Cirschool Report of WP4 "Review of Existing Integration of Circus Practices in Formal Learning Environment" University of Patras, Greece 1/12/2013- 31/5/2014

Cirschool Report of WP4 "Review of existing integration of circus practices in formal learning environment" University of Patras, Greece 1/12/2013- 31/5/2014

Acknowledgements

This report has been made possible by the research teams of each partner‘s country of Cirschool project. Especially: . Anna Locchi coordinator of Cirschool project and teachers of III Circolo Didattico . Michele Paoletti circus teacher in III Circolo Didattico. . Mariella Pierotti, physical education teacher of III Circolo Didattico . Chiara Paoletti, physical education teacher of III Circolo Didattico . Nicoletta Pacioselli, infant school of III Circolo Didattico . Maria Vittoria Valentini, italian and art teacher of III Circolo Didattico . Roberta Farinelli, english and physical education teacher of III Circolo Didattico . Stefania Pellegrino, primary school support teacher of III Circolo Didattico . Debora Feliciotti, english and support teacher of III Circolo Didattico . Carla Bertinelli, physical education teacher of secondary school Carducci Purgotti . Ian Scott Owens, Artistic Director of Albert & Friends Instant Circus . Petrea Owens, General Manager of Albert & Friends Instant Circus . Amy Scorgie, Arts & Education Assistant of Albert & Friends Instant Circus . Thanasis Karalis associate professor of University of Patras - UoP . Sofia Kasola researcher in University of Patras – UoP . Niki Liodaki researcher in University of Patras - UoP . Dr. Mireia Montané from EURIDIT - European institute for development and in-service training . Dr. Giovanni Polliani from EURIDIT - European institute for development and in-service training . Luca Botturi, project manager, Seed . Sarah Simili, FSEC This report would not be completed without the valuable contribution of the above partners. Having great and many years practical experience in the field of teaching circus learning activities each person provided useful information‘s and material I order to develop this report. Special thanks to partners who during the kick of meeting contributed and clarified issues and shared their insights.

Note: Each partner organisation is responsible for the material and the references delivered and reported in this document.

Table of Contents

1. Introduction 1.1 About this report ...... 5 1.2 Context ...... 5 1.3 Scope of the work ...... 5 1.4 Date sources and methods ...... 6

2. Educational Issues and Challenges in Europe-Analysis of educational systems 2.1 Analysis of national educational systems-Formal education Teaching methods, experiential learning, case studies...... 6 2.2 Physical educational curriculum in primary and secondary education...... 37

3. The practice of didactic and recreational circus 3.1 Physical Intelligence for learning in formal and informal settings...... 48 3.2 Identification of the main circus organizations working in all educational contexts...... 52 3.3 Circus activities promoting core capacities & physical Intelligence...... 68 3.4 Circus effectiveness...... 86

4. The contribution of Circus education to formal education systems 4.1 Learning bridge: Proposing a model for the curricular integration of didactic and experiential education through circus literacies...... 102 5. Conclusions and recommendations...... 135 References...... 136

List of Figures

Figure 1: Italian Education System ...... 9 Figure 2: UK Education system ...... 13 Figure 3: UK Curriculum ...... 17 Figure 4: Structure of the Greek Education System ...... 20 Figure 5: Education In Belgium The different levels of Education in Flanders ...... 23 Figure 6: Swiss Education Syste ...... 32 Figure 7: Domain areas in the new school ...... 36

List of Tables

Table 1: Systems of UK...... 11 Table 2: Bodily- Kinesthetic Activities ...... 50 Table 3: UK Circus Organizations...... 52 Table 4: Circus Organizations in Switzeland ...... 60 Table 5: Circus Organizations in Italy...... 61 Table 6: Circus practices and educational levels...... 91 Table 7: Class structure ...... 105 Table 8: Curriculum Overview ...... 106 Table 9: Training & Conditioning ...... 108 Table 10: Acrobatic ...... 111 Table 11: Aerial ...... 113 Table 12: Balacing ...... 118 Table 13: Juggling ...... 123 Table 14: Object Manipulation ...... 126

1. INTRODUCTION 1.1 About this report Review of existing integration of circus practices in formal learning environment is a part of the cirschool project. It started on 1/12/2014 and ends on 31/5/2014. This report constist of five sections and subsections. In the first section presented informations about this report. The second section is divided into analysis of national educational systems-teaching methods, experiential learning, case studies and physical education curriculum in primary and secondary education. The third section refers to the practice of didactic and recreational circus. The subsections for this section are: Physical intelligence in formal and informal settings, Identification of the main circus organizations working in all educational contexts, Analysis of the circus activities promoting core capacities and physical intelligence and Circus effectiveness. The contribution of Circus education to formal education systems is the forth section and consists of the subsection: Learning bridge: proposing a model for the curricular integration of didactic and experiential education through circus literacies.

1.2 Context The present report was created with the contribution of six organizations of European countries. Especially: University of Patras (Greece). SOPHIA Research & Inovation and III Circolo Didactico (Italy). Albert & Friends Instant Circus (United Kingdom). Euridit- European Institute for Developent and In-Service Training (Belgium). SEED (Switzerland).

1.3 Scope of the work Review of existing integration of circus practices in formal learning environment aims to identify and analyse the impact of circus practices on learning and teaching approaches within the framework of experiential didactic.

1.4 Data sources and methods

The data collection was performed through empirical evidence from the partners.

2. EDUCATIONAL ISSUE AND CHALLENGES IN EUROPE

The chapter "Educational issue and challenges in Europe" constists of tree parts. The first one is the analysis of national educational systems- formal education and teaching methods, experiential learning, case studies. The second part is refered to physical education curriculum in primary and secondary education.

2.1 National Education System Italian education system Education is compulsory for 10 years, from 6 to 16 years old, and covers the first eight-years cycle of education (years of primary school and 3 years of lower secondary school) and the first two years of the second cycle (D.M. 139/2007). After completion of the first cycle of education, the last two years of compulsory education (from 14 to 16 years old) can be completed 7 either in State upper secondary schools (lyceums, polytechnic schools and vocational institutes), or through the three-year vocational education and training course, falling under the competence of the Region (D.M. 133/2008). In addition, all pupils have the right/duty to education and training for at least 12 years in the education system or, at last, until they have obtained a three-year vocational qualification by the time they are 18 years old (law 53/2003). Finally, 15-year olds can attend the last year of compulsory education also through an apprenticeship, following a specific agreement signed by the local Region, the Ministry of Labour, the Ministry of Education and the Trade Union (law 183/2010).

Pre-Primary School Pre-primary school is for children between 3 and 6 years old and it lasts three years. Pre-primary school is implemented in kindergarten and it lasts three years, for children from three to six years old. It is not obligatory; it is included in the Education and Training System. Its goal is the education and development of affective, psychomotor, cognitive, moral, religious and social development of pupils, also ensuring educational continuity services childhood. Kindergarten includes 40 hours a week with two teachers per section. Pre-primary schools in Italy are state, municipal, equal, private with some kind of courses, common or differentiated orientations such as Montessori, Agazzi, Pizzigoni and Steiner methods. 6

First Cycle of Education

The first cycle of education (law 59/2004) is compulsory, lasting 8 years, made up of primary school and lower secondary school. It takes place in state and private schools. The training removes all barriers: to tha participation of pupils at school, to guaranteeing access for students with disabilities, to preventing the school dropouts, to becoming aware and active citizens and to the acquisition of basic knowledge of the culture. There is teacher support for children with disabilities. These kind of children attend the same age group. They have a teacher support with the same rights of the class teacher.

Primary school (lasting 5 years), for children between 6 and 11 years old.

 Model time: 24 hours a week with only one teacher, 27 hours a week the most widespread model, 40 hours a week (full time) with no differences between morning activities and afternoon activities; it expected two teachers are foreseen in the same class (language and math).

 Foreign language education: 1 hour in the 1st class, 2 hours in the 2nd class, 3 hours in the 3rd – 4th – 5th classes.

Lower secondary school (lasting 3 years) for children between 11 and 14 years old. The student must become autonomous in all subjects and s/he must strengthen his/her social interaction. This school develops skills and helps the students to select their future school. At the end of the first cycle the students take the State exam, with a final diploma.

 Model time: 30 hours a week.  Italian language and literature, history and geography 11 hours a week;  maths and science 6 hours a week;  technology 3 hours a week;  English language 3 hours a week;

 second foreign language (French or Spanish) 2 hours a week;  art 2 hours a week;  physical education 2 hours a week;  music 2 hours a week;  religion 1 hour a week.

Second Cycle of Education Second cycle of education (law 53/2003) offering two different pathways: State upper secondary school (lasting 5 years) for students from 14 to 19 years old. It is offered by lyceums, polytechnic schools and vocational institutes. The fifth year ends with a State exam.

 There are six types of lyceum: artistic, classical, foreign linguistic, musical, scientific and pedagogical. The English language is compulsory for all the five years.  Technical institutes are divided into economical and technological types. They have the objective of supporting the development of technical professions at tertiary level, to be included in the world of work, in particular to small and medium-sized enterprises.  Vocational institutes are divided into two sectors (industry-handicraft and services) and six courses (industrial production and craft, agriculture, health care, mechanical, restaurants and hotels and commercial).

 Vocational training courses (IeFP) (three/four years) from 14 to 17 years old addressed to students who have completed the first cycle of education. It is organized by the agreement with the Regions (June the 19th 2003).

 Higher Education

 Higher education offered by Universities and the High Level Arts and Music education system (Afam). Higher education is organized in first, second and third level according to the Bologna structure.

Teaching methods, experential Learning, Case studies

The Italian national guidelines act the legal document for the curriculum scheduling and for the methodological choices of the teaching/learning process.

Figure 1: Italian Education System

The document says that every school organizes the curriculum on the student profile at the end of cycle of education, on the goals to the skills development, on the specific learning objectives for every kind of subjects. Students have the opportunity to build the knowledge by themselves under the supervision of their teachers; they become actors throughout the experiential learning. Teachers should give up ―the lesson teaching post‖ and become experts in guiding acquisitions disciplinary. This is the modus operandi of the III Circolo Didattico of Perugia.

UK Educational System In the UK, there are different education systems for England, Northern Ireland, Scotland and Wales.  In England, legislative responsibility for education lies with the UK Parliament at Westminster.  For Scotland, responsibility for education law and guidance has been devolved to the Scottish Parliament  In Wales and Northern Ireland responsibility lies with the Welsh and Northern Irish Assemblies.

In general, these four systems are very similar and offer many of the same courses and qualifications, but there are some differences.  In Wales compulsory schooling begins at 4 years old, one year earlier than in England, Northern Ireland and Scotland.  England, Northern Ireland and Wales follow a very similar qualification structure culminating in General Certificate of Secondary Education (GCSE) examinations at the age of 16 whereas Scotland operate its own formal qualification system; Scottish Certificate of Education (SCE).  Scotland provides free Higher Education for university students whereas students in England, Northern Ireland and Wales pay tuition fees towards their continued education.

Table 1: Systems of England, Wales, Northen Ireland and Scotland England Wales Northern Ireland Scotland GCSE GCSE GCSE SCE 15+ Year 11 ) Secondary Year 11 ) Secondary Year 12 ) Secondary S4 ) Middle 14+ Year 10 ) KS 4 Year 10 ) KS 4 Year 11 ) KS 4 S3 ) Secondary 13+ Year 9 ) Secondary Year 9 ) Secondary Year 10 ) Secondary S2 ) Lower 12+ Year 8 ) KS 3 Year 8 )Year KS 3 9 ) KS 3 S1 ) Secondary Year11+ 7 ) Year 7 ) Year 8 ) P7 ) Primary 10+ Year 6 ) Primary KS 2 Year 6 ) Primary KS 2 Year 7 ) Primary KS 2 P6

P5 ) Year9+ 5 ) Year 5 ) Year 6 ) P4 ) Year8+ 4 ) Year 4 ) Year 5 ) P3 ) Year7+ 3 ) Year 3 ) Year 4 ) Primary KS 1 P2 ) 6+ Year 2 ) Primary KS 1 Year 2 ) Primary YearKS 1 3 ) P4 ) Year5+ 1 ) Year 1 ) Year 2 ) P1) 4+ Nursery/Reception Nursery/ReceptionYear 1 ) Preschool

For the purpose of this presentation we will predominantly focus on the education system and structure operating in England as this is where the project will be piloted. However the conclusions drawn could easily be transferred to Northern Ireland and Wales as they adhere to a very similar structures with all 3 compulsory systems working through the Key Stage before finishing in the completion of GCSE‘s at 16.

Schooling is compulsory in England for all children between 5 and 18 years of age with children enter school the September after their fourth birthday. The school year runs from September to July and is divided into three terms (semesters) with each last approximately 12 weeks.

Compulsory education can be undertaken in:

 Maintained state schools - Receive funding from the Local Authority (LA) - Follow a National Curriculum and Standard Attainment Targets - Are subject to the same system of inspection - Educate 93% of all children in the school system

 Private/Independent Schools - Funded mainly by parental fees - Do not have to follow the National Curriculum and Standard Attainment Targets although most will follow the GCSE curriculum as this is a nationally recognized set of qualifications. - Attended by 7% of children

 Elective Home Schooling - Receive a full-time suitable education as per their age, ability and aptitude in the home as deemed by their parents - Do not have to follow the National Curriculum or Standard Attainment Targets - Estimated that 0.6% of children are educated in this way

School Structure Regardless of whether students progress through the state or private educational system the structure they follow is very similar. Traditionally state schools progress from primary school, divided into infant & junior school, into secondary schools whereas as private schools are more likely to follow the first school, middle school then upper school progression. However this is only a rule of thumb and not always the case. Both types of school can follow which ever structure they deem most suitable. There are also county wide preferences with more state schools in the North of the country opting in favour of the latter.

Figure 2: UK Education System

Primary School Primary schools are for children aged 4 to 11 years. They can also be broken down into Infant School focusing on Key Stage 1 (ages 4 to 7) and Junior School, Key Stage 2 (ages 7 to 11).

In State schools the subjects to be taught at primary schools are specified by the National Curriculum, which also sets out Standard Attainment Targets (SAT‘s) to be reached. Pupils are tested on SAT‘s at 7 and 11 years old, at the end of each Key Stage (KS), in the compulsory core subjects of English, Mathematics and Science. Other subjects, including History, Geography, Technology, Music, Art and Physical Education (PE) are also taught.

Selective state funded schools, as know as grammar schools, still exist in some counties of the country for which the SAT results at the end of KS2 act as an entry exam. The majority of students continue on to attend comprehensive, mixed ability schools.

Secondary School Between the ages of 11 and 16, children attend Secondary school, usually comprehensive schools where all abilities are taught. State secondary schools must follow the National Curriculum and assessment of the children takes place at the end of at KS 3 (age 14) and KS 4 (age 16). The General Certificate of Secondary Education (GCSE) is the principal means of assessment for 16 year olds. Up to the end of KS3 all students follow the same curriculum, which includes English, Mathematics, Science (Physics, Chemistry and Biology), History, Geography, Languages, ICT, Religious Education, Physical Education, Music, Drama, Art, Design & Technology and PSHE (Personal, Social and Health

Education). Towards the end of Year 9 (age 13-14), all students select usually around 10 subjects to study in more detail, and drop all other subjects. Some of these subjects are compulsory, such as English, Mathematics and Science, and others are selected by the student. These subjects are studied for the next two years (years 10 and 11), culminating in the GCSE (General Certificate of Secondary Education) exams at the end of Year 11. Although it is not compulsory to study, all students must continue to engage in P.E. throughout their schooling.

Further Education (FE) Further Education covers education for students over the age of 16. The age of compulsory education is in the process of being raised to 18 meaning that all students will soon have to continue into FE. Typically Further Education includes A-levels, AS levels and certain vocational qualifications e.g. Business and Technology Education Council (BTEC). Students can often remain at the school they have been attending or may transfer to a different school, for example if their current school doesn‘t offer the range or combination of courses they wish to study. Pupils will typically study in the sixth form of a school, in a separate sixth form college, or in a further education college. These courses can also be studied by adults over 18.

Higher Education (HE) After the completion of compulsory education individuals can elect whether to further their studies with higher education at university. Students normally enter university from age 18 onwards, and study for an academic degree. Historically, all undergraduate education outside the private institutions were largely state-financed, with a small contribution from top-up fees, however fees of up to £9,000 per annum have been charged from October 2012. Students typical study for their first degree for 3 years obtaining either a Bachelor of Science (BSc) or Bachelor of Art (BA).

Postgraduate Education Students who have completed a first degree are eligible to undertake a postgraduate degree. This can take the form of a master's degree, typically taken in one year although research-based master's degrees may last for two, or a doctorate, typically taken in three years.

The National Curriculum The National Curriculum was introduced into England, Wales and Northern Ireland as a nationwide curriculum for primary and secondary state schools. Notwithstanding its name, it does not apply to independent schools, which may set their own curricula, but it ensures that state schools of all Local Education Authorities have a common curriculum. Every state-funded school must offer a curriculum which is balanced and broadly based and which:  promotes the spiritual, moral, cultural, mental and physical development of pupils at the school and of society  prepares pupils at the school for the opportunities, responsibilities and experiences of later life.

The school curriculum should aim to provide opportunities for all pupils to learn and to achieve.  The school curriculum should develop enjoyment of, and commitment to, learning as a means of encouraging and stimulating the best possible progress and the highest attainment for all pupils.  It should build on pupils' strengths, interests and experiences and develop their confidence in their capacity to learn and work independently and collaboratively.  It should equip them with the essential learning skills of literacy, numeracy, and information and communication technology, and promote an enquiring mind and capacity to think rationally.  The school curriculum should contribute to the development of pupils' sense of identity through knowledge and understanding of the spiritual, moral, social and cultural heritages of Britain's diverse society and of the local, national, European, Commonwealth and global dimensions of their lives.  It should encourage pupils to appreciate human aspirations and achievements in aesthetic, scientific, technological and social fields, and prompt a personal response to a range of experiences and ideas.  By providing rich and varied contexts for pupils to acquire, develop and apply a broad range of knowledge, understanding and skills, the curriculum should enable pupils to think creatively and critically, to solve problems and to make a difference for the better.  It should give them the opportunity to become creative, innovative, enterprising and capable of leadership to equip them for their future lives as workers and citizens.  It should also develop their physical skills and encourage them to recognise the importance of pursuing a healthy lifestyle and keeping themselves and others safe.

As the highlighted sections on the previous page illustrate, circus can provide a rich and varied framework that helps meets almost all of the general requirement set out 15

in the National Curriculum for state schools to adhere to in their provision for students.

With the growing concern for physical and nutritional health P.E. has been added to the list of compulsory core subjects that students must engage in throughout their study at school. Although we feel that circus relates to a wide variety of areas in the curriculum, both generally and specifically, it is in the field of physical education and the national curriculum set out for the subject where the clearest comparisons can be drawn. We will go on to highlight the areas of relevance in each of the compulsory KS‘s, up to 16, set out in the National Curriculum for P.E.

Figure: 3 Curriculum

Greek Education System The Greek educational system (diagram 1) consists of three levels. Primary, Secondary and Tertiary Education. Compulsory education refers to the ages between 5-15 years old, beginning in the senior year of kindergarten and ending in the secondary lower education. The entirety of the educational programs, fall under the jurisdiction of the Ministry of Education and Religious Affairs. Curriculum and timetables are specified by the ministry and are mandatory for all students nationwide (Ekep, 2003; Eurydice, 2014).

Primary Education Primary Education is divided into, pre-primary education offered by kindergartens, and primary education offered by elementary schools (Ekep, 2003; Eurydice, 2014). Kindergarten (Nipiagogeio). The attendance of kindergarten lasts two years. Begins at the age of 4, and the last year is compulsory for all children (Act: 3518/2006) (Eurydice, 2014; Tsatsaroni, Vrettos, Kyridis, Katsis, & Linardos, 2011). Elementary (Dimotiko Scholeio). The attendance of elementary school lasts six years (Eurydice, 2014). For children under 4 years old, care and education is provided by infant centers and child centers. Attendance starts from the age of 6 months old and is non-compulsory. Such centers are either private or under the auspice of the Municipal authorities (Tsatsaroni et al., 2011).

Secondary Education The secondary education level is divided in lower secondary education and upper secondary education. 1.2.1 Lower Secondary Education (Gymnasium). Lower secondary education is the last stage of compulsory education and is prerequisite for attendance in the upper secondary education. In parallel with the day lower secondary school, operates the evening lower secondary school (Esperino Gymnasio) (Eurydice, 2014). Upper secondary Education (Lyceum) is non compulsory, and also lasts 3 years. Students have the option of attendance at the general secondary education offered by Unified Lyceum (genico lykeio) or the vocational secondary education offered by Vocational Lyceum (Epaggelmatiko Lykeio). The Vocational Lyceum has two circles. The secondary cycle, and a post-secondary cycle of studies ("apprenticeship class") which is optional. As previously mentioned, along with day schools, operate

the Evening General Lyceums (Esperina Genika Lykeia) and Evening Vocational Lyceums (Esperina Epaggelmatika Lykeia) (Ekep, 2003; Eurydice, 2014). There are also musical, ecclesiastical, and athletic schools (Tsatsaroni et al., 2011). Especially, musical schools follow the main curriculum for secondary education, with the addition of several courses according to their respective fields. Special exams are required for student admission. Moreover, in primary and secondary educational level special schools provide education to students with special educational needs. Certified documents stating condition from an authorized public institution are required for admission (Hellenic Government Gazette, 2008).

Tertiary (Higher) Education Tertiary Education in Greece is provided by Universities (including Technical Universities, and the School of Fine Arts), by Technological Education Institutions (TEIs), and by the School of Pedagogical and Technological Education (ASPETE). Student admission in higher education is determined by standardized national exams. Moreover, universities also offer graduate (master) and postgraduate (PhD) programs. (Eurydice, 2014). Moreover, Hellenic Open University is the only institute providing distance education in Greece in both undergraduate and postgraduate levels. H.O.U is based on the assumption that education is a lifelong entitlement. It is a legal entity of public law, completely independent and autonomous (http://www.eap.gr/index.php).

Teaching Methods, experiential learning, case studies The Greek curriculum recently started promoting experiential learning. One of the teaching methods is learning through projects which are implemended in all educational levels. With the implementation of projects, students have the opportunity to discover the knowledge by themselves under the supervision of their teachers. According to the kindergarten‘s curriculum, the subjects of the projects arise from the children‘s interests. In some cases, the curriculum of elementary and lower secondary education proposes specific projects. In the case of physical education, such projects may be: ―Greek traditional dances‖, ―National athletic games in ancient Greece‖, ―Exercise and Health‖ or ―Lifelong fitness‖ and ―The education of young people in ancient Greece‖ (Pedagogical Institute, 2003; 2003a; 2004).

Figure 4: The structure of the Greek Education System

(Source: National Center of Vocational Orientation, 2003)

Belgium education system Belgium is a founding member of the European Union and hosts its headquarters, as well as those of other major international organizations, including NATO. Belgium covers an area of 30,528 km2 (11,787 square miles) and has a population of about 11,000,000 (status on January, 1st, 2012). Belgium is a federal state in Europe with a constitutional monarchy, founded in 1830, and its capital is Brussels. Straddling the cultural boundary between Germanic and Latin Europe, Belgium is home for two main linguistic groups, the Dutch speakers/Flemings and the French speakers, mostly Walloons, plus a small group of German speakers. Belgium's two largest regions are the Dutch-speaking region of Flanders in the north, with 59% of the population, and the French-speaking southern region of Wallonia with 31% of the population. The Brussels-Capital Region, officially bilingual, is a mostly French- speaking enclave within the Flemish Region and near the Walloon Region, and has 10% of the population. A small German-speaking Community exists in eastern Wallonia. Belgium's linguistic diversity and related political and cultural conflicts are reflected in the political history and a complex educational system.

Structure of Education System As Belgium is divided into distinct federal regions there are separate education systems, but that run along very similar lines for each of the communities. Education is regulated and for the larger part financed by one of the three communities: Flemish, French and German-speaking. All three communities have a unified school system with small differences from one community to another. The federal government plays a very small role: it decides directly the age for mandatory schooling and indirectly the financing of the communities. The schools can be divided in three groups (Dutch: netten; French: réseaux): 1. Schools owned by the communities (GO! Onderwijs van de Vlaamse gemeenschap; réseau de la Communauté française). Community schools come under the authority of the relevant ministry of education and must be neutral, that is respecting the religious, philosophical or ideological convictions of all parents and pupils 2. Subsidized public schools (officieel gesubsidieerd onderwijs; réseau officiel subventionné), organized by provinces and municipalities. 3. Subsidized free schools (vrij gesubsidieerd onderwijs; réseau libre subventionné), mainly organized by an organization affiliated to the Catholic church. These privately schools include Catholic schools as well as Jewish, Protestant, Islamic and Orthodox schools. In Flanders they make up the largest group both in number of schools and pupils, however, in the French community they are roughly equal in size to community schools with a larger share of secondary and tertiary education.

Method schools such as Montessori and Steiner also form part of this third group of privately run schools and are subsidised by the state. The latter is the largest group, both in number of schools and in number of pupils. Education in Belgium is compulsory between the ages of 6 and 18 or until one graduate from secondary school. There are three regional Ministries of Education with responsibility for implementing government policy:

 Department for Educational development in the Dutch speaking community (Flanders & Brussels).Code: BE nl= Belgium – Flemish Community  Department for Educational Development in the French speaking community (Wallonia & Brussels). Code: BE fry= Belgium – French Community  Department for Education in the German speaking community (in German). Code: BE de= Belgium – German-speaking Community

Stages of education The different stages of education are the same in all communities:

A. Basic education (Dutch: basisonderwijs; French: enseignement fondamental), consisting of a. Preschool education (kleuteronderwijs; enseignement maternel): -6 years b. Primary school (lager onderwijs; enseignement primaire): 6–12 years c. Secondary education (secundair onderwijs; enseignement secondaire): 12–18 years

B. Higher education (hoger onderwijs; enseignement supérieur) a. University, universiteit; université) b. Polytechnic/Vocational university(hogeschool; haute école)

Figure 5: Education in Belgium. The different levels of education in Flanders

Pre-primary education Free pre-primary schooling (Dutch: kleuteronderwijs; French: enseignement maternel; German: Kindergarten) is provided to every child from the age of 2 years 6 months. In most schools the child can start in school as soon as they reach this age, so class size for the youngest children grows during the year. In the Flemish region, start dates are limited to 6 per year, after a school holiday period and the first school day in February. The aim of pre-school is to develop, in a playful way, children's cognitive skills, their capacity to express themselves and communicate, their creativity and independence. There are no formal lessons or assessments, and everything is done in a playful way. There are few formal lessons. As children get older there are supervised tasks and specialised lessons in subjects such as music, a second language and gym, and everything is done with an emphasis on play. Although it is not compulsory, more than 90% of all children in the age category attend pre- school.Most pre-schools are attached to a particular primary school. Preschools and primary schools often share buildings and other facilities. Some schools offer special pre-primary education for children with disabilities or other special needs. Where places are limited, priority is given to mothers working full-time. By the age of five, 99 per cent of children are in school.

Primary education Primary school (Dutch: lager onderwijs; French: enseignement primaire; German: Grundschule) consists of six years and the subjects given are generally the same at all schools. Primary schooling is free and age is the only entrance requirement. Primary education is divided into three cycles (Dutch: graden; French: degrés):

 First cycle (year 1 and 2)

 Second cycle (year 3 and 4)

 Third cycle (year 5 and 6)

Education in primary schools is rather traditional: it concentrates on reading, writing and basic mathematics, but also touches already a very broad range of topics (biology, music, religion, history, etc.). School usually starts about 8:30 and finishes around 15:30. A lunchtime break is usually provided from 12:00 to 13:30. Wednesday afternoon, Saturday and Sunday are free. While morning lessons often concentrate on reading, writing and basic mathematics, lessons in the afternoon are usually about other topics like biology, music, religion, history or "do it yourself" activities. Flemish schools in Brussels and some municipalities near the language border must offer French lessons starting from the first or the second year. Most other Flemish schools offer French education in the third cycle. Some of the latter schools offer non-mandatory French lessons already in the second cycle. Primary schools in the French Community must teach another language, which is generally Dutch or English, depending on the school. Primary schools in the German Community have obligatory French lessons. There is also some private schools set up to serve various international communities in Belgium (e.g. children of seafarers or European diplomats), mainly around the larger cities. Some schools offer special primary education for children with disabilities or other special needs. Primary school education begins on the 1 September of the year in which a child reaches the age of six (although some children are admitted at age five if they are considered ready) and is free to all. It lasts for six years and a whole range of academic subjects are studied. There is a strong language emphasis. For example schools in the German community must teach French from the first or second year and in Brussels Dutch schools must teach French and French schools must teach Dutch – commune schools start this during the last year of pre-school. Homework is given from an early age and a high level of parental involvement is encouraged.

Secondary Education When graduating from primary school around the age of 12, students enter secondary education. Here they have to choose a course that they want to follow, depending on their skill level and interests. Secondary education consists of three cycles (Dutch: graden; French: degrés):

 First cycle (year 1 and 2)

 Second cycle (year 3 and 4)

 Third cycle (year 5 and 6) The Belgian secondary education grants the pupils more choice as they enter a higher cycle. The first cycle provides a broad general basis, with only a few options to choose from (such as Latin, additional mathematics, technology). This should enable students to orient themselves in the most suitable way towards the many different courses available in the second and third stages. The second and third cycle are much more specific in each of the possible directions. While the youngest pupils may choose at the most two or four hours per week, the oldest pupils have the opportunity to choose between different "menus": like Math-Science, Economy- Languages or Latin-Greek. They are then able to shape the largest part of the time they spend at school. However, some core lessons are compulsory like the first language and sport, etc. This mix between compulsory and optional lessons grouped in menus make it possible to keep class structures even for the oldest students.

Structure Secondary school is divided into four general types. Each type consists of a set of different directions that may vary from school to school. The general types are as follows: General Secondary Education (Dutch: Algemeen Secundair Onderwijs; ASO; French: Enseignement Secondaire général): A very broad, general education, preparing for higher education. Once students have completed all six years, it is expected that they will continue studying (e.g.: university or college). Possible directions include (combinations of): ancient Greek and Latin, Modern Languages (stressing French and Dutch, English, German, and sometimes optional Spanish), Sciences (chemistry, physics, biology and geography), Mathematics, Economy, and Human Sciences (psychology, sociology, media). Technical Secondary Education (Dutch: Technisch Secundair Onderwijs; TSO; French: Enseignement Secondaire technique): The TSO is divided into two groups of education again: TTK and STK. The TTK courses focus more on technical aspects, the STK courses focus more on practical matters. Both offer a general education in math, languages, history, science, and geography, but mostly not on the same level as ASO courses. Lessons have a less theoretical, but more technical and 25

practical approach. Once students have completed all six years they are either ready for the job market (STK courses mostly) or continue to study (TTK courses mostly). The continued studies could be a seventh specialization year (mostly STK students take this as an option), bachelor studies or even master studies. Possible directions include several Office management-like directions, practical ICT, Tourism, Health, Teaching, Trade, Practical Engineering, Communications., etc. Vocational Secondary Education (Dutch: Beroepssecundair Onderwijs; BSO; French: Enseignement Secondaire professionnel): Very practical and very job specific education. Afterwards, several directions offer seventh, sometimes eighth, specialisation years. Possible directions include Carpentry, Car mechanics, Jewelry, Masonry... BSO is the only type of secondary education that does not qualify students to pursue higher education. If the student chooses to follow the optional 7th (and sometimes 8th) year, he/she will receive a diploma of the same level as a TSO diploma, which does allow him/her to pursue higher education. Art Secondary Education (Dutch: Kunstsecundair onderwijs; KSO; French: Enseignement Secondaire artistique): These schools link general and broad secondary education development with active art practice, ranging from performance arts to display arts. Depending on the direction, several subjects might be purely theoretical, preparing for higher education. Directions include dancing (Ballet school), acting, and several graphical and musical arts. Many students graduating from these schools go to music conservatories, higher ballet or acting schools or art colleges to further develop their art. Students with disabilities can follow Special Secondary Education (Dutch: Buitengewoon Secundair Onderwijs; BuSO; French: Enseignement Secondaire spécial), of different types. Secondary education is also free and begins at around age 12. Parents may be expected to make a contribution towards the cost of textbooks. Assessment is on-going throughout secondary education and students receive a diploma at the end of their studies. For those who have followed a general range of subjects the next step is normally higher education. Technical students often go to university or college to study related subjects or may start working straight after school. Vocational students typically begin working part- time to complement their studies from age 16 and then move into full-time employment. Those who have followed the artistic options usually go on to higher education, for example to art colleges or specialist music conservatories but may go to university or college, depending on the options they choose. Some art colleges have a secondary section starting from the third year of secondary school and pupil‘s study for the first two years in a general school. Doubling (repeating a year) Children are tested at the end of each year of pre-school, primary and secondary school to decide if they are ready for the next year. The testing takes the form of 26

assessment and supervised tests for younger children and exams for older children. If they are not ready to move up, they repeat the year or "double". The system continues in secondary school. Because "doubling" is common, there is usually very little stigma attached to it.

International Schools There are a large number of international schools in Belgium, mainly around Brussels and Antwerp. They follow a variety of curricula and some offer the International Baccalaureate programme. They are all privately run and therefore are fee-paying. Some offer primary education only while others can cater for all ages including pre-school and nursery age children. In many instances children are taught by nationals from their country of origin. Finally, there are schools exclusively for children whose parents work for Shape and the European Institutions. These schools also have fee-paying places for other children, especially those of NATO officers and diplomats.

Tertiary (Higher) Education Higher education in Belgium is organized by the two main communities, the Flemish Community and the French Community. German speakers typically enrol in institutions in the French Community or in Germany. Admission to universities and colleges In Belgium anybody with a qualifying diploma of secondary education is free to enroll at any institute of higher education of their choosing. The 4 major exceptions to this rule are those wanting to pursue a degree in:

 Medicine/Dentistry Prospective medicine or dentistry students must take an entrance exam organized by the government. This exam was introduced in the 1990s to control the influx of students. The exam assesses the student's knowledge of science, their ability to think in abstract terms (IQ test) and their psychological aptitude to become a physician. This exam is now held only in Flanders.

 Arts The colleges organize entrance exams to arts programs, which are mainly of a practical nature, individually.

 Engineering Sciences Leading to the degree of Master of Science (Dutch: Burgerlijk ingenious, French: Ingénieur Civil), these faculties had a long standing tradition of requiring an 27

entrance exam (mainly focused on mathematics); the exam has now been abolished in the Flemish Community but is still organized in the French Community.

 Management Sciences Leading to a master's after master's degree or a Master in Business Administration degree, these management schools organise admission tests that focus on individual motivation and pre-knowledge of a specialised domain. E.g. A Master in Financial Management programme requires prior knowledge on corporate finance and management control topics. Cost of higher education The financial aid awarded by the community governments depends on the income of the student's family, and other familial circumstances, but is never more than approximately €5,000 per year. The aid is not at all based on the student's results; however, students who fail too many classes can lose their financial aid. Bologna changes Since the adoption of the Bologna process in most European countries, the higher education system in Belgium follows the Bachelor/Master system: Bachelor's degree 3 years. Distinction is to be made between the professional bachelor, which replaces the former graduate degree and which has finality, and the academic bachelor which replaces the candidate degree and which gives access to master's studies. Master's degree 1 or 2 years. In Belgium, both Universities and Colleges are allowed to teach Bachelor and Master classes, either professional or academically. After obtaining a Master's degree, talented students can pursue research projects leading to a doctorate degree. Universities only award PhD‘s.

Quality procedures With regard to compulsory education, the Belgian educational system does not have a central state-organised exam for pupils at the end of secondary education. All three communities have separate quality assurance systems combining internal and external quality evaluation procedures. Legislators in the three communities have identified common learning outcomes that pupils are expected to attain during the different levels of education, encompassing both knowledge and skills at a high level of abstraction. These learning outcomes are then developed into learning curricula by the maintaining bodies of the schools. Independent inspection services perform

regular external evaluations (e.g. every 5 years) in order to assess the degree to which each school's individual approach guarantees the attainment of the common learning outcomes identified by the legislators. With regard to higher education and adult education & training, the three communities have more divergent procedures. In the 2003 PISA-study of secondary school students by the OECD, the Belgian students scored relatively high. The results of the Dutch-speaking students were significantly higher than the scores of the German-speaking students which were in turn significantly higher than the French-speaking students. The United Nations Education Index, which is measured by the adult literacy rate and the combined primary, secondary, and tertiary gross enrolment ratio, ranks Belgium on the 18th place in the world as of 2011.

Method schools Freedom of education is and has always been one of the major topics in the Belgian educational system. Freedom of education as guaranteed by article 24 of the Belgian constitution not only comprises freedom of choice, but also so-called pedagogical freedom, namely the right to autonomously establish schools. Consequently and as we have seen before there exists a large number of private schooling establishments in Belgium. These private institutions are subsidised by the state on the condition that they fulfil certain criteria. The majority of pupils do not in fact attend public schools, but private grant-aided schools instead. There also exists a non grant-aided sector of private schooling, but this is very small. For these reasons there is a wide range of schools, which adopt the methodology of an educational philosophy. In these, children often learn through discovery and the liberal arts, with subjects such as grammar, mathematics and science being taught from direct experience rather than in a formal setting. The Celestin Freinet system follows this approach, whilst the Decroly schools separate out the academic and creative skills in a vertically streamed organisation, younger children benefiting from the experience of older pupils. The Steiner schools place greater emphasis on the arts. The Montessori schools are well represented in Belgium and teach children in small focussed groups according to the relaxed self-developmental Montessori method. These schools tend to offer a bilingual French-English education.

International schools These are the choice of parents who wish their children to remain in a system they know, with a language they know and with the option of continuing the system back in the home country. With its burgeoning international community, Belgium — and Brussels in particular — has a raft of international schools following British, American, French and Dutch education systems, among many others.

These schools offer the whole range of education from nursery to school leaving age. As they are all private, they are fee-paying, though many companies offer education costs as part of an overseas benefits package. The International School of Brussels is the largest American curriculum international school, for students aged 3-19 years. It also offers the International Baccalaureate (IB) programme. ISB is in fact four separate schools, each with its own Head and specialist staff, grouped together on a 40-acre wooded campus.Similarly, St John's International School in Waterloo offers the IB and has among the highest credit passes in Europe. St John's caters for all ages and has elementary, middle and high schools.

The British School of Brussels is the largest British curriculum school, set on a large campus in Tervuren. Since September 2005, BSB also offers the IB programme as well as GCSE and A level. Both ISB and BSB place great emphasis on sport and the arts and run highly successful summer schools, which are open to all. In Antwerp, the small Antwerp British School also offers an international curriculum for children aged 3-16yrs, leading to the IGCSE. The Antwerp International School also offers the IGCSE as well as the IB. Both schools offer Dutch and French as standard.

European schools The European schools are notoriously difficult to get into unless at least one parent works for one of the EU institutions. Education is in mother tongue with a second language being introduced at primary level. A third language is then obligatory from the second year of secondary school with optional additional languages on offer in later years. Courses lead to the European Baccalaureate, which is recognised for university entrance throughout the EU.

Montessori schools Dr Maria Montessori, born 1870, was the first woman in Italy to obtain a medical degree. Working in education and psychiatry, she developed her notion that each child is born with a unique potential to be revealed rather than being an empty vessel to be filled by others. Out of this came a method of learning and self-development that has become recognised around the globe. At the heart of the Montessori method of education is the child. Montessori children learn in a supportive and non- competitive environment and the focus is on the child's individuality and specific needs. Children are encouraged to work at their own pace and independently, meaning the teachers can work with other individuals or small groups. This places a certain amount of responsibility on children to develop their own learning, whilst teachers act as an encouraging guide and facilitator. An essential concept of Montessori is that the teacher must pay attention to the child rather than the other wayaround.

Teachers are, of course, an important part of the Montessori process. It is the teacher who creates the environment where learning can take place. The teacher and the children share the whole space between them - there is no teacher's area or desk - and the total environment comes into play. Teachers are specifically trained in the method and use specially designed Montessori materials. These materials are not only stimulating and imaginative, but are self correcting, allowing children to proceed at their own pace and learn by their mistakes. The Montessori schools in Brussels operate bilingually with two teachers, one who speak only in English and the other in French. Extra languages, such as Dutch and Spanish, can be introduced as the children become older, though these tend to be taught more traditionally. The working languages however, are integrated into all the work and activities the children do, strengthening the concept that Montessori educated children are problem solvers, self sufficient and destined to have confident, enquiring minds.

Swiss Education System

Education in a multilingual and federalist country In Switzerland, education is the responsibility of the government from entering pre- school to the tertiary level (universities and higher vocational education and training). Responsibility for education lies primarily with the 26 cantons, so that there are actually 26 slightly different cantonal education systems, where differences lay mainly at pre-primary, primary and secondary education levels – i.e., for compulsory education. A reform process, called HarmoS, is now about to be reach its final phase: during the last 10 years, new standards have been produced for all grades in compulsory education (4 – 15 years), and will be implemented in all cantons by 2015. On the other hand, the cantons and the federal government each have their own responsibilities for post-compulsory education (general education schools, VET, universities) and thus bear responsibility for these levels of education together. VET education is very well developed, if compared to most European countries, and many connections are present between professional and academic tracks, so that cross-paths are possible. The cantons and their local municipalities finance over 80% of public expenditure on education. The overall structure of the education system is represented in Figure 1. For more information please refer to (EDK, n.d./a)

Compulsory education Most students in Switzerland (95%) complete compulsory education at the state school in the municipality in which they live. 5% attend private schools, who are not supported by the government. The Swiss population is composed by 40% foreigners and up to 50% with a migration background. State schools play an important role in integration: children who have different social, linguistic and cultural backgrounds all attend the same school. Responsibility for compulsory schooling lies with the cantons. Schools are run by the local municipalities. Because education is locally rooted, tailor-made solutions can be implemented. Attendance of state schools is free of charge.

Figure 6: Swiss Education System

Duration of the levels of education All cantons provide one to two years of free pre-school education (kindergarten, école enfantine); the canton of Ticino offers three years (scuola dell'infanzia). In most cantons attendance of two years of pre-school will become mandatory over the next few years in connection with the HarmoS process; this is already the case in fourteen cantons. Including pre-school, compulsory education lasts eleven years; children start at the age of four or five. The primary school level including pre-school therefore covers grades 1–8, while the subsequent lower secondary level lasts three years and covers grades 9–11. The cantons of Aargau, Basel-Landschaft and Basel-Stadt currently have a different structure, but will change to a three-year lower secondary level over the next few years, in relation to HarmoS. In the canton of Ticino alone the lower secondary level (scuola media) continues to last four years. In the lower secondary level pupils receive instruction in all or some subjects in performance-based groups. Different organisational forms apply.

Languages The language of instruction is German, French, Italian or Romansh, depending on the language region, though Romansh-language communities are a special case and in most cases enjoy bilingual education. Traditionally, language learning has an important role in Switzerland. During their compulsory schooling in most cantons today students learn at least two other languages. Although this is the source of a strong debate, these are usually one of the other languages spoken in Switzerland, and English (but in Ticino, all students learn French, German and English).

