Sources and literature

AWSNA (2020, November 16). *The Educator as Artist*. Waldorf Education. https://www.waldorfeducation.org/news-resources/essentials-in-education-blog/detail/~board/essentials-in-ed-board/post/the-educator-as-artist

Carlin, M., & Wallin, J. (2014). Preface: For a People-Yet-to-Come: Deleuze, Guattari, Politics and Education. In M. Carlin, & J. Wallin (Eds.), *Deleuze & Guattari, Politics and Education: For a People-Yet-to-Come* (pp. xxi–xxvi). Bloomsbury.

Ceder, S. (2020). *Towards a Posthuman Theory of Educational Relationality*. Routledge.

Colebrook, C. (2017). What Is This Thing Called Education? *Qualitative Inquiry*, 23(9), 649–655. https://doi.org/10.1177/107780041772535

Deleuze, G. (1998). Transcription of a Lecture Deleuze gave in May 1987 at the FEMIS school. In E. Kaufman, & K. J. Heller (Eds.), *Deleuze & Guattari: New Map-pings in Politics, Philosophy, and Culture*. University of Minnesota Press.

Fink, E. (2000). *Igra kao simbol svijeta* (Play as Symbol of the World) (D. Domić, Trans.). Demetra. (Originally published 1960).

Haraway, D. (2015). *Staying with the Trouble: Making Kin in the Chthulucene*. Duke University Press.

Krnjaja, Ž. (2014). Pedagog kao istraživač (Pedagogue as Researcher). In N. Matović, V. Spasenović, & R. Antonijević (Eds.), *Identitet profesije pedagog u savremenom obrazovanju* (The Identity of the Pedagogue Profession in Contemporary Education) (pp. 8–15). Institute for Pedagogy and Andragogy.

Krnjaja, Ž. (2013). Razvijanje obrazovnih programa: gde su pedagozi? (Development of educational programs: where are pedagogues?). In Ž. Krnjaja, D. Pavlović Breneselović, & K. Popović (Eds.), *Pedagog između teorije i prakse* (Pedagogue between theory and practice) (pp. 85–91). Institute for Pedagogy and Andragogy.

Krnjaja, Ž. (2010). Igra, stvaralaštvo, otvoreni vaspitni sistem – šta ih povezuje? (Play, creativity and open educational system – what is the connection?). *Nastava i vaspitanje*, 59(2), 264–277.

Massumi, B. (1995). The Autonomy of Affect. *Cultural Critique*, (31), 83–109. https://doi.org/10.2307/1354446

Ministry of Education, Science and Technological Development (MOESTD) (2018). *Pravilnik o Osnovama programa predškolskog vaspitanja i obrazovanja: Godine uzleta* (National Curriculum Framework for Early Childhood Education: Years of Ascent), http://www.mpn.gov.rs/wpcontent/uploads/2018/09/OSNOVE-PROGRAMA-

Miškeljin, L. (2019). Profesionalizam pedagoga – odraz postojećeg ili kreiranje mogućeg u dečjem vrtiću (Prefessionalism of pedagogue – reflection of the existant or creation of possible in kindergarten). In D. Pavlović Brenesović, V. Spasenović, & Š. Alibabić (Eds.), *Obrazovna politika i praksa: u skladu ili u raskoraku* (Educational policy and practice: aligned or discrepant) (132–137). Institute for Pedagogy and Andragogy.

Naughton, C., & Cole, D. (2017). Philosophy and Pedagogy in Arts Education. In: C. Naughton, G. Biesta, & D. Cole (Eds.), *Art, Artists and Pedagogy: Philosophy and the Arts in Education* (pp. 1–10). Routledge.

Pavlović Breneselović, D. (2013). Čemu služi pedagog: priča u tri slike (What do pedagogues do: story in three frames). In Ž. Krnjaja, Ž., D. Pavlović Breneselović, & K. Popović (Eds.), *Pedagog između teorije i prakse* (Pedagogue between theory and practice) (pp. 18–27). Institute for Pedagogy and Andragogy.

Rakić, V. (1946). *Vaspitanje igrom i umetnošću* (Education through play and arts). Prosveta.

Semetsky, I. (2017). Deleuze’s Philosophy for Education. In: M. A. Peters (Ed.), *Encyclopedia of Educational Philosophy and Theory* (pp. 424–429). Springer.

https://doi.org/10.1007/978-981-287-588-4_65

Vukojević, S. (2021, January 28). *Pedagogija kao nauka* (Pedagogy as a Science). Simka Vukojević Blog. https://simkavukojevic.com/2021/01/28/pedagogija-kao-nauka/

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<figure><img src="image_269.png" /></figure>

Workshop "Object Animation - Creating Connections and Communication" by Viktória Makra, Hungary. BAZAART's annual Conference 2022
Photo by Vesna Šojić

<figure><img src="image_270.png" /></figure>
# LEARNING DISPOSITIONS at the age of 3 to 5 years

## 1. CURIOSITY

**What does it mean to be curious:** Perceiving oneself as someone who is interested, who expects that people, places and things can be interesting; Having the motivation to understand; Asking oneself: How does something work? What if... (I throw this on the floor, for example)? ... and what if I could... (jump higher, build a taller tower...)?

**How does it manifest in early childhood?** Expressions of wonder; 'Wide-eyed' gaze; Vocalizations of excitement and asking questions; Attempting to take the object of interest or engage in the action that attracts their attention; Coming back to the same activity over and over.

**How do we support it?** An environment rich in materials, stimuli, and provocations; Allowing attempts and mistakes; Observing children's wonder and supporting them in the action through which they express it; Asking open-ended questions; Encouraging children to find different solutions; Modelling curiosity (as a sense of wonder) through our own behaviour.

## 2. COURAGE

**What does it mean to be courageous:** Perceiving oneself as capable of dealing with challenges and difficulties; Confronting doubts, fears,

anxieties, and pressures which come from the environment and acting despite them if we believe it is right to do so; Doing the right thing in difficult situations.

**How does it manifest in early childhood?** Trying something new even if afraid; Acknowledging mistakes; Asking for help; Willing to stand for others; Doing what makes sense to them, regardless of what other children in the group are doing or saying.

**How do we support it?** Encouraging a sense of adventure; Supporting new experiences; Allowing children to decide when they are ready to engage in something; Treating children as if they are already brave/courageous; Giving them space to make mistakes and challenge our authority; Giving them space to not go along with everyone else; Modelling courage through our own behaviour.

## 3. PERSISTENCE

**What does it mean to be persistent:** Perceiving oneself as capable of responding to challenges and difficulties; Continuing to engage in meaningful activity despite setbacks.

**How does it manifest in early childhood?** Most often manifests in playing; Continuing to engage in something despite mistakes and difficulties – consistently, or returning after breaks.

**How do we support it?** Supporting children to persist in what they are already doing well and enjoying; Breaking tasks into 'bite-sized' pieces; Refraining from providing answers and solutions; Allowing children to feel frustration; Making every progress visible; Sharing examples of persistence; Encouraging children to help each other; Modelling through our own behaviour the 'struggle' to achieve something, facing difficulties.

## 4. CRITICAL THINKING

**What does it mean to think critically:** Perceiving oneself as someone who 'does not take things lightly'; The ability to view experiences from different perspectives, to question what is happening; Being aware that there is no single truth.

**How does it manifest in early childhood?** Comparing and trying to explain different phenomena; Questioning where something came from; Expressing opinions, making projections, and suggesting solutions (verbally and non-verbally).

**How do we support it?** Asking open-ended questions; Giving children time to think and speculate before providing solutions; Encouraging children to consider situations from different angles and to search for solutions; Modelling questioning.

<figure><img src="image_271.png" /></figure>
## 5. CREATIVITY

**What does it mean to be creative:** Perceiving oneself as someone who communicates, innovates, and creates; Using different media for expression; Trying new and different ways of using objects and materials from the environment.

**How does it manifest in early childhood?** Playing, imitating, moving for the sake of movement; Experimenting with objects and materials in the environment; Creating new structures and patterns.

**How do we support it?** Providing rich experiences and environments; Giving children space and time for experimenting and expressing; Making available rich and diverse materials through which the child can express themselves; Engaging in experimentation and creation together with the child; Modelling openness and constructiveness through our own behaviour.

## 6. SENSITIVITY TO OTHERS / EMPATHY

**What does it mean to be sensitive to other/s (empathetic):** Perceiving oneself as 'another' in relation to others, as someone whose actions have consequences beyond oneself; Being aware of the feelings of others (and the differences in perspectives on the world) and acting responsibly with that in mind.

**How does it manifest in early childhood?** Showing distress when others are distressed or enthusiasm when others are enthusiastic; Observing reactions of adults and peers to align reactions to the environment; Showing tenderness and care for both living and non-living things (such as plants, animals, toys...)

**How do we support it?** Encouraging children to work together towards a common goal – fostering gathering around a common purpose; Encouraging children to share and to listen to each other; Encouraging children to respect the choices of others and to consider how their actions affect others; Modelling tenderness and care through our own behaviour.

<figure><img src="image_272.png" /><figcaption>"Hymn to Kindness", Elementary School "Majka Jugovića", Belgrade, performed interactively at the opening of the BAZAART's annual Conference 2023. Photo by Marko Nektan</figcaption></figure>

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<figure><img src="image_274.png" /><figcaption>Theatre show "WOW!", directed by Miha Golob. Coproduction of the BAZAART and the Little Theatre "Duško Radovic", Belgrade, Serbia, December 2022
Photo by Lidija Antonović</figcaption></figure>

<figure><img src="image_275.png" /></figure>
# WELCOME OF THE WORLD:
An open script for artists and a collection of interactive stories for children

## SCENE 1

Disposition: CURIOSITY

### TRAVEL WITH THE WIND

The Wind likes to travel. Embark together on a
miraculous journey.

The Wind is a great traveller. Oh, he loves to travel, sniff, snoop around, snooze and rattle from end to end of the world, crawling into every corner, under every stone. The Wind has a bag in which he collects interesting, mysterious, exciting and fun things that he finds as he travels the world. In his hands, everything becomes a toy: an umbrella, smoke from the chimney, a paper plane and... what not. In autumn, he especially likes leaves. They're his favourite toys. He plays with autumn leaves, carries them, lifts them, throws them and dances with them. Sometimes he staffs them in his bag and then releases them all together, making a colourful carnival down the street. But that's not all – he also blows dandelions, and carries paper scraps newspapers, and pushes beach sand, sea waves, canopies and everything that can be moved... If you inspect his bag, who knows what you will find there?

Do you want to travel with the Wind? His bag is full of toys – come and find the most beautiful, most colourful toy for you. Dance with him and let him carry you. Look at it. Turn around. Enjoy the colours. Repeat.

## SCENE 2

Disposition: COURAGE

### PLAY WITH THE WIND (you can do it)

The Wind likes to play, but also forgets when to stop. And who dares tell him to stop and calm down?

The Wind flies high. That's – very high. He messes hair and beards to clouds... spins them, makes them pigtails, ponytails and funny hairstyles. The clouds, they're slow and lazy, so they can't catch up with him. Sometimes they laugh together, and sometimes they get mad at him... But what good is that to them? No one can catch up with the Wind. But if he gets angry, take care. When the Wind is angry, he grabs the whole car, tree or house and throws it in a some corner. Same as you, anyway. Kids are kind of 'windy'.

Do you dare fly with him? Jump over the canopy, skate on the waves, flutter with leaves and clouds, knit them pigtails, and laugh about it afterwards? If you fall, don't worry – the Wind will catch you and gently bring you down – it's so soft and comfortable on the Wind's back. If you have the courage, there's a flying adventure waiting for you.

## SCENE 3

Disposition: PERSISTENCE

### STAY WITH THE WIND

The Wind likes to play music

Do you hear the music of the Wind? Do you know what tunes the Wind can play? His breath triggers both trumpets and flutes and bagpipes and oboes and other instruments of strange names. You try it, too. The Wind will give you breath to create magic. He'll inhale it to you, and you give it to the silent things that will suddenly start speaking and whispering and singing to you. Try to talk them into it.

<figure><img src="image_276.png" /></figure>
It's not working? Doesn't sound good? No? Try it again... and again. Play. If you keep trying, you'll get the most beautiful sounds from instruments. When the Wind speaks with them – they create magic for your friends and all the people around you. Persistence makes a master. You can do it.

## SCENE 4

Disposition: CRITICAL THINKING

### CATCH THE WIND

#### The Wind likes to change his mind

The Wind goes one way and then changes his mind and comes right back. He goes left and then turns right. He starts blowing straight in your face and then turns around and pushes you in the back. Now here, then there, you can't grab him by the head or the tail. No one knows what he's thinking or where he's going. He doesn't tell it to anyone. He just comes in and sweeps everything in front of him. Who's going to play with someone like that? And how to play – when he's always having second thoughts? He's very mischievous and stubborn at the same time. When he sets off, he keeps going where he's decided.

The Wind thinks you're a leaf in the air and he can carry you wherever he wants – but you're not. You can tell him: No, – and he'll hear you. You can skip him, go around him, hold him by the hand and stop him... Try it. It's not hard. You're not a leaf after all.

<figure><img src="image_277.png" /></figure>

## SCENE 5

Disposition: CREATIVITY

### FLY LIKE THE WIND

#### The Wind likes to move things

The Wind brings things together. He joins one with the other, the other with the third, the third with the fifth... He doesn't mind colours and shapes... He doesn't care about order and neatness... He's messy and cheerful and he's always where there's fun (except of course when he's angry).

You never know what the Wind is going to put together. He patches up and dispatches things as he likes.

You try it, too. Look what's in here. Let the Wind flutter and breeze and blow and buzz around you, and you give him something to play with. Look around. Think. Imagine. Fly with and like the Wind.

<figure><img src="image_278.png" /></figure>

Visual Arts Workshop by Ljubica Mladenović, Art Studio Artina and BAZAART. Photo by Marko Nektan

## SCENE 6:

Disposition: SENSITIVITY TO OTHERS (EMPATHY)

### FEEL THE WIND

#### The Wind doesn't like to be alone

The Wind's got a bag of toys. He carries you in the clouds and throws you on their soft back. He plays instruments and he keeps changing his mind, so you don't know where he's coming from or where he's going. He moves windmills and dandelions, entering dreams and children's hearts.

Even though the Wind loves it all, still... There's something he doesn't like. He doesn't like being alone. You don't like that either, do you? He's like you.

So – swiftly, swiftly, quickly, quickly... Find a buddy to play together with the Wind. Because only when more people sing, more instruments play, more hearts cheer... Then only the Wind becomes the joy that carries you all over the world and says “Welcome”.

<figure><img src="image_279.png" /></figure>
# HOW I GOT TO KNOW MY INNER CHILD WHILE TALKING TO THE WIND
or
## How the Wind took me to my inner being which was craving for dancing in the wind again

*(The action happens in the World.)*

My inner Wind (speaking to me):

"Your relation to the art of theatre is intricate and complex, and therefore you take music you write for theatre performances very seriously. It seems to me that you are sad because you have realized that in that huge opus of yours there are only a few works for children, which you somehow always started with enthusiasm and finished in the manner 'as the wind blows'."

Me:

"Dear Wind, but that wasn't because of me being irresponsible. It was because children accept everything."

Wind:

"Do you believe that birds fly only because you saw them flying? Do you believe that birds do other things as well?"

And so it goes forever between the Wind and me, around and again...

Questioning, debating...

The invitation to compose the music for the program Welcome of the World, with the Wind as a main character, made quite confusion in my habitual work approach. It shook my confidence gained while working for 'grown-up' theatres, and made me go back to myself – to my forgotten inner child.

I felt big anxiety and responsibility because the music was meant for children. It had to be active and interactive, bright and dark, fast and slow, equally exciting at every moment, so it would hold attention of the youngest recipient – a child that listens with eyes and ears and the heart and the stomach, and sinks in music with their whole being, and reacts immediately, openly, without lying or withholding. Unless it gets even worse: responding to music by covering their ears.

I received a nice and smart email explaining and elaborating what was asked from me to do. Oh, and also apologising for very short time at disposal. And yes, complimenting me with high expectations the whole team has from me – a devoted and well established composer.

I copied some of the indications to a piece of paper and pinned them around the apartment, mostly above the piano and on the fridge door. Some of them I learned by heart, and some I didn't understand... ever.

I was constantly having dialogue with that Wind of mine, which quite often led me far from the initial idea, blurring my thoughts and distuning my chords.

Me (constantly repeating to myself):

"What's important is the aesthetic side of the experience, which goes beyond mere 'playing' and offers children a complete artistic experience: emotional, aesthetical, ethical, cognitive. Their participation is creative, and it is enabled by an aesthetic experience."

Wind (reminding me):

"Not to forget: Interaction, active involvement and participation of the child is one of the axioms in artistic work and expression for the youngest."

<figure><img src="image_280.png" /></figure>
*(This one I must apply on myself if I mean to make some quality work!)*

Me (calling out):

"Hello, active involvement! Please, help me compose something that would keep child's attention."

Wind (warning me):

"Sound and music composers have the liberty to develop dramaturgical proposals in accordance with their personal ideas and the sound/music principles."

*(This was one of the indications which buried me in the initial chord, while I was supposed to work freely.)*

What confused me even more were the concept and the task of having poetic situations correspond with learning dispositions. As a framework for their development, and in accordance with it, I was offered, or rather presented with the titles for each movement and situation/action:

1. **Curiosity** - Wind travels and explores.

2. **Courage** - Wind reaches high, higher, far, farther, into the unknown.

3. **Perseverance** - Wind doesn't give up.

4. **Critical thinking** - Wind is capricious and full of surprises.

5. **Creativity** - Wind inspires and creates.

6. **Sensitivity** and closeness with other(s) - Wind connects (finale)

I found myself in a puzzle over a very complex task of translating these terms to music, actually

to musical motifs – and to avoid being banal and trivial, and not to quit on myself and my playful inner being which is in fact the one who knows how to compose music.

Wind (whirling impatiently):

"Compose me! – travelling and exploring, reaching high and far, and finally whizzing to the unknown...!"

With that whirlwind of thoughts, actually a new and different approach to composing was being born – which in fact got me back to my inner self as a

composer, from the period when I was just starting composing and knew nothing about composing techniques. At that time I was inspired by paintings and drawings and always sought inspiration in other arts. My first works always had drawings instead of titles, something similar to the image at the beginning of "The Little Prince", the drawing of "Boa constrictor digesting an elephant".

Me:

"Dear Wind, thank you. But I think I will go with drawing first."

## Curiosity and Courage

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<figure><img src="image_283.png" /></figure>
<figure><img src="image_284.png" /></figure>

<figure><img src="image_285.png" /></figure>

BLISKOST

Creativity and Sensitivity for Other(s)

... And yes – at that moment, I decided to draw. I actually drew the movements of my music before I composed them; and I will humbly share them here with you.

I applied this approach together with my children and we had lovely conversations while drawing curiosity, courage, perseverance, critical thinking, creativity and sensitivity and closeness.

One curve was a common motif in all the drawings, one winding line resembling a snail house. In some cases the line was longer and denser, and in others scattered all over the paper, especially in the case of critical thinking. The drawing that moved me the most was the one with closely placed circles intertwining and hugging each other...

I studied the drawings carefully and started playing music 'from' them. I was hoping to reach a leitmotif

– a one of the principal winds, the Wind of all Winds, a Proto-Wind, which would ignite all my creative processes.

Me:

"This Wind will be the mother of all Winds that would come to world later."

This idea connected well with the indications I had gotten:

Wind (proudly):

"Individual levels can function independently, they come together through the scenes until the finale, where the composition echoes in its entirety, symbolising the thematic unity."

<figure><img src="image_286.png" /></figure>

<figure><img src="image_287.png" /></figure>

Me:

"Winds will evolve also on their own, but they will join together at the end, and they will become reflection of all my phases while growing up, as well as of all the feelings related to those phases."

And so it was.

The parts-scenes-movements are situations created by my Wind. Wind storms in, whirls, dances and breezes, drawing the thrilling journey of growing-up.

Let the child be guided by the Wind on this musical journey.

To listen to the music
"Welcome of the World":

<figure><img src="image_288.png" /></figure>
<figure><img src="image_289.png" /><figcaption>Creative music workshop "Worlds We Don't Know" by composer Irena Popović at the BAZAART's annual Conference 2022.
Photo by Vesna Šojić</figcaption></figure>

<figure><img src="image_290.png" /></figure>
Sunčica Milosavljević, Ph.D.

Artistic director

BAZAART Representative Association in Culture, Belgrade, Serbia

Creative producer of the theatre production “WOW!”

# ABOUT THE CHILD AND THE WORLD
## Theatre production „WOW!”

Whenever a child is born, the whole world is born again with it.

The world arises in the perception of the child, in a variety of shapes, colours, sounds...

And through the child's experience of interacting with the world, the newly discovered faces of the world acquire meaning.

*What is this world like? Is it good and friendly to the child? Or is it the place full of danger?*

*What can we do to make the world a field full of opportunities and accomplishments, not just threats and limitations?*

We present you with a theatrical story woven from simple play and complex meanings that, together with the child, you can encipher, decipher and play more for a long time.

*A story about the visible and the invisible, tangible and intangible, hidden and silent.*

*A story about discovering the world through the creation of a fantasy world.*

*A game where two worlds merge into life.*

*A game which is important for all children and for all adults.*

<figure><img src="image_291.png" /><figcaption>heatre show "WOW!"
Photo by Lidija Antonović</figcaption></figure>

suncica.bazaart@gmail.com

### Credits:

**Director:** Miha Golob

**Assistant director:** Marijana Petrović

**Stage designers:**
Jelena Stojanović, Miha Golob

**Costume designer:** Dajana Ljubičić

**Sound designer:** Dragan Petrović

**Light designer:** Paun Pavlović

**Performers:**
Tatjana Piper Stanković, Lana Adžić, Maja Jovanović Spasojević, Miloš Anđelković, Mladen Vuković

**Production:**
BAZAART and the Little Theatre
„Duško Radović“

**Premiere:**
8th December 2022, Belgrade, Serbia

<figure><img src="image_292.png" /></figure>
# WOW!

**Curiosity**... I love that word! Curiosity about art.
About theatre.

Because in art and in theatre – says Shakespeare
– the whole world resides.

**For** curiosity, to fulfil it, to live it, it often takes
courage. Do we have the courage to peek in, to
go in?

The world had courage as well – to come into
being.

**You** don't need courage just once. You need it all
the time. More than once. All your life.

Without persistence, you would learn nothing –
not even to walk.

**And** to dance! We all dance, each in our own
way. The Wind also dances.

Look at the Wind! It is getting stronger and
stronger. It is a tornado!

**Should** we tie the planet and the universe
together, so the Wind doesn't blow them away...?

... Or we shouldn't?

That might kill the Wind... It could die... And we
need the Wind...

**We** need the Wind to raise our sails and go... Into
the world... Around the world...

Hand in hand. Together!

<figure><img src="image_293.png" /><figcaption>Director and actors at the rehearsal for the theatre show "WOW!", coproduction of the BAZAART and the Little Theatre "Duško Radović", Belgrade, Serbia, November 2022
Photo by Sunčica Milosavljević</figcaption></figure>

<figure><img src="image_294.png" /></figure>
<figure><img src="image_295.png" /><figcaption>Theatre show “WOW!”, directed by Miha Golob. Coproduction of the BAZAART and the Little Theatre “Duško Radovic”, Belgrade, Serbia, December 2022
Photo by Lidija Antonović</figcaption></figure>

<figure><img src="image_296.png" /></figure>
Nataša Milojević, univ. spec. art.

Drama and dance pedagogue

BAZAART Representative Association in Culture, Belgrade, Serbia

Sunčica Milosavljević, Ph.D.

Artistic director, theatre director, drama pedagogue

BAZAART Representative Association in Culture, Belgrade, Serbia

# LEARNING FROM A FEATHER
## Drama workshop scenario

This workshop scenario has a purpose of processing the experiences of children audiences from watching the theatre show "WOW!". The aim of the workshop is pedagogical – transforming the aesthetic experiences into learning. The methodology used is the children's creative participation in a dramaplay.

'Dramaplay' – the word coined to denote this particular concept and distinguish it from any other meaning that the words 'drama' and 'play' can have especially in a theatre context – means exactly what its name says: playing the game of drama.

This game takes elements both from dramatic arts and from the children's play. From drama it takes the way of playing – by enacting certain situations. From children's play it takes imagination as a mechanism enabling the players to fully believe in the realness of the situation and engage in it with their complete cognitive, emotional, physical and action capacities.

In this way, dramaplay creates a framework for active learning on the safe plain of fiction. By participating

in imagined situations in a playful way, the children obtain (targeted) experiences and reflect on them with the help of drama pedagogues. Those experiences, reflections and conclusions are easily applicable in analogue situations in real life. This is why drama pedagogy (as well as any participatory and creative art pedagogy) is so important in the education and upbringing of the young.

### Pedagogy

In this drama workshop scenario, the pedagogical objective is the development of learning dispositions of a child. In the scenario, the learning dispositions are translated into exercises which invite children to engage in learning situations. The fact that the learning dispositions are also built into the dramaturgy of the theatre show enables us to use the symbols featured in the show and to elaborate the exercises around them.

In order for the learning dispositions to be addressed through dramaplay, their interpretation is adjusted to the perception and the worldview of young children – pre-schoolers and pupils in the 1st and 2nd grade.

natasa.bazaart@gmail.com

suncica.bazaart@gmail.com

### About the scenario

This scenario can be carried out in several ways:

- In the theatre space, right after the show "WOW!", or

- In another very large space, with a bigger group of children, or

- In a smaller space (in a kindergarten or school, or another appropriate space), and with a smaller group of children.

The advantage of a large space is that some parts of the scenario can be carried out simultaneously, allowing for up to 30 children to participate. This version of the workshop should last for app. 60 minutes. The disadvantage of this approach is that it requires min. 4 facilitators and that children are divided in 4 groups, each of them partaking only in one out of four exercises elaborating on learning dispositions.

In a smaller space, the exercises would be carried out one after another, with a group of up to 15 children. In that case, the scenario would be broken

<figure><img src="image_297.png" /></figure>
down into 4 workshops lasting up to 45 minutes each (in separate workshops, the introductory and closing parts must be added). The advantage of this approach is that one or two facilitators can carry out the entire workshop, and that all the children can partake in all the exercises.

We are hereby presenting the workshop scenario intended for implementation in the theatre. The teachers or drama pedagogues can tailor the scenario to their circumstances and needs respectively.

## Post-show workshop in theatre space

This scenario requires min. 4 leaders: the Facilitator and three 'Playleaders' (another coined word, for our use primarily).

'Facilitator' is a drama pedagogue who is the main workshop leader; sometimes there can be two Facilitators who share tasks. 'Playleaders' are actors, kindergarten teachers or schoolteachers. The Facilitators lead the workshop. Playleaders support them and independently lead some segments.

For the workshop leaders to be able to successfully conduct the workshop, it is necessary that they meet before the show and study the scenario, clarifying all details and dividing the tasks.

Preparatory activities in the theatre encompass welcoming the children and invitation to them to attentively watch the show.

Here is the description of activities which the workshop leaders can do with children after the theatre show "WOW!".

<table><thead><tr><th>Exercise</th><th>Description</th><th>Duration</th></tr></thead><tbody><tr><td>Hello, Feather!</td><td><p>The Facilitator stands up from the audience and asks the children if everyone has received their feather. With the help of Playleaders, she distributes feathers to children who didn't get them.</p><p>The Facilitator (who herself holds a feather) gives the instruction:</p><p><em>The feathers are very powerful: they can fly, fall, hide, speak, be silent, sing, listen and who knows what else. Are you interested in what your feather can do? Look at your feather, carefully, listen to it, smell it, embrace it. (Leaders do it first, giving an example to children)</em></p><p><em>Play gently and slowly with it. (The leaders and the kids give an example.)</em></p><p><em>Now quietly ask your feather what game it would like to play. (Possible examples: games of flying, hiding, blowing...)</em></p><p><em>Close your eyes and listen carefully. (The leaders and the kids do it.)</em></p></td><td>7</td></tr><tr><td>Playing with the feather</td><td><p>The Facilitator asks the children to tell everyone what they have learned – what games their feathers want to play.</p><p>She listens to several answers (after each interesting answer, she asks the children if maybe someone else got the same answer from their feather).</p><p>Then the Facilitator invites children and adults to play with feathers – to slowly get up and enter the stage. They can move around the whole stage, but they shouldn't touch the box.</p><p>!!! The Facilitator emphasizes that we do not touch the box because there is another feather in it, which is asleep. Therefore, we need to be quiet, so we wouldn't wake up the feather.</p><p><em>* This is the queue for the music movement "Curiosity", to be played.</em></p><p>The Facilitator is the first to enter the space in the 'feather game', giving an example to children. Children are free to play with feathers on the stage.</p></td><td>10</td></tr></tbody></table>

<figure><img src="image_298.png" /></figure>
<table><thead><tr><th>Exercise</th><th>Description</th><th>Duration</th></tr></thead><tbody><tr><td></td><td>After a while, the workshop leaders (Facilitators and Playleaders) take positions in the space, so that they occupy 4 parts of the stage.<br>The Facilitator invites the children to listen to the proposal of a new game:<br>Let's play <i>The Secrets of the Feather</i>.<br><i>Each feather holds an important secret. The most important secrets, e.g., those by which birds can fly, are courage, determination, cleverness and imagination.</i><br><i>There is a feather for every secret. We will now play with them and get to know these secrets ourselves.</i><br>The Facilitator instructs the children where the games will take place and announces:<br><b>Secrets of the feathers</b><br>The <b>red</b> feather is the feather of <b>courage</b> (The Playleader who has a red feather, raises it high).<br>The <b>yellow</b> feather is the feather of <b>determination</b> (The Playleader shows the yellow feather).<br>The <b>blue</b> feather is the feather of <b>cleverness</b> (The Playleader shows the blue feather).<br>The <b>green</b> feather is the feather of <b>imagination</b> (The Playleader shows the green feather).<br>She shortly explains the virtues that are at the centre of the games and invites children to think for a while what game they want to play with their feathers and their friends.<br>After allowing children to make up their mind, the Facilitator invites them to choose <b>either a color, or a secret</b> and to slowly approach that group.<br>She asks them to take good care of their feathers.</td><td>5</td></tr><tr><td></td><td>Each group plays its own game which is explained and led by the Playleader*.<br>* Depending on the game, the Playleader will instruct children to store the feather in some safe place (e.g. a pocket), or to hold it in their hand during the game.<br>* If the space is large enough, each group can listen to the corresponding music movement while playing: the Red group: "Courage"; the Yellow group: "Persistence"; the Blue group: "Critical Thinking"; and the Green group: "Creativity".</td><td>20</td></tr><tr><td><b>Games with feathers</b></td><td>a. <b>RED – Courageous feather:</b><br>Members of this group know the secret of <b>how to be leaders</b>. The game is called the <b>King's Guard</b>, where everyone follows and imitates the movements of a person who leads at that moment i.e. the King.<br>The game takes place in a circle. The Playleader first enters the circle and performs slow and gentle movements with the red feather. All the children imitate her movements.<br>After a while, she approaches a child and hands him a red feather. That child should go into a circle and perform their own movements with a feather, and everyone else imitates them. Then the child hands the feather on another child, and so on until all the children have been at the centre of the circle as leaders, that is, Kings.</td><td></td></tr></tbody></table>

<figure><img src="image_299.png" /></figure>
<table><thead><tr><td>Exercise</td><td>Description</td><td>Duration</td></tr></thead></table>

b. **YELLOW – Determined feather:**

Participants in this game know the secret of **how to reach the goal**. We play a game of **Relays**, where children pass the feather to each other without dropping it. There are more ways to play this game, and the Playleader chooses the option according to the age and abilities of the group:

1) Each child needs to transfer their feather in the palm of their hand from point A to point B.

2.1) All children stand in a circle and pass the yellow feather from palm to palm. If the feather falls, everyone stops; the child who dropped the feather should pick it up, run a circle with a feather in his hand and return to his place; then the game continues.

2.2) Another version of the game in a circle is that children pass all feathers to each other simultaneously, from palm to palm. In this case, we follow the yellow feather, so that we know when the feathers have gone full circle. The second round can be played in the opposite direction, and after that, the children can switch places.

c. **BLUE – Clever feather:**

Group members know the secret of **how to do something best**.

Participants play the game **Crossing the Bridge**, where they need to find a solution to the problem. There is a line on the floor (made with a tape) that represents a very narrow bridge over the river. All children stand on the line. The one who is standing at the end of the line should 'cross the bridge' and carry a feather (their own or the blue one) to the other end, but in such a way that neither the child nor the feather 'fall into the river'. This practically means that the other children – members of the group, must skilfully hold the child who is crossing, or even 'carry' it to the other side.

The child who is crossing is allowed to step on the line and on the feet of other children; if the child misses the line, they 'fall into the river' and must 'swim' to the shore (with movements, through an imaginary river), but in such a way that the feather does not get wet.

If this happens, the child who 'fell in the river' goes to the end of the line, and the next child 'crosses the bridge'. Children who successfully 'cross the bridge' stay at the other end of the line, and everyone moves one place at a time, so the next child starts to 'cross the bridge'.

The game lasts until all the kids have crossed the bridge.

Games with
feathers

20

d. **GREEN – Imaginative feather:**

Participants in this group know the secret of **how to create something**. The game is titled **Turn into a...**, where children depict a given word with their body postures and movement.

Children do this through the 'frozen image' technique: first individually, then in small groups, then only with feathers and at that point it is also possible to add movement.

1) **Individual presentation:** At the sign given by the Playleader, all children close their eyes, listen to the word given by the Playleader, take the posture with which they want to express this word, and at the sign of the Playleader they open their eyes and look at each other. The Playleader briefly comments and praises all the presentations.

<figure><img src="image_300.png" /></figure>
<table><thead><tr><th>Exercise</th><th>Description</th><th>Duration</th></tr></thead><tbody><tr><td>Games with feathers</td><td>2) <i>Presentation in small groups</i>: The Playleader says a number and the children run into groups with the given number of members. When all the children joined one of the groups, the Playleader gives a word and the children in the group must quickly decide on an idea how to present that word with their body postures. At the sign of the Playleader, they look at each other. The Playleader briefly comments on the children's creations and praises all the groups.<br>3) <i>Presentation with feathers</i>: The Playleader divides children into small groups in the same way as above. When the Playleader gives a word, the children in the group discuss and agree on a solution how to present that word with feathers. If a movement spontaneously appears here, this should be accepted and praised.<br>Proposed words: raindrop, snowflake, cloud, sun, rainbow, river, flower, tree, forest, street, city, world... (The Playleader chooses the words - from this list, or some other words; it is best if the words are associated with the theatre show).<br>The Playleader herself should estimate how many tasks she can complete with the children in up to 20 minutes. The game is played until all three steps are completed, or until the other groups have finished their games. In all cases, the children should be praised at the end of the game.</td><td>20</td></tr><tr><td>Conversation of feathers (about shared secrets)</td><td>While the children are still in four groups with their Playleaders, the Facilitator asks them if, through the game they played, they have learned the important secrets (how to be leaders, how to reach the goal, how to do something best, how to create something). The answers here should be simply YES or NO.<br>The Facilitator reminds the children that there is another feather in the room, the one hidden in the box standing on stage.<br>She invites the children to imagine this feather and how it is lying in the box: what it does, what it thinks, what it dreams about... Then she invites the children, one group at a time, to approach the box and whisper the secret to the feather in it. She explains that they should do this by whispering the secret to their feather first, and then letting their feather whisper it to the feather in the box. She shows to the children how this is done.<br>Participants approach the box by holding their feathers, but must NOT touch the box themselves, because the feather in it is very tender.<br>*During this and next activity, the last musical movement, "Empathy", can be played.</td><td>10</td></tr><tr><td>Courageously to conquering the World!</td><td>When everyone is done whispering the secrets to the feather in the box, the Facilitator asks the children if they know where all the secrets are hidden now. When the children respond (with the feather in the box), the Facilitator praises them and instructs them all to stand in a circle around the box and hold hands.<br>In this way, they will share their secrets with each other, because when we are together, then we know everything and can do everything.<br>She invites them to say goodbye to the feather in the box. With the help of the Playleaders, children form pairs from the circle and, empowered with the knowledge of all important secrets, set out to conquer the World.<br>The group leaves the theatre.</td><td>5</td></tr></tbody></table>

<figure><img src="image_301.png" /></figure>
<figure><img src="image_302.png" /><figcaption>Theatre show “WOW!”, directed by Miha Golob. Coproduction of the BAZAART and the Little Theatre “Duško Radovic”, Belgrade, Serbia, December 2022
Photo by Lidija Antonović</figcaption></figure>

<figure><img src="image_303.png" /></figure>
# CREATIVE DRAMA AND DANCE PEDAGOGY IN THE SOCIAL-EMOTIONAL LEARNING OF CHILDREN

In the B-AIR project, the team of the BAZAART Association working on the program “Welcome of the World” placed a special focus on creative workshops for children, considering them as an important opportunity for the young to develop social-emotional sensitivity, dispositions and abilities which in the era of prevalent online learning and distanced communication, less and less develop spontaneously.<fnref n="1" />

At the core of our work is the trust in the power of creative arts pedagogy – dance and drama pedagogy in particular – to prevent, counter and engage in resolving the growing problems in the social and emotional development of children, promoting the significance of creative arts-based learning in formal and non-formal educational settings.

## The crisis of social-emotional development of children

The issue of social-emotional wellbeing of children was brought to the fore by the situation of the Covid-19 pandemic. Many researchers across the world pointed out that the Covid-19 lockdowns, urging children and students to learn and socialise online, have seriously endangered, even damaged their social-emotional growth, and this is the case also with their parents, teachers and other adults.

However, the need for support to children in socialisation and emotional development was perceived quite earlier. The decline in the development of social-emotional competences especially of the young became notable already since the online communication largely pervaded the social exchange of young generations (Rosanbalm, 2021). As the research in the previous decade shows, online communication is linked to lower self-control, more distractibility, less emotional stability, and more difficulty in making friends (Twenge & Campbell, 2018). It is quite certain that for building social and emotional abilities, online contacts cannot replace face-to-face interaction (Giedd, 2012; Uhls et al., 2014). As it is consented among the researchers, many systematic, intentional and intensive efforts are needed to restore social and emotional learning of the young, with and without connection to the pandemic.

<figure><img src="image_304.png" /><figcaption>PAudience from the theatre show “WOW!”
Photo by Lidija Antonović</figcaption></figure>

<figure><img src="image_305.png" /></figure>

<footnote n="1">1 A concise version of this article was originally presented at the International scientific conference "Creativity and Innovation in Theater, Media and Culture Production: Visions and Values for the Future", organised online by the Faculty of Dramatic Arts, University of Arts in Belgrade, Serbia, November 17th-18th 2021.</footnote>
## Social-emotional competences

Social and emotional competences (SEC) are regarded as a set of abilities to manage one's intra- and inter-personal dynamics. Well-developed social-emotional competences are essential for attaining personal stability, an integrated and active social position and also a number of life goals: school and civic engagement, health and wellness, academic and career success.

The Chicago-based association CASEL (Collaborative for Academic, Social, and Emotional Learning) distinguishes 5 basic social-emotional competences:

1. **Self-awareness:** The abilities to understand one's own emotions, thoughts, and values and how they influence behavior across contexts.

2. **Self-management:** The abilities to manage one's emotions, thoughts, and behaviors effectively in different situations and to achieve goals and aspirations.

3. **Social awareness:** The abilities to understand the perspectives of and empathize with others, including those from diverse backgrounds, cultures, and contexts.

4. **Relationship skills:** The abilities to establish and maintain healthy and supportive relationships and to effectively navigate settings with diverse individuals and groups.

5. **Responsible decision-making:** The abilities to make caring and constructive choices about personal behavior and social interactions across diverse situations.

SECs develop from childhood to adulthood. In education they are supported through the social-emotional learning programs – SEL.

## Social-emotional learning

In Europe, the SEL programs have been introduced since 2015 through the Organisation for Economic Cooperation and Development – OECD. In many less developed countries, to which Serbia also belongs, SEL has not yet been included in the educational system. Although it exists within the educational policy framework, in practice it is applied only at the personal initiative of teachers, or in non-formal education (Milojevic, 2020).

And while the SECs are perceived as transversal – to be developed through subjects across the curriculum – in pragmatic terms of educational systems and their daily practice, the question arises: what learning areas and frameworks should take over the task of developing the children's social-emotional competences?

In preschool education, social-emotional development of children is most often well recognized and adequately addressed with programs and activities. Creativity in the artistic media is regularly used to support this objective. Yet, it must be stressed that drama, and especially dance or creative movement, are not practiced as commonly as drawing, painting, sculpturing, and music expression. Reasons for the misbalance in the use of creative media are numerous – spanning from inadequate preparation of preschool teachers for leading or supporting drama and dance activities, to the lack of spatial and other facilities in kindergartens, which would enable free and safe moving of children.

In the school system, still focused on achieving academic results and organised along subject division with heavy curricular overload, it is much more difficult to find adequate space for social-emotional learning of students. Very often it is the Arts Education group of subjects – along, possibly, the Civic Education – which is recognized as a pillar area for social-emotional learning.

Such a perspective is, however, a subject to a paradox.

Namely, in the past decades, Arts are largely being pushed to the margins of the curricula across the world. The prevailing concept of new educational programs was based on the STEM subjects: Science-Technology-Engineering-Mathematics – as areas considered to be vital for the progress of societies in the post-industrial, digital era. Many world countries rapidly shifted from a more humanistic and holistic concept of education to the essentially neo-liberal, labour market-centred concept constructed around the STEM subjects, with Arts and Humanities being sacrificed in the shift. This has provoked protests of many educators around the world, but with minor results; the battle seemed to be irreversibly lost.

However, not long time has passed before it became clear that the effects of the rigid STEM education were far from expected. The outcomes clearly showed that without Arts and Humanities education, the students' creativity severely declined, disallowing the much wished-for innovations in the STEM area to take place.

<figure><img src="image_306.png" /></figure>
Therefore, the STEM concept is currently being replaced by the STEAM concept which includes Arts among the key school subjects. As the Arts are regaining their high importance position in the curricula, it is more likely that they can fulfil the task of developing social and emotional competences of students.

## Creative arts and learning

And yet, the inertia of the school systems takes a toll. Too often it is only the Visual Arts and Music that are being taught in schools. Drama, theatre and dance are mostly not a part of the curricula, albeit their core focuses on human values and the fact that drama and dance communication is based on introspection, command of self-expression and sensitivity to the expression of others, on the abilities of identification and empathy, which are enlisted among main social-emotional abilities.

What schools should, but miss to do, is compensated by the activities of non-formal education organizations and platforms. One such platform is established with the creative-educational programs prepared and carried out by the BA-ZAART within the B-AIR project where creative workshops joining the fields of music, visual arts, and dance and drama were devised and conducted.

Creative arts programs differ substantially from subject-centred (school) arts education programs. They have different objectives they want to attain, methods they use and the content they propose.

While arts education in schools aims to introduce students to artistic disciplines, most often copying the objectives, methods and content of

those disciplines, while also sharply segregating between them, creative arts pedagogy regards the arts education holistically, as an area for critical contemplation and creative expression of the participants, with borders fading between the disciplines.

In other words, what art subjects in schools strive for is education *in* arts; in contrast, creative arts pedagogies endeavour to attain education *through* arts, which brings wider and lasting educational and developmental effects, notably in the area of social-emotional learning.

## Creative workshops

In creative arts workshops, young participants are invited to freely and creatively use sound and music, movement, corporeal expression and verbal narration, as well as any other art medium, in order to explore the phenomena of the world, encompassing their own emotionality and involvements in complex social situations. In particular, dance and drama workshops are about critical and imaginative examination of what we experience, or could experience, in life. Playing the game of life through drama and dance, in a social setting of a peer group guided by dance or drama pedagogues, children learn *from* and *with* each other and adults, developing in a balanced way the knowledge, skills and values of a culture, and co-creating this culture at the same instant.

A creative workshop agenda typically includes the introduction of children to a stimulating, most often artistic or culturally relevant incentive; creation upon that incentive; and discussion in the group about experiences and observations of creative elaboration and the performed results.

In this process which focuses on simultaneously expressing and observing one's self and the others, the participants learn to recognise and articulate the inner dynamics in themselves and in the others, regulate their conduct, apply positive and constructive behaviour in social relationships, empathise with others, consider phenomena from the perspective of others, seek various solutions to problems, set objectives and work towards their attainment, manage options and take a responsible stand in decisions affecting also their social context.

In other words, creative experiences strongly support children's learning and development across all social-emotional competence fields, and, what is more, making it possible in a natural, playful and fully engaging way.

The results obtained in creative music, dance and drama workshops designed and carried out within the B-AIR project confirm out initial thesis of creative activities strongly stimulating and facilitating children's social-emotional learning and even more – their empowerment for life.

The reports rendered by parents and preschool teachers who were present in the workshops, confirming individual and group social-emotional progress observed in children during and after the creative experiences, open the way to the creative approach to gradually enter the formal education of children and also win a more respected position among the extracurricular activities that parents encourage their children to attend.

<figure><img src="image_307.png" /></figure>
Let us confer one such report:

From the comments by teachers and parents after the Festival of Radio Play for Children and Youth, 30th June – 1st July 23, Belgrade, Serbia

I would like to express my sincere gratitude for the wonderful experience the children had when visiting your event. The dance workshop as well as the story of the Little Wind accompanied by live music performing, made a deep impression on all of us.

The children were delighted with the interactive and creative approach you conveyed through these activities. Each of them had the opportunity to express themselves, to explore and connect with music in their own way. Your commitment and passion on these subjects were truly felt throughout the program, which inspired the children even more.

I want to especially emphasize how much we liked the workshop with dance and music pedagogues who conveyed the message of overcoming obstacles through artistic music and dance. This was a special moment for our children, because they had the opportunity to see how art can transform and overcome all challenges.

The children got so involved in the dance movements that I, as a teacher who knows the children well, at some moments couldn't recognise them. I was astonished by their creative and artistic discoveries, body movements and facial expressions.

<figure><img src="image_308.png" /><figcaption>Creative movement lab "Discovering the World" by Nataša Milojević at the Festival of Radio and Sound Art for Children and Youth, BAZAART and RTS, Belgrade, Serbia, June 2023. Photo by Marko Nektan</figcaption></figure>

The only thing I would add is that there should be a bit more dance and stage improvising adapted to boys, to inspire them too, because during dance choreography, the boys have withdrawn.

Thank you for allowing children to experience these unique moments. Your initiative and engagement in providing artistic and educational programs are invaluable for children's development. Their curiosity and interest in art can certainly be developed in this way.

We look forward to future cooperation.

Best Regards,

Gordana Kovač, preschool teacher
"Ola" kindergarten, Belgrade, Serbia

Collected by: Jelena Antić, drama pedagogue
Little Theatre „Duško Radović“, Belgrade, Serbia

<figure><img src="image_309.png" /></figure>
## Sources and literature

Milojević, N. (2018). *Iskustvo dramske participacije u razvoju socioemocionalnih kompetencija djece predškolskog uzrasta*, specijalistički rad. BAZAART, 2020. https://bazaart.org.rs/iskustvo-dramske-participacije-u-razvoju-socioemocionalnih-kompetencija-djece-predskolskog-uzrasta-natasa-milojevic/

Rosanbalm, K. (2021). *Social and Emotional Learning during Covid-19 and Beyond: Why It Matters and How to Support It*. Hunt Institute. https://eric.ed.gov/?id=ED614459

Twengea, J., & Campbell, W. K. (2018). *Associations between screen time and lower psychological well-being among children and adolescents: Evidence from a population-based study*. *Preventive Medicine Reports*, *12*, 271–283. https://www.researchgate.net/publication/328371592_Associations Between screen time and lower psychological well-being among children and adolescents*. Evidence from a population-based study

Uhls, Y.T., Michikyan, M., Morris, J., Garcia, D., Small, G.W., Zgourou, E., & Greenfield, P.M. (2014). Five days at outdoor education camp without screens improves preteen skills with nonverbal emotion cues. *Computers in Human Behavior*, *39*, 387–392. https://www.researchgate.net/publication/265129715_Five_days_at_outdoor_education_camp_without_screens_improves_preteenSkills_with_nonverbalemotion_cues

Giedd, J. N. (2012). The digital revolution and adolescent brain evolution. *Journal of Adolescent Health*, *51*, 101–105.

<figure><img src="image_310.png" /></figure>

Jelena Antić and Aleksandar Nikolić presenting “Audio Fairy Tales” by the Little Theatre “Duško Radović”, Belgrade, at the Festival of Radio and Sound Art for Children and Youth, BAZAART and RTS, June 2023. Photo by Sunčica Milosavljević

<figure><img src="image_311.png" /></figure>
# TRANSLATING PEDAGOGICAL INPUTS INTO A CREATIVE TEXT: Writing a radio play for young audiences

I wrote the radio play “Welcome of the World” guided by the pedagogical goals in the development of children 3 to 5 years old, namely the development of their learning dispositions: curiosity, courage, persistence, critical thinking, creativity and sensitivity to others.

The pedagogical guidelines mark the field in which the effect of the dramatic text should take place – and that is to stimulate and facilitate the development of learning dispositions in young children. The aim of the play or a script, hence, and the task for me as a writer, was to structure the child’s experience during the performance, leaving space for different interpretations or experiences of each child in the audience.

The play is constructed in such a way that each disposition corresponds to a chapter dedicated to a certain topic. The main character is the little Wind – a wind-child – who, while traveling with a human child through different landscapes and encounters, grows, and furthermore: grows up, by recognising and mastering the above-mentioned abilities and personal qualities.

Traveling with the Wind and listening to its story of growing up, the child is actually watching and participating in a reflection of their own

development. But the child is also a character in the play, a companion and an accomplice in the process of growing up. By shifting the narration from the first person (I – the child) to the third person (it – the Wind), the functional (didactic) aspect of the text is relaxed and the child is placed in the position of a witness-in-a-role.

The text is written in verse, as a poem for children, with the meter varying from chapter to chapter. Changing the meter, rhythm, tempo of the narration contributes to the dynamic structure of the text, which triggers different impressions and emotions in a child.

With elements of live performance such as music, acting, movement – this script is meant to produce an experience which doesn’t dominantly induce cognitive effects in the child (nor would such an approach be adequate for young children) but can spark interest and create a memory of a kind, which may prove to be a guiding force in the child’s later development.

<figure><img src="image_312.png" /><figcaption>Eldar Zupčević acting and playing music in the radio Play “Welcome of the World”
Photo by Marko Nektan</figcaption></figure>

<figure><img src="image_313.png" /></figure>
# PROCESS DRAMA AND CREATIVE MOVEMENT IN PRESCHOOL CHILDREN EDUCATION

Within the "Welcome of the World" platform, the BAZAART team created a 'music-in-education' program with the aim of supporting social-emotional development of children of preschool age and spreading their experiences and openness for the unlimited possibilities which the world offers.

When the music composition was created by Irena Popović (related to learning dispositions delineated by the pedagogue Nevena Mitranić and poetically elaborated by the dramaturge Bogdan Španjević), the team of art pedagogues (artists-in-education) set off to test the children's response to music.

## Method of Process Drama

In accordance with the overall program methodological approach, dance and drama pedagogues created a workshop-performance format using the process drama method applied in the medium of creative dance. Process drama (Gruić, 2002) is a participatory method which is often applied in Theatre-in-education for enhancing theatrical participation of young audiences (Jackson, 1993, 2011). It aims at helping children better accept and experience the artistic work, which, in our case, specifically refers to motivating and supporting children to listen to the music actively and engage in it with emotions and imagination.

We hence applied the basic concept of process drama featuring the actor-teacher, in our case dancer-teacher, who leads the children through the performative story. In this particular story, based on music movements corresponding to learning dispositions (curiosity, courage, persistence, creativity, critical thinking and sensitivity to others) the dancer-teacher invited children to travel by moving and dancing creatively and freely to the music.

The workshops-performances were conducted with groups of 10-15 children of preschool age, in the presence of their teachers. They were held either in a cultural venue, using the performing space, or in a large room in a kindergarten. In both cases, the room was unfurnished and the floor was covered with tatami, in order to make it safe for children to freely move.

## Creating experiences

As we will now describe the course of the workshop-performance, we are offering you to read this text as a guide book and join us on this journey.

> As usually when travelling, we have a tourist guide (dancer-teacher in a role). The journey starts with the Guide inviting children to find their place in space - any spot where they feel comfortable.

When all children settle, the music movement "Curiosity" starts. The Guide steps into the space and starts dancing around the children. As children are not given any prior information, such a puzzling beginning incites their curiosity and interest. When the music stops, the Guide tells children that they will travel together to an unknown place, very exciting and wonderful. Upon sparking their motivation, she highlights that she and nobody else knows what will happen, but everybody needs to be courageous.

Then the "Courage" movement is played. The Guide dances with children in expressive movements led by music, enhancing also children's emotions, and suggesting with her own actions that dancers should copy each other's movements. When the music stops, the guide asks the passengers how they felt. Upon getting the answers, the Guide summarizes them by saying that travelling through an unknown land can sometimes be a bit difficult or confusing and that they need to be persistent in exploring and traveling.

The movement "Persistence" is played. The guide starts leading the dance and then, without verbal explanation, only using an object which marks her as a Guide (a hat, an umbrella or any other

<figure><img src="image_314.png" /></figure>
object), passes the leading position to a member of the group. After some time, she helps the child pass it on to another child. She also takes care that this convention of rotating leadership is understood and followed by everyone in the group. At the end of the music, the Guide asks the leaders to describe where the journey took them and if something interesting has happened. When everyone has spoken, the Guide praises the children for courage and persistence.

Then the Guide gathers children along one side of the space and announces that they have reached the most challenging section of their journey. In front of them are many obstacles - dark places, difficult terrain, unknown vegetation full of scary sounds and noises... She instructs children to close their eyes and while listening to music, imagine what is around them. As they do so, they can start to very slowly and cautiously walk across the space (so they wouldn't bump into each other and get hurt).

When the children close their eyes, the movement "Creativity" starts. As they slowly cross the space, the Guide encourages them to draw the scenery in their mind's eye. She tells them that, when they are sure what is around them, they can open their eyes and face the imaginary impediments. She instructs them to find a way to surpass the obstacles (killing the enemy is not an option). They can keep trying for as long as the music is playing.

At the end of the music, the Guide asks children to share with the group what obstacles they have met and what solutions they have invented. Every creative solution deserves to be praised. As the children speak, she walks through the entire space locating selected imaginary obstacles

(maximum 4 or 5) in the space (here is a waterfall, here is mud, here a dense forest, here a cave maybe inhabited by wild animals, here it is raining heavily...). Then she addresses the whole group with a new task: all of them together need to find the exit.

As the group gets prepared, the movement "Sensitivity to Others" starts. The Guide joins the group to remind them about the map of obstacles, encourage cooperation and mutual help and together with children search for the way out of the unknown land. When the music stops, the Guide congratulates all the passengers on being solidary and cooperative and asks them to briefly tell their experiences.

In the closing part of the process drama, the dancer-teacher invites children to lie down and relax, listen to music and think about the whole experience. The "Critical thinking" movement is played and the children quietly listen. In the very end, the dancer-teacher and children sit in a circle and share their impressions and thoughts.

## Reflecting on experiences

As the workshops-performances had a purpose of testing the children's responses to the music, the program team worked on two combined sets of conclusions.

From the standpoint of a reflexive practitioner, the children's experiences were observed by the dancers-teachers who talked with children in the breaks between the music movements and in the closing session, and also by preschool teachers who were present in the workshop and who reported on children's impressions later to art pedagogues. From those observations and reports it

is concluded that most often, the whole group had similar experiences: they felt inspired to explore, curious, excited and scared in some moments. Especially interesting is the fact that every time children understood the idea of the music: their listening experiences largely match the script underlying the composition. In the reflection after the last music movement, the majority of children felt comfortable explaining their experiences.

The workshops-performances were observed and evaluated also by the pedagogical team. Based on their own observations and the reports by the workshop leaders and preschool teachers, the expert consultants confirmed the adequacy of participatory theatre for supporting the development of learning dispositions in children at young age. The special quality was recognized in the potential of process drama to open the space for every child to explore and realise its own ideas, creativity and emotions. The expert consultants recognised the effect of participatory experiences on children's creativity and imagination, and confirmed that the process drama provides an enhancing framework for listening to music and developing children's auditory abilities and focus.

In that sense, it was concluded that participation in creative activities may prove beneficial also in developing children's general attentiveness. As nowadays children live surrounded by technical equipment and contents which take a strong effect on their concentration, majority of children cannot maintain attention for a longer time (Gottschalk, 2019). Participation in programs which help them actively listen to the music extends the periods of their attention, also with continuous movement and spatial orientation and in connection to social communication.

<figure><img src="image_315.png" /></figure>
The particularly significant effect was noticed in the potential of artistic experiences to arise and articulate children's emotions in connection to the processes of exploratory learning in a peer/social context. In the process of emotional learning, children's overall mental flow is guided by body positions and inner impulses which are created by moving. This process could be explained as a psycho-physical activity that simultaneously supports the body, mind and emotions, and creates a specific experience that results in learning (Castellano et al, 2007). The other important advantage of moving with music and being led by emotions that it arises is spontaneity which encourages children to do something unexpected and collaborate with other children, or socialize, respectively (Tsompanaki, 2019).

Regarding the shortcomings of the program, it must be stressed that the conclusions stated above are valid for the majority of children, but not for those who cannot concentrate on non-attention-affirmative content or who cannot dance or don't feel comfortable with dancing or physical expression. Another weakness of our program is observed in non-equal response of girls and boys. The majority of girls were impressed by the program and enjoyed it, but a significant number of boys didn't feel comfortable with movement, physical expression or in general the expression of emotions and imagination. The result was that some boys felt as if they were forced to participate and quitted the program. Although the latter phenomenon is culturally conditioned and not exclusively provoked by our program, it must all the same be taken into consideration.

Using the aforementioned observations, we can conclude that all creative methods and media: dance, creative movement and process drama, have important roles in learning process of preschool children:

* Children were attentive in listening to yet unknown artistic music and open to creating their own impressions about the listening content.

* Active listening and artistic participation helped children understand their emotions and collaborate with others.

* Creative movement helped children to connect mental, emotional and physical activities ('thinking through the body') and create spontaneous responses to music.

* Creative movement and dance have a better impact on the learning process in preschool girls, than in preschool boys.

* Process drama techniques can help in active listening of music, and through this, in improvement of general attentiveness and learning abilities of preschool children.

<figure><img src="image_316.png" /><figcaption>Creative movement lab "Discovering the World" by Nataša Milojević at the Festival of Radio and Sound Art for Children and Youth, BAZAART and RTS, Belgrade, Serbia, June 2023. Photo by Marko Nektan</figcaption></figure>

<figure><img src="image_317.png" /></figure>
Sources and literature

Castellano, G., Bresin, R., Camurri, A., & Volpe, G. (2007, September 12–14). *User-centered control of audio and visual expressive feedback by full-body movements, Affective computing and intelligent interaction* [Conference presentation]. Second international conference, Affect, Compute, Intel, Interact.

Gottschalk, F. (2019, February 4). Impacts of technology use on children: exploring literature on the brain, cognition and well-being. *OECD Education Working Paper*, 195. https://doi.org/10.1787/8296464e-en

Gruić, I. (2002). *Prolaz u zamišljeni svijet: Procesna drama ili drama u nastajanju*. Golden marketing.

Jackson, A. (1993). Education or theatre? The development of the theatre in Britain. In A. Jackson (Ed.). *Learning through theatre. New perspectives on theatre in education* (2nd edition, pp. 17–37). Routledge. https://books.google.rs/books?id=kBXzbemmYWUC&printsec=frontcover#v=onepage&q&f=false

Jackson, A. (2011). Participatory forms in educational theatre. In S. Schonmann (Ed.), *Key concepts in theatre/drama education* (pp. 235–240). Sense Publishers. https://doi.org/10.1007/978-94-6091-332-7_38

Tsompanaki, E. (2019). The effect of creative movement-dance on the development of basic motor skills of pre-school children. *Review of European Studies*, 11(2), 29. http://dx.doi.org/10.5539/res.v11n2p29

<figure><img src="image_318.png" /></figure>

"Music Art Project" in partnership with the Elementary School "Branko Pešić", Zemun at the BAZAART's annual Conference 2022. Photo by Marko Nektan

<figure><img src="image_319.png" /></figure>

Siniša Marčeta, sound designer and musician, playing music live in the radio play "Welcome of the World"

<figure><img src="image_320.png" /></figure>

"We Grow Together", pupils and teachers from the Daycare "Naša bajka", Belgrade, Serbia. Photo by Marko Nektan

<figure><img src="image_321.png" /></figure>
<figure><img src="image_322.png" /></figure>

Teachers and artists in the Symposium about Arts Education, BAZAART's annual Conference 2021
Photo by Lidija Antonović

<figure><img src="image_323.png" /></figure>
# CREATING RADIO DRAMAS FOR BABIES, TODDLERS AND VULNERABLE CHILDREN
# CREATING RADIO DRAMAS FOR BABIES, TODDLERS AND VULNERABLE CHILDREN

Two production departments in Radio Belgrade took part in the production of radio pieces and creating sound art for babies and toddlers in the B-AIR project: the Radio Drama Department and the Educational Program for Children, Youth and Family. This package consisting of 11 radio pieces, expresses diversity in terms of genre, authorial poetics and their research frame.

Radio drama production – eight radio shows altogether – mostly focused on ‘docu-ficton’ and documentary narratives as well as *ars acustica* pieces recognizing those genres and formats as the most potent and most attractive for all the stories those authors needed tell. The stories conceivably negotiated notions of memory/remembrance/recollections (some of them reached even pre-natal period) and also tackled the issues of language, communication, folklore and oral history, and radio as a medium.

Those eight pieces are elaborated in the contributing text “Sound territories of childhood: Radio Drama Department production of radio shows for B-AIR project, 2020-2023” by Vesna Perić,

<figure><img src="image_324.png" /><figcaption>Visual Arts Workshop, Art Studio Artina and BAZAART</figcaption></figure>

Editor-in-Chief of the Radio Belgrade Drama Department.

The second text, “Lyrical possibilities of two pianos – Bathing in sound”, is a special interview authored by Nikoleta Dojčinović, Editor-in-Chief of the Music Department of Radio Belgrade 1 and B-AIR program coordinator for Radio Television Serbia/

Radio Belgrade. She interviewed the author's duo Sonja Lončar and Andrija Pavlović known as “LP Duo”, composers and piano artists who perform with their two hybrid pianos connected to synthesizers and percussion. Their contributing *ars acustica* piece named “Baby Blues” was produced as the Radio Drama Department's production in the series of experimental sound named “Sound Workshop”.

Three radio shows in this package were produced within the Educational Program for Children, Youth and Family. The last text in this chapter, “WORD... AND...”, contributed by Vesna Ćorović Butrić, Editor-in-Chief of this Department and award winning author of children's books, contemplates and poetically reflects on development of language in babies and children as well as one sensitive group (the children who stutter) which inspired the three-part series of radio shows: “Conversations of the first kind”<fnref n="1" />, “On birds and people”<fnref n="2" /> and “Crosswords”<fnref n="3" /> – in her words “that development sometimes flows like a river without stones to stop its flow. Sometimes, however, a word gets stuck in a river vortex”.

<figure><img src="image_325.png" /></figure>

<footnote n="1">1. “Conversations of the First Kind” was presented by Radio Belgrade RTS at the PREMIOS ONDAS 2021, Radio Barcelona festival at the SONHR Radio & Podcast Festival 2022, in the documentary program category. The same show was translated and synchronised into Slovenian and broadcast on RTV SLO 1.</footnote>

<footnote n="2">2. Shorter version of this show (9.42) represented Radio Belgrade RTS at the 10th Grand Prix Nova, International Radio Drama Festival, in the short form category.</footnote>

<footnote n="3">3. “Crosswords” represented Radio Belgrade RTS at the Prix Italia 2022 festival in the category of drama program.</footnote>
# SOUND TERRITORIES OF CHILDHOOD:
## Radio Drama Department production of radio shows for the B-AIR project

During three years (2020-2023), in the framework of the B-AIR project, production of Radio Belgrade Drama program consisted of eight radio pieces made about (and for) babies and children, and one piece dedicated to older population.

**“Archaeology of children's memories”**, au-
thored by Marija Ćirić (2021), for example, is a
radiophonic essay which tells a story of bilingual
girl named Julia. For this radio essay, the author
used selected fragments of audio material collect-
ed over the past years. Whenever she had the
chance, she recorded her niece Julia who grows
up in a bilingual environment, where both Serbi-
an and Dutch are spoken. Childhood is given as
a fantasy, reverie with sound images of children's
world, presented through the study of expressive
qualities of a child's voice. Memories arise from
the period (of development) of articulated vocal
expression of the girl (her speech, babbling, hum-
ming). Stages of childhood reveries are combined
with contemplations – ‘archaeological’ findings
– about the territory of childhood, which are pro-
nounced by the narrator (author).

NARRATOR:

*Children's memories are echoes of past
events, absorbed and processed at the pres-*

ent moment. Perceived as intimate hideouts,
'treasure islands', they truly are archaeological
sites sui generis, ready to be borrowed any-
time, whether for consolation or to incite im-
agination. And archaeology, beyond its literal
meaning, is a metaphor for the exploration of
childhood; a childhood – maybe just like the
one we experienced long time ago.

JULIA:

(singing verses of the song she made up)

There was a bug,
It farted a lot,
It got into Julia's diaper,
And wanted to bite her.
Yuyu said: ouch, ouch!
Come here friends,
The bug bit me.
Wow, wow, wow, wow,
Choo, choo, choo, choo,
Key, key, key,
Now Yuyu can sleep.

For the recording of the show „Archaeology of chil-
dren's memories“, the sound recording artist Milan
Filipović was awarded the first prize in the documen-
tary-drama category at the 18. TaktoNS international

festival in October 2022, where public media service
sound recordings compete. Representatives of pub-
lic media services from Romania, Montenegro, Slo-
venia, Bulgaria, Slovakia, Bosnia and Herzegovina,
Republika Srpska and two media institutions from
Serbia participated in the festival. The jury evaluated
spatial impression, stereo impression, transparency,
sound balance, sound colour, noise and interfer-
ence, effects, as well as general impression.

**“Mother – child: Prenatal conversations”** au-
thored by Melina Pota Koljević (2021, dramaturge
Vesna Perić) also negotiates the phenomenon of
memory but it is the mothers’ recollections that are
highlighted, contemplating on mothers’ first com-
munication with their unborn babies, their fears,
anticipations and their bonding with their babies
*post-partum*. This is docu-fictional study of the
communication between a mother and her child
in prenatal period which explores various themes
such as: motifs of potential fears, intuitive connec-
tion between mother and child, sources of inspi-
ration for communication with the help of music,
human voice, conversation, various parental ex-
pectations, hopes, beliefs, and viewpoints. Be-
sides documentary material, the play also features
a fictional part which represents memories of
the mothers whose children have
grown up.

<figure><img src="image_326.png" /></figure>
VESNA'S MEMORY:

When she was born, I felt as if a small alien had moved into my life. An unusual creature whose movements, glances, smells and sounds are yet to be decoded. And I had to adjust my language to hers. We didn't speak each other's language.

People say it all comes from intuition.

Perhaps, if you are not already burdened with interpretations, analyses, linguistic structures.

You are not born as a mother. You learn to be a mother. There were times when I was afraid that she could read my mind.

My mind used to be filled with fears and anxieties. Are you breathing? Are you alive? Are you sleeping? Are you hungry? Do you feel cold?

I never remembered to ask her in my mind how she felt. I only asked about physiological needs. The first period when she was born was like a delicate trembling membrane - it reminded me of the time when she was in my belly. That was our relationship. Relationships are not a matter of space, but time.

The sound is also a matter of time, not space. An image is space. Sound is time.

When a doctor makes an ultrasound scan of your unborn baby, you get an image. That image is often the first proof of our contact. The second is the one that only the two of us can feel.

When the heart starts beating.

"How we grow up while listening to radio" authored by Melina Pota Koljević (2022) - this documentary-feature is specific since there is a metata-level - it explores the contents that make radio attractive to the children of today, but also what radio as a medium meant for us, adults, in our early childhood and youth. Through conversations with kindergarten children and adults' memories (presented as monologues) we discover the impact that music, fairy tales and stories have on children. This programme also features some of the most beautiful children songs.

MELINA'S MEMORY:

I bury my head into my mother's blue coat, I cry and hold it tightly because mom has to go to school and Nada is already here, the girl who is looking after me while my parents are at work. In my mind, I believe that if I cling to this coat, mom will not be able to put it on and she won't be able to go to school to teach. Mom is in the bathroom; the door is open, I can hear water running from the tap; I can't see her, but I know she is washing her face and teeth, combing hair. I cling to her coat like a little animal, like a fox on the collar of the coat. Then comes Nada; she puts her arms around my waist and lifts me up, I'm still holding the coat, my mom is opening my fists tenderly, kisses me on the cheek, once, two times, many times and I forget about the coat, she takes it, puts it on, then kisses both of my eyes, I still feel the fur on my face as I watch her leaving through the door, my eyes all watery. Whenever she leaves, I am afraid I won't see her again. All of a sudden, I hear some music, Nada turns on the radio, she holds it under her armpit, and takes me off the couch with her other arm. She walks through the apartment carrying the radio under one arm

and me in her other arm, singing to the sound of music. She dances all the way through the kitchen, hall, bedroom, living room, and back. Finally, she gets tired; she puts me down on the floor, takes my hand and drags me to sing and dance with her. I always stumble, because I am clumsy and too small, but Nada lifts me up, encourages me to follow her while she is dancing. The radio is shaking, Nada's arms are shaking, and my entire body is shaking in this merry-go-round. I stop crying. Nada plays some ear-splitting folk music that she likes, something merry and catchy. She drags me around like a puppet, I start laughing, I find Nada's loud singing funny; our flying around the apartment is also funny, the music is funny. I don't know what is louder - the music or Nada's singing. I forget about my worries, the radio is playing, feels like we are flying through the apartment, Nada is dragging me like a balloon, moving easily from one room to another in the rhythm of the music.

"Golden hour: Radio-mom" authored by Vesna Perić (2022) - this documentary programme is made in a simple interviewing form with one interlocutor, Milijana, who works with parents and babies by teaching them to acquire communicational skills through the program "Musical Baby Bonding". She started the prenatal music workshop program designed for pregnant women and their partners and now works as a prenatal and perinatal educator. Milijana reveals to us how moms, with her support, create a 'womb song' - a personalized song for their baby; how a baby in the womb hears sound; what it looks like and why the birth cry is important; how the baby connects with mom's and dad's voice; how to provide vocal support to the baby during birth, which for babies is always a traumatic event of leaving the comfortable womb.

<figure><img src="image_327.png" /></figure>
## MILIJANA:

Every one of them is making a personal song for her baby, so-called 'womb song'. That is something beautiful, but they're like: "I can't do it"; but each and every one of them is delivering a song, and that is amazing. As a matter of fact, every woman can give birth by herself. They have some kind of chip which is, sadly, erased from their memory. They aren't aware what they're capable of. They make a song, and they sing it in front of the group. That song stays with them like some kind of inheritance. They should sing it till the end of the pregnancy. If you make a song, you should use it. Babies must learn it, and they do that if moms repeat it over and over. When you have spare time, you sing that song to your unborn child. You communicate with your baby. Baby in uterus can recognize colour of voice, rhythm; words not just yet. Not until first year baby is able to distinguish meaning of the words, their semantic. So, in uterus, focus is on the feeling, what message you're sending. Music is an instrument to do just that. For the baby, it's like some kind of inheritance. A lot of moms sang to themselves during the delivery, which is wonderful. The most charming way to greet your baby is through your song. Some researchers suggest that baby remembers the song a year after being born if you continue to sing it. That particular song is connected to the baby, it is a personalized song. With it you communicate with your child, you make a bond. And when a baby is born, you already have an instrument ready for use.

Live singing is very important for babies. If we use radio as an analogy, we could say that the best radio-station is mom's voice.

The radio show "Golden hour: Radio-mom" competed in the radio reportage competition at the 27th International Reportage and Media Competition (INTERFER) in October 2022.

"Emerging Trilogy" consists of three radio pieces: "Drmudash", "Consciousness" and "Te-Ri-Rem" following pre-natal, birth and baby's first sensations, drawing upon pre-Christian and Christian songs as well as abstract musical forms.

1. "Emerging – Mythology – Drmudash" authored by Predrag Stamenković (2021) is a documentary piece that focuses on Drmudash, a pre-Christian, Slavic deity who used songs – lullabies and stories to put kids to sleep and take them to the fantastic realm of dreams. Besides the mythological entry Drmudash, the programme narrates of other mythological creatures from the Slavic Pantheon – about fairies, the Fates, Fairy Mother, with an abundance of folk traditions related to the childbirth and the first forty days of the child's life. Folk singer and narrator Svetlana Stević-Vukosavljević tells folk tales, magic spells, tongue twisters and sings lullabies, shaped in a radiophonic composition in the music form of rondo. Through free artistic transposition, the show reconstructs and processes mythological tales, folk traditions, and songs by using the radiophonic method, followed by natural and ritual effects.

## NARRATOR (Svetlana):

If fairies breastfed someone, it was believed that this man would be healthy and that he will become a great hero, and according to the beliefs related to milk, the child would receive some of the qualities of the woman who breastfed him, so she would be considered his relative and protector. According to the tradition,

fairies would get pregnant from the morning dew in the summer, and in the winter, they gave birth only to girls. Constant milk production suggests that fairies are always pregnant and their motherhood was considered miraculous.

When a child is born, granny, or the child's grandmother, says:

"Welcome, white bee!"
"Welcome, little white bee!"

And immediately, after giving him or her a drop of honey, continues:

"Be healthy and pretty, hero!"
"Be healthy and pretty, girl!"

"Thank God and this day and this happy hour that you arrived in this world, and into our home, and for putting you down on Earth."

Child is bathed and dressed and a plough or some other tool is hanged next to the headboard and child's head is touched by the plough or some other tool, while saying:

"Here's a plough, be a plougher, man of the house"

"Here's a hoe, to work in a field, a garden, be a gardener and a sickle to reap, be a housewife."

Sound workshop "Emergency – Mithology – Drmudash" represented Radio Belgrade, RTS at the Competition/Festival 9th Grand Prix Nova, Romania; in the documentary program category in September 2021.

<figure><img src="image_328.png" /></figure>
2. **“Emerging – Consciousness”** authored by Milenija Ristić (2021) is a second part of trilogy, an *ars acustica* piece presenting how a new-born perceives the world, starting from its earliest moments of consciousness that is awakened while the baby is still in the mother’s womb, to the way babies get to know the world after they are born. Author used sound images to introduce us to the baby’s original perception of the world, which is the foundation of the subsequent consolidated consciousness and new knowledge. The time babies spend in amniotic fluid is similar to the movements and sensations in the primordial ocean, which stands for the earliest origins of life on Earth. This show was broadcast on RTV Slovenia<fnref n="1" />.

3. **“Emerging – Te-Ri-Rem”** (Stamenković, 2022) is a final part of the trilogy, a story of origin of the Christianity presented through a kind of triptych audio fresco about the Nativity of Theotokos and the Ever-Virgin Mary, of the Holy Glorious Prophet, Forerunner and Baptist, John, and of Our Lord Jesus Christ. The programme is based on fragments from the initial chapters of the Gospels of Matthew and Luke, the lives of Saints (Joachim and Anna, Zechariah and Elizabeth) and religious poetry (*troparia* of Theotokos, Saint John, Jesus Christ and Archangel Gabriel interpreted by our famous vocal artist and conductor Katarina Božić). Shrouded in the Lord’s Prayer, which pulsates as *ostinato* throughout the play; effects of symbols of life: wind (breath and space), water (passing of time and John’s baptism on the river Jordan)

and fire (light, enlightenment and purification); and ambient music of the French acoustic artist Mark Chouarain (experiences with instruments of water and glass). A special component of this radio piece is a church chant – Kratima TE-RI-REM in its variants of a mother’s lullaby to the newborns (Mary, John and Jesus).

**“LP Duo: Baby Blues”** authored by Sonja Lončar and Andrija Pavlović (2022) is an *ars acustica* composition written in a form of six short minimalistic hybrid-piano pieces (*Birth, Cradle, And now what?, All about You, Teach me to Breathe, Lullaby for Vigilance*) with recognizable musical poetics of LP Duo. With these compositions, the authors tried to evoke emotions related to early childhood, getting to know the world and first experiences. Music is intended for babies as well as adults, who will be taken by compositions on an imaginary journey to the earliest memories, forgotten experiences or already repressed subconscious.

This show represented Radio Belgrade at the *Prix Italia 2023* festival in the category of music program<fnref n="2" />. Also, this show was a part of “Séance d’écoute” at the 18th Biennale of Architecture in Venice, in the pavilion of the Republic of France<fnref n="3" /> and was broadcast on RTV Slovenia<fnref n="4" />.

<figure><img src="image_329.png" /><figcaption>Vesna Perić presenting the production of the Radio Belgrade Drama Department at the Festival of Radio and Sound Art for Children and Youth, BAZAART and RTS, June 2023. Photo by Marko Nektan</figcaption></figure>

<figure><img src="image_330.png" /></figure>

<footnote n="1">1 Radio Beograd 3. (2023, November 30). *Muzika viva*. https://www.rts.rs/lat/radio/radio-beograd-3/5319318/muzika-viva.html</footnote>

<footnote n="2">2 *Prix Italia Festival* (2023, October 2–6). *Engage Me* [75th International Competition for Radio & Podcast, TV and Digital, catalogue], 49. https://www.rai.it/dl/doc/2023/10/02/1696269100270_PrixItalia_2023_catalogue.pdf</footnote>

<footnote n="3">3 18th Venice Architecture Biennale As part of the French Pavilion. (2023, August 4). *Radio utopia, le bal des sonorités*, 13-1. (see also: Biennale. (2023, August 1). *Radio utopia, le bal des sonorités*. https://cressound.grenoble.archi.fr/son/2023_VENEZIA/RADIO_UTOPIA_ACCUEIL</footnote>

<footnote n="4">4 Radio Beograd 3. (2023, November 30). *Muzika viva*. https://www.rts.rs/lat/radio/radio-beograd-3/5319318/muzika-viva.html</footnote>
Sources

Ćirić, M. (2021, June 26). Arheologija dečjih sećanja [Archaeology of children's memories, radiophonic essay]. Radio Belgrade 2. https://www.rts.rs/radio/radio-beograd-2/5088982/marija-ciric-arheologija-dečjih-secanja.html

Koljević, M. P. (2021, May 12). Majka – dete: Razgovor pre rođenja [Mother – child: Prenatal conversations, radio play]. Radio Belgrade 2.

https://www.rts.rs/lat/radio/radio-beograd-2/4362928/melina-pota-koljevic-majka--dete-razgovor-pre-rodjenja.html

Koljević, M. P. (2022, May 15). Kako rastemo uz radio [How we grow up while listening to radio, docu-fiction children programme]. Radio Belgrade 1. https://www.rts.rs/radio/radio-beograd-1/4810586/melina-pota-koljevic-kako-rastemo-uz-radio-premijera.html

Perić, V. (2022, July 2). Zlatni sat: Mama – radio [Golden hour: Radio-mom, radio documentary]. Radio Belgrade 2. https://www.rts.rs/lat/radio/radio-beograd-2/4861425/vesna-peric-zlatni-sat-mama--radio-.html

Ristić, M. (2021, December 26). Izranjanje – svest [Emerging – Conciousness, ars acustica piece], Radio Belgrade 3. https://www.rts.rs/radio/radio-beograd-3/4637028/.html

Stamenković, P. (2021, March 28). Izranjanje – Mitologija – Drmudaš [Emerging – Mithology – Drmudash, radio documentary]. Radio Belgrade 3. https://www.rts.rs/radio/radio-beograd-3/4306941/radionica-zvuka.html

Stamenković, P. (2022, March 27). Izranjanje – Te-Ri-Rem [Emerging – Te-Ri-Rem, ars acustica piece]. Radio Belgrade 3. https://www.rts.rs/radio/radio-beograd-3/4759003/predrag-d-stamenkovic-izranjanje-te-ri-rem-premijera.html

<figure><img src="image_331.png" /><figcaption>Festival of Radio and Sound Art for Children and Youth, BAZAART and RTS, June 2023
Photo by Marko Nektan</figcaption></figure>

<figure><img src="image_332.png" /></figure>
# LYRICAL POSSIBILITIES OF TWO PIANOS – BATHING IN SOUND

## How did you approach composing “Baby Blues”? What was the basic idea?

We wanted to use music to tell a story related to the sensitive topic of coming into the world, giving birth, early childhood and first experiences. We tried to imagine ourselves in such a position musically. In a way, it requires a kind of slowing down and acceptance of uncertainty, both in the experience itself and in the process of music creation. One could say that the musical process is analogous to the life process (and *vice versa*). This can be felt in the piece “Baby Blues” both in the choice of instrumentation and in the fabric of the music. The piano plays the role of ‘narrator’ of a continuum, and the other instruments (synthesizers, percussion) represent a metaphor for some of our first sensations, which our senses receive very sensitively in the initial days of our stay on this planet. So what and how do we hear for the first time? What do those first tactile experiences sound like? How do we feel about all this? Those were some initial questions from where we started composing, which is not only an intellectual but also a strongly intuitive act.

## Did you intentionally use certain tonalities, melodies, rhythms, harmonies? What were the solutions?

The intention was to evoke a different, more carefree world as we remember or imagine it. It is a

world full of tenderness and support. A world of discovering the unknown. And our early musical memories, lullabies and children's music that was of high quality when we were growing up in Yugoslavia in the 80s of the 20th century certainly helped us here. We took a tonal approach to the harmonic and melodic composition and even the use of synthesizers and sound effects, because we believe that the tonal way of 'composing' is the best way to express and associate different spectrums of the deepest emotions.

As for the rhythm itself, it is continuous and as such gives support to the flow. Rhythm is life in itself and that rhythmicity with the unusual sounds of a vibraphone or synthesizer attracts attention and brings the focus back to the music itself. Because we know how difficult it is to maintain focus and presence, especially in the earliest years. We conceived the whole work so that the listener is completely surrounded by music, as if he is 'bathing' in sound. We thought a lot about a new 'immersive' way. And it would be interesting if this music were mixed just like that, so that babies (and adults) listen to it first spatially, and only then linearly.

## About the instruments used – two pianos... Is that retro for the 21st century?

For us, the piano is a percussive instrument, but it has very lyrical possibilities. Actually, this is a

suite for piano, electric piano, vibraphone and synthesizers. It is our hybrid musical language. In the 21st century, the piano itself gained a new popularity and a new musical expression, which within the music industry was supported by a new musical genre (21st century neoclassical). However, the grandfather of this genre is Eric Satie, who far-reaching anticipated music and society, more than a hundred years ago. And behind Satie are Debussy and Bach, his musical ancestors. After Satie, John Cage and the minimalists. We are all connected, and these are some birth new cycles of life and new music.

## And why is there no text?

Text enforces the programmatic character of music. Text was not necessary here, but we think it is important that children (young and old) develop their imagination by listening to instrumental music and the sounds around them.

## Is the work genre-oriented (folklore, Balkans, jazz...) and how?

It's not. Musically, we never think within a certain genre; we rather let the musical thought go outside the preset genres, so that the hidden, inner world gives birth to music. We try not to interrupt the natural flow of music and afterwards also not to 'bother' the

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music too much with our interventions. We create
through listening and playing and that is the most
natural way of composing. Music comes and goes,
it is up to us to try to 'catch' it and record it. Which
does not mean that we do not have our refined
musical language that we have been researching
for years, trying to get to know ourselves.

What did you want to achieve with the piece?
What reaction did you expect? And have you
tested/received it?

First of all, it was important for us to create a qual-
ity piece of music and create an authentic world
of support for individuals and families. A world of
safety, tenderness and trust, and we all lack that.
We mostly received exactly such comments: about
the necessity for such an approach and compos-
ing music for the youngest, where that music ac-
tually becomes a joint, family act/ritual of listening.

Based on this idea/composition, did you get
an idea for further creation in that direction?

This process was very inspiring for us and we will
certainly continue to create in this direction. We
think this kind of innocence is needed today more
than ever.

Perhaps the question is – how does the world
sound today, maybe also from the perspective
of children...

Maybe it's best to ask them first. Today the world
is very noisy, completely cacophonous. That's why
we try to provide a counterpoint to that and organ-
ize with our works small 'musical enclaves' where
a different world is possible.

<figure><img src="image_334.png" /><figcaption>Live recording of the radio show "Respected Children", at the Festival of Radio and Sound Art for Children and Youth, BAZAART and RTS, June 2023. Photo by Marko Nektan</figcaption></figure>

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# WORD... AND... Development of language in babies and children

“... Grandma taught him many things. She sang to him and told him long stories...

Talked and talked:

- Mom, he doesn't understand you, look how small he is – I would tell her.

- He understands me – my mother would answer me, holding the baby in her arms, which curiously looked at her with big black eyes. The baby was reaching out to hug her.

- Ba-ba!- was heard.

We were speechless – speechless in the face of the first word!

- You see – said my mother – he understands everything...”

This is part of the story from my book "Street on a swing" (Ulica na ljuljaški).

To write this book of less than sixty pages, it took me several years... The book, like these words that I am writing now (to remain only at the beginning), is a personal story (and confession) about one word.

The first word!

The baby is six months old...

The WORD has always been my main goal: how it is created, what can be done with it.

What can it turn into and what will happen when it is gone...

I brought psycholinguists, neurologists, paediatricians... to the shows: they denied the possibility that my baby spoke her first word at only six months!

"From cooing to singing combinations of vowels and consonants, your baby's vocalizations and verbal experimentation can sound as adorable as they sound meaningless. But listen carefully, and one day you will hear it: the first real word... By nine months, your baby will probably start stringing together "ma-ma" and "ta-ta" sounds without needing to know what they mean. But when those sounds start to turn into words with meaning, it's a turning point that feels like magic.

Babies begin to speak – that is, to try to express themselves in meaningful words – between 9 and 14 months...”

That's what they told me.

That's how I read it.

I will reserve the right to believe that my baby spoke at six months.

And, I'm sure my baby understood what grandma was saying and singing to her.

Grandma, somehow, managed the best: she always had the right word – even for the first word, the right song, the right facial expression...

And that counts as a 'conversation'!?

Words are given to us.

We get them at birth, as a species, as human beings, in some record that we discover throughout our lives. That 'hologram package' can remain locked or be illuminated by a beam directed at the right time, in the right place.

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The word, one, only, is singled out ... "a complete and independent linguistic unit created in the conventional combination of sound and meaning... The vocal side can also be symbolized graphically and then we talk about the written word..."

It seems complicated because it is complicated!

Better yet – it is complex.

Both in phylogenetic and ontogenetic development.

This time, ontogenetic is our interest: both prenatal and postnatal part of it.

"A child feels everything... It's cellular memory, cellular memory... it doesn't need a brain, it doesn't need neurons... to remember..." said professor doctor, neuropsychiatrist and academician Vladešta Jerotić, one of the first scientists who dealt with prenatal life...

An anecdote related to Yehudi Menuhin is also re-counted about that prenatal life.

One day, by some chance, the notes of a sonata came into the hands of the famous violinist. He saw those notes for the first time, but he had the whole sonata in his head – he played it right away! He was very surprised and for a long time tried to understand what it was about, until one day he told this story to his mother. The mother almost cried and said to him:

- Well, I played that sonata almost every day while you were growing inside me...

It could have been like this. The facts are that Maruta Menuhin was a linguist, but also musically

educated. Together with Yehudi's father, she taught Yehudi and her two daughters, who became pianists, in their home.

In a 1991 interview with "The Chronicle", Mrs Menuhin recalled introducing her son to classical music when he was eight months old.

- I took him to concerts carrying him high on my shoulder, she said.

... Yehudi never cried. He was 'wrapped up' in music; he would even refuse his warm bottle of milk...

Maybe you remember whole sonatas, maybe words, whole sentences from that mother's inner Universe in which new life grows!? If that little (or big?) miracle of life, which is born anew every day, could tell the story of that inner life, because it certainly is life, it would make things easier for parents and science.

Many parents put headphones on their stomach during pregnancy so that their baby can listen to music. It is known that babies usually start hearing during the third trimester. We also know that babies begin to develop language at a very early age, and as more and more research is conducted, it is quickly becoming clear that they are anything but passive listeners. It turns out that while in the womb, fetuses nearing birth can absorb and learn some parts of language and use it when they are born!

In one of the many studies, author Eino Partanen, a Finnish neuropsychologist, sought to answer that question: how babies can store memories and patterns in their brains related to auditory learning before they are born. In their study, Partanen et al. gave pregnant women a recording to play several

times a week during the last few months of pregnancy. The video also included an invented word "tatata" which was repeated many times. After they were born, the babies were tested using an EEG sensor to see if their brains would respond to a made-up word as if it were familiar to them. Babies who heard "tata" (*daddy*) recognized the word and its variations, while babies who did not hear the made-up word during pregnancy did not respond. In addition, the babies who heard the recordings also recognized the sound changes in the invented word, and the more their mothers played the recording, the more their brains responded to these changes, meaning that their experience before birth was very important for their language processing after they were born!

Is that how the first word sounds?

First word: Revelation! The universe opened up and *It* timidly enters, not even aware that it exists...

The series of shows "Conversations of the first kind", "Crosswords" and "On birds and people" is dedicated to the development of language in babies and children.

That development sometimes flows like a river without stones to stop its flow. Sometimes, however, a word gets stuck in a river vortex (the Serbian language offers many stylistic possibilities: word-river (*reč-rečno*), but if we were to invent a possessive adverb for the word *REČ* (*word*), it would be the same as for the word *REKA* (*river*).

Words!!!

That word, like a small bone or a sip of water, gets stuck in the throat.

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Most often it gets stuck in parents' throats. Or, at least, a long time ago, it did in mine. As in the story from the beginning of this text, you remember, only that beginning is a personal confession of one word.

The first one.

Grandma took on the role of narrator of the words...

A lost word, the right one, 'born' in the right place, at the right time, can hardly be compensated. Some other important ones will come across... But, where the lost one stood, a small hole will remain...

And if a lot of small holes accumulate?

.....

We get to know the child in many ways.

With what he draws, for example.

'Readers' of children's drawings must be top masters of their science.

We find out by what he keeps silent or what he says. To our parents, sister... friend... teacher...

But that first 'reading' of the conversation happens while playing. Even today, children play with toys. I'm going to make a grammar mistake, break a grammar rule about the use of prepositions in Serbian language, and use the preposition 'