madre: risulta di significativo valore esprimersi non solo nella lingua dominante ma anche nella propria lingua.

80 - Far emergere le varie abilità e i talenti di ogni partecipante.

- Stimolare la creatività e la cooperazione.

- Stimolare la comprensione e l’accettazione reciproca. Non bisogna necessariamente avere dei rapporti amichevoli, ma bisogna cooperare bene con gli altri e rispettarli. Cooperare bene significa avere la capacità di affrontare conflitti personali, interpersonali e culturali.

- Favorire l’atteggiamento positivo verso la vita (secondo i moderni principi dell’educazione interculturale).

Prima dell’avvio delle attività è necessario prepararsi bene riguardo alla scelta del racconto, agli obiettivi dell’attività, al tipo di attività, al materiale.

4. Organizzazione dell’Intercultural Workshop

- Spazio organizzato in modo adatto per poter ospitare attività motorie e con arredo essenziale (tavoli, sedie, cuscini puff, globo terreste, mappa ect)

- Materiale grafico

- Strumenti musicali (bonghetti, tamburini, bastoni della poggia che possono essere costruirti dai bambini etc)

- Strumenti multimediali (blog, podcast, movie etc)

5. Attività proposte

Cominciamo a narrare6. Narriamo noi stessi, narriamo la vita, il dolore, l’affetto, la fame, la lotta, la pace, i sogni, la bellezza, i viaggi, i giochi... Narriamo e ascoltiamo narrare ...

C’era una volta ...

C’era una volta un ragazzo, biondo come il lino, con lentiggini sul naso, indossava degli zoccoli di legno, calze rammendate, pantaloni di cuoio con le toppe. Si chiamava Nils Holgerson. Un giorno, perdigiorno come era, con occupazione preferita di burlare il prossimo, cominciò a trattare male un troll. Ed il troll lo miniaturizza. Nils, in questa spiacevole situazione, si accorge che è in grado di comprendere il linguaggio degli animali.

6 Sul concetto di “narrare/narrazione in classe” vedi: Jerome Bruner, Acts of Meaning, 1990, dello stesso autore, The Culture of Education, 1996 e Sofia Gavriilidis, Glossary Section, 2010.

I) Scambiamo gnomi, scambiamo storie, scambiamo paure

Obiettivo: Realizzare percorsi interculturali. Acquisire consapevolezza del (proprio) patrimonio culturale e comprendere i legami tra la propria e le altre culture. Rispettare valori e credenze di altre culture. Esplorare aspetti della propria cultura. Sviluppare abilità di cooperazione con coetanei e con persone di età adulta.

Riflettiamo: Osserviamo che ogni popolo tramite la sua tradizione esprime simili e analoghe paure, tormenti, credenze, e che dà forma a esse inventando simili e analoghe creature. Il troll che incontra Nils potrebbe corrispondere al folletto italiano, all’elf o goblin inglese, al kobold tedesco, al saci pererè brasiliano o al kalikanztaros greco. Nonostante il kalikanztaros greco sia una creatura mostruosa, malvagia, bizzarra7, non tutte le creature favolose della fantasia popolare sono malvagie. Pensiamo a questi esseri misteriosi che abitano le fiabe di tutto il mondo.

Poi, il troll miniaturizza Nils, lo rende più piccolo, lo cambia. E, nelle sue nuove dimensione, Nils acquista una nuova abilità: può capire il linguaggio delgi animali. Nils è stato trasformato. Ritorna in uomo dopo aver imparato tanto dai nuovi amici/animali che aveva in compagnia. Richiamiamo alla mente storie con personaggi fiabeschi che si erano trasformati, di solito in animali o bestie (per le stregonerie forse di una persona malvagia) e successivamente sono ritornati allo stato precedente.

Narriamo: storie che conosciamo con protagonisti esseri favolosi, tramandate dalle famiglie e storie che conosciamo focalizzate sulla metamorfosi. I membri adulti delle famiglie potranno contribuire in modo significativo a questa attività con i loro racconti e informazioni. Scopriremo che le varie tradizioni popolari hanno stretti legami con quella universale. Scopriremo anche che la tradizione popolare ha stretti legami con le storie per i bambini.

Facciamo: Situazione: una creatura misteriosa e favolosa ci visita e chiede la nostra ospitalità. Gli diamo input per parlare di se stesso. Giochiamo ai giornalisti: cooperiamo per formulare delle domande rivolte al nostro strano visitatore. Un ragazzo volontariamente impersona la creatura e risponde.

Un giorno, Nils Holgerson, aggrappato al collo di un’oca, attraversa il suo paese, la Svezia.

7 I kalikantzari greci sono creature mostruose, ricoperte di pelliccia nera e folta, sono metà uomini e metà animali, vivono tutto l’anno nel centro della Terra divorando l’albero della Terra. Si compaino solo il 25 dicembre e per dodici giorni, fino a ritornare negli inferi, per terrorizzare la gente e per rubare, provocando disturbi e dispetti, ma non ci riescono mai.

82 II) Conoscere paesi

Obiettivo: Realizzare percorsi interculturali per conoscere altri paesi/culture e far conoscere la propria. Identificare somiglianze e differenze fra i paesi/culture. Comprendere che tutti i paesi hanno aspetti positivi e negativi, nessun paese è perfetto. Sviluppare abilità di cooperazione con coetanei e con persone di età adulta e prendere iniziativa di esplorare aspetti del proprio paese di nascita. Cercare, raccogliere ed elaborare informazioni. Sviluppare abilità di narrazione in pubblico.

Riflettiamo: Se seguiamo Nils conosciamo meglio il suo paese, la Svezia. Se Nils Holgerson attraversasse il tuo paese di nascita in quali luoghi si fermerebbe?

Narriamo: Progettiamo, con l’aiuto di una persona della nostra famiglia, il viaggio di Nils Holgerson all’interno del nostro paese questa volta. Possiamo coinvolgere Nils in varie avventure ed esperienze legate alle usanze del proprio paese e raccontare quanto Nils ha visto e vissuto.

Facciamo: I bambini insieme alle persone della loro famiglia (o da soli) ci faranno conoscere il loro paese. Con l’aiuto dei genitori adulti, potranno cercare e raccogliere materiale artistico-figurativo e relativo alle bellezze naturali del loro paese e della loro cultura.

Nils Holgerson, essendo sulle ali di un’oca, ha fatto un “viaggio meraviglioso”, ha vissuto esperienze esaltanti. Ha fatto amicizie, ha fatto del bene, ha imparato tanto grazie alla scoperta di orizzonti più ampi offerti dai viaggi.

III) Viaggiare

Obiettivo: Realizzare percorsi interculturali per riflettere sui concetti di globalizzazione, di somiglianze e di differenze geografiche, delle ore (prospettiva interculturale del tempo). Sviluppare abilità di cooperazione, attraverso l’imparare a raccogliere informazioni e ad esprimersi.

Riflettiamo: Se una persona viaggia, fa varie esperienze interessanti.

Νarriamo: Tu hai viaggiato? Hai fatto esperienze interessanti? Ne vuoi parlare?

Facciamo: Con l’aiuto dell’insegnante e/o cercando nei libri verifichiamo che ore sono adesso in Lapponia – fino alla quale è arrivato Nils – o che ora è in Egitto, a Pechino, ect. Un globo terreste o una mappa aiuterebbero molto alla realizzazione dell’attività.

83 Nils Holgerson si trova in volo con le oche selvatiche nella loro migrazione. Esse viaggiano per trovare migliori condizioni di vita: cibo, clima.

IV) Viaggiare per ...

Obiettivo: Sviluppare concetti di differenza e di ugualianza: tutti abbiamo gli stessi bisogni. Sviluppare abilità di cooperazione, di esprimersi e di dialogare, di elaborare informazioni. Scoprire modi di comunicazione extra linguistica (cantando, ballando, suonando strumenti musicali, dipingendo, ect). Svilluppare abilità di esprimersi in pubblico.

Riflettiamo: Gli uccelli migratori, come le amiche di Nils, le oche selvatiche, oltre alla ricerca del cibo e di condizioni migliori di vita, a volte ritrovano le amicizie che avevano fatto negli anni passati. E forse si sentono molto felici per questo. O fanno delle amicizie nuove e forse si sentono felici lo stesso.

Narriamo: Sappiamo che molta gente viaggia, si sposta e cambia dimora per migliorare la propria vita, per lavorare, per studiare o per incontrare una persona a cui vuole bene. Conosci delle persone che hanno viaggiato per rendere più bella la loro vita o perché erano costretti a farlo per vari motivi? Ricordiamoci delle fiabe che conosciamo in cui gli eroi si erano allontanati da casa, hanno viaggiato per trovare lavoro (o incontrare una persona amata o imparare qualcosa o perché erano stati cacciati). Cosa hanno fatto? Che fortuna hanno avuto? Potresti raccontarci una storia?