The harmonization process (HarmoS) The federal and decentralised structure of compulsory education (including pre- school) makes it possible to deal appropriately with the cultural differences in a multilingual country and its regional-specific school traditions. Under the Swiss Constitution, following a popular vote, the school starting age, compulsory school attendance, the duration and objectives of the levels of education, and the transitions between the levels of education are to be harmonised. The basis for implementing this constitutional obligation has been created by the cantons in the shape of a new intercantonal agreement, labelled Harmonisation of compulsory education (HarmoS), signed in 2009. Each main linguistic region (German-speaking, French- speaking, Italian-speaking) has developed new school programs based on common standards (EDK, n.d./c). The new programs are currently being implemented progressively.

Post-compulsory education Intercantonal or national legislation generally form the basis for the type of education in the area of post-compulsory education (upper secondary level and tertiary level). The cantons are responsible for enforcing this legislation and are responsible for the organisation of the schools. The only exceptions are the Swiss Federal Institutes of Technology, which are in the charge of the federal authorities. 90% of young people in Switzerland complete upper secondary education at the age of 18 or 19, which allows them to start working, to switch to a college of higher vocational training or – with a matura/baccalaureate – to continue their education at a university. The following are distinct features of the Swiss education system: 1. Permeability: There are many ways to enter or transfer to a training programme or school or to attend a catch up training programme. 2. There is open access to the various types of education: Anyone who has the necessary qualifications can generally attend the course of his/her choice, the university attended can also be freely selected. Vocational education and training is subject to some restrictions due to the ceilings on student numbers for certain vocational areas. Access to medical studies at university is also limited to a certain extent.

Tertiary schools The higher education landscape in Switzerland is composed by:

 12 Universities, coordinated by the Conference of Rectors of Swiss Universities (CRUS, n.d.);

 2 Federal Polytechnic Schools (in Lausanne and Zürich, also associated to the CRUS)

 15 Universities of Teacher Education, coordinated by the Swiss Conference of Rectors of Universities of Teacher Education (COHEP, n.d.)

 1 Federal Institute for Vocation Training Teacher Education (EHB, n.d.)

 8 Universities of Applied Sciences, each formed by Departments/Units related to different professions; these are coordinated by the Conference of Swiss Universities of Applied Sciences (KFH, n.d.).

 A few independent academic research institutes

All Hochschulen (tertiary education schools) are federated under the swissuniversities label (Swissuniversities, n.d.). These include Universities of

Applied Sciences for Theatre and the Arts, such as Scuola Teatro Dimitri in Verscio (near Locarno), who specifically deals with Movement Theatre and also teaches Clownerie (STD, n.d.). As this is not the main topic for CirSchool, no additional details on the Swiss higher education system are provided in this document.

Teaching methods, experiential learning, case studies Given the highly differentiated education system, it is difficult to outline a single profile when it comes to teaching methods for compulsory education across Switzerland. Indeed, schooling traditions and teaching practices differ in the different linguistic regions, who are influenced by the practices, pedagogical discourses and cultures of neighbouring countries (namely, Germany, France and Italy). However, a few common features can be identified: 1. The ludic approach to knowledge and fundamental in lower grades: experimentation and experiential learning are central for pre-primary and primary education. 2. Narrative (fairy tales, stories) is important instructional means. 3. Also in secondary education, hands-on and lab activities are used a lot, also in connection with collaboration with local companies and organizations. 4. There is a tight connection between lower secondary education and early vocation education, in terms of orientation and choices for the future. 5. There is very little emphasis on ICT up to primary education, where physical and outdoor activities are preferred. ICT start playing a role only in secondary education. 6. The Arts play an important role in school programs, even if Math and Languages (and later, Science) are given more space in the curriculum

The de-localization of school control allows many local experimentations and practices, so that many local practices and tailor-made solutions are present.

CirSchool and the Swiss education system The goal of this report is identified the opportunities for CirSchool to have an impact within the Swiss education system. According to the new standards set with the HarmoS Agreement, and translated in the new compulsory school programs, domain areas in school programs are organized as in Figure 2 (taken from the programs in Canton Ticino).

Figure 7: Domain areas in the new school programs

According to this arrangement, CirSchool can achieve impact in two different areas: 1. As part of the Physical Education curriculum, which is included in the area of Artistic and Expressive disciplines 2. As contribution to the development of cross-disciplinary learning goals, namely connected to General Education and Transversal competencies.

These two areas are only broadly described within the HarmoS documents, as they are not subject to standard-based assessments. Nonetheless, they were fully developed in the three school programs produced in each linguistic region. To the purposes of this document, the Italian-speaking program was considered, i.e., Nuovo Piano di Studi per la Scuola dellObbligo (DECS, n.d.).

2.2 Physical Education Curriculum In Primary and Secondary Education Physical education curriculum-Italy Physical Education, with other subjects, works achieving to the ―harmonious and integral development‖ of the children according to Italian Constitution and the European culture tradition to promote the knowledge and the respect of themselves. Pre-primary and first cycle of education approach to vertical curriculum for the goals of the learning skills.

The teacher plans by skill: the children are actors, responsible, aware of the learning process which is

active considerable motivating Child interacts with While he learns, the child He works with his the environment and learns to learn. skills encouraging others children. to learn.

Pre-primary School Promotes the development of identity, autonomy competence and starts them citizenship. Movement is the first learning factor: playing, jumping, running, rolling, researching is source of physical and psychological well-being. Children play with their body, express themselves with expression, they masquerade, they get involved; in this way they perceive their body ego, consolidate their autonomy and emotional security. Physical education integrates different languages, verbal and gestural, and promote the general application of body schema. Activities of daily living, the outdoor games are important such as the use of small tools and psychomotor games, and they can be an occasion for heath education which comprehend proper nutrition and personal hygiene. In kindergarten all the proposed activities are focused on the game, with body, with environment, with ball, with rhythm and with tales. The game promotes new discoveries.

Primary School Physical education has a model time from one hour to two hours a week in the gym or outdoors. The child builds his own bodily identity, explores space, communicates and interacts with others. If the child in not able to communicate with verbal language, he can do it through the movement. He can control his emotions experiencing victories and defeats. He can share group experiential and promotes the insertion of children with disabilities, through cooperation and teamwork. The game and the sport facilitate relationships and encourage the value of compliance and ethical values that are the foundation of a civil society. The first two years of

primary school, all the activities bring out the creativity, imagination and spontaneity. There are a lot of games: body games , tool games, relay race, symbolic games, rhythm games. At the beginning of the third year, teachers can offer children activities ―Play/Sport‖: volleyball, basketball, football, handball, artistic gymnastic that contribute to the physical and mental maturity of the child.

Lower Secondary School Physical education is present two hours a week for each class. It aims to educate the movement. The contents of this process are the different sports including athletics, gymnastic, volleyball, and basketball practice in the gym or outdoors. These activities are supported by theoretical elements such as anatomy, safety and prevention, with the aid of other disciplines: science, technology and history. Each school can increase the educational offer with extra schools project in according by the Region and Ministry of Education that promote races into national competition. Physical activity and sport experiences thus encourages cognitive, social and cultural.

Physical education curriculum-UK A high-quality physical education curriculum inspires all pupils to succeed and excel in competitive sport and other physically-demanding activities. It should provide opportunities for pupils to become physically confident in a way which supports their health and fitness. Opportunities to compete in sport and other activities build character and help to embed values such as fairness and respect.

The national curriculum for physical education aims to ensure that all pupils:  develop competence to excel in a broad range of physical activities  engage in competitive sports and activities  lead healthy, active lives  are physically active for sustained periods of time

Key Stage 1 (5-7 Years) Pupils should develop fundamental movement skills, become increasingly competent and confident and access a broad range of opportunities to extend their agility, balance and coordination, individually and with others. They should be able to engage in competitive (both against self and against others) and co-operative physical activities, in a range of increasingly challenging situations.

Pupils should be taught to:  master basic movements including running, jumping, throwing and catching, as well as developing balance, agility and co-ordination, and begin to apply these in a range of activities  participate in team games, developing simple tactics for attacking and 38

defending  perform dances using simple movement patterns

key Stage 2 (7-11 Years) Pupils should continue to apply and develop a broader range of skills, learning how to use them in different ways and to link them to make actions and sequences of movement. They should enjoy communicating, collaborating and competing with each other. They should develop an understanding of how to improve in different physical activities and sports and learn how to evaluate and recognise their own success.

Pupils should be taught to:  use running, jumping, throwing and catching in isolation and in combination  play competitive games, modified where appropriate [for example, badminton, basketball, cricket, football, hockey, netball, rounders and tennis], and apply basic principles suitable for attacking and defending  develop flexibility, strength, technique, control and balance [for example, through athletics and gymnastics]  perform dances using a range of movement patterns  take part in outdoor and adventurous activity challenges both individually and within a team  compare their performances with previous ones and demonstrate improvement to achieve their personal best.

Key Stage 3 (11-14 Years) Pupils should build on and embed the physical development and skills learned in key stages 1 and 2, become more competent, confident and expert in their techniques, and apply them across different sports and physical activities. They should understand what makes a performance effective and how to apply these principles to their own and others‟ work. They should develop the confidence and interest to get involved in exercise, sports and activities out of school and in later life, and understand and apply the long-term health benefits of physical activity.

Pupils should be taught to:  use a range of tactics and strategies to overcome opponents in direct competition through team and individual games [for example, badminton, basketball, cricket, football, hockey, netball, rounders, rugby and tennis]  develop their technique and improve their performance in other competitive sports [for example, athletics and gymnastics]  perform dances using advanced dance techniques within a range of dance styles and forms  take part in outdoor and adventurous activities which present intellectual and physical challenges and be encouraged to work in a team, building on trust and developing skills to solve problems, either individually or as a group

 analyse their performances compared to previous ones and demonstrate improvement to achieve their personal best  take part in competitive sports and activities outside school through community links or sports clubs.

Key Stage 4 (14-16 Years) Pupils should tackle complex and demanding physical activities. They should get involved in a range of activities that develops personal fitness and promotes an active, healthy lifestyle.

Pupils should be taught to:  use and develop a variety of tactics and strategies to overcome opponents in team and individual games [for example, badminton, basketball, cricket, football, hockey, netball, rounders, rugby and tennis]  develop their technique and improve their performance in other competitive sports,[for example, athletics and gymnastics], or other physical activities [for example, dance]  take part in further outdoor and adventurous activities in a range of environments which present intellectual and physical challenges and which encourage pupils to work in a team, building on trust and developing skills to solve problems, either individually or as a group  evaluate their performances compared to previous ones and demonstrate improvement across a range of physical activities to achieve their personal best  continue to take part regularly in competitive sports and activities outside school through community links or sports clubs.

Circus & The Physical Education Curriculum

The highlighted sections demonstrate the extremely close and highly comprehensive link that circus has to the physical education National Curriculum in the UK. Every single learning outcome in each of the 4 Key Stages is met in some capacity through the study of circus.

Primarily, circus encourages students to develop physical literacy whilst working at their own pace using increasingly complex and playful interactions with apparatus in a kinaesthetic learning environment. As well as the obvious associations, circus plays an important role for students to further their understanding of the other core subjects in a practical setting e.g. shape and space, momentum, force, spatial awareness, expression and development of ideas, critical evaluation, individual motivation, calculated risk, collaboration and above all confident and self belief.

International Primary & Middle School Curriculum

Increasing primary and secondary schools in the UK are opting to follow the International Primary (IPC) & Middle Years Curriculum (IMYC). This meets the criteria and guidelines set out in the National Curriculum but focuses within each module on practical project based learning thus meeting the criteria of several subjects. The change in delivery has proved highly useful for motivating children of all abilities and learning styles whom often find it challenging to learn via traditional didactic teaching methods.

As well as being applicable to a variety of other modules in some form, the International Primary Curriculum has a whole module called ―the circus is coming to town‖ focusing on the development of pupil understanding of movement and entertainment.

Clear parallels can be drawn between engagement in circus activities and numerous modules set out in the International Middle Years Curriculum These include, but are not limited to:

* Adaptability * Balance * Belief * Challenge * Collaboration * Communication * Competition * Courage * Consequences * Creativity * Leadership * Reflection * Resilience * Resolution * Risk * Respect * Responsibility

Physical education curriculum-Greece According to EACEA/Eurydice (2013), physical education at schools helps students obtain various skills through activities, such as running and team games and sports, promoting lifelong fitness and good health. Starting early ensures a better understanding of the value of these activities. Priority is given to the development of physical and motor skills. Students enhance their coordination, speed, endurance, balance and strength and discover the benefits of a healthy lifestyle and lifelong enjoyment in physical activity and exercise. Physical education also promotes personal growth, physical awareness, self-confidence and self-esteem. Moreover, in addition to physical skills, students gain knowledge and insight on principles and concepts such as rules and regulations, fair play, respect, tactics and team effort. The significance of physical and social implications has also been expressed by the European Commission (EACE/Eurydice, 2013). Since the implementations of all-day primary schools (Olohmera Scholeia) and the unified reformed curriculum the weekly taught physical education time is doubled. Schools may choose to include new modules and a cross curricular approach linking physical activities to other subjects. In addition, efforts are being made (in both primary and secondary education) in order to promote participatory instead of competitiveness in sport competitions hoping to reduce bullying and violence in schools (EACE/Eurydice, 2013).

Primary Education Physical Education in Kindergarten According to kindergarten‘s curriculum, all activities of physical education should aim at the total mobility of the children as well as the promotion of the physical, social, emotional and intellectual development, in accordance with the purpose of physical education. Children should learn to comply with certain safety standards and handle appropriate educational material. Moreover, children learn to gradually develop positive attitudes towards cooperation, mutual acceptance and support. In addition, they begin to understand the meaning of the Olympic ideals and the importance of major athletic events (Pedagogical Institute, 2004).

Physical Education in Elementary school The purpose of physical education in elementary school is to contribute to the physical development of students while helping with their mental and spiritual cultivation, as well as integration harmoniously into society. Priority is given to the development of student motor skills thus improving their health. In the first two grades of elementary school the emphasis is given on group oriented games, Greek traditional dances, psychomotor and music-motor activities. In senior grades, sports (football, Long jump, sprinters) and gymnastics are added in the curriculum (Pedagogical Institute, 2003).

Secondary Education All the physical activities are carried out within the course of "physical education". Physical education is taught on the classes organized by the rest of the courses. The course content is determined by the curriculum and the teaching hours by the timetable, depending on the educational level. However, students in upper secondary education have the possibility, within the course of physical education, to choose one sport. Students who choose the same sport form a team. Each school cannot have more than four teams. In the case that a large amount of students choose the same sport, priority is given to those that will represent their schools to the interschool championship (Ministry of National Education and Religions Affairs, 1990).

Until recently, those students who wanted to be involved more systematically with a sport had the opportunity to attend TAD (lower and upper secondary education). TAD were ―special classes of physical education‖ that follow the national curriculum as all the other classes, with the exception that they operate differently and had special admission requirements based on the physical abilities of students (Ministry of Education, Lifelong Learning and Religions Affairs, 2012).

Physical Education in Lower Secondary Education (Gymnasium) The curriculum of physical education in gymnasium (indicative) aims to the: 1) Development of motor skills, natural and physical abilities, social and mental virtues, and ethical principles such as justice and meritocracy. 2) Promotion of health and wellness. 3) Acquisition of knowledge on physical education, and understanding the importance of lifelong exercise, on the Olympic Idea, and on traditional dances and music at local and national level (Pedagogical Institute, 2003a) Within the physical educational curriculum in primary and secondary education, there is a program called ―Olympic Education‖. It is a pedagogical program that promotes the values, knowledge, experiences and skills that emanate from Olympic Games and the athletic tradition. Its purpose is the creation of socially acceptable attitudes and behaviors (Pedagogical Institute, 2003; 2003a).

Physical Education in Upper Secondary Education (Lyceum) In addition, the physical education in Lyceum aims through athletic activities the development of student physical, mental and spiritual capabilities as well as their harmonic integration to society. The individual goals are the development of moral and social virtues, the enhancement of natural physical abilities, improvement of basic techniques in sports and activities through games and similar events, and the acquisition of knowledge regarding the rules and regulations of the Olympic Ideals and folklore (Ministry of National Education and Religions Affairs, 1990).

Physical education curriculum- Belgium Article 165 of the 2009 EU Lisbon Treaty gives the European Union a legal basis for a new competence on sport, which calls for action to develop the European dimension in sport. The Treaty also entitles the European Union to contribute to the promotion of European sporting issues and recognise the social and educational function of sport. With this broader remit, the European Commission Communication on Sport (European Commission, 2011) articulated the concern of several EU Member States about the quality of physical education programmes and the qualifications of the teachers involved in them (European Commission/EACEA/Eurydice, 2013, Physical Education and Sport at School in Europe). Before that, Physical education in Belgium has been regulated in each

community under three similar decrees (Flanders, 1990, French speaking community, 1997, and German speaking community, 2003). In Flanders, the final attainment level can be dividing into three domains:

 motor competencies

 safe healthy life-style, and

 positive self-concept and social functioning In the French speaking community there are also three groups of competencies:

 physical fitness

 motor skills,

 socio-motor coordination

The school physical education objectives for the German speaking community are similar to those of the Dutch and French speaking communities. The movement domains prescribed in the final attainment levels for physical education are games, dance, swimming, gymnastics, self-defense and activities in nature. In primary education a distinction is made between competences concerning

 independence in child-oriented movement situations (notion of body, of danger, etc.)

 rough motor skills (basic movements, ass running, jumping, throwing, climbing), play and games, rhythmic and expressive movements and moving in different environments, such open air and water,

 fine motor skills The movement activities of primary school are deepened at secondary school level offering more specialisation with a higher level of control and knowledge of the official rules. In the first grade of secondary school education (12-14 years) the movement domains are defined in a continuous line with primary education. The biggest difference with the second (14-16 years) and third grade (16-18 years) of secondary school is that pupils have to be able to apply the learned skills alone and with others, in different contexts or situations (transfer), with enough insight, efficiency and creativity. The final goal is having fun in regular physical activities based on competene pàrfticipation in diverse movement domains. Contrary of the growing recognition for the social meaning of sport in general, school physical education is worldwide confronted with image and justification 44

problems. Is too often seen as a game, a non-intellectual, non-educational, non- academic and non-productive activity that only compensates for the rigours of sitting still during theoretical lessons. The majority of pupils, school directors, parents and other subject teachers undervalued the role of school physical education within the curriculum. Normally they underline that school physical education in Belgium is a practical school subject, serving means of socialisation, and compensating for more theoretically oriented school subjects. As a consequence, physical education in Belgium finds itself in a difficult position between a normal status as the others subjects but with several problems. Although there may be large differences between school physical education in the different Belgian schools, in general they are facing the same problems as in many other countries:

 lack of official assessments

 the inadequancy of space facilities

 financial constrains

 unqualified personnel

 scepticism with general regard to the academic value

 lack of curricular time allocation (these is a common problem with other subjects as arts, music)

 diversity of extracurricular sporting activities

One of the most common criticisms is for not reaching one of the main goals, namely the preparation of youngsters to adopt a healthy and physically active lifestyle. At present, two physical education lessons (fifty minutes each) a week are compulsory for pupils between 6 and 18 years (64 lessons hours yearly of physical education. Belgium (Flemish Community) has established a follow-up committee that checks how subsidised organisations implement school sports activities. Belgium (German-speaking Community) flexible taught time is allocated to physical education only at primary level. In Belgium (Flemish Community), official recommendations on taught time apply to all school subjects as a whole. Schools are therefore free to decide how they allocate this time to individual subjects according to their particular circumstances. Although these communities have no precise prescribed taught time, some of them have issued strategies or recommendations about the time to be devoted to physical activities within the curriculum. According to such guidelines, pupils in Belgium (German-speaking and Flemish Communities) should engage in organised physical activities and sport at least twice a week. Between 2006/07 and 2011/12, the recommended annual number of hours for physical education was not changed in the majority of European countries as 45

Belgium (BE de, BE nl). Although there are no official recommendations on taught time for physical education, in practice the subject is allocated 61, 59 and 76 hours per notional year respectively. In the German-speaking Community, this relates solely to primary education. Extracurricular Physical Activities and Sports activities typically target pupils in general. However, some of this provision focuses on specific groups of pupils, with special arrangements enabling them to perform physical activities in schools providing mainstream general education. Children with disabilities or special educational needs While all countries are concerned with developing physical education for young people, some of them target particular groups and design physical activities or whole programmes for them with sports training and competitions. In Belgium comprises children with disabilities and special educational needs. A few countries implement sports programmes that focus specifically on such children in order to improve understanding of their needs, so that they are fully accepted within society. In Belgium (Flemish Community), the Flemish Foundation for School Sports offers a wide range of extracurricular activities (such as extra training on Wednesday afternoons, competitions and sports events), including activities for schoolchildren with special educational needs. Some countries make special arrangements for talented young athletes involving their parents, the school or the public authorities, so as to reconcile the demands of mainstream general school (French Community) prepares a list of sports activities and age cohorts, with a special commission drawing up a list of young people to be recognised as high-level athletes. The government confirms the lists proposed by the commission and at least twice a year determines the duration of this recognition (up to a maximum two-year period). In Belgium (Flemish Community) there is a strategy on the organisation of sports at school, 2009-14 (http://www.schoolsport.be/upload/Centraal/Structuur/Decreet_130209_mbt%20org %20v%20schoolsport.pdf). The main policy areas here are: a) innovation, planning and development of sports at school; b) the stimulation of interaction between the school subject ‗physical education‘ and sports activities at school on the one hand, and local sports initiatives with a view to achieving lifelong participation in sports and active mobility, on the other; c) the organisation of extracurricular sports activities in pre-primary, primary and secondary education.

