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1 Intercultural Workshops DLV 21 Deadline Language version EN-IT-PT Lifelong Learning Programme Comenius - CMP Grant Agreement No

2 Author: Prof. Sofia Gavriilidis Scientific Committee Member and WP6 Leader University of Thessaloniki, Greece The Part Three of this document has been done with the collaboration of all the participants in the Intercultural Workshop for the whole P.IN.O.K.I.O. project: Fondazione Nazionale Carlo Collodi for the present P.IN.O.K.I.O. project product: the partner/s that produced it (see Author as indicated in the document) Any document produced by the P.IN.O.K.I.O. project can be downloaded free of charge and by previously signing in for personal use and for personal study purpose only. It is strictly forbidden to copy, reproduce, translate, distribute it as a whole or in parts, even in a school environment or scientific/scholar environment for any purpose and use including commercial or work purposes without authorization. For authorization requests, please turn to the Fondazione Nazionale Carlo Collodi, "This project has been funded with support from the European Commission. This document reflects the views only of the authors, and the Commission cannot be held responsible for any use which may be made of the information contained therein."

3 Intercultural Workshops EN Version 3

4 Contents I. Part one Preface or The value of narration in the life of the Intercultural Workshop 6 II. Part two Intercultural Workshop: doing together, learning together 1. Why an Intercultural Workshop? Brief Introduction Objectives of the Intercultural Workshop 2.1. General objectives: key-skills Specific objectives Methodological proposals 3.1. The project method Phases of the project method Project method and Intercultural Workshops Organisations of the Intercultural Workshop Proposed activities 15 Bibliography 23 III. Part three 1. P.IN.O.K.I.O.'s testing activity in Italy, Portugal, Switzerland and United Kindom Final Considerations 66 4

5 Part one 5

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

7 character that the specific actual conditions form. This is the reason why oral narration, or exchange of narrations, surpasses a text s lecture. By the early 1960 s, but mostly through his recent work (1990; 1999; 2003), Jerome Bruner had set off narration, as a parameter of knowledge, thoughts and feelings, as a particular mode of thinking and argumenting, innate of the human nature. The narrative mode of thinking, which, as he points out (1990), occurs when the thought follows the mechanism of narration, coexists with the scientific, rationalistic though, but has a different function. Through scientific thought, which is necessary but not enough so that we understand the world, we explain issues and events, which we verify based on specific criteria and on cause and effect relationships. The narrative mode of thinking, or the narrative construal of reality, is consequently the way we structure our knowledge about the world and the human behaviour, the way of interpreting our experiences and of giving a meaning to them. In order that Bruner (1999) replies to the questioning: what does it take to create a nurturing school culture that empowers the young effectively to use the resources and opportunities of the broader culture he suggests the practice of mutual learning cultures. He claims that school environment is a place suitable in consciousness raising about the possibilities of communal mental activity and as a means for acquiring knowledge and skill because group activities are characterized by mutual sharing of knowledge and ideas, mutual aid in mastering material, division of labor and exchange of roles. In case that narrative either of a well-known story or of an experience is scheduled within the framework of mutual learning cultures, the narrator/pupil, apart from the content of the story, he communicates his thoughts, his vision or leaves some traces of his deepest feelings. He shares ideas and thoughts with his classmates, who complete in turn their images of human nature and study cultural codes through mental procedures. The vital importance of narration and its contribution, not only to the emotional and cognitive development of children, but to the development of intercultural conscience as well, result from various researches (Fox, 1993; Wells, 2009). Data indicate that combining storytelling with post-performance discussions enhanced pupils ability to clarify and examine their value systems and when they were presented with a variety of stories from disparate cultural texts, they began to examine their own biases and conceptions (Mello, 2001). Mingshui Cai (2002) mentions that, within the classroom, narrations having a common subject related to some issue of general interest can be juxtaposed (such as work or friendship) in order to conclude to the fact that the needs of all people in all societies are common. But this wouldn t be enough. Differences should be discussed too. Because various universal issues pander, consciously or not, racist conceptions and that is where we have to focus, it is about these conceptions that we have to discuss. Cultural similarities can be considered as a means of connection with other cultures. Another interesting remark οf Mingshui Cai concerns the institution of multicultural weeks or months adopted by several schools in the USA. They are called the four F: food, festival, fashion, folklore. In his opinion, these holidays or 7

8 celebrations are characteristic of the superficial approach of multiculturalism within the classroom. He believes that the development of literature (and/or narration) has a greater dynamic in the broadening of the vision related to the culturally different. Events during multicultural weeks are pleasant, funny, festive, interesting and offer a lot of information, but they do not allow a deeper approach and a more essential understanding of diversity and everything that this results. On the contrary, he believes that folktales as well as some literature texts invented by authors in order to promote the intercultural conscience, are the most proper material on this purpose, provided that they are optimized within a chosen methodological framework, which sets the rules and the targets of narration, re narration and the activities framing them eventually. According to Jane Yolen (2000) tales are a perfect guide to the human soul because they treat eternal matters related to important issues of life, such as love, otherness, sincerity and honesty, friendship as well as problematic relationships with friends or family, death, loss, harsh punishment, threat. But also they constitute safe places of visit. In the Brothers Grimms tales, for example, the pattern of child abuse is frequent, as well as the neglecting and the abandonment by adult narrative figures (Zipes, 1995). This pattern may be an opportunity for discussion, to reveal the problematic nature of social relationships, to reconcile the children with stressful situations, to enable them to see others with more understanding and to highlight alternative ways of managing an offensive or intractable situation. In The transactional self of Jerome Bruner (1987) it is made clear that folk tales and stories, which serve as guidelines of behavior and thought in all civilizations, are not simple moral stories which show the right and wrong. They transmit to children some truths having sociological and anthropological dimension. They transmit also the message that some truths are common in every civilization, due to the fact that tales of various countries have common collective images, despite the cultural differences that might be registered in them. Besides, Italo Calvino (1988 [1983]), whose work comprises collections of folk tales too, claims that there are things that only literature can give us, by means specific to it. On the other hand, there are things that only narration of stories can give us, by means specific to it. A narrating project acts as a magnifying glass focusing on human expectations, actions as well as on their consequences. It indicates the infringement and the rules respectively; it reveals the effect of specific choices, which means the prize for certain desires and the prize for the achievement of exact goals. As proven by Propp (1968), narration into its simplest structure, begins with the disturbance of an initially equilibrium because of a matter/problem that comes along, goes on with its solution/handling, presupposing taking initiatives, making decisions and taking action, and ends up either with the return to the initial situation or with the conception of a satisfying convention. The plot usually holds for the main/classic characters various trials putting their life in danger, demanding sacrifices, brave, painful choices, taking initiatives, inventiveness and strength. They are forced to pass certain limits in order to defend their goals, which are generally related to some eternal and universal value. As a result, narration can be considered in a way as a technique of taking initiatives, of resolving problems, of facing difficulties. 8

9 Narration of stories, as method, as well as content, is a way of developing different skills due to its capacity of acting, according to what has been already mentioned, in various levels as: 1. Privileged language of communication contributing to: - create meanings and understand our world - build an identity - bridge the gap between cultural stereotypes - linguistic or other expression 2. Means of organizing former experience into: - emotional and cognitive development 3. Technique in: - taking decisions - solving problems - managing human experiences 4. Passage for: - transmission of knowledge and culture For all the reasons above, during the Intercultural Workshop by the Project P.in.o.k.i.o, narration has been proposed as the basic practice for its creation, organization and development. Τhe following Intercultural Workshop, contains six units (Bibliography included): the first four (Brief Introduction, Objectives of the Intercultural Workshop, Methodological proposals, Organization of the Intercultural Workshop) are more theoretical, while the fifth (Proposed activities) is more practical, it suggests ways of application of what has been mentioned in the theoretical part. Nine activities are suggested, each one of them including another three or four activities. In each activity the objective or the objectives corresponding to the specific competencies of the Project P.in.o.k.i.o are mentioned. Each activity suggests the practices of narrating and doing, while doing is present in the activities of re narration (verbal and pictorial narration, musical and kinetic, oral or written) or invention of new narrations. Besides, the invention of a new story (which presupposes understanding and processing codes, decoding them and then organizing and recoding them) activates mechanisms of critical self-knowledge and development of various competencies related to defining goals and developing strategies for their achievement. Furthermore, through the cooperation that the creation/narration of stories and the activities that will be followed demand, the sense of collectivity and belonging to a team is enforced and differences are gradually eliminated. 9

10 Part two 10

11 Intercultural Workshop: doing together, learning together 1. Why an Intercultural Workshop? Brief Introduction 1. Research, studies, statistics and data deriving from international libraries highlight the need for cultural awareness training to be part of our modern society. Living in a multicultural environment, it is important to distinguish without discriminating, (Pascua, 2003). Everyone has their own identity and is unique because of their own special characteristics different from others, but all of us, more or less, have some similarities. In addition, each of us is in a continual process of changing our own identity. 2. It has been proven that to embrace, to accept, to respect various and diverse forms of cultural expression enriches our own culture and contributes to collective and personal progress. 3. It has been recognised that childhood is the period in which intercultural awareness is developed more easily and effectively. Consequently, family and school play a significant role in the development of intercultural awareness. 4. Classrooms are frequented by students who are the bearers of cultural, linguistic, religious, ethnic and biological diversity as well as social, economical and character diversity, and their own personal circumstances. Therefore, the school environment offers the opportunity to think about the concept of diversity/identity, culture/monoculturalism/multiculturalism and presents suitable conditions for intercultural education. 5. Interculturalism, as an anthropological, social and political challenge (Marcheschi, 2010) within education is primarily about providing equal educational opportunities to all, regardless of each social or cultural situation. Intercultural education is not connected to a subject or a school curriculum, but provides the way to approach and conceive subjects and the world around them. 11

12 2. Objectives of the Intercultural Workshop 2.1. General objectives: key-competences 1 - Communication in the mother tongue (1): to interact appropriately and creatively on a linguistic level within a whole range of cultural, social, domestic, etc. contexts. - Learning to learn (5): to organise their learning through effective time and information management, both individually and in groups. - Social and civic competency (6): to develop personal, interpersonal and interculturally related concepts of democracy, justice, equality and citizenship. - Cultural awareness and expression (8): to be aware of the importance of creative expression of ideas, experiences and emotions considering a wide variety of means of communication, including performing arts, music, literature and visual arts Specific Objectives - To understand the beauty of being different - To recognise the right to be different / have different opinions not always shared by others - To appreciate the wealth obtained through the study of other cultures - To recognise the need to have all of the other : the other culture, the other country, the other people - To recognise that we all have the same or similar needs: to love and be loved, to have and be friends, to eat, sing, work, learn and educate ourselves, to dream, to plan our lives, etc. - To overcome prejudice and stereotypical views - To understand in more depth the concepts of globalisation, culture, multiculturalism - To speak and communicate in a critical and constructive way - To search, collect and process information 1 The definitions under the Recommendation of the European Parliament and the Council, Official Journal of the European Union, Council, December 18th, 2006 (2006/962/CE). 12

13 - To acquire awareness with respect to their own learning/assimilating processes of new knowledge and skills - To preserve the various expressions of cultural heritage such as music, literature, language, art and become more aware of their cultural roots 3. Methodological proposals 3.1. The project method The planning, organisation and implementation of the Workshop activities can be supported by the proposals of the "project method, which is based on experiential learning (Chrysafidis, 2000). The "project method" is a complex form of teaching and of development of creative activities that have specific and concrete questions/hypotheses as their starting point. It is a child-centered approach that emphasises the process and not the result. The fundamental principle of this method is that each process of teaching must be connected to real life situations. It focuses and then adapts to the needs, experiences and skills of the children, where active participation in planning and organising an activity, or an educational process, is essential (Fried-Booth and Maley, 2002). According to this perspective, participants develop a sense of responsibility, social qualities and cooperation, and the capacity to problem solve. The main characteristics of the "project method", highlighted as follows, help to better understand its advantages and its application within school: Guidance for the interests of children participating References to real situations and experiences Creativity in producing work Active participation at various levels Parallel development of many senses and skills Social learning Cognitive development 3.2. Phases of the project method The process of creating a task can be organized and thus understood through the following phases (Fried-Booth and Maley, 2002): Planning: the planning stage where participants reflect, discuss and exchange views on the choice and organization of the task to be undertaken. The teacher helps the participants in choosing stimuli. The 13

14 stimulus can be obtained from the story of a fable/fairy tale. If deemed necessary, participants will form two or more working groups. Preparation: comprises the carrying out of activities (for example, gathering material, classifying it, expressing thoughts, etc.). The teacher here has a consultative role as a discreet coordinator. They intervene only when they consider it appropriate to do so. Presentation: final preparation and presentation, if necessary, of the activity (eg, exhibiting projects, theatrical/musical performances). It represents an important step, showing among other things, the direct reward of the participants. Assessment:self-criticism and reflection on things done/tested/developed. Acquiring knowledge about what was learned and experienced. If the teacher, individually (to gain experience of the stages) wants to "evaluate" the results of the activity, this can be done by using various tools (eg free discussion, questionnaire) Project method and Intercultural Workshops The teacher using the "project method" for the organization of creative activities in the context of intercultural education must take into account the following: - Contact and cooperate with family members of children. Listen carefully to their voices. Ask for their support and participation in task/demonstrations of the class. Parental involvement in school life is important because they play an important role in shaping the cultural identity of children and modelling their behaviour, prejudices, values and perceptions of the world around them. - The degree of difficulty should be proportionate to the skills and characteristics of the children: age, special needs, language skills, etc. - It is better to have an incomplete activity rather than one created by the teacher. - The task should refer to their own experiences, stimulate interest and provide inspiration for the participants. - Value diversity through non-verbal language. Some kids cannot express themselves with linguistic codes or can express themselves better with extralinguistic codes. In this case you have to provide extra-linguistic communication activities (which include playing musical instruments, pantomime, paintings etc.). - Respecting the mother-tongue of participants is essential. Foreign participants will be able to practice their mother-tongue: this is significant 14

15 as they will not only express themselves in the dominant language but also in their own. - Bring out the various skills and talents of each participant. - Stimulate creativity and cooperation. - Stimulate mutual understanding and acceptance. It is not necessarily important to have friendly relationships, it is important however to cooperate with others and respect them. Good cooperation enables the ability to deal with personal, cultural and interpersonal conflicts. - Promote a positive attitude towards life (according to modern principles of intercultural education). Prior to the task you need to prepare well regarding the choice of story, the objectives of the activity, the type of activity, and the materials. 4. Organisation of the Intercultural Workshop - Organised in a place with a suitable space to accommodate physical activities and with basic furnishings (tables, chairs, pillows, puff, terrestrial globe, map etc.) - Artwork - Musical Instruments (bonghetti, tambourines, sticks that can be built by children, etc.) - Multimedia instruments (blog, podcast, movie etc) 5. Proposed activities Let us begin to narrate 2. We narrate ourselves, we narrate life, pain, suffering, hunger, fight, peace, dreams, beauty, travel, games... Describe and listen to narrate Once upon a time... There once was a boy, blond like linen, with freckles on his nose, who wore wooden clogs, darned socks and leather trousers with patches. His name was Nils Holgerson. One day, idler as he was, as making fun of people was his favourite occupation, he met a troll and made fun of it. And the troll 2 Concerning the concept of narrative/storytelling in the classroom see: Jerome Bruner, Acts of Meaning, 1990, same author, The Culture of Education, 1996 and Sofia Gavriilidis, Glossary Section,