Facciamo: Ci mettiamo a creare una nostra fiaba con eroi viaggiatori. Ci mettiamo d’accordo se vogliamo scriverla, illustrala, drammatizzarla (empatia interculturale), arricchirla con musica. Esprimiamo con i suoni degli strumenti musicali i sentimenti (di ansia, paura, gioia, soddisfazione ect) degli eroi allontanati. L’insegnante si impegna affinché i bambini partecipino e assumano ruoli simili e ruoli che li aiutino ad esprimersi e rilevare o incrementare i loro talenti.

.... Appena entrato in casa, Geppetto prese subito gli arnesi e si pose a intagliare e a fabbricare il suo burattino. – Che nome gli metterò? – disse fra sè e sè. Lo voglio chiamar Pinocchio. Questo nome gli porterà fortuna.

.... E’ proprio un bel fiore! – disse la donna e baciò i petali rossi e gialli, ma mentre lei lo baciava, il fiore, con uno scoppio, si aprì. Era proprio un tulipano, ora lo si poteva vedere, ma in mezzo al fiore, sul pistillo verde, c’era una bambina piccolissima, delicata e graziosa; non era più grande di un mignolo e perciò venne chiamata Mignolina.

84 Giufà il furbo al mercato: - Come ti chiami?- - Mi chiamo come mio padre! - Come si chiama tuo padre? - Si chiama come mio nonno! - E come si chiama tuo nonno? - Come me ! - E come ti chiami tu? - Come mio nonno!

[-E come ti chiamano per venire a mangiare? - Non mi chiamano, ci vado da solo.]

V) Il mio nome è ...

Obiettivo: Realizzare percorsi interculturali. Riconoscere la bellezza di essere diversi. Riconoscere la bellezza di creare insieme. Praticare abilità linguistiche.

Riflettiamo: Ognuno ha un nome e un cognome. Il nome viene dato secondo pratiche e riti che variano da cultura a cultura, da famiglia a famiglia, da epoca in epoca. A cosa serve avere nome e sopranome?

Narriamo: Parliamo delle condizioni sotto le quali ci viene dato il nome. Scopriamo somiglianze e differenze tra le culture o tra le pratiche delle famiglie. Chiediamo ai genitori se valevano le stesse pratiche di attribuzione del nome nella loro epoca.

Facciamo: Giochiamo con le lettere. Individuiamo le lettere che hanno in comune il nostro nome ed il nome del nostro eroe preferito. Per esempio il mio nome è Tommy ed il mio eroe preferito è Nils. I nostri nomi non hanno in comune nessuna lettera. Invece con Pinocchio, che è un altro eroe preferito, ho in comune una lettera: la “o”. Possiamo quindi dividere l’aula in due gruppi, casualmente. Ogni gruppo crea un ponte che lo unisce con l’altro gruppo (due ponti) usando cubi con lettere. I cubi di ogni gruppo avranno le stesse lettere che comprendono i nomi dei bambini partecipanti. Inventiamo delle filastrocche con i nostri nomi.

- Aprimi ti dico! – ripetè Geppetto – se no quando vengo in casa, il gatto te lo do io!

- Non posso star ritto, credilo. O povero me! Povero me, che mi toccherà a camminare coi ginocchi per tutta la vita! ...

- Pinocchiuccio mio! Com’è che ti sei bruciato i piedi!

- Non lo so, babbo, ma credilo che è stata una nottata d’inferno ... messi i piedi sul caldano per riasciugarmi ... me li sono bruciati, e intanto la fame l’ho sempre e i piedi non li ho più! ih! ...ih! ...ih! ...ih!

C'erano una volta venticinque soldati di stagno, tutti fratelli tra loro perché erano nati da un vecchio cucchiaio di stagno. Tenevano il fucile in mano, e lo sguardo fisso in avanti, nella bella uniforme rossa e blu. .... I soldatini si assomigliavano in ogni particolare, solo l'ultimo era un po' diverso: aveva una gamba sola perché era stato fuso per ultimo e non c'era stato stagno a sufficienza! Comunque stava ben dritto sulla sua unica gamba come gli altri sulle loro due gambe....

VI) L’ altro Pinocchio

Obiettivo: Sviluppare l’ “empatia interculturale”. Sviluppare la capacità di affrontare situazioni interculturali. Cercare di percepire gli altri in modo accurato.

Riflettiamo: Pinocchio non può camminare: gli si sono bruciati i piedi. Come si sente Pinocchio? Che difficoltà affronta? Cosa può/deve fare?

Narriamo: Ti è mai accaduto che tu o una persona che conosci si sia trovata in una situazione simile, di non poter, per esempio, muovere il piede o la mano, per pochi giorni o più tempo? Ne vuoi parlare?