Physical Education curriculum- Switzerland Physical education is understood as a key part in the development of responsible citizenship. The reference model is the one proposed by Parlebas (1990) under the label of praxéologie motrice. 46

Framing Physical education Physical education in Ticino is based on the threefold idea of psychomotricity (movement and oneself), sociomotricity (movement with others), environment and motricity (movement within the environment). The three dimensions (psychomotricity, sociomotricity, environmental motricity) are developed under more aspects of competence, namely: 1. Affective: self-efficacy, managing aggressive behavior, competition, etc. 2. Biological: development of the body 3. Cognitive: understanding movement, and balancing the development of mind and body 4. Expressive: movement as a medium of expression 5. Relational: movement in relation with others

From an instructional point of view, observation and differentiated instruction are central to this discipline, in order to propose activities that are tailored for each pupil. Progression through grades Pre-primary grades are mainly concerned with achieving awareness of movement and of others. This is part of the progression of «living with others» that is specific of the first years of schooling. The respect of others is also part of this. This is usually achieved both through physical games (not sports) and outdoor movement. In primary education, the focus can be enlarged to include the expressive dimension, where more elaborated forms of body language and communication can be proposed. Sports start being proposed, even if the playful dimension of movement remains central, also to include dance. Passing to secondary education, the concern for maintaining and improving physical capacities becomes also important, and is coupled with the practice of team sports.

General education and transversal competences Transversal competences Transversal competencies are based on the use of personal, interpersonal and symbolic resources beyond the limits of single disciplines and in relationship with real-life situations. While no space in the curricula is devoted to such competences, they should be integrated in all disciplinary instruction, where all disciplines should make their contribution toward their achievement.

Transversal competences are the following. The ones marked with * might benefit from the innovative pedagogical approach that CirSchool is developing. 1. Being able to intentionally engage in a process of personal development 2. Collaboration * 3. Communication, both personal with different means * 4. Reflective and critical thinking * 5. Creative thinking * 6. Learning strategies

General education General education is concerned with specific themes or topics that are only partially covered by regular disciplines, or that should be approached combining more disciplines in an interdisciplinary perspective. This corresponds to the increasing complexity of the contemporary world, with the goal of providing students with intellectual tools for contributing to their health, well-being and community. General education is not included as a discipline in the school schedule, but is intended to be carried out mainly through project-based work, interdisciplinary projects and «special weeks».

General education is structured in 5 domains. Those more relevant for CirSchool are marked with *. 1. Technologies and media, for developing a critical, ethical and aesthetical understanding of digital technologies. 2. Health and well-being, for developing responsibility of healthy practices about health, safety and sexual behaviour. * 3. Personal choices and projects, for supporting young people to identify career paths for a successful integration in the society. 4. Living together and citizenship, for enhancing participation to democracy, respecting diversity, starting from school life. * 5. Economy and consumes, for achieving a balanced relationship with our markets.

3. THE PRACTICE OF DIDACTIC AND RECREATIONAL CIRCUS 3.1 Physical Intelligence for Learning in Formal and Informal Settings According to Gardner the intelligence is "the capacity to solve problems or to fashion products that are valued in one or more cultural setting (Gardner & Hatch, 1989). Intelligence is not only related to mathematical- logical or language Linguistic ability of the individual but also with other skills such as music or sports(Gardner, 1983, όπ. αναυ. στο Brualdi, 1996, σελ. 2). Under the above assertion, Gardner expressed the theory of multiple intelligences arguing that there are seven1 kinds of intelligence, which are different from each other. The first kind is referred to as "linguistic intelligence" and is associated with reading, writing and speaking. The second kind is "music intelligence" used in the formulation and implementation and the evaluation of music. The Logical-Mathematical intelligence used by the person in arithmetic and logic meditative. The "spatial intelligence" used in visual arts and orientation of individuals in space. The "bodily-kinesthetic intelligence" associated with the dexterity and movement of the individual and the sport in general. The sixth kind is "interpersonal intelligence", whereby the person interprets social systems, relationships with others and provides social consequences. The last kind is "intrapersonal intelligence". The person using this kind of intelligence to identify his personality, aspects of himself and simultaneously understand and predict his own behavior (Hayes, 1998). Interpersonal and intrapersonal intelligences Gardner called them as "personal intelligences (Gardner, 1999, as cited in Smith, 2002, 2007).

Bodily-kinesthetic intelligence The bodily-kinesthetic intelligence involves the ability to use either the whole body or individual members to express ideas and feelings, to direct the body to solve problems, to manipulate various objects and invent new situations (Kaztaridou, 2012; Makri & Bournelli, 2009). This kind of intelligence is a tool for learning and cognitive development. The primary element of bodily-kinesthetic intelligence is the training, which takes place when a person repeats a move when watching someone else to make this move (Λόξα, 2004). Children with developed physical - kinesthetic intelligence use body language to communicate (gestures, facial expressions). They have good sense, both the dynamics and static balance (jumping, walking on a line) and absolute control their movements. They have muscular strength, flexibility and they can coordinate all their moves with skillfulness. Moreover they are particularly sensitive to the sense of touch (like to touch various objects) and they solve problems through experimentation. These children involved in sports activities (swimming, biking, hiking, etc.) and enjoyed kinetic games, dance, theater and any other activity that involves movement. In addition, they like to deal with construction - crafts and have appealed to activities involving both forms of mobility and particularly fine mobility

1 Later Garden added two other kinds of intelligence, the naturalistic and existential intelligence

(construction origami, modeling), (Ivy Academy, nd; Low Deiner, 2013; Λόξα, 2004; Pedagogical Institute, Department of Special Education (2004); Physical intelligence, nd). The above table shows some of the activities involved children with developed bodily - kinesthetic intelligence (Table 2) .

Table 2: Bodily-Kinesthetic Activities Bodily-Kinesthetic Activities Modeling clay Science Experiments Artistic creations Rhythmic Clap and Tap Body games Pantomimes Dance Modeling Jump Rope Recitation - Make your own "Walk and Memorization while jumping Talk" tapes for memorization Role playing Rocking and reading Blackboard/whiteboard Walking Review - Walking activities while listening or reciting CatchBall Drills - Play catch Wooden numbers and letters while reviewing facts Charades Dioramas

Drama, or Skits Drawing materials Source: www.clovis-schools.org

Bodily-Kinesthetic Activities in formal settings As students learn better and can understand a larger amount of knowledge during the learning process using the fine and gross mobility. Also, due to the fact that they tend to move continuously, they use the movement as a mean in order to concentrate. "They are poor listeners and not very attentive to visual and auditory presentations" (Institute of Learning Styles Research, n.d). For this reason these children learn by doing. However, implementing kinesthetic activities in classroom from educators have multiple benefits for all children. In particular, they help them to develop higher levels of cognitive and social skills. Students who are involved in sports have higher grades compared with those they are not engaged. Sports activities such as running can help children to concentrate and make decisions while the aerobic helps memory (Brink, 1995; Caterino & Polak, 1999, as cited in Ivy Academy, nd; Institute of Learning Styles Research, n.d). The most appropriate method for teaching the development of kinesthetic intelligence is experiential learning. Through this method, the child acquires greater understanding of the world that surrounds him and takes the information derived

from it in a natural way while developing his creativity (Ivy Academy, nd). Teachers can integrate various kinds of activities which develop the bodily-kinesthetic intelligence. For instance, in a educational program which refers to the water, teachers can implement the following activities regarding the bodily- kinesthetic intelligence: Representation with their body, play roles regarding the cycle of water, visits facilities of sewage treatment, representation of the sound of rain with members of the body like fingers, dramatization and learning traditional dances with songs about water (Βπεττά- Κοςσκολέτα, 2001; Μώπος & Μοςγιακάκορ, 2006; Ντζούυπα, 2006, as cited in Κatzaridou, 2012 p.7).

3.2 Identification of the Main Circus Organizations working in all Educational Contexts In this section are presented the main Circus organizations working in all educational contexts in United Kindom and Italy. Table 3: UK Circus Organizations

Title PostalMail Website Type of Activities Performance Activity Address AirCraft Circus The Hangar [email protected] http://www.aircraftcircus.co Rope, silk, static trapeze, regular shows, scratch that

Arts Trust m m straps, flying trapeze, yoga, shows download festival, Unit 7a, flexability, hoop, arial work with local council Mellish Conditioning House Harrington Way SE18 5NR Albert Riverside info@albertandfriendsi http://www.albertandfriends Aerial, ground circus skills shows, events, Festivals,

& Studios nstantcircus.co.uk/trea instantcircus.co.uk parades, birthday partys Friends Crisp Road @albertandfriendsinsta

Instant Hammersmit ntcircus.co.uk Circus h W6 9RL Artspace The New info@artspacecinderfor http://www.artspacecinderf You can learn; static trapeze, exibition/events, shows

Cinderfo Mercury d.org ord.org juggling, diabolo and other rd 3 Woodside manipulation skills; (Engage) Street acrobalance and performance Cinderford, skills. Glos GL14 2NL

BandBaz Ship Street, [email protected] http://www.bandbazi.co.uk aerial, aerial circus theatre, youth circus theatre, i Brighton ground based circus workshops, shows, BN1 1AE national tours of shows, 52

community art film projects

Belfast 23-25 [email protected] http://www.belfastcircus.or aerial, ground based circus, shows, exchanges,

Commu Gordon g equilibre workshops, festivals, nity Street Belfast walkabouts, Circus BT1 2LG Blackpo Yuri info@blackpoolcircussc http://www.blackpoolcircus everything but not fire parades, workshops,

ol Circus Gridneff hool.co.uk school.co.uk shows School 34 Rutland Road Lytham St Anne's Lancashire FY8 4DX

Circome Kingswood [email protected] http://www.circomedia.com aerial, juggling, acrobatic, aerial performers, dia - Foundation, stilts jugglers, acrobats, Kingswo Britannia walkabout acts, stilt od Road, walkers, shows, Kingswood, Bristol, BS15 8DB

Circome St Paul's [email protected] http://www.circomedia.com aerial, juggling, acrobatic, aerial performers, dia - Church, stilts jugglers, acrobats, Portland Portland walkabout acts, stilt Square Square, walkers, shows, Bristol, BS2 8SJ CircoMo Unit 237 [email protected] http://www.theatremodo.co acrobatics, tightwire, stilts, one-off workshops,

do The m m fire, ground based circus workshops, performance, Briggait parads, shows

141 Bridgegate d Glasgow Scotland G1 5HZ Circus Old House [email protected] http://www.circusallstars.co poi, juggling, balancing,

Allstars Farm k .uk diabolo, chinese ribbons, Rocky Lane stilts, spinning plates, Haywards tightwire, pedal-go, Heath devilstick Wsussex RH16 4RW

Circus Chris [email protected]. www.circuscentral.co.uk aerial, juggling, stilts, workshops, shows,

Central Church uk hulahops, acrobatic,unicicle performanceon events, Shieldfield, parads Newcastel Circus Unit 4D, circuseruption@hotmail. http://www.circuseruption.c

Eruption Cwm Rd, co.uk o.uk Hafod, Swansea, SA1 2AY

Circus Unit 62, [email protected] http://www.circusmaniacs. aerial, equilibristics, workshops, shows,

Maniacs Basepoint com acrobatics, juggling, performance at events Business manipulation, theatre, dance, Centre, specific conditioning Oakfield Close, Tewkesbury Business Park,

Twekesbury, Gloucestersh ire, GL20 8SD

The Coronet [email protected] http://www.thecircusspace. flying trapeze, diabolo, workshops,shows

Circus Street co.uk tightwire, aerial, acrobatics, SPACE London N1 juggling now the 6HD National Centre for Circus Arts

Cirque du Ciel The Penwith [email protected] www.cirqueduciel.org.uk wedding, workshops, event Centre performance Parade Street Penzance TR19 7NU Concrete Circus 8 info@concrete- http://www.concrete- stilts, workshops, performances

Constantine circus.com circus.com tightrope,juggling,diabolo etc Way Bancroft Park Milton Keynes MK13 0RA

Cork 19 [email protected] http://www.corkcircus.net acrobats, clowns,comedy, performance at events, Circus Gurranabrah stilts, puppetry workshops, er Ave, Gurranabrah 55

er, Cork City, Ireland

Five 7 Rothwell [email protected] www.fiveringcircus.net aerial, object , performance Ring Road, manuipulation, Cirucs Newcastle- equilibristics, acrobatics upon-Tyne, NE3 1TY

Greentop Circus Saint [email protected] http://www.greentop.org juggling, tightwire, diabolo, performance, workshops,

Thomas rg devilsticks, trapez, holiday activities Building, 74 clowning, rola bola, Holywell walking globe, poi, plate Road, spinning, acrobatics, aerial Sheffield, S4 8AS

Jackson 269a [email protected] http://www.jacksonslane.or Acrobalance, acrobatics, performing in public at

Lane Archway g.uk juggling, stilt walking, ball this year "fair in the Commu Road walking. Basically, most square" , cabarets, various nity Highgate N6 ground based disciplines street festivals, events, Circus 5AA with a heavy focus on touring in the UK juggling and acrobatic balancing Kent Unit 54 admin@kentcircusschool http://www.kentcircusschoo Taining/workshops,

Circus Waterham .co.uk l.co.uk performance, parades School Business Park Highstreet Road , Kent ME13 9EJ Leeds 13 Hilton info@leedschildrenscirc http://www.leedschildrensci juggling,diabolo, plate drop-in workshops,

Childre Place Leeds us.org.uk rcus.org.uk spinning, object balancing, structured workshops,

ns LS8 4HE flower/devilstick, poi, team builiding sessions Circus pedalgo, fun wheels, unicycle, stilts, balancing ladder, hoops, walking globe, low tightwire, clowning

Lets 7 Rothwell [email protected] http://www.letscircus.com aerial,acro, mauipulation, especially outdoors in Circus Road, equilibristics and local events, street Newcastle- perfromance skills including theatre, Circus Argency upon-Tyne, fire for Professional Arstists NE3 1TY Lydney Community [email protected] http://www.lydneystatecircu diabolo, unicycle, juggling performances

State Centre Naas o.uk s.co.uk Circus Lane Lydney GL15 5AT

Nofit John St. education@nonfitstate. http://www.nofitstate.org ground and aerial circus performances, workshops,

State Cardiff, com skills, acrobatic (balance), excuances Circus CF10 5PE stils Wales

Organis Llanfair [email protected] www.organisedkaos.org.uk aerial, fire, ball, ground workshops, shows,

ed Kaos Church Hall g.uk based circus activities performances Gwaun-Cae- Gurwen Wales

Pyro Wales [email protected] www.pyropyxies.co.uk acrobatic dancers, balancing shows, workshops,

Pixes o.uk acts, twirling, spinning, weddings, birthdays etc flickering fire, light shows, general circus skills

Roundh Chalk Farm josephine.bamford@ro www.roundhouse.org.uk dance, ball, acrobatic, workshops, ouse Road undhouse.org.uk/ Ann- unicycle, giraffe performances, London Marie Leighton ann- international projects

marie.leighton@roundh ouse.org.uk Street

Circus Coordinator Skylight Circus Broadwater admin@skylight- http://www.skylightcircusar aerial, ball, spinning plates, workshops, performances

Arts Centre circus-arts.com ts.com unicycle etc Smith Street Rochdale OL16 1HE

Swamp The Magna [email protected] http://www.swamptrust.org.

Circus Centre, uk North Sheffield Road, Templeborou gh Rotherham, S6 1DX

Swamp 10 Lower [email protected] http://www.swampcircus.co

Circus Market .uk South Street, Penryn, Cornwall, TR10 8BG The Harmsworth [email protected] http://www.thecircusproject aerial, fire, acrobtic, workshops, performances

Circus Crescent, o.uk .co.uk clowning Project Hove, East Sussex, BN3 8BW

The 171 West [email protected] www.circuscentral.co.uk aerial, acro, manuipulation, festivals, local events with North Gate Road, equilibristics, perfromance partners East Doncaster, skills 58

Circus DN9 1QA Develop ment Trust

Tricksw Brighton [email protected] juggling (balls/clubs), poi op spinning, plate spinning, flower sticks, ribbons, diablos, fire skills practice and tightrope walking.

Unity 53 Arlington [email protected] Hand held skills, Bi annual show case with Arts, Road, equilibristics. other gigs as and when Toy Box Stretford, booked Circus Manchester, M32 9HP

Upswing Unit 1 The [email protected] http://www.upswing.org.u bangee, aerial, acrobatic, shows, performances,

Energy k dance wokshops Centre, Bowling Green Walk N1 6AL

Wookey Wookey [email protected] http://www.wookeycircus. juggling, skating, unicycle, shows, events,

Hole Hole Wells co.uk tightwire, roap&silks, workshops, performances Circus Wells, bungee, trapeze Somerset BA5 1BB

Table 5: Circus Oraganizations in Switzeland

L ECOLE DE NOM/PRENOM ADRESSESNPA LOCALITÉ CANT. CREATIONTELEPHONE MOBILE TELEPHONE EMAIL/SITE INTERNET CIRQUE FIXE MEMBER DEPUIS

FR Arc-en-Ciel Grivat Pierre Case postale 12 1401 Yverdon-les- VD 2004 078 632 03 22 [email protected] Bains 20090

FR Circosphère Largo David Case postale 2115 2800 Delémont 2 JU 078 846 81 60 032 422 97 00 [email protected] 2009

FR Coquino Klink Frédéric Case postale 100 1110 Morges VD 1998 021 864 33 77 [email protected] www.coquino.ch 2009

FR Ecole de Pinard André Chemin du 1000 Lausanne 22 VD 1994 021 646 77 80 [email protected] cirque de 2009 Lausanne Martinet 8

FR LeZarti'cirque Bugnon Yves Rue des Rasses 18 1450 Sainte-Croix VD 2003 079 375 75 65 024 454 44 85 [email protected] 2009 www.lezarticirque.ch

IT Scuola Teatro Bausch Daniel Verscio IT [email protected],

Dimitri [email protected]

Table 5: Circus Oraganizations in Italy

Website Type of activities Performance Activity www.teatrazione.com airtrack, vertical dance, shows, events, Festivals, equestrian vaulting, parades, birthday partys chinese pole, wheel Rhon, globe, dance stilts, ground acrobatics, aerial acrobatic. www.vertigimn.it/ www.vertigimn.com ground acrobatics and shows, events, Festivals, aerial acrobatic, for installation of air tools children and adults, pole for major events, artistic dance and wheel Rhon. gymnastics competitions www.bimbocirco.wordpress.com/ The association promotes festival organization, the circus culture. Circus shows, parades, events, for Schools. juggling, group performance balance, ground acrobatics and aerial acrobatic, roue cyr, ground based circus www.jaqule.com Circus classes for shows, events and children and adults aerial festivals, youth circus acrobatic, pole chinese, theater juggling, balance and

Yoga. Music courses: drums, bass, guitar, piano and singing. Circus for Schools.

www.sportica.it Gymnastics for adults youth circus theatre, and children, Circus Arts, artistic gymnastics Dance and Climbing. competitions, installation Educational provision for of air tools for major schools events

www.chapitombolo.it circus classes for all, shows, events, youth aerial, juggling, stilts, circus theatre, hulahops, acrobatic, installation of air tools unicicle, poi, balancing, for major events, diabolo, stilts, spinning festivals plates, tightwire, pedalgo, devilstick. Circus activities in schools.

www.dimidimitri.com acrobatics, clown, magic Company shows, circus courses, theatre courses, school shows, youth juggling circus theatre

www.circoclap.it ground acrobatics, shows, events and ground based circus festivals, youth circus theater

www.maurizioaccattato.org courses mime, acting, shows, events, youth acrobatics and juggling circus theater for children, teens, adults and professionals. Clown-therapy

www.spaziocirco.it courses of aerial shows, events, youth acrobatics, juggling, circus theater acrobatics on the ground, for children teens and adults

www.ambaradan.org acrobalance, acrobatics, circus arts circus arts, balancing, comedy, street theater, hoops, clowning, children's theater, shows, devilstick, diablo, animations, festivals juggling, handkerchiefs, tightrope, juggling, unicycle, balls, Chinese dishes, rolla bola, ball, unicycle, www.giocolarte.wordpress.com/ juggling and acrobatic birthday parties, festivals, shows, events and festivals, youth circus theater www.lavalledeisogni.com/ holistic disciplines, yoga, shows, events and circus activities, dance festivals, youth circus theater

www.quattrox4.com circus courses for shows, events and children teens and adults festivals, youth circus theater

www.animativa.org circus classes for shows, events and children teens and adults. festivals, youth circus Circus activities for theater, parades schools, ground based circus

www.circomix.it juggling courses, workshop, shows, events unicycle and hip hop. and festivals, youth Training on the pedagogy circus theater, parades of the circus http://circo-arteviva.oneminutesite.it/ circus-motricity for shows, events and children aged 4 to 12 festivals, youth circus years. Weeks of intensive theater circus during holiday periods. www.bolladisaponetrento.it/ juggling courses, contact, construction circus tools, aerial acrobatics, shows, events and juggling and acrobatics festivals, youth circus on the ground theater

oppetela.wordpress.com contemporary circus construction circus tools, school for children and shows, events and teens. Juggling, festivals, youth circus balancing, acrobatics on theater the ground, clown

www.circoallincirca.it school of small circus, shows, events and circus classes for adults, festivals, youth circus over the course of a theater, comedy show clown and magic. Educational provision for schools

www.hermete.it ludobus, circobus, circus shows, events and school for children and festivals, youth circus teens. Training for theater, comedy show Educators

http://circoinvaligia.weebly.com/ School of small circus, shows, events and educational provision for festivals, youth circus schools. Botanical trails. theater, comedy show, circus entertainment for children and parents

www.circolarmente.it circus motricity courses, shows, events and juggling and circus festivals, youth circus theater for children and theater, comedy show, young people. Aerial circus entertainment for Dance classes for adults children and parents, parades

www.facciamocirco.it during aerial acrobatics shows, events and course, juggling and festivals of youth circus unicycling course, of theater, comedy show, course clowning and circus entertainment for physical theater comedy, children general circus skills

www.microcirco.it circus courses for shows, events and children and teens. festivals, youth circus Educational provision for theater, comedy show, schools, general circus circus entertainment for skills children and parents, workshop

www.enpiste.it school of small circus, shows, events and festivals, workshops and summer youth circus theater, camps. Educational comedy show, circus provision for schools entertainment for children and parents, street entertainment,international events

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3.3 CIRCUS ACTIVITIES PROMOTING CORE CAPACITIES AND PHYSICAL INTELLINGENCE

Circus Education2 as an advance sythesis of physical, emotional and mental intelligences: Theory, Pedagogy and Practice Circus education, as an advanced synthesis of physical, emotional and mental intelligences, is essential for the deep learning, growth and wellbeing of students. Although the definition of intelligence is controversial,several researchers agree that the above-mentioned three intelligences enable students to create new physical knowledge. For that reason, these intelligences need to be well integrated and balanced in the school curriculum, so that students can achieve a harmonious development. April 2014 Ours is a knowledge-creating society and we need to help youth to find a place in it. In this sense, circus large spectrum of activitiesis especially apt not only to develop physical and emotional abilities, but also to increase theoretical, analytic and conceptual thinking.Circus traditionally works worldwide, and geographical

2 The following text was written by Euridit (April, 2014) and includes information derived from first-hand experience and from authoritative sources.

mobility is one of its characteristics. Historical and contemporary achievements in circus performances can be a strong motivation for students to get to know better their bodies, their emotions and their mind, in an engaging way. Working together with artists, scientists, scholars and thinkers in the field of circus arts, they will build answers to their own inquiries, problems and physical challenges. With connection to local, European and international networks, students will be not only learners and inquirers but also members of a knowledge building circus arts community at local and international level.