16 made Nils become smaller. Nils, in this unfortunate situation, realised he was able to understand the language of animals. I) Exchange gnomes, exchange stories, exchange fears Objectives: Use intercultural activities to become aware of (their) cultural heritage and understand the links between their own and other cultures. Respect the values and beliefs of other cultures. Explore aspects of their culture. Develop cooperation skills with their peers and with adults. Reflect: Understand that all people express similar and comparable fears, torments and beliefs through their traditions and this makes them invent similar creatures. The troll who meets Nils could be comparable to the Italian elf or the English goblin, the German kobold, the Brazilian saci-pererê or the Greek kalikanztaros 3. Although the Greek kalikanztaros is an evil, bizarre monster, not all the fabulous creatures of popular imagination are evil. Think of the mysterious beings who inhabit the fables around the world. Then, the troll shrinks Nils, making him smaller, changing him. And, with his new size, Nils acquires a new skill: he can understand the language of animals. Nils has been transformed. He returns to a normal man after having learned so much from new friends/animals that he has accompanied. We recall to mind fairy tales with characters that were transformed, usually into animals or beasts (by sorcery, or perhaps an evil person) and then returned to their previous state. Narrate: Stories that we know with fantastic beings handed down by families and familiar stories that focus on metamorphosis. The adult members of families can contribute significantly to this activity with their stories and recollections. We discover that different traditions are closely linked with universal ones. We also discover that popular tradition has close links with children s stories. Doing: Situations: A mysterious and fantastic creature visits us and asks for our hospitality. We question it to make it speak of itself. We act like reporters: working together to create questions to ask the strange visitor. A child volunteers to act out the creature and answer the questions. One day, Nils Holgerson, clinging to to the neck of a goose, crosses his own country, Sweden. II) Knowing countries 3 The Greek kalikantzaros is a monstrous creature, covered with thick black fur and is half man half animal, living all year round in the centre of the Earth devouring the tree of the Earth. You can see them on the 25 th December for twelve days, until they return to the underworld to terrorize people and to steal, causing disturbances and hostility, but they can never return. 16

17 Objectives: Use intercultural activities to learn about other countries and understand our own. Identify similarities and differences between countries/ cultures. Understand that all countries have positive and negative aspects, no country is perfect. Develop the ability to work together with their peers and with adults and take the initiative to explore aspects of their native countries. Search, collect and process information. Develop the ability to speak aloud in public. Reflect: We understand that Nils knows Sweden, his own country, best. If Nils Holgerson travelled across your native country, what places would he stop at? Narrate: We plan, with the help of a person in our family, the journey of Nils Holgerson through our own country this time. We can make Nils have various adventures and experiences related the customs of our country and get Nils to talk about what he has seen and visited. Doing: The children with people in their family (or with you yourself) will know their country. With the help of parents or adults, try to gather artistic-figurative materials related to the natural beauty of their country or culture. Nils Holgerson, on the wings of a goose, had a marvellous journey, and had wonderful experiences. He had made friends, behaved well, and learned a lot thanks to the wide horizons offered by travelling. III) Travelling Objectives: Use intercultural activities to reflect on the concepts of globalisation, similarities and differences in geography (and cross-cultural perspectives of time). Develop cooperation skills through learning how to gather information and express themselves. Reflecting: If a person travels, they have several interesting experiences. Narrating: Have you travelled? Have you had interesting experiences? Do you want to talk about them? Doing: With the help of the teacher and by looking in books we can check what time it is now in Lapland where Nils has gone to or what time it is in Egypt, or Beijing, etc. A globe or map would help a lot with this activity. Nils Holgerson flies with migrating geese. They travel to find better living conditions, food, climate. 17

18 IV) Travelling for... Objectives: Develop concepts of difference and of similarities: we all have the same needs. Develop the ability to cooperate, to express themselves and communicate, to process information. Discover modes of extra-linguistic communication (singing, dancing, playing musical instruments, painting, etc.) Develop the ability to speak in public. Reflecting: Migratory birds, such as friends of Nils, wild geese, as well as search for food and better living conditions, sometimes find old friendships they had made in previous years. And maybe they feel very happy about this. Or they make new friendships and feel happy all the same. Narrating: We know that many people travel, move house, and make changes to improve their lives, to work, to study or to meet the person they love. Do you know anyone who has travelled to make their lives better or who were forced to do so for various reasons? Let us remember the fairy tales we know in which heroes leave their homes, travel to find work (or meet a loved one or to learn something or because they are banished). What have they done? What luck did they have? Could you tell us a story? Doing: We create our own fable with travelling heroes. We agree to write it, illustrate it, act it (intercultural empathy), enrich it with music. With musical instruments we express the feelings (anxiety, fear, joy, satisfaction, etc.) of the travelling heroes. The teacher strives to ensure that the children participate in and assume similar roles, and roles that help them express themselves or enhance their talents.... Upon entering his house, Geppetto took his tools at once and began to carve and make his puppet. What ll be his name? he said to himself. I want to call him Pinocchio. That name will bring him luck.... It s a beautiful flower! said the woman, and kissed the red and yellow petals, but as she kissed it, the flower opened with a bang. You could see it was a tulip, but in the middle, on the green stamen, there was a tiny girl, delicate and graceful; she was no bigger than a thumb, and therefore was called Thumbelina. Giufa the crafty one in the market: - What s your name?- - I have the same name as my father! - What s your father s name? - He has the same name as my grandfather! 18