Facciamo: Ricostruiamo la storia del “soldatino di stagno” raccontata dal punto di vista del soldatino: sarà lui a raccontare in prima persona.

Un leone cattura un piccolo topo e decide di mangiarlo. Il topo chiede di risparmiargli la vita, e in cambio gli offre la sua amicizia. Il leone lo lascia in vita e prosegue per la sua strada. Però viene catturato da un cacciatore e legato ad un albero. Il topo, avvicinandosi di soppiatto, rode le corde che tenevano legato il leone, e gli dà la libertà.

VII) Parliamo dell’amicizia

Obiettivo: Educazione ai fondamentali valori umani come l’amicizia e la solidarietà. Esprimere affetti, ricordi, aspettative e speranze. Sviluppare abilità di cooperazione con coetanei o con adulti. Sviluppare abilità linguistiche e di espressione. Scambi culturali.

Riflettiamo: Prendere coscienza ed affermare il carattere universale dei valori preziosissimi dell’ amicizia e della solidarietà che cancellano ogni tipo di violenza. Le diversità tra le persone riguardano aspetti esterni e materiali. Il leone è grande, è il re degli animali, il topo è piccolissimo, nero, ma sono diventati amici, l’uno ha salvato la vita dell’altro.

86 Narriamo: Nella storia raccontata gli animali protagonisti erano il leone ed il topo. Parliamo degli animali che vivono nel tuo paese di nascita. Pensiamo a quelli più popolari nelle storielle del tuo paese. Ce ne puoi raccontare una?

Facciamo: Ci dividiamo prima in due o più gruppi e creiamo la storia del topo e del leone, nel contesto sociale di vita quotidiana, mantenendo i filoni specifici del racconto ma sostituendo i protagonisti con persone. L’insegnate potrà guidare discretamente i bambini.

In italiano ci sono vari proverbi che parlano del valore di amicizia, come: Chi trova un amico, trova un tesoro/Chi ha un vero amico può dire di avere due anime.

Con l’aiuto dei genitori individuiamo proverbi della nostra cultura/lingua che esaltano l’amicizia. Spieghiamo il significato particolare di ogni proverbio. Individuiamo le possibili analogie tra i proverbi.

C'era una volta un vecchio asino che aveva lavorato sodo per tutta la vita. Ormai non era più capace di portare pesi e si stancava facilmente, per questo il suo padrone aveva deciso di relegarlo in un angolo della stalla ad aspettare la morte. L'asino però non voleva trascorrere così gli ultimi anni della sua vita. Decise di andarsene a Brema, dove sperava di poter vivere facendo il musicista. Si era incamminato da poco quando incontrò un cane, magro e ansante.

"Come mai hai il fiatone?" gli chiese.

"Sono dovuto scappare in tutta fretta per salvare la pelle" gli rispose il cane. "Il mio padrone voleva uccidermi, perché ora che sono vecchio non gli servo più". "Purtroppo è vero – continuò - non sono più capace di rincorrere la selvaggina come una volta, e sono così debole che non spavento più nessuno. Ma ora come farò a procurarmi da mangiare?"concluse depresso.

"Vieni a Brema con me" suggerì l'asino. "Laggiù faremo fortuna con la musica: io suonerò il liuto e tu mi darai il ritmo con il tamburo".

Il cane accettò la proposta e s'incamminò con il nuovo amico. Non avevano percorso molta strada che s'imbatterono in un gatto che miagolava disperato.

"Cosa ti è successo per lamentarti in questa maniera?" gli chiese l'asino.

"Sono vecchio e soffro d'artrite, per questo non sono più agile come una volta e devo stare al caldo. Ma vedendomi riposare vicino al caminetto, ieri il mio padrone si è infuriato, mi ha accusato di essere un fannullone, mi ha rimproverato di non saper acciuffare nemmeno un topolino e mi ha cacciato da casa. Senza pietà! Pensare che l'ho servito fedelmente per tutta la vita!… Ora non so proprio dove andare, non so proprio come sbarcare il lunario!" rispose singhiozzando il gatto.

87 "Allora vieni a fare il musicista con noi a Brema" gli dissero insieme l'asino e il cane. Il gatto non se lo fece ripetere due volte e pieno di speranza si unì a loro …

VIII) Vieni con noi

Obiettivo: Educazione ai fondamentali valori umani come l’ amicizia e la solidarietà. Esprimere affetti, ricordi, aspettative e speranze.

Riflettiamo: Sulle condizioni della vecchiaia e sul concetto della solidarietà.