Circus physical intelligence Circus physical intelligenceis the ability to raise awareness of our own body, to listen to it, to control its motions. It implies better anticipating and synchronizing with the others‘ body movements in relation with our own ones and the ability to skilfully handle objects. It also includes a clear sense of the goal of the physical action. Memory, repetition and frequent training are needed to take advantage of this physical intelligence. Know better our bodies, to move well in coordination with the others‘ individual and collective movements, a quick response time and a good eye-hand coordination are also significant outcomes of developing circus physical intelligence. Physical circus literacy means the ability to master our bodies in multiple environments to maintain these capacity lifelong.

Practice of circus physical intelligence The following are some common learning strategies to develop circus physical intelligence:

 Teachers stimulate students to learn techniques such as physical conditioning, flexibility, acrobatics, trampoline, etc., asan introduction to circus arts -aerials, balancing and manipulation.Students take responsibility for their learning and their individual and collective physical intelligence development in such a way that they can integrate these skills in their active lives after leaving the school.

 Several school circus programmes ensure the learning of circus arts techniques and at the same time provide enjoyment, particularly through the introduction of games. Most of these programmes offer activities to develop coordination, concentration and motor skills. These courses incorporate a recreational component in a spirit of play; students are able to have fun while learning effective strategies through various physical circus disciplines and techniques, such as:

- acrobatics (floor acrobatics, trampoline, parkour, Chinese pole)

-aerials (rope, fixed static trapeze, ring, hoop, silks)

-balancing, equilibrium (stilts, unicycle, roller, rola-bola, globe, tightrope)

-manipulation, juggling -hand-eye coordination- (balls, devil stick, diabolo, spinning plates, Chinese dishes)

-circus dramaturgy, clown‘s oral and bodily metaphoric languages and mimemovement and gesturing (humour, irony, poetry and metaphoric capacities are developed)

 These activities are normally graded in different groups according to age: from 8 to 11 and from 12 to 16. Children aged 6 and younger, along with pre-schoolers and kindergarteners are also included, through activities that improve motor skills. There are appropriate physical artistic activities for each of these age groups.  Each classroom activity is improved progressively towards its goals using self- observation as the basis for improvement while respecting our own physical capacities.  The physical perfection of the movement is less important than the understanding of its aim, which is the essential objective of the activity. If we are aware of the physical activity we are performing, this will help us to improve it and to develop it in a more creative way.  While doing physical circus activities our body needs to be comfortable, and for this reason we need to learn self-control and self-correction according to our individual capacities.  If pain starts to occur, we can learn to recognize it as a warning to prevent physical injuries. We need an intelligent negotiation with our body obstacles. A way to overcome physical limitations without injuring oneself is to start again with simpler exercises. Step by step, from these simpler exercises we can progress to more complex ones.  We need to be aware of our movements, being observers of ourselves. After each activity a period of calm is established, in order to be able to reflect on the experience and to relax the parts of the body that have undergone more tension.This is a comfort and recovery phase. Physical recovery is a moment for intelligent breathing. With some natural breaths the body enters a reorganizational phase. To inhale air calmly and especially to exhale air for a longer time than to inhale it, helps physical recovery and allows for mental re-construction that can lead to further improving the circus movements. This physical thinking will help to make progress in the activity.

Benefits of circus physical intelligence practice The circus physical activity is directly related to the brain because it presents a physiologythat, when balanced with recovery, promotes adaptation and growth, preserves the brain‘s functioning, and enables it to respond to future challenges. 70

Circus physical activity, as physical education in general, has been shown to enhance learning and memory and to delay or prevent cognitive decline in elderly age. A circus exercise enhances brain activity, and modulates important neurotransmitter systems. Aerobic activity stimulates the release of neuronal growth factors (molecules that help neurons survive and thrive), promotes synaptic plasticity and long-term dynamic modifications of connections between neurons, and stimulates the growth of new neurons in the hippocampus (a brain region primarily involved in learning and memory). Circus activities facilitate healthy cognitive development by stimulating frontal lobe maturation and alleviating Attention Deficit Hyperactive Disorder (ADHD) symptoms such impulsiveness. They also promote pro-social minds through the inhibition ofbad behaviour. Research supports the importance of aerobic activity to enhance cognitive function. For this reason, circus classes need to have sufficient duration, frequency and intensity of aerobic activity if they are to make important improvements in fitness, health, weight-control and academic achievement. This means emphasizing physical aerobic scenarios for all students rather than competitive sports or professional performances that marginalize students that are not acrobatic athletes, dancers or actors. It means encouraging frequent circus activities that are engaging, challenging and enjoyable to students and that help them to develop their health and wellbeing.

Circus emotional intelligence Circus emotional intelligence isthe capacity to control and manage our moods and impulses. This control contributes to manage our feelings towards life situations and improve situational outcomes with emotionally appropriate and flexible responses. Emotional capacities, like interpersonal ones --motivation, intuition, social abilities, team organization, cooperation, adaptability--, and intrapersonal ones –to understand one self, to appreciate one‘s feelings, fears and motivations, self-esteem, self- control, self- evaluation and leadership--, are essential to build circus performances. Practice of circus emotional intelligence In order to improve circus practices, emotional intelligence capacities regarding us and regarding the others are important for students and teachers. For students, some of the emotional intelligence capacities regarding our-selves that should be developed, are the following:

 Knowing our own body with the positive physical elements and physical limits when practicing circus activities, and being aware of the positive energy emerging from circus skills practice  Being self-confident in the evaluation of our physical structure and physical conditions during and after each practice

 Practicing self-control with our physical activities and being able to regulate our own emotions in relation to others during the circus activity  Being flexible and open to possible changes and innovations in each exercise and in the exercises‘sequence taking into account the general and shared vision of the final performance  Being motivated to attain individual and team circus objectives during circus practices  Being persistent regarding the objectives of circus activities and trying to overcome the obstacles Also for students, some of the emotional intelligence capacities regarding the others that should be developed, are the following:

 Being open to other students interests in order to create a circus team-class  Helping other students in relation with the circus activities aims  Being aware of the diverse physical capacities of the other students in the classroom, and seeing the opportunities that this diversity offers to the circus school team  Buildingindividual and collective respect regarding others failures or success  Knowing clearly the objectives, methodologies and evaluation tools (auto- evaluation, team evaluation, school evaluation, external evaluation) for the circus school activities  Making contributions to build new circus knowledge in a collaborative way  Knowing the importance of this innovative project, which aims to integrate circus intelligences in the school curriculum, to raise the awareness of this innovative character, and, consequently, to take responsibility for its success.

For teachers, some of the emotional intelligence capacities regarding our-selves that should be developed are the following:

 Self-control, concentration, precision and balance doing body circus activities with students. Awareness of our own emotional capacities developing practices with students during the classroom circus exercises  Formulating clear and realistic circus course objectives, being optimistic in front of difficulties, and developing our own holistic vision of circus activities for school students  Being confident in the real possibilities to integrate circus intelligences into the school curriculum  Practicing humour, irony in oral and bodily expression specially doing clown and drama activities Also for teachers, some of the emotional intelligence capacities regarding the others that should be developed are the following:

 Making social and classroom organization skills grow in order to develop innovative and safe circus activities 72

 Integrating opportunities for students‘ diversity and for new ideas in a flexible and open way, thus doing appropriate variations according with the student‘s capacities and the school and community contexts  Building individual and collective respect during circus arts activities

Benefits of circus emotional intelligence practice Important for the students‘progress is also to perform activities with authenticity, not only for their own benefit, but also to help others, and in this way encouraging teamwork. Capacities like concentration, precision, introspection and relaxation are key ―therapeutic‖ elements for a good circus activity and for success in all academic subjects. Circus school activities, when also performed out of the school, can have a positive social impact in the larger community where the school is embedded. Diverse members of the local community can be invited then to be active participants, thus generating common experience supported by circus arts. Circus performancescan be a powerful tool for building acommunity network, at school leveland also outside of it. Kinaesthetic strategies can be used by individuals and collectives to engage and to re-imagine social realities. Social movements can also employ aesthetic, kinaesthetic and choreographic techniques to reveal social issues.

Circus mental intelligence Circus mental intelligence is the capacity to build individual and team classroom knowledge. Thought is integrated with the body‘s movements. Collaborative circus mental work in the classroom allows students to advance in a shared understanding of circus arts. Circus mental intelligence can give a structure to the flow of information in the classroom, so that questions, ideas, criticisms and suggestions are summarized, and turned into contributions to the final circus performance. It is not about knowledge recitation or the reproduction of existing ideas, but about producing original works using previous achievements. Continuous revision of the classroom‘s conceptual advancements and experiences discloses new problems but alsobrings about new opportunities, like in real-life creative processes of circus performances.

Practice of circus mental intelligence Circus activities are an excellent platform for the building of knowledge. To develop a knowledgeable practice we needed a good theory. For that we propose to establish some theoretical principles to develop a well-founded practice. Teachers and studentscan implement these principles during the circus activities.

 Circus creates a culture of creative work with individual and teamwork ideas. 73

In the classroom, students and teachers make explicit, authentic and complex questions. For example, why circus activities are important for our personal and collective development? The first proposed ideas are improvable and students will work continuously to improve the quality, coherence and utility of the ideas, according to the proposed question. More complex ideas can emerge from interactions of simpler ideas and precepts. For such work to evolve, the classroom setting must be of physical and psychological safety, so that students feel safe in taking risks (as revealing their ignorance about circus techniques, or undertaking new body movements, or giving and receiving criticism). Students need to learn to negotiate with the other‘s points of views and ideas: this means to deal with problems,keep up their motivation, and reach agreements with their teachers about how are they going to be evaluated and about thecourse planning.Circus mental intelligence will advance as a classroom community rather than individual achievements, improving ideas for all.

 Individual and team member‘s achievements are a shared responsibility

All students are doing their part in the joint circus knowledge project, and take pride in the progression of the classroom team. Diversity and different points of view do not lead the separation of the group, but they need to be overcome so that the group can advance. The students‘ self-confidence increases as they make progress in the circus activities.The goal of the activity for the whole group needs to be clear, as is the role of each student in the group. The plot of the circus activity or performance will be developed collectively so that every student can find their place and the difficulties overcome.

 Use of the authoritative sources on circus knowledge

Circus school‘ teachers encourage students to use authoritative sources (videos, pictures, books, historical engravings, experts‘ ideas on circus arts) as data for their own circus knowledge building process. The circus abilities are refined and transformed through the constructive use of information from authoritative sources as well as a first-hand circus tasks experienced and evaluated in the classroom. Using these authoritative sources, which means to know what most knowledgeable people in the circus field propose, will help to construct and to experiment with new forms and contents. The purpose is not to become an expert on the sources themselves, but towork and develop new ideas with them. Students will build an authentic knowledge doing circus work in school classrooms.

 Circus activities support emergent ideas rather than pre-determinate goals

Creative circus work means learning with diversity, complexity and inclusivity, encouraging all students to focus and go beyond their expectations. In circus, teams of students can improve their practices, so that each member makes an effort of 74

adaptation in order for the whole group to succeed. Andchange as a result of the success of the others. Adapting means developing a progressive set of conditions that keep risinguntil reaching the final shared performance goals. This new circus creation has value for the school community, because it is rooted in the issues that matter to the whole community.

 To improve and develop new ideas using the circus dramaturgy and the clown‘s oral and bodily languages, including mime movement

In circus activities, acting is a fundamental aspect. When creating circus dramaturgy (telling stories, myths and fables in a structured circus performance).Students can adopt the most promising ideas that emerge in the classroom. While inventing the circus performance, aesthetically innovative forms can flourish, with the integration of music, technology, scenography, fashion and costumes designed according to the setting of the performance (different places and historical times). Settings, scenography, lighting and elaborate costumes, are verysignificant aspect of the circus arts. Written drama can be in interaction with literature and language, history and geography curriculum areas, as well as with more specific parts of the curriculum, like music, dance, theatre or filmmaking. Students need time to think and interactin order to develop compositional ideas around good themes for shows and performances. For example, students can re-write classical topics like war and peace, love or others. This means they can make new versions of classical works like Romeo and Juliet or Don Quixote and Sancho Penza, in a successful way.Circus dramaturgy gives cohesion to the class group as a community of circus learners, producing performances that express their individual and collective ideas, dreams and utopias. Some elements of drama and comedy are in the base of the clowns´ creative experiments with oral and bodily languages. Performing a clown‘s part will develop mental humour; irony, poetry, metaphorical capacities along with oral and bodily expression, and this are high order mental abilities. Mimes‘ tradition also uses mental power to increase the meaning of the bodily expression.

 Analytic observation tools allow students to assess individual and team contributions

Description, analysis, explanation and revision of performances encourage students to identify individual and shared issues and to advance to solve them, so that quality is improved. The circus class-team thus engages in its own internal assessment, which is more fine-turned and rigorous that external assessment, and ensures that the assessment made by external evaluators will also be facilitated.

Benefits of circus mental intelligence practice Connecting dynamic models of learning circus activities generate progress from singular models to conceptually richer systems that can improve collective

experience and self-organization skills. Conceptual growth can emerge from being aware and by discussing the work that has been already done and by comparing its current outcomes with the desired final ones. In order to integrate the benefits of circus mental intelligence into the school‘s curriculum, designersneed to take more into account more ideas coming from the real-life experiences of primary and secondary teachers, students and principals that are introducing circus activities in their schools. Research has shown that class discourse is an expression of the collective issues affecting the community into which the school is integrated. Classroom as a community can indeed generate a common intelligence that is not just the aggregate of individual intelligences but something that provides a richercollective thought.

5. Integration of circus physical, emotional and mental intelligences Physical, emotional and mental intelligences need to work at the same time during circus school activities. Body, emotions and mindwork together, and action, emotion and knowledge are merged in each movement. Each movement is a way to achieve mental and emotional balance through physical action. Practiced with physical, emotional and mental intelligences, circus activities will make us discover our capacity to be our own body‘sarchitects and builders. Circus arts can benefit children‘s active lives and achieve a lifelong fitness, regardless of their economic circumstances or their social background. If we perform with physical, emotional and mental intelligences, not as simple reproductions of given models, then we can creatively appropriate them. The XXI century learning methodologies encourage building new skills in all fields of knowledge, because innovation and creativity are needed in many areas of professional development. A broad vision of education develops different abilities, methods, activities and exercises so that every student can use their specific capacities and feels engaged in the class collective activity. Circus activities are one of the most valuable examples of this holistic educational vision. Circus school class can create new knowledge and transmit inherited knowledge in new forms, with imaginative investigations of the body movements, experiencing, engaging and theorizing physical, emotional and mental intelligences.

The role of Educational Circus The Brazilian School of Paulo Freire. The French School of Hugues Hotier, Michel de Montagne, Hubert Montegne The goal of Cirschool is to create a pedagogical model. You can bring a lot of positive examples of practical experiences in circus activities, what is missing is the 76

theoretical aspect: theory often comes after practice. Both are very important. Educational theory is based on two important experiences: The Brazilian School of Paulo Freire and the French School of Hugues Hotier, Michel de Montagne, and Hubert Montegner. They promote the social circus as a pedagogical, educational and inclusive model.

The pedagogical value of social circus: Paulo Freire In his essay " Pedagogia do oprimido", he identifies three major themes: freedom, education, dialogue.

1. Freedom We should not be afraid of freedom to act, without the imposition of others. The fear of freedom must be fought with educational activities. Circus practices help to fight the fear of freedom., because you have to take responsibility for risk, for flying, in order to be a tightrope walker and be suspended in the air. It is important to deal with the fear of being unsuccessful through these skills. In circus activities the oppressor is the fear of making mistakes, falling and laziness not to solve problems. Getting rid of these means finding autonomy and psychological independence.

2. Education Education is very important in changing society‘s processes. Freire distinguishes two types of education: ―Custodian education‖, teaching is transmissive, the teacher talks and the children listen to her. It is a custodian education because the teacher transmits knowledge and concepts into the minds of her children; who learn mechanically, like container to be filled. ―Experiential education‖, is intentional, the teacher uses dialogue to educate. In this way education becomes horizontal, not vertical.

3. Dialogue In the social circus practices the teacher teaches and learns at the same time and the children do too. It is a daily relationship with students to solve problems of any kind, even personal ones. This kind of teaching is very common in circus schools which have very large classes. Circus teaches technical and expressive activities.

Without respect, listening and dignity we cannot have dialogue. One fundamental element of dialogue is the word: it represents the ability to think for one self, to have awareness of ones body and mind. Also in circus activities dialogue is essential: it is necessary to understand each other for safety reason. We can use dialogue without words, by using body language.

The educational role of circus performance: Hugues Hotier, Michel de Montagne and Hilbert Montegner Through the research of the University Michel de Montagne (Bordeaux-France), H. Hotier gave his support to the theoretical pedagogy circus into the essay ―La fonction educative du cirque‖. In the north of France he founded a culture popular movement, in three ways: 1. Staging performances of traditional circus 2. Educational and cultural activities in schools and districts 3. Activities to promote the social integration

Theoretical and pedagogical aspects Children live the circus both as spectators of a show like ―artists‖ in the show. 1. Refer to the circus: The charm of the circus depends on several factors:

a) Admiration: artists who approach the limits of the impossible impress the audience b) Unpredictability: the spectator gets the feeling that the artist is confronting himself. At the moment nothing is safe. So it frees the imagination c) Imagination: circus is a show without words, so the spectator can receive and interpret d) Imagery and concreteness: the show opens the imagination of children. The child remembers the books he has read and that have been read. About this Hubert Montegner expresses the educational role of Circus and he indentifies the positive effects in each of the three phases:

 Waiting The time of waiting before the show has positive effects on children for several reasons: environment, proximity between people, interaction, imitation, release of emotion.

 The Show The show has the power to free child emotion. They feel free to laugh, to move, to cry and to incite. In the Circus, children and adults are on the same wavelength, communicate and share emotion.

 The After Show At home or school, the memories and the feelings enrich the imagination of young people and promote creativity and ideas.

2. Circus making: the role of actor Circus making as an actor can bring the child to: -the development of awareness that there is a risk, is therefore necessary to strengthen the motor skills; -learn to manage risks

-in clowning confirms his personality, deflects his aggressiveness, creates and strengthens the relationship with others - when he is recognized increases his self- esteem.

Circus at school Circus activities is important for the development of child and for his social integration. Believing themselves it leads them towards success. Currently in education, there are two major problems in schools, among boys: violence and lack of motivation. Circus promotes the integration, creates incentives and alternatives. When circus enter in the school, the role of the teacher changes: he leaves traditional teaching and becomes a mediator between child and artist, because recognizes child skills and his weaknesses; this collaboration is essential. For the show is necessary a documentation if it follows a theme. Children choose the theme with the artist, research the materials, create costumes, sets, ect. This promotes dialogue, work in progress, development psychomotor skills, respect, concentration, listening to each other and socializing between children and school environment. Finally, school environment becomes positive.

The tools of the circus lessons:

 Acrobatic to the ground: is the development of skills that allow you to use the natural antigravity thrust levers in the body, to allow it to hover in the air, changing direction, speed, etc..

 Aerobatics: is the development of the ability to twirl your body in suspension, height or on different parts of the body, on tools such as trapeze, fabric, ropes, rings, etc..

 Balance (equilibre): it is the development of the ability to keep your body in balance static and dynamic tools operating on the changes of position of its axis with respect to them; includes stilts, roller, rola bola, globe, taut wire, soft rope, unicycle, etc.