19 - And what s your grandfather s name? - The same as me! - And what s your name? - The same as my grandfather! [- And how do they call you to come and eat? - Do not call me, I go there alone.] V) My name is... Objectives: Use intercultural activities. Recognise the beauty of being different. Recognise the beauty of creating things together. Practice language skills. Reflecting: Everyone has a name and nickname. Names are given according to practices and rituals that vary from culture to culture, from family to family, from generation to generation. What is your name and surname? Narrating: Talk about the conditions under which people are named. Find similarities and differences between cultures and family practices. Ask parents if we value the same practices in naming nowadays as in their generation. Doing: Play with letters. Indentify the letters that our names shares with our favourite hero. For example, my name is Tommy and my favourite hero is Nils. Our names don t share any letters. But with Pinocchio, which is another favourite hero of mine, we have one letter in common: o. Then divide the class into two random groups. Each group creates a bridge that unites them with the other (two bridges) using letter cubes. Each group s cube will have the same letters that include the names of the participating children. Invent rhymes with our names. - You open the door, I tell you! Geppetto roared again If you don t, I ll teach you about cats once I do get in! - Papa, believe me! I can t get up! Oh, poor me! Poor me, I ll have to drag along on my knees all the rest of my life!... - My dear little Pinocchio, how in the world did you burn your feet off? - I don t know, Papa. But believe me, I ve had such a long night of hell I put my feet on the brazier to dry them and my feet were burnt off, and all the time I kept getting hungrier and now I don t have feet any more! Boo-hoo-hoohoo! Once upon a time there were twenty five tin soldiers, all brothers, for they were all born from an old tin spoon. They kept their guns in hand, and always looked straight ahead, in a beautiful blue and red uniform...the soldiers looked 19

20 alike in every detail, only the last one was a bit different: he had only one leg because he had been mad last and there wasn t enough tin! However he was as straight on his one leg as the others were on their two legs... VI) The other Pinocchio Objectives: Develop intercultural empathy. Develop the ability to deal with intercultural situations. Try to perceive others accurately. Reflecting: Pinocchio cannot walk: he has burnt his feet. How does Pinocchio feel? What difficulties are faced? What can/should he do? Narrating: Has it ever happened to you, or has a person you know been in a similar situation, where they are not able to, for example, move their feet or hands, for a few days or longer? Would you talk about it? Doing: Reconstruct the story of the Tin Soldier from the perspective of the soldier: he talks about it in first person. A lion catches a little mouse and decides to eat it. The mouse asks him to spare his life, and in return offers him friendship. The lion lets him live and goes on his way. But he is captured by a hunter and tied to a tree. The mouse sneaks up and gnaws the ropes that bind the lion, setting him free. VII) Talking about friendship Objectives: Learn about fundamental human values such as friendship and unity. Express feelings, memories, expectations and hopes. Develop cooperation skills with peers and adults. Develop language and expression skills. Cultural exchanges. Reflecting: Be aware of and affirm the universal values of precious friendship and unity that erase all forms of violence. The differences between people regarding external aspects and materials. The lion is big, and the king of animals, the mouse is tiny, black, but they have become friends, and each has saved the other s life. Narrating: The story s main characters were the lion and the mouse. Let s talk about animals that live in your native country. Think of the most popular stories in your country. Can you talk about one? Doing: First we split the class into two or more groups and recreate the story of the mouse and the lion, in the social context of everyday life, keeping specific parts of the story but replacing the heroes with people. The teacher discreetly guides the children. In Italian there are many proverbs that talk about the value 20

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