Facciamo: Inventeremo la continuazione della storia, tutti insieme, divisi in gruppo o uno ad uno. La possiamo drammatizzare, illustrare, riscrivere sotto forma di fumetto

IX) La fiaba preferita

Ogni bambino narra la sua fiaba preferita. Lavoriamo successivamente tutti insieme per individuare gli aspetti comuni che presentano le varie fiabe, le nostre fiabe, la fiaba di ognuno: personaggi, filoni, motivi, temi, in altre parole i bisogni, i sentimenti, i sogni, i desideri non realizzabili ma che si possono realizzare, le varietà di vivere e condividere.

Parliamo delle figure simboliche delle forze demoniche che rappresentano allegoricamente le grandi difficoltà o i nemici che si devono affrontare, della trasgressione di un comando e delle conseguenze che ne derivano, della metamorfosi e della durezza dei castighi, del preavviso dell’avvento di fatti funesti attraverso la voce di animali, della lotta dell’eroe contro le difficoltà e degli amici che incontra e che lo aiutano, dell’altissimo prezzo che paga e della sua rinascita.

I bambini possono poco a poco riscoprire quello che lo studio comparato delle fiabe ha dimostrato: che le fiabe di ogni luogo sono delle variazioni delle fiabe di tutto il mondo (Loukatos, 1992). Le componenti fondamentali ed i canoni narrativi delle fiabe di tutti i popoli sono comuni, la rappresentazione dei valori e degli ideali che esse esprimono è unidimensionale e schematica, l’universalità delle fiabe è evidente8. E non solo. Scoprirano che ciò che “troviamo riflessa nelle fiabe è la proiezione fantastica di possibilità di condizioni di vita non alienanti” come cita Jack Zipes (2006) sostenendo che “la magia è usata paradossalmente non per illuderci e ingannarci ma per illuminarci”. Sembra proprio vero che, lasciando da parte criteri di giudizio estetici o morali, i motivi fiabeschi continuano a vivere nelle società post-tradizionali, moderne, essendo uno dei più importanti elementi di costituzione di una cultura dell’infanzia (Richter, 1995).

8 E’ pur vero comunque che nonostante le somiglianze, il modo di concepire il mondo, le condizioni, le occupazioni, le esperienze vissute, le speranze, tutto ciò che costituisce le caratteristiche particolari del popolo che le ri-narra, riplasmandole, rimodellandole secondo le sue particolari condizioni, si infiltrano e vengono ritratti nelle narrazioni, con formulazioni a volte simboliche, altre allegoriche. Un esempio ne risulta dalle particolarità che presentano i certi tipi narrativi delle Cenerentole del mondo.

Bibliografia

I. Fonti primarie

Andersen, H.C.. The Tin Soldier (1838). The tales of Hans Christian Andersen. Available at: < http://www.andersenstories.com/it/andersen_fiabe/il_ tenace _soldatino_di_stagno> [Accessed 6 December 2010].

Beffa, S., ed. Fiabe randage: Giufà, Cenerentola e gli altri vagabondi. Edu-Doc. Available through: < http://www.edu-doc.com/index.php?q=giufa> [Accessed 5 December 2010].

Buongiorno, T., 2001. Dizionario della letteratura per ragazzi. Milano: Fabbri Editori.

Collodi, C., 1883. The adventures of Pinocchio. Tale of a Puppet. Translated from the Italian by M.L. Rosenthal (2000). Pescia: Fondazione Nazionale Carlo Collodi.

Grimms’ Brothers Collection [La raccolta di favole dei Fratelli Grimm]. The Musicians of Bremen [I musicanti di Brema]. Available at: [Accessed 6 December 2010].

II. Fonti secondarie

Applebee, A., 1978. The Child’s Concept of Story. Age two to seven. Chicago: The University of Chicago Press.

Auerbach, E., 2003. Mimesis: The Representation of Reality in Western Literature. 5th ed. Translated from German by W. R. Trask. Princeton: Princeton University Press.

Bake, J.-I., 2006. The Project Method. Theory and Practise. Grin Verlang.

Baliani, M., 2005. Pinocchio Nero. Diario di un viaggio teatrale. Milano: Rizzoli.

Barton, B., 2000. Telling stories your way: Storytelling and reading aloud in the classroom. Markham. Ontario: Pembroke Publishers Limited.

Barthes, R. and Lionel, D., 1975. An Introduction to the Structural Analysis of Narrative. New Literary History 6(2), 237-272.

Benton, M., 1996. Reader-Response Criticism. In: P. Hunt, ed. International Companion Encyclopedia of Children’s Literature. New York: Routledge, pp. 71- 88.

89 Bertills, Y., 2003. Beyond Identification. Proper Names in Children’s Literature. Finland: Åbo Akademi University Press.