 Juggling: is to develop the ability to throw and catch with his hands, various objects in various positions, either alone or in more people, in static and dynamic. Includes balls, balls, flowerstick, Kiwido, clubs, hoops scarves, Chinese dishes, etc.

 Clown movement: the activity of the clown develops the concept of actor director himself, an actor who pretends not ever, experiment, use metaphors. The clown gives the possibility of never feeling alone and unique.

The Discipline of Balance The circus disciplines use one of the basic resources of the human body: the ability on keeping balance. The mastery of balance involves the ability to have a self control of the segments of body, the ability in preserving concentration and tranquillity necessary for the performance of postures and movements and creative postures. Balance is the natural state of body and circus activities become a resource to be used: in acrobatic you use more balance in muscle, strength and orientation; juggling will be more developed the ability to manipulate objects in harmony with the need to keep them in balance; in aerial acrobatics performing figures and assume that involve both static and dynamic balance. In the modern circus almost all disciplines undertake to achieve balance figures and difficult movements from racing on horses to clowning games. Beauty and originality of the circus, maybe its essence, is the ability of artist (professional or child) to create a disequilibrium, static or dynamic and to solve it ―artistically‖ through the use of balance. Disciplines that have their balance pin can be: balance on your hand or on the head, taken in two or more persons (pyramids), on the wire, on stilts, on the ball, scale free, on the unicycle, on the rola-bola. From the physical point of view, balancing promote a good respiratory necessary to keep well oxygenated various organs and muscle3, so to eliminated blocks muscle due to accumulation of tension often caused by emotional factors.

3ZimoviBonitch states that ―train yourself to breathe is to tie your movement to a continuous breathing‖ Acrobatie et èquilibre, 2003

The practice balancing also allows you to develop endurance to stress that it is... “the ability of the body to fight physical effort, when there is a strong muscle tension”4. Balance disciplines need a good grip of awareness of the muscles as well as the stretching of the spine allowing to improve flexibility of the column itself. Walking on wire, also presupposes a good resistance to pain5. From the psychological point of view, circus disciplines develop skills related to the same activity: long period of training, of unsuccessful trails, a constant infighting with themselves. Walking on stilts or on a wire becomes natural after a certain period of testing punctuated by fears an failures, to promote this sense of discipline and perseverance. Conditions which develop continuous self. ―The drop on the cable, the failures to exercise, the misstep, everything comes from a loss of concentration or an exaggerated awareness...the error is as hopeless, without launching pride in the figure that you are certain of missing. Any thoughts on the wire is a fall to trap‖6. When the exercise succeeds, however, increases self-esteem and feelings good sensations and above all the sense of freedom. For balance on the hands, the feature is the inversion of a natural position that also requires as reversal of usual points of reference that is also better to discover themselves7. Finally, an aspects not to be overlooked is the risk. In balancing the relationship with risk becomes constant, the danger of falling or being wrong is present at every moment: this allows you to become familiar with it and learn to control it. Balance is acting alone, this assumes a high level of concentration and self-listening, but in case of most people involved (sockets, human pyramids etc.) there is a relationship of trust everywhere placed in all. You must know how to listen yourself to a body level: a good team work requires a good team spirit, feeling the balance of the other in addition to their own, to be found in every moment of the exercises. They develop listening and interaction skills that promote strong and stable relationship.

4 Ibidem

5 Antoine Rogotrecommended that the feet become like hands, sensitive and resistant in the same way, L‟èquilibre, ças‟apprend.

6 Philippe Petit, “Traité de funambulisme”

7 R. Capucine, De l‟èquilibresur le mains” .The fact to put me on your hands cut off from the world and allowed me to get reacquainted with my depth. After I returned to the situation lighter and helpful, with a cloudy vision of thinks.

JUGGLING What is juggling? First of all, juggling is the art of living, a kind of poetry, a math, a creed, a form of worship. It teaches calmness, self-control, balance, sense of the positions of things and the deep structure of movement; above all there is a discipline! This may excessive, but these benefits recorded in a continuous learning process that requires perseverance. Perseverance is fundamental in juggling learning : the error is not pick the tool that false and try again.8 The relationship between music and juggling is fundamental, in fact, both are based on rhythm, coordination on, on the notation of numeric type, odd and even, in which each number corresponds to a launch and its height. This is how the juggling can be represented mathematically in the same way of the music.

Juggling types At school there are four types of juggling: 1. Throwing objects: they are flying in the air without letting them fall to the ground , two, three, or more balls, clubs, rings, coloured tissues; 2. Contact: the ball, the hat... it always moves in contact with the body; 3. Dance with object: is a dance in which the body interacts with objects, that are more detached from the body: a. Flower stick b. Diablo c. Chains

4. Interaction with many kind of objects: it is often manipulations with hats or any common object in the context of comic and theatrical scenes.

Juggling in pairs or groups can be done in several ways:

 Passing: takes places between two or more people continually throwing clubs, balls, without letting them fall to the ground;  Run-around:it is an interaction between two or more jugglers in which everyone ―steals‖ the objects that the other is launching into the air and puts in its place.

Sequences choreographed and performed in coordination: they are movements performed by two or more juggler within a larger pattern.

8 R. Silverberg, Le chateau de Lord Valentin

Physical sphere Juggling allows a considerable depth of knowledge of their own body, because:

 it is necessary must have good control in all its parts,  you can find out through using ―point of juggling‖ which are parts of the body primarily used in contact: for example elbow, arm, temple etc. It juggles with the whole body, should therefore be a control of posture and spine, important role is also played by the legs. The most developed sense is touch, and the most used parts of the body are the hands to a level tactile and communicative. You must know how to use both the right hand than the left, so you have to work constantly rebalancing the normal difference between strong and weak side. Finally, juggling allows to develop the speed of reflexes and motor coordination.

Psychological sphere Juggling promotes concentration and internal balance because diverts attention from all that is not about training and focuses efforts on practical things through perseverance and tireless repetition, these elements allow you to understand the work to overcome the limitations that exist if you do not have ambitions and dreams. It is interesting to consider the relationship between juggling and error. Making mistakes does not mean juggling as dangerous as other circus disciplines, but they are a normal thing, they should be considered as progressbecause errors push to improve the level of their skills and show that you are learning something new. These strengthen self-esteem and self-confidence. Also important is the link with math to develop the ability in solving logic problems: when a performance is something that does not work, the way to solve situation is deal breaking down movement to locate the segment in which it has the problem. A good juggler must also have a global vision of the game and this requires extreme concentration. In juggling, self-esteem and envy have an important role, because within this discipline we find a high frequency of micro-successes and micro- failures and a lot of details that can make the difference between two jugglers. The awareness of his own limitations, of what you are able to do, are the strength that will help in everyday life to improve.

Relational sphere The scope of interpersonal relationship in the context of juggling takes place mainly in three ways mentioned above; with passing, with run-around and choreography. Among jugglers creates a strong understanding, harmony in movements must be precise and in unison. Is also crucial to address both their own errors and those of others, these means that there is a single action (except during choreography) with a smooth, continuous motion. When you practice passing of two people almost important to look into the eyes, for making contact and understanding with other person. In passing it‘s important to most people instead they all have a clear overview of what is happening as well as a strong team spirit. You should listen to themselves each other and the set of all. This requires a good deal of patience, mutual respect and tolerance, has the wrong one can stop the activities of the group. The ―eternal gold‖ mentioned Finnigan is a stream that flows during the practice of passing. A kind of mechanism which includes the components something supernatural; scheme being run by multiple people what happens depends on everyone and no one in particular, seems to go beyond the individual, is seen as something absolutely perfect. In the run-around there is a closer relationship between the bodies of jugglers; it consists of body movements that match the juggling; for example a juggler does shoot some balls, another them to him ―steals‖ continuing to throw and taking his place. The other revolves around it (run-around) and does the same thing. It is generally very fun to do and see, because it triggers a mechanism comedian. To do this you need to have a lot of understanding, ability to act winning the shyness and embarrassment of being in close contact with another person.

Acrobatic Ground and Aeria “Life is movement and the acrobatics is a form of life expression”OdilCougoule, ―Arts de la Piste‖, March 2004, Paris) The acrobatic is above all a way of exploring your own body and its possibilities for the knowledge of the world and ourselves. Acrobatic attitude is characterized by the use of the body in a non-habitual. All disciplines of circus posses the elements and technical acrobatics because they are the basis of the methodology circus. Acrobatics is divided into two types: ground and aerial.The ground acrobatic uses the human body like such as tool, we can identify four main groupings: 1. Acrobaticevolution solitary 2. Acrobatic couple with porteur and a votigeur 3. Acrobatic to more people 4. Contortion

The ground acrobatic uses tools:

 Tissue  Fixed trapeze  Flying trapeze  Rope  Circle  Scale of balance Acrobatics affects three areas: physical, psychological and relational sphere.

Physical sphere Practice acrobatic disciplines has obvious consequences on the body, at all levels: muscles, bones, ligaments etc.. The effects are both positive and negative because next to muscle development an better control of the body, there is a risk of overexertion and fatigue. The positive effects are:

 Mastery of using the right muscles at the right time.  Having a dynamic control of the body to be able to meet its limits imposed by gravity and those related to perception of self in space.  Be able to solve problems for perceptual-motor to develop their own language acrobatic.  In the acrobatic the body moves in a different way so you have to get used to develop a wider perception of their body increasing the chances that the body has to offer.  Before any sequence it is necessary to provide acrobatic movements and master them.  It develops a good resistance to pain. With Goudart we can identify harmful and dangerous effects: heart fatigue, high exposure of osteo-articular fractures, muscle trauma, burns, bruises, skin chafing , cuts, etc. finally we can have stress related to exposure to danger and fear of failure. These risks exist and are a part of being a circus artist. All those who start a circus activity know ―it hurts‖; this has got two effects: the negative one that is too much to endure the pain thinking that it is normal with damage risk. The positive effect that the artist learns to take care to your body, listening to himself, to understand if there is something wrong; it greats to greater caution against himself, with regard to feed and to the same type of training.

Relation sphere The acrobatic disciplines develop relationships and deep ties based on absolute trust and mutual and strong understanding. The acrobatic in pair implies high degree of sense of responsibility: the safety of each depends from itself and the other simultaneously. You have to be always reliable and do not ever get distracted, pay attention to every step and every movement, be constantly attentive to the other, also to prevent errors by others. Those who are ― below and leads‖ has got a lot of responsibility: its failure, a small distraction can affect the performance period or impair the partners. So physical strength is important but not the only one: a good porteur must have rigor , patience, ability to listen to the body level at all times. He also is a moral support because who is in the air , circling and leans, needs to feel that he is in safe and everything is okay. Two artists who perform in the air have a different type of relationship: it is more equal because they are generally the same tasks. It establishes an intimate and deep complicity, mutual attention and solidarity, because one mistake can be fatal.

The clowning

The clowning is one of the most studied and frequently described characters in the circus.

The clown is more specific than other circus figures: he is not an external tool, an object which we can rely on, but a genuine part of us, part of childhood, which we have to bring out and make visible.

Types of Clown - The two most important and traditional are the White Clown and the August. The first is serious, authoritarian; the second is awkward, he seems stupid, but he finds a way around obstacles, and around the White Clown. - The Tramp is the hobo clown, romantic and something of a dreamer (such as Charlie Chaplin in Charlot); expertly blending the White Clown and the August. - The homeless clown is a type of modern clown, he always acts in a crowded street, surprising people. Nowadays this figure is widely used by street artists.

- The Doctor Clown is used by doctors and nurses such as Patch Adams; he stimulates smiles and good humour in order to improve the condition of patients and sometimes this leads to more rapid healing. - The Teacher Clown is usually a professional clown who teaches clowning in school; he aims to transmit the techniques and awareness of his skills and faults. A good teacher clown develops self-irony and humour.

Physically, you need to have an agile, trained and responsive body. It promotes the development of flexible joints, alertness, endurance and self-control using the voice. Clowning develops mimicry, the precision of movements and the expressive capabilities of the body.

Psychologically, you need to know your own defects, accept them and play with them, eventually developing a sense of self irony. Clowning improves the relationship with one‘s self. A clown is like a child, everything is new for him, and amazes him. From the pedagogical point of view, being authentic and spontaneous in this way is very important for a healthy education. Apparently, the clown does not think about what he does, he resolves every situation through improvisation. This promotes an open and inquiring mind and finally he is able to find solutions to his difficulties. If he is true, he expresses feelings and emotions. The clown feels free to follow his own thoughts.

When the clown makes others laugh, he gratifies himself.

In interpersonal relationships when we are clowns, there are different types of relationship: clown with clown, where the White one is against the August. The relationship is an experiment in human relations: - clown with spectators - spectators with clown

There is a direct exchange of energy, he looks after his audience, he looks them in the eyes, so the audience reacts. He comprehends if his work has worked well. At the end, if the performance is successful, the clown is tired but full of energy. Using the body for exploring reality is a matter of fact (just consider newborn babies). If however this becomes the focus of an intentional form of education the value that the body's potential acquires is multiplied. The self construction of knowledge, along with the capacity to manage difficulties, to develop autonomous thought and the ability to plan ones own path of learning,

which are often the cause of students abandoning school, must be the essential motive of our development. The circus activity, therefore, also involve the teachers to encourage them to develop strategies and methodologies that take into account the informal learning and, in turn, to elaborate strategies and methodologies to respond to the learning which today's students need.

3.4 Circus Effectiveness In all European countries the search for innovation in education is focused on some disciplines, such as languages and mathematics. Other disciplines are not given the same attention. This is true for non-verbal languages such as the arts, music and physical movement, to which are dedicated only few hours of teaching without any particular care for their planning. However, in the last few years, pedagogy has underlined the importance of the intelligence of the body, seen as a channel for knowledge of the world and the movement of the body as a fundamental instrument for acquiring motivation, participation, responsibility and concentration. Among the physical disciplines, these tools are inherent in circus activities. The experience of the circus school that was started five years ago in a systematic way at the III CircoloDidattico of Perugia with an experience in which two classes were involved: one year after for this activity other 14 classes involved. Its importance is based on the ways in which pupils learn: even in a deliberate and formal training as the school you can use non-formal strategies that involve first of all corporeality. The identity of the body plays a strategic role for the basic learning: the one who is comfortable with himself, that you know and recognize their limitations and their potential, will certainly be stronger in dealing with the fatigue of study, work, profession. The proposals become a ludic-motor vehicle expressive, communicative that explores the world of languages, but also the principles of physics, allows you to become aware of your body as organic system, both in its overall size in the various segments.On the other hand, the circus has a precise role in the collective imagination: it represents the recreational, playful environment of free time. Because of its holistic nature, which avoids meritocratic selection, it presents educational characteristics of great pedagogical value. The decision to apply circus experiences to the formal learning environment of the individual also derives from the positive outcomes which over time have been observed in the pupils who have taken part in the lessons, in terms of the skills of autonomy, task management and collaborative abilities. Circus activities can therefore become a paradigmatic environment for transforming the classic lesson plan because it is based on the opportunities for exploring and gaining familiarity with the body in an autonomous but guided manner, for discovering ones own talents by means of a cohesive series of activities connected to improving ones circus skills.

The circus activity change the setting of normal lesson because the student himself can explore his body and discover all of his possibility, through activities which produce: . openness . creative skills . pianification skills

A progressive mental opening is encouraged, which leads the students to abandoning their refusal of what is new and a change, so they reach a good level of socialization and interaction, also when faced with unexpected situations:

 Creative abilities are stimulated, the hypothesis of achievement for the students in a process of self construction of the performance.  The capacity for planning is promoted by experiences in a gradual, logical and coherent manner, using the available time favourably. Circus disciplines are accessible to all and favour the creation of positive relations between all participants:

 In the circus there is a recreational component which causes motivation. The students get to know both themselves and each other better, developing self- esteem because they are encouraged to learn actively.  The young students manage to understand the limits and potential scope with regard to their own needs and those of others.  The circus game favours inclusion and acceptance, with the result that everyone is important and respected Circus activities have as their basis the acceptance and overcoming of failure and error; they help to develop attention, discipline, perseverance in the exercise and the desire to master the techniques, making the students more aware of the role of the rules which help us to live socially. Circus activity requires a sense of responsibility, concentration and personal care towards oneself, towards others and also towards the tools. The body is trained to pay attention and at the same time to relax and students learn to feel good with themselves and with others, the first requisite for personal fulfillment in life.

Circus kindergarten Primary school Junior high school

HAVE CONFIDENCE IN YOURSELF:

Living fully the own bodily To be aware of the structure and To sustain own convictions, it About circus, doesn't exist (there musn't dimension, to perceive the the development of his own axcepts to change opinion be) a contest with winners and losers, but communicative and expressive body, in theirs different organs recognizing the validity of a there is also an hard struggle with potential, maturing behaviors and apparatuses, it recognizes, correct argumentation. themselves, with theirs own limits and that allow a good autonomy life. describing, the operation. their own willpower. In this sense it is To strengthen a positive attitude important to develop the ability to win To play in a constructive and To elaborate the anxiety, he is as regards to the mathematics (their achievements) and knowing how to creative way with the others, to aware of his own limits inside an through significant experiences. lose (their failures). About the circus, argue, to discuss, and to support activity, it decreases the useful in many real situations. doesn't exist (there musn't be) a contest theirs reasons with adults and dependence and it develops the children. autonomy of thought and action To recognize in his own organism with winners and losers, but there is also structures and operations to an hard struggle with themselves, with To recognize her own body, her macroscopic and microscopic theirs own limits and their own will different parts, representing the levels, it is aware of hers power. In this sense it is important to steady body and in movement. potentialities and his limits. develop the ability to win (their achievements) and knowing how to lose To Develop the sense of To be aware of hers own motor (their failures). personal identity, to perceive her competences whether in the

own needs and their feelings, points of strength or in the limits. expressing them ever more Joking about the real flaws that a person adequate. has got, as well as work in the scene, also has a positive effect on the person, on his To be able to integrate himself relationship with himself. inside a group, assuming responsibility and undertaking for This requires the development of the the common good. self-irony of playing with oneself, of not taking itself too seriously, overcoming feelings of frustration on their ability.

GET FROM THE POINT OF VIEW OF THE OTHER :

Accept the differences, to refuse the stereotypes, to create, to realize, To reflect, to compare, to Defend her own ideas and to Adjust appropriately formal and producing in common with an obligation discuss with the adults and with debate with the point of view of informal registers based on the of the result (from the moment that there the other children recognising the others. communicative situations and the is a public presentation) and management the reciprocity of attention contacts. among who's speaking and 92

of the globalità of the enterprise; who's listening. Respect the basic criteria of Learn to work together, is possible, in Realize to be equal and different safety for safety and for others. fact, to put in the same project teen-agers in the variety of the situations, Reflect on their own and others‘ of different generations and different to be able to be received or elaborate. Recognizing that Use the arguments based on cultural contexts. excluded, to be able to receive different linguistic choices are documents and data in the or to exclude. related to the variety of exchange of ideas within. communicative situations.

Master and apply fundamental knowledge on the organization logical-syntactic, in different situations.

Support their ideas and engage with the views of others.

With classmate and teacher respecting the turn and making clear and relevant message in a register appropriate to the situation as much as possible.

PLANNING AND SELF- EVALUATE: Control the execution of the Orientate oneself in the Acquire a deeper mastery of Learn how to manage a sequence of gesture, to assess the risk to surrounding space by using the disciplines and a comprehensive actions, a project, acquire a working interact with others in games. references topological and knowledge of the organization, method that can be used in other cardinal points. from the perspective of contexts, develop creativity, problem Listen and understand stories, developing an always better solving. and invent stories to tell, ask Solving difficult problems ... integrated and mastered and offer explanations, to use keeps control on both the knowledge . Self-evaluate their number implies a language to tell activities and problem-solving process, both continuous challenge themselves to to define the rules. on the results ... recognizes Learning the laboratory method correct these imperfections; for doing it solutions different from their as a way of working which best you must consider the error as progress: own. encourages the ability to think, every mistake is a sign of progress. Go evaluate activities in a shared and beyond the highest level of your abilities Experiment in a simplified form lived in community with others indicates that you are learning something and progressively more and in different spaces and new. complex, diverse technical opportunities within the school, is gestures, acts in compliance with promoting the territory as a the criteria basis of safety for resource for learning. themselves and others, both in movement and in the use of tools and transfers that responsibility.

Collect ideas, organize them

points, schedule the trace of a story or an experience

COLLABORATION AND COMPARISON BETWEEN THE

MEMBERS OF THE GROUP:

In the construction of a number are Discover a sense of belonging, To increase the sense of Be active citizens and leaders of explored thousands and thousands of linked to moments of play, belonging to the class and the their individual and collective figures, steps, falls, and each of them is dramatization, group activities. school community, through the futures. exchange of ideas, state their made in two, fitting and moving along Gather the views of all forms Knowing the rights and duties of the two bodies . opinion on topics of discussion, through simple brainstorming. start the self-regarding the their communities and the role of its member. Valuing personal experiences outcome of their productions, both written and oral. In the construction of a circul show the obtained through the story, Identify connections between performance often involves more than a drawing and objects. personal microcosm and person (the human pyramid, trapeze, macrocosm of humanity and the etc).The relationship, therefore, develops planet. more on the platforms of a game, of an Gaining mastery of subject

intimate and deep complicity;being both content as a way to establish itself on the same utensil, suspended on air, it in society. establishing a relationship of mutual solidarity and mutual attention, because a Interactive effectively in different communicative situations through least error can be fatal, and at the same dialogical mode always respect time their safety also depends on an the ideas of others, gain an external factor: the utensil. awareness that dialogue, in addition to being a communication tool, it also a great social value and use it to learn information and develop opinions on issues relating to

various cultural and social. Use oral communication to collaborate with others, for example in the creation of games and products, in the development of projects and formulation of judgment on issues regarding various cultural and social.

