INCLUSIVE PRACTICE IN ITALIAN SCHOOLS Body and music for listening and sharing without words (original) (raw)
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Inclusive practice in Italian schools
2021
This paper illustrates the work developed by the Italian partners in the LINK Project, Learning in a New Key, in relation to the implementation of specific training for school teachers to promote inclusive teaching practice through music and expressive body languages. The theoretical principles and framework of expressive therapies like music therapy and dance movement therapy will be discussed and we will consider how they have informed the work of professional music and dance-movement therapists in implementing the training programme. School teachers have been involved in a series of musical and expressive-body experiences to experiment and elaborate new strategies and knowledge to promote their empathic, relational and creative competences for their educational work. They have also been supported in implementing a series of class based creative activities oriented by the same principles and enhancing a relational and emotional approach in teaching practice. The paper will discuss...
Expressive Arts - Embodying Inclusive Teachers
Journal of Research in Special Educational Needs, 2016
The Declaration of Salamanca proposes a deep reformulation of educational praxis which has as a main goal to create an environment where all students can enjoy learning, improve and grow in confidence, in a perspective of Inclusive Education. In this sense, it is necessary that teachers acquire scientific and educational skills but, also, development of personal and interpersonal competences that are crucial for a flexible and adequate professional praxis. The concept of competences integrates knowledge, skills, personal values and attitudes that are acquired through work experience and learning by doing. On other side, experiential work is lived through a body in movement. Acknowledging these ideas and considering active methods and expressive arts as valorous contributions to the positive model of inclusive education in this paper, the authors propose the training in Expressive Arts to promote Inclusion but mainly to develop personal and interpersonal competences of teachers to the Inclusion.
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Charlotte Fröhlich 2018 With the kind translation support of Stuart Manins, Auckland, NZ How are Play and Music related within a child's experience? There are different ways to consider this question. Play can bring about the first encounter with music. This can open a door, almost casually, to a new realm. If the child gets appropriate support, she will certainly go through this door with curiosity and pleasure. Children can also approach music in a playful way. Here, we imagine an active child who uses his particularly playful way of approaching his surrounding in order to understand how music works and what reaction it can produce. The child produces sound, she dances with music and enjoys synchronisation between music and movement. Musical roles and precepts can also be researched in a playful way by children. Here, we imagine a child, who for instance explores almost systematically the specific elements in dynamics and agogics. He collects experiences and integrates them into his repertoire of expressivity. In all of these proposed cases we are discussing improvisation. Hence we will consider improvisation in greater depth. Let us work out group and partner improvisations in educational processes. First we will be talking about exploration, which is the incidental and playful way of producing different sounds. Next we will meet 'the process-oriented improvisation'(cf. John Kratus). That includes conscious awareness of randomly emerging sound structures into the play elements of improvisation. Here we find feedbacks between the heared, the remembered, and the played. Thirdly we may see the 'product-oriented' improvisation that implies a clear start, an articulate development, and a well pronounced ending. Even if movement has a crucial impact on music learning, I will not pay special attention to this topic. Within the current research the focus lies on sound production and relationship quality, which up to a certain extend include gesture and facial expression.
Of Movements and Affects: Dance Improvisation as a Participatory Sense-Making Activity
Embodiment in Arts Education, 2015
3 4 14 Embodiment in Arts Education Teaching and learning with the body in the Arts 3 PREFACE Martha Graham once stated that dance is a song of the body. Likewise, music can be seen as a rhythmical and melodious dance of the body. Music making and dance share an underlying musicality: a desire for cultural expression, a sense-making on the spot (beyond and before language), a playfulness that is ever present and a place where cultural narratives are shared. 1 Both music and dance are celebrations of the lived body and the lived experience.
The relevance of this work is related to the need to modernize the content of professional training of future music teachers in accordance with the current level of development of pedagogical science. The research problem is to consider the possibility of introducing some new aspects grounded on modern scientific approach to cognition and learning into the theoretical and practical training of teachers. These include the theory of enactivism and embodied cognition, based on the interactivity between an organism and its environment. These theoretical premises open up new prospects for improving the professional training of a music teacher of the 21st century. It has been found that several methods of musical training, which are inherently enactive and embodied, were found in the past practice in an intuitive way. The study of these methods from the point of view of modern scientific achievements gives them a new meaning and evaluation and should enter into the content of training of future music teachers. More effectively the students' acquisition of new knowledge was realized on a complex basis, in the interrelation of theoretical and practical educational activities. A greater role in this process is played by the experience of students' own musical performance, because it allows to feel the effectiveness of these methods through their own body
INCLUSIVE TEACHING: A PARADIGM THROUGH MUSIC
European Journal of Education Studies , 2019
In the framework of this paper, we develop indicatively a teaching example of children with special educational needs and difficulties in their social adjustment, the children with Williams syndrome. The aim of this article is to present a brief literature review of the influence of music education as a new challenge of lifelong special and inclusive education. We will focus on the Williams syndrome, in which the aim of smooth growth and inclusion is achieved more effectively through the influence of music. The cognitive contrasts, which the people with Williams syndrome present, worry scholars and educators. The result is the education of these people to often focus on their weaknesses, e.g. cognitive tests in problem solving and not on their talents e.g. communication, music. However, when these people are approached educationally and therapeutically through their abilities-and not through their any weaknesses, then another perspective of special education and training emerges, that of the development of talents. In this, the educational environment can play a major part and the aims which is called to serve. When an educational environment is a pleasing and interesting challenge, then it acts as a framework of creativity and activation of any auspices and talents of the people with Williams syndrome. In conclusion, the coupling of knowledge and experience emerges as the main methodological and pedagogical objective, as the student with special needs is facilitated towards a process of exploration of his behavioural drives and parallel learning of ways of behaviour and attitudes which do not rely only on knowledge. Thus, the goal of the inclusive education and teaching is realised more directly and effectively.
Nordic Journal of Music Therapy, 2020
Introduction: Following positive outcomes of music therapy-based skills-sharing projects undertaken there in 2009, this doctoral research responded to a locally identified need by classroom practitioners at a Belarusian Development Centre seeking to develop relationships with children with complex needs. Method: The study employed a convergent mixed-methods, pre-and postintervention design. Winnicott's theory of the holding environment provided the theoretical framework for a new evaluation instrument which underpinned the structure of a specifically designed staff development programme. Eight staff participants evaluated their usual musical interaction with a child with complex needs (preintervention). Following engagement with the staff development programme (intervention), they then undertook ten filmed individual music sessions with the same child (post-intervention). Sessions were filmed and two self-chosen extracts pre-and post-intervention were self-rated and peer-rated against the descriptors of the evaluation instrument. Participants then reflected on the experience with the child in interviews. Results: Results focus on that part of the qualitative data set that describes ways in which Winnicott's theory of holding was accessible and applicable in supporting optimisation of teacher-pupil relationships. Outcomes showed that the experience of Winnicott's "holding" in the learning process supported participants to engage with a process of change, facilitating potential spaces for play and development in relationships within the research group and between staff and children. Discussion: Participants required support to maintain two levels of awareness in their learning-this internal process of change in perceiving, attuning to and empathising with the child which then underpinned growth in their concrete musical interactional skills.
Human learning is inspired with the purposes and feelings of individuals who seek conscious, in-the-moment cooperation. It is social and co-created through mutual attunement of the movements of body and mind. In school, the interested learner needs to be encouraged by a skilled teacher sensitive to the rhythms of the child’s friendly, open vitality. They co-create shared projects in play, with movement and language, developing meaning and learning in sympathetic collaboration. From infancy, projects of imagination are expressed by the body and voice with the creative forms of 'communicative musicality' – gestural narratives created in rhythms of movement, felt, seen and heard. They anticipate being responded to with love and care. Learning within these embodied narratives incorporates affective, energetic, and intentional components to produce schemas of engagement that structure knowledge, and become meaningful habits held in memory. The rituals of culture and technical ski...