FACING THE RISK AND DEVELOPING AUTONOMY:

The circus needs of the danger, is in its very essence. Because the circus involving the Taking pleasure in movement Stand in front of the challenges Act respecting tha basic criteria and postural patterns and that only the child can face and of safety for themselves and audience, it is necessary that the artist is experiment with engines, solve is to develop a sense of others, both in the movement, in at that time risking something: the risk applying them in individual responsibility against it, and the the use of tools, environments and that the objects that is turning in the air and group games, even with courage to face things with their transfers that responsibility in the to fall, to endanger their lives by falling the use of small tools and be own means school and extra-curricular. from a height of several meters. able to adapt to the environmental conditions Mastering the coordination skills, And 'the overcoming of its limits, the within the school and outside. adapting to situation required by ordinary limits, which allows the magic: Control the execution of the the game in an original and the magic of the man who overcomes Communicate, express gesture, currency risk, creative, proposing variants. himself, defying the laws of gravity and emotions, tell, using the interacting with others in motion balance. various possibilities that the gaming, music, dance, Being able to distribute the effort language of the body allows. expressive communication. in relation to the type of activity To acknoweledge one's defects, one's required to apply and control flaws and one's limits means to be aware Inventing stories and express Find original ideas for the techniques of breathing and about one's defects, accept them, playng through drama, drawing, solution of a difficulty. muscle relaxation at the end of with them. painting and other Experiment freely, even using the work. manipulative activities, use the computer, different form of Knowing how to dispose, store materials and tools, techniques writing, adapting the vocabulary, and creative expression. and use the tools properly the structure of the text, layout, safeguarding your school and Express and communicate to graphics solutions to textual others‘ safety. choice and possibility 97

others emotions, feelings, integrating the verbal text with Knowing how to adopting arguments through verbal multimedia materials. appropriate behaviors for their language that uses different own safety and the companion communicative situations. also with respect to possible danger.

Become aware of their own potential and resources , to plan the construction of meaningful experiences, and verified the results obtained in relation to the expectations.

DEVELOPING CREATIVITY ', FANTASY: Use the knowledge and skills Achieving personal papers and related to visual language to creative ideation and based on Express thoughts and feelings produce various types of visual the original design by applying In the circus the game allows you to with imagination and creativity: texts (expressive, narrative, knowledge and rules of visual release your child's imagination, that the art directs this propensity, representation and language, choosing functionally being in a playful context is not subject educating the pleasure of beauty communication) and reprocessed different techniques and to judgments or evidence of merit. This and aesthetic feel. the images in a creative way materials with the integration of with a variety of techniques, multiple media and forms of is important to train creative thinking and The exploration of the materials materials and tools (graphic- expression.

the externalization of ideas and fantasies. available to allow you to live expressive, pictorial and plastic, Produce multimedia texts, the first artistic experiences, but also audiovisual and effectively using the which are able to stimulate multimedia). combination of verbal language with those iconic and sounds. creativity and learning infect

others.

Use all the languages available to children, such as voice, gestures, drama, sounds, music, handing of materials, graphic and pictorial experiences, the media.

HAVE SKILLS IN JUGGLING AND IN MUSIC: Discover the sonorous landscape Explore different expressive Participate actively in the creation These two arts have much in common: through perception activity and possibilities of voice, sounds of musical experiences through both are based on rhythm. You cannot musical production using voice, objects and musical instruments, the execution and interpretation juggle well without a good sense of body and objects. learning to listen to himself and of instrumental and vocal tracks rhythm, because what we do is repeat others, makes use of forms of belonging to different genres and sequences of movements that must be Explore the first musical notation and analog encoded. cultures. coordinated with each other and the only alphabets, using the symbols of way to be able to coordinate is precisely an informal notation encode Articulate timbre combinations, Being able to design and to perform them rhythmically, also perceive sounds and play them. rhythmic and melodic patterns implement through improvisation

increasing or decreasing (as far as by applying elementary; execute or participating in processes of possible ) speed. them with the voice, the body collective elaboration messages, and tools, including those of music and other media, in the In both cases, the music and juggling, computer technology. critical comparison with models there have been different attempts to belonging to the musical heritage, write, or notation. The juggling has Improvise freely and creatively, also using computer systems. several methods of notation, especially in gradually learning to master what is considered the basic specialties techniques and materials, sounds Integrate with other knowledge of juggling, with the three balls. and silences. and other artistic practices their music experiences, using also Perform, alone and in groups, appropriate codes and coding simple vocal or instrumental systems. tracks belonging to different genres and cultures, also using educational tools and self-built.

USE PROBLEM SOLVING: Learn ask questions, to give Explore the phenomena with a Explore and experiment in the and ask for an explanation, to be scientific approach: with the laboratory and outdoors, the Being able to solve perceptual-motor convinced by the others‘ point help of the teacher, fellow, unfolding of the most common problems in order to develop their of view, not to be discouraged if independently, observes and phenomena, imagine and find out acrobatic language: when you build a describes the unfolding of the causes, find solutions to 100

number, a string, or even testing a their ideas are not appropriate. events, asks questions, even on problems, using the knowledge movement, it is necessary to solve the basis of personal acquired. problems related to commissioning in Move towards more structured assumptions, proposes and succession of the movement themselves, path of knowledge, in which implements simple experiments. both with regard to the fluidity of the you can explore the potential entire sequence, both as regard the language to express themselves Find through some sources possibility itself of chaining a movement and the use of symbols to (books, speeches of adults, to the previous one. represent meanings. internet….) information and explanations about the issues that affect it.

Find original ways for the problem solutions, either alone or in collaboration with peers

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4. THE CONTRIBUTION OF CIRCUS EDUCATION TO FORMAL EDUCATION SYSTEMS

The contribution of physical education to the overall development of students has been recognized by the European Commission: "Physical education is not limited to training in physical skills, and has more than just are creational dimension. With involvement in many physical activities come knowledge and insight centered on principles and concepts such as „rules of the game, fair play and respect, tactical and bodily awareness, and the social awareness linked to personal interaction and team effort in many sports. Goals that extend beyond physical education and sport – such as good health, sound personal development, and social inclusion – give further weight to the importance of including this subject in the school curriculum". (EACEA/Eurydice, 2013)

However, in most curricula of European countries given mainly focus on the development of language and math skills to be acquired by students and less on skills acquired through physical education.

4.1 Learning bridge: Proposing a model for the curricular integration of didactic and experiential education through circus literacies

Circus at the school curriculum There are different ways to integrate circus arts in school curriculum that need to be explored. Collaborative first approaches can be done with school principal, the board of directors, teachers and school experts, as well as with the support of local educative administrators and local and international experts. This will be the first step to integrate circus school curriculum into the educational guidelines. Explicit guidelines at local, regional, national and European level can facilitate the design of diverse curriculum options. Some educational administrations in several European countries are including now circus abilities in the general curriculum, in different modalities. Some of the possible approaches are the following: 102

 Introducing transversal elements of circus‘ abilities, techniques, skills and values through different subjects, as following:

-Physical education: gymnastic activities, swimming activities and others can be turned into circus activities

-Arts: music, dance, theatre, poetry, drawing, design, painting, sculpture, audiovisual arts.

-Others subjects as languages and literature, or mathematics and sciences (as some aspects of geometry, physics principles, human body anatomy, health and so on) can include circus transversally.

All subjects can leave room for integrated projects with circus. Each school can organize different transversal subject combinations depending of its own school curriculum and context. This means establishing synergies across disciplinary lines sharing the circus‘ unique sensation of ―flow‖, of pleasurable immersion in experiences of life-related metaphors. This a transversal way to include circus abilities into the school curriculum that will help students to be more balance between mental, physical and emotional intelligences later in life, leaving room for moments of individual and shared happiness and wellbeing.

 Developing some compulsory or optative credits devoted to the circus‘ large spectrum of arts and techniques as a regular subject, according to the school‘s grades –pre-primary, primary and secondary levels.

 Including at high secondary school a specific subject with a dual modality: a semester in school and another one as intern at circus organizations, associations, companies or in specialized school circus courses.

 Introducing a specific modality for Circus Arts at High School and Baccalaureate levels.

 Organizing informal circus activities at school spaces or in other external places, for example, to offer creative and active workshops culminating in shows or performances in front of a school and local audience.

 Planning, with the collaboration of external experts, school circus fairs, school circus activities days, week-ends circus activities, summer camps, in school spaces or in external appropriate ones.

With independence of the modality adopted by the circus school curriculum, there is a common agreement that frequent practice is fundamental to achieve the benefits of

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circus curriculum basic goals. Daily practices needed, and, ideally, is to be complemented at home and in leisure time. Repetition, routine and memory are essential to gain benefits from physical, emotional and mental circus practice. Providing quality circus education in schools requires the engagement of political, social and economical actors as well as educational policy makers, educators, administrators, parents and students. As there is abundant evidence that regular circus activity benefits the brains, bodies and emotions of school-aged European children, the result of this collective engagement will be the improvement the European educational systems (Euridit, 2014). In addition, the empirical results from European countries that have embraced the practices of the circus in the context of physical education either in formal or non formal educational contexts show that younger children can do exercises that stimulate muscle strength and develop their balance. Also, through the circus activities learn (first stages) to coordinate their body parts. In this age, all activities conducted through the play and aim to both the development of motor skills and the socialization of students through team activities. The curriculum of primary education can be enrinched with circus activities such as basic climbing, rope clumbing, coordination activities etc. Moreover, in the curriculum of physical education (secondary education) can be incorporated circus activieties such as acrobatics (tumbling, pyramids), aerial (hoop and Silk /Tissue), Juggling (rings, clubs) etc. On the next pages is presented an example of developing curriculum from UK.

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Table 7. Class structure

Introduction to Circus – Ages 4-7 Circus Skills – Ages 7+ (Selection Group)

1. Warm up 4. Warm up 1. Activities and games to get warm 1. Activities and games to get warm 2. Stretches to all parts of the body 2. Stretches to all parts of the body 3. Exercises to condition the body 3. Exercises to condition the body

2. Circus Training and Skills, including 5. Circus Training and Skills, selected from: 1. Coordination activities and balance 1.Tumbling Mini tramp 2. Socialisation and group work 2. Pyramids Aerial ring 3. Basic tumbling 3. Rope climbing Stilts 4. Rope climbing 4. Trapeze Unicycle 5. Tight wire walking 5. Tight wire walking Walking Ball 6. Hand held equipment

3. Cool Down 6. Cool Down 6. Gentle exercises and stretches 1. Gentle exercises and stretches

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Table 8: Curriculum Overview

CURRICULUM AREA DISCIPLINES INVOLVED

Basic Training and Conditioning Warm Up Tumbling Endurance Flexibility Strength and Conditioning Cool Down Balance Coordination Listening to Instructions

Acrobatics Tumbling Counterbalance Mini Tramp and Vaulting Rope Jumping and Skipping Pyramids Group Balancing

Aerial Basic Work Silk/Tissue Double Work Trapeze Rope Aerial Hoop

Balancing Tight Wire Headstand/Handstand Rolla Bola

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Stilts Unicycle Adagio/Acro-balance Ball/Globe Walking

Juggling Balls Clubs Other objects Rings

Object Manipulation Plate Spinning Hula Hoops Poi Balancing Equipment Diabolo Flower Sticks Club Swinging

Physical Theatre Comedy/Clowning Dance/Movement Performance

Detailed Curriculum – Progression of Disciplines

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Table 9: Training & Conditioning

Discipline Skills Taught

1. Warm Up  Stretching  Skipping/5minute run  Games  Cardio, splits, back bends, stomach, shoulders, legs  Stretches to all joints including the knees, ankles, wrists, neck and back

2. Flexibility  Practice the splits  Right leg split  Left leg split  Mid split  Leg kicks, leg stretches  Leg stretches on the box  Do a back bend from the floor – back arched up  Bring feet closer to the shoulders

3. Balance  Headstand  Handstand against the wall  Free standing handstand o One leg vertical, then two vertical o With tucks

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o With straddles  One leg balance  Same, but pull other leg up  Hand balance – Frog

4. Tumbling  Forward Roll  Backward Roll  Cartwheel  Handstand Roll  Jumps – forwards, backwards and sideways  Rows of cartwheels  Hand spring  Round off  Back Extension Roll (into a handstand)  Learn to fall without injury – roll out of a fall, bend knees when landing (plie)

5. Strength and Conditioning  Stomach o Sit ups o Lie on back and write alphabet with legs  Push Ups  Lunges  Squats  Front support (straight body)  Rear support (straight body) 109

 Walking, running, skipping, galloping hopping, and jumping – different kinds  Bar Conditioning, with chin-ups, leg lifts (up to the hands), ―L‖ sits, tummy crunchers, skin the cat

6. Coordination  Hand eye coordination  One leg balances  Hand held equipment  Skipping  Multi-limb co-ordination exercise  Multi-tasking  Dance/Movement

7. Endurance  Develop general fitness and stamina

8. Cool Down  Series of cooling down exercises  Stretching all the muscles  Stretching all the joints

9. Listening to Instructions  Listen to what the trainer says  Follow the instructions  If you don‘t understand, ask.  Health & Safety 110

 How to use equipment  Safe Practice

Table 10: Acrobatics

Strand/Area Beginning Intermediate Advanced

1. Tumbling  Forward roll – must learn it  Cartwheel with round off  Head spring - squat well  Headstand with forward roll  Head spring - standing up  Backward roll  Free standing handstand  Forward walkover  Headstand  Handstand with forward roll  Backward walkover  Headstand - tucked  Left and right dish (side) rolls  Hand spring - step out  Handstand against the wall  Standing tuck jumps x 10  Hand spring - legs together  Monkey jump  Round off  Cartwheel flick step out  Lunge jump  Cartwheels – continuous  Pirouette – full turn  Cartwheel – smooth  Backward extension roll  Starting a standing back flip

 Pirouette – qtr or half turn  One arm cartwheel  Standing tuck jump  Aerial cartwheel  Combination tumbles

2. Mini Tramp Start without the vaulting box Start without the vaulting box and when Start without the vaulting box and when and when skills are mastered 111

and Vaulting introduce it. skills mastered introduce it. skills are mastered introduce it.

 Learn to jump on the tramp  Head spring  Forward layouts - straight body  Start with a simple jump, both  Hand spring  Split legged layouts Mini tramp gives feet, landing on crash mats  Round off  Barani - round off with no hands greater spring.  Jumps – straight, pike,  Forward somersaults  Jump off in a split, tuck arch, jump straddle, twists  Pike somersaults through a hoop or rope held in your  Repeat with the vaulting box  Jump through a hoop hands

 Jump on and off the box

3. Rope Jumping Individual Individual Individual and Skipping  Skipping – put one foot  Pass the rope under your feet twice  More complex jumps through, then the other in the one jump  More complex routines of movement,  Jumping – two feet go through  Hop on one foot, hold the rope in entrance and exits Don‘t jump too high together one hand, jump to one side  Rope Exchange and keep the spine  Can do an extra jump  Cross the rope in front of you  Acrobatic entrances, exits and in rope vertical  Keep the spine vertical  Use two ropes (double dutch)  Combines juggling, jumping  Do it frontwards and  Start to develop movement skills balancing, and tumbling backwards while skipping e.g. to music

Group Group Group  Head, shoulders, knees and toes while skipping  Group jumps – 6+  People hold both ends of the  Throw and catch balls while  Complex skipping and weaving rope patterns 112

skipping  Run through rope  Run in, skip and run out  Figure 8 patterns  Run through in pairs  Crossed ropes  Skip in pairs  3-5 person skipping  Run through in 3‘s and 4‘s

Table 11: Aerial

Strand/Area Beginning Intermediate Advanced

1. Basic Work  Stretches and Flexibility – neck (with rotations), shoulders, hips, side stretches, leg standing  Increasing in number and vigour stretches, lunges, back arches with ability (half and full), leg splits, frog stretch, middle splits  Strength – chin ups, leg lifts with legs straight, leg lift tucks (hips to the bar), hocks hanging, toes to the bar, forward beats, skin the cat (dislocate)

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2.Rope & Tissue  Learns how to climb  Develop climbing technique  More advanced climb up tricks o Leg wrap o Toe climb o Straddle climb o Foot lock o Scissor climb  Drops  Foot locks  Basic wraps  Combination of tricks o On ground  Front arabesque  Advanced manipulation of apparatus o In air  Smooth transitions  Complex routines linking holds,  Straddle  Begin to develop stylised movement drops and hangs  Star to themes and music  Seamless transitions  Arabesque

3.Static Trapeze  Learn correct grip of the bar  Toes to the bar  Side plunge, both sides  Mount the trapeze  Balances - Back balance, Back hang  Front plunge  Dismount from the trapeze and plank, Sit, Knees, Front balance  Back plunge  Hang by both knees (bird),  One arm plunge  Hang by one arm, each side  Bird‘s nest on ropes  Bird balance to one knee  Beating in hocks -hanging by  Splits on rope  Stand to one knee knees  Crucifix on bar  Knees to backward roll  L position sit on bar  Crucifix on ropes  Shoulder balance to clicks  Leg extension from the bar  Mermaid on ropes  Hocks to heels  Stand on the bar  One knee hang, each side  Rolls

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 Beating under the bar  Beat swing mount  Drops  Knees to sit  Bird‘s nest to superman  Complex routines linking holds,  Sit to stand  Sit to superman drops and hangs  Star  Go from a knee hang and slide into  Seamless transitions  Coffin an ankle hang  Y hang  Beat around the bar (straddle roll)  Bird‘s nest position  Toe hang  Superman  Heel hang  Mermaid  Standing drop  Splits under the bar  Ankle hang on a single cable  Catcher‘s lock  Forward roll from standing  Skin the cat (dislocate)  Les Lumes  Learn alternative mounts  Gazelle o Skinner mount  Les croix o Crab mount  Skinner roll  Bird balance rolls (barrel roll)  Bird balance to catcher‘s lock  Smooth transitions  Begin to develop stylised movement to themes and music

5. Aerial Ring  Follow the same structure as  Do intermediate trapeze tricks while  Start static and then spin above spinning  Plunges – forward, back and  Learn how to twist the ring sideways  Do basic trapeze tricks while  Toe and heel hangs 115

(Similar to static spinning

trapeze)

6. DoubleBase Aerial  More advanced skills e.g. cutaways  Start to swing or spin on a moving  Combination of skills e.g. bird‘s apparatus 1. Learn how to hang down and nest, half angel, etc.  Do the same tricks as intermediate on come back up  Increase the time working on the a moving apparatus These skills 2. Learn the correct catching apparatus to build up endurance  Learn more advanced skills apply to all techniques  Smooth transitions  Plunges double aerial 3. Learn the catcher‘s lock – in and  Begin to develop stylised movement  Toe hangs apparatus. out to themes and music  Heel hangs 4. Hang in the catcher‘s lock  Learn different types of releases, 5. Flyer hangs off their arms depending on equipment Individuals should 6. Do conditioning and strength be competent and exercises confident working 7. Learn how to swing up and down independently from the apparatus before attemptingFlyer double work  Learns to come up  Learns to hold onto the base  Learns simple aerial skills o Bird‘s nest o Skin the cat (dislocate) o Splits

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o Half angel  Learn how to swing up and down from the apparatus

6.1. Trapeze/  As for Double Aerial above.  As for Double Aerial above.  As for Double Aerial above. Hoop  Bird‘s nest with one hand and one  Multiple people hang – one in foot (opposite ones) catcher‘s lock, another hanging from  Skin the Cat – continue past a them and the third does a bird‘s nest bird‘s nest and bring you legs over your head  Monkey hang – let one hand go after skinning the cat  Do a bird‘s nest from the cables above the bar

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Table 12: Balancing

Strand/Area Beginning Intermediate Advanced

1. Tight Wire Preparation  Backward walk – full wire  No hand walk Extensions – front right and left  No hand running  Calf Busters  Extensions – back right and left  Long jumps across the wire  One leg squats  Start of turns – left and right  Backward jumps across the wire Half the weight is Forward walk with left and right Practice  Balances and turns – one leg forward on each side of the turns and back extensions with turns, wire  Forward walk with assistance  Backward walk with left and right mounts, lunges with slide, moon  One leg balance with assistance turns walk, splits, pendant pose  One leg balance with assistance  Balance –lunges, lie down, start the  Crow hop Feet can be  Backward walk splits  Bum Drops lengthwise (slow)  Forward walk - ½ wire  Turned out walk, forward and back  Splits or slightly turned  Forward walk – full wire  Start running  Multi tasking equipment while out (running)  Backward walk - ½ wire  No hand walk - ½ wire moving  Jumping

 Jumping on the wire, forward and Start with the back rope height less  Duck walk (crouched) than your leg  Begin multi tasking while stationary length e.g. spinning plates, juggling and skipping

Always focus on

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the end of the rope, not on your feet

2.Headstand  Squat headstand  Handstand utilising a variety of leg  Walking on the hands /handstand  Extended headstand and body shapes – splits, pirouette,  Do things with hands/feet while  Body straight, piked or arched arched back walking  Headstand with moving legs  Handstand on different apparatus  One arm handstand  Handstand against a wall for 2 and people e.g. blocks and  Handstand on another person‘s hands minutes handstand table while standing  Free standing handstand  Handstand on another person‘s  Multiple people doing handstands on hands while lying and sitting chairs

3. Unicycle  Learn to get on the unicycle with  Turn  Learn a range of different techniques assistance  Learn to stop e.g. hopping, skipping, walking the  Go forward holding onto a rail  Learn to idle wheel, one leg on one pedal, ride on  Ride in a straight line – for a  Mount unaided the pedals but not the seat, hop up Learn the correct short time  Stop and start stairs posture - sit  Pedal evenly, using legs,  Figure 8 patterns, reducing in size  Introduce other things e.g. people straight, lean not hips, with even pressure on  Learn to jump standing on your shoulders, kicking forward with each pedal o Holding seat bowls onto your head shoulders, hips  Ride in a straight line – sustained o Nor holding on  Ride taller uni cycles back, keep weight time  Learn different and more complex on the seat  Turn 90 deg left and right  Go backwards styles of mounting 119

 Learn to stay still  Pirouettes  Dancing with a partner  Backward Slalom  Introduce other things such as  Bunny hopping juggling, diabolo, devil sticks  Skipping, either with the rope  Stylised mount yourself or others swing the rope  Slalom ride  Walking the wheel – two  Small giraffe feet or one foot on the wheel and one on the pedal  High giraffe  Ride on the slack wire or tight rope

4. Stilts  Use small stilts  Cross right and left knees up front  Do a back arch and onto your feet  Walk with teacher assistance or a  Cross right and left feet up behind  Do a tumble on half metre stilts wall as support  Take long strides  Use higher stilts for previous skills  Walk forward  Side steps, right and left  Step up and down 2 steps Learn to fall  Turn left and right  Walk backwards  More complex apparatus e.g. rola forwards, do not  Idle on the spot  Obstacle course unassisted bola, unicycle fall backwards  Step over something  Run  Walk on the tight wire  Obstacle course with assistance  Jump  Begin multi-tasking – spinning  Bend to touch toes Be aware of plate, flower stick  Skipping surroundings  Spinning/Pirouette  Kicks front, side and back  Develop multi-tasking – juggling, 120

Learn to march, diabolo, poi don‘t stop  Begin to use increasingly competent movement to dance o Individually o Group  Step up and down one step  Use higher stilts

5. Rola Bola  Find your balance on the rola  Balance with one hand and one foot  Introduce multiple barrels which bola with assistance – across the on the rola bola move each way (some standing up) cylinder  Learn to turn  Do other activities involving multiple  Start with cylinder on carpet and  Do a jump pieces of equipment step on it – begin to balance  Jump on the board and balance for  Do handstands on the rola bola unassisted 10 seconds  Lie down  Teeter like a see saw  Jump and do a half turn  2 people  Roll back and forth with the  Balance with your feet together board parallel to the ground across the board  Do a squats  Introduce other activities e.g.  Demonstrate controlled balance juggling, devil sticks, hula hoop and mounting

6. Ball/Globe  Mount assisted  Develop smooth movement  Jumping between balls Walking  Stand assisted  Jump  Add another person  Turn assisted  Walk backwards  Add more complex tricks and

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 Seated balance  Run routines  Learn to jump off if falling  Add additional elements e.g.  Unaided ramps  Stand unassisted skipping, hula hoop, diabolo  See-saw  Turn unassisted  Walk up and down ramps assisted  Head, shoulders, knees and toes  Learn to walk it forwards on a mat  Learn to walk it sideways on a mat  Repeat the above on the floor

7. Adagio/ Group  Shape game – develop  Learn more sophisticated, types  Flyer can go feet to feet, feet to hands, Balance understanding of body movement of balances head to head, single hand on foot and physicality  Candle - base person could lie  High hand to hand balances  Basis counterbalancing down and flyer do a handstand on  Pyramids with multiple people, 6+  Learn to base and stand correctly his knees  Combination balances In beginning – understand what makes a strong  Stand on thighs and arch forward everything should and weak shape and up be spotted by the  Base person supports the weight  Balance on shoulders – the base teacher, as of another person person holds the top person (flyer) students advance  Start with low to the ground around the legs, pulling the legs into they learn to spot balances first the back of his head each other under  Two person low simple balances  Dragon - horizontal out, with legs supervision – e.g. base on all fours and flyer around the base person‘s chest does a bird, two bases on hands  Hand to feet balances in pairs, mid

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and knees and a flyer on top level handstands, high level birds  Counter balances with two people  Low hand to hand balances on the ground  4-5 person basic pyramids

 Counter balance with one acrobat off the ground  Flyer balances on thighs of 2 bases

Table 13: Juggling

Strand/Area Beginning Intermediate Advanced

1. Balls  Throwing & catching games  Learn to concentrate intently for a  Introduce more complicated links and o 1 knee sustained time patterns – spins, balances and breaks o Throw and clap  Learn a series of 3 ball tricks  Reverse cascade o Group pattern o Reverse cascade  Different takeaways – by an empty o Group pattern with movement o Shower pattern handed juggler  Scarf rhythms o Catch a ball on the head, under o Side by side takeaway  1 ball hand to hand the leg or arm, behind the back o Over the back takeaway  2 balls in a shower pattern, left  Juggle with 3 different objects o Lots of others and right  Pass to other people  Double passing – 3 balls each  One ball column, left and right  Floor bouncing patterns  Use four balls confidently 123

 2 balls in cascade pattern, left and  Develop a good finish  Complex group juggle patterns right  Start to use 4 balls  Juggle 4 balls on other apparatus  2 ball cascade pattern with beat  Two ball column, left &right  Juggle 5+ balls

 3 balls in cascade and shower  Column tricks – two balls in one pattern, left and right – 3-4 hand throws  Flash 3 balls  Practice till you get control  Juggle while balancing on other equipment e.g. stilts, rola bola, globe, tight rope  Shared/group juggling

2. Rings  Some manipulation and isolation  Use 3 rings with side spin  More rings and more complex skills can be introduced as well  Use 3 rings with pancake spin patterns Follow the  Mix the spins sequence of

progression for balls

3. Clubs Solo Solo Solo

 1 club hand to hand  Practice till you get control over a  Start to use 4 clubs  2 clubs in cascade pattern sustained period of time  Introduce more complex links and Follow the  3 clubs in cascade pattern  Tricks – e.g. under the leg, double patterns sequence of  Learn tricks with 3 clubs spin, behind the back  Juggle 4 clubs and add patterns progression for o Shower pattern  Use other simple objects  Cascades, shower, behind the back, o Double spins  Columns – 2 clubs in 1 hand through legs etc 124

balls  Balance on something and juggle –  Move into other equipment stilts, rola bola, globe  5+ clubs

Group (Passing clubs) Group Group 1. Introduce passing from person to  Demonstrate confident passing and  Use more people in different person – 4 clubs between two pattern understanding formations people (3-1)  The feed – one person to 2 or more  Feed to one on shoulders of the other 2. Alternate pattern – one to self, facing him one to partner  The box – four people in a cross,  Use 3 clubs per person and bring in 3. Solid pattern – every club passing at right angles more people  Showering box – more difficult  Formation passing – 3 or more  Add more clubs people  Different right and left hand patterns  Start to use 7 clubs with 2 people  Add movement of people to passing  Bring in more people patterns  Pass in patterns e.g. triangle pattern,  Juggling and passing on small then running around, drop back line giraffe unicycle  Use right and left hand passing –

double diagonal spin  Begin to add tricks to passing patterns  Group juggling and passing on apparatus e.g. stilts, rola bola

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Table 14: Object Manipulation

Strand/Area Beginning Intermediate Advanced

1. 1. Plate  Spin with free hand and balance  Spin one plate on a stick  Balance one plate and juggle two Spinning it  Throw plate up with a spin and rings in the other hand  Do it with either hand catch it on the stick  Spin and maintain up to 6 plates on  Transfer plate from stick to finger  Pass spinning plate under leg fixed sticks and back again  Pass spinning plate behind back to  Increase the complexity of tricks  Stick balancing other hand o On hand  Curl spinning plate under left and o On finger right arms o On arm  Spin multiple plates  Move while spinning  Begin multitasking  Learn to spin it with the stick

preparation

2. Hula Hoops  Spin small hoop around wrist to  Do a good hand shift, swap hands  Spin a hoop fast around the waist and develop understanding of and go behind the body kick up a second hoop then a third required motion  Put the hand over the head and bring hoop  Push one hoop around the waist, the hoop down onto the body  Top three separations – waist, chest Feet slightly fast and flat  Take the hoop back up to the top (arm through or not), and top hand. apart 10-15cm,  Spin the hoop in the hand in front hand – don‘t duck and don‘t let the Save all back to the waist knees together of the body – hand should close travel hand go behind the head  Five separation – kick up hoops to

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over the hoop each time the hoop  Take the hoop from the waist down waist one by one passes through to the knees without losing speed o 1st hoop – waist to chest, arm Body does a  Spin the hoop in one hand over  Hold the hoop on the knees through, up to top hand small circle that nd the head  Develop more speed o 2 hoop – waist to knee (must be comes up from  Can swap hands with the hoop  Bring the hoop back to the waist, on knee caps) the ground, feet rd but cannot throw it onto the body take it to the chest and via the arm o 3 hoop – waist to chest, arm up, rocking  Start with one hoop around the through to the top hand through, helicopter hands back and forth th waist slow but in a circle  Kick one hoop up to the knees or o 4 hoop – waist to chest, arm through  Keep one hoop on the waist with waist th good speed  Spin two hoops on the waist o 5 hoop – stays on waist Body does one  Basic manipulation and isolation  Kick hoop up to one knee  Go in full circle with all hoops spinning. Save all back to waist i.e.: circle only for  Put the foot back in o Knees back to waist one hoop  Begin adding additional hoops manipulation o Chest back to waist

 Multi-tasking hooping while on o Helicopter hands, back together other equipment e.g. ball, stilts  Pick up speed and throw back to  Comprehensive manipulation and waist isolation  Full manipulation routine  Throw ons  Walking on globe with mass separations  3. Club  Two clubs swinging around  Combine small and large circles  Add in throws and catches Swinging and  Small circles – front (vertical &  Link patterns together to make up  Waist wrap Poi horizontal), side and above head particular routines  Behind the back skills  Figure 8 pattern  Complex turns  Gradually increase the complexity of  Learn a dozen or so basic patterns  3 beat weave the patterns 127

 Swing with full (stretched) arms  Backwards moves  Gradually improve the smoothness  Spin clubs with ring grip, small  Backward 3 beat weave and rhythm (Works well circles  Do a fountain  5 beat weave with dance and  Introduce ball and socket grip –  One handed butterfly  Perform complex, smooth, transitional choreography) small circles  Develop movement to music routines  Basic turns  Create performances  Butterfly  2 beat weave

4. Flower  Master the pattern of getting the  Double flip right and left  Under your leg Sticks & Devil free stick to move freely between  Single stick  Behind your back Sticks the sticks in your hands  Learn a range of patterns  While tumbling  Toss the stick straight up and  Helicopter with 2 sticks  Use 4 sticks – one in each hand and catch it, keeping it horizontal  One stick flips passing 2 others  Toss the stick up with a half flip,  Propeller  Use other object e.g. broom handle left and right  Helicopter with one hand  Comprehensive & competent partner  Toss the stick up with a full flip,  Partner work routine left and right  Developing routines, style and  Lift the stick up from the ground movement to music and themes  Toss and catch with horizontal spin  Preparation for propeller on the floor

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5. Diabolo  Get the diabolo going and  Advanced speed techniques  Wrap elbow and toss spinning – the faster the spin the  Work with 2 diabolos on one string  Work with 2 diabolos on 2 strings more the stability  Work with another person with 1  Two diabolo tricks and patterns  Learn to correct tilting diabolo passing to each other  Work with 3 diabolos  Throw it up and catch it on the  Swap diabolos with a partner  Work with more than 3 diabolos string  Around the leg  Work with multiple diabolos and  Learn basic solo tricks  Toss, full turn, catch multiple people  Trampoline  Around the world with a stopover  Increase the complexity of the moves  Walking  Around the world, front and back  Speed techniques  Baby‘s cradle o Tap  Jump over the string while the o Whip diabolo is in the air  Jump it over your foot by pressing your foot on the string  Side spins

6. Balancing  Start with tall, light objects e.g.  Use smaller objects to balance –  Gradually introduce smaller and Equipment peacock feather, bamboo pole they are harder lighter objects  Horizontal balance  Balance on more difficult parts of  Balance 2 linear objects, one on the  Vertical balance the body e.g. foot, chin, nose, other  Balance on palm and finger mouth, forehead  Curl spinning ball under left and right Don‘t let things  Controlled loss of balance  Go to 2 dimensional objects – arms - out fall and correct  Toss the stick and change rectangular board, picture frame  Go to multiple 3 dimensional objects but try to keep  Half and full rotation of stick to  Go to 3 dimensional objects – chair,  Spin two balls simultaneously - out them balance  One hand spin with a ball  Sit down and juggle 129

perpendicular  2 handed spin start with a ball,  Go to objects on objects e.g. chairs maintain spin with finger on chairs, things on a stick  Transfer spinning ball to stick or  Balance 4 objects on feet and hands Stare at the top finger at the same time of it  Balance something on the foot or head while in conjunction with other equipment e.g. juggling, unicycle, tight rope If balancing on  More and more complex the head keep a combinations ―long‖ neck

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For a method integrated teaching and learning Educational Motivation In a pedagogical sense the circus is an art that can be defined holistic and not meritocratic, and is of central importance for the motorial and cognitive development of the individual. It is worthy of note that during the period of primary school every child is faced with a delicate phase – limited in time – in which the nervous system in particular develops until it reaches complete maturity, laying the basis for future motorial and mental faculties. Learning, or even simply attempting to measure onseself up against the various disciplines of the circus, such as juggling, balancing and acrobatics, helps to improve coordination, the capacity to react and concentration and enhances the strength of the locomotive aparatus. Moreover, it also promotes numerous social and psychological abilities, such as the propensity for group work and self-esteem. Finally, the sense of rythmn and creativity are enhanced by developing an original show invented by the children at the end of the course. The identity of the body takes on a strategic role for the basic learning: when a person is happy with himself, knows himself and his limits and potential, he will without doubt be stronger at facing the strain of studies, work and a profession.

The circus game therefore becomes the vehicle for promoting didactic activities which are 'preliminary and transversal' to learning in general. It conquers the learner emotionally, fascinates and enchants him, and brings him into close contact with a test, with difficulty calibrated to his age and to the skills he has mastered. The ludic motor activities become a vehicle for expression and communication, exploring the world of expressive verbal and non-verbal language, but also the principles of physics, mathematics and music. They allow the learner to become aware of his body as an organic system, both in its overall sense and through its various parts. The progressive knowledge of his identity becomes his habitus in the teaching/learning process.

The Elements Composing the Circus Proposal Before outlining the connections which combine in a detailed manner to form the relationship between the art of the circus and formal learning of the various school subjects it is important to highlight the main founding elements of this new pedagogical model, starting from the circus activities themsleves. The nature of the relationship between adult and pupil

Establishing a relationship of trust and respect is the first step towards an effective educational approach. Learning the use of an object or acquiring a new skill, besides having their own intrinsic value, lead to growth on both a personal and interpersonal level.

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The Game and Active Learning The game becomes a creative and educative task, both children and adolescents learn actively, constructing their abilities and learning through the involvement of all their senses.

Acceptance and Sensitivity Circus activites require collaboration among peers, giving attention to the partner and his needs. A fault often transforms into a resource: in the circus every performer is equally important, accepted and respected; in this environment there is no room for phenomena based on differences, such as bullying or exclusion.

Learning through Errors At the very base of circus activities lies the concept of failure, error and risk. Engaging in circus techniques with determination and the desire to master them implies living better in a group and consequently in society itself.

Responsibility and Sociability The circus course requires a great sense of responsibility, discipline, concentration and attention towards oneself, towards partners and towards the equipment that is used. During lessons, the respect of rules and above all maintaining concentration lead to success in the performance and the consequent mental opening.

Communication and Creativity Circus activities stimulate the capacity to interpret different roles, and creativity in organizing a successful performance.

Autonomy Circus arts allow learners to acquire the ability to feel relaxed both alone and in a group. Practicing juggling and tightrope walking require both attention and individual exercise. The teacher can teach a technique, but only in complete autonomy will the pupil learn it and make it his own.

Indicators for an Integrated Methodology

Analysing the above observations, it becomes clear to see how the skills acquired through circus activities are values and a habitus which can be decisive for learning formal subjects and for constructing personalities capable of facing their future with determination and a sense of responsibility, capable of finding solutions to difficulties and unforeseen events which characterise the lives of individuals and the community alike.

By proposing the methodology adopted by circus experts operating in schools, we can define a valid learning path which is necessary for learning of all fields of

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knowledge, so it is worth outlining the principle phases of this method, which we will define as ―operative laboratory didactics‖.

This implies a serious work of reflection and in-depth eductional analysis aimed above all at the teachers themselves.

1. Having competence in their own field of study and in the gradualness with which knowledge is acquired;

2. Paying attention to the needs of the student, to his background abilities, by means of new proposals which are within the scope of the abilities and knowledge he already possesses, in order to help him face difficulties in an autonomous and guided manner;

3. Taking care to prepare the learning environment, classroom or gymnasium, in an organized manner so that he is ready to perform activities which foresee individual and collective moments for exercise, study and comparison;

4. Organizing the activities in such a way that every individual finds his space for action, makes his own contribution, is not subjugated to the ideas of others, but rather is capable of comparing himself positively with his peers;

5. Stimulating practice, with the risk of error and failure, considering these negative elements as natural on behalf of those involved in the learning process;

6. Organizing forms of practice and testing which are coherent with the activities proposed, and supplemented by systematic observation of the attitude, behaviour and responses;

7. Periodically evaluating, in teams, the outcomes of learning, taking care to write down the development of the activities during each phase, both in terms of how they were proposed, and the outcomes that were observed;

8. Taking fully into account the emotional role that the adult exercises on the pupils, in stimulating their actions, gratifying their successes and reinforcing their trust in their capacity for success;

9. Producing documentation, as is habitual professional practice, which highlights the path, the process and the outcome.

On the basis of these indications, which we are making available for discussion among the partners of CirSchool, it will therefore be possible to organize training

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and materials for the teachers in order to facilitate the adoption of this methodology, which foresees a long duration in terms of both proposal and learning, the selection of the forms of knowledge (not all forms of knowledge can be included), and consolidation of basic competences for all those involved.

The school is an institution which deals with formal learning and which has traditionally exercised the role of educator of the new generations. Today however, it is no longer possible to propose knowledge through frontal lessons, class questioning and testing, judgments and evaluation. This method, which may well have produced results in the past, excludes those who have difficulties or who naturally enquire about knowledge through multiple intelligence, as Gardner reminds us. It is necessary for every young person to face the effort of acquiring knowledge autonomously and to consolidate their transversal competences of obligations, citizenship, critical and participative thought, ability to find original and logical solutions to the countless problems of collective living. These competences can only start to be developed from the primary instrument we use to relate to the outside world – the body and operative action. The Europe of knowledge needs this type of young people.

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CONCLUSIONS The present report based on Garden's theory of multiple intelligences (particularly the physical intelligence) and the empirical evidences collected by the European organizations that have embraced the practices of the circus education either in formal or non formal educational contexts, showed that children involved with circus activities reap important benefits such as: 1. Develop motor skills (fine and gross mobility) 2. Develop social skills 3. Learn to obtain in rules and acquire skills of discipline 4. Acquire motivation 5. Learn to overcame obstacles and failure 6. Develop critical thinking and autonomous thought 7. Develop self-confidence and self-esteem 8. Acquire skills of autonomy 9. Develop empathy, learn to respect and accept the others 10. Develop their creativeness and fantasy 11. Learn to collaborate 12. Learn to be responsible 13. Learn to solve problems, acquire skills of task management and the ability to manage difficulties 14. Understand their abilities 15. Learn to be concetrated and attentative

In general, dealing with the circus activities help children to develop both cognitive and emotional intelligence. According to Garden (as mentioned in 3.1) all types of intelligence are equally important for harmonious and balanced development of the children and for this reason the curriculum should integrate also the circus activities within the context of physical education. For instance, younger children can do exercises that stimulate muscle strength and develop their balance. Also, through the circus activities (first stages) learn to coordinate their body. In this age, all activities are conducted through games aiming at both the development of motor skills and the socialization of students through team activities. The curriculum of primary education can be enriched with circus activities such as basic climbing, rope clumping, coordination activities etc. Moreover, in the curriculum of physical education (secondary education) can be incorporated circus activities such as acrobatics (tumbling, pyramids), aerial (hoop and Silk /Tissue), Juggling (rings, clubs) etc. Especially, depend on the age of children the above circus tools and activities should be used.

1. Acrobatics 2. Aerial 3. Juggling 4. Balancing 5. Physical Theater- Clown movement

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The most appropriate teaching method for using the above tools is experiential learning. Through experiential learning children have the opportunity to discover knowledge by themselves based on their experience. In addition, analyzing and studying educational systems, curriculums, circus pedagogy, Gardner's theory and empirical evidence we conclude to the following recommendations regarding the integration of circus practices into the school curriculum:

1. Circus activities can help in harmonious development of children yielding significant benefits in all areas of their development. 2. Circus pedagogy promotes collaboration of teachers, stakeholders, parents and the local community. 3. Teachers have the opportunity to transform the traditional course increasing children's interest. 4. Students participate actively in the learning process. In some cases, as in organization and presentation of a show they are the ones who decide on the matter, make costumes etc. 5. Integration of circus practices into the classroom creates positive learning environment based on cooperation and respect for the perspectives of the other team members. 6. Practices of the circus can create incentives, provide alternative solutions and help teachers to address important school problems such as bullying. In conclusion, the "Review of existing integration of circus practices in formal learning environment" recommend the planning of a European model regarding the integration of circus practices in the curriculum of physical education, or alternatively a model for the planning a curriculum based entirely on circus pedagogy. Under this model, the European countries will be able to integrate circus practices adjusting it according to the particular characteristics of their educational system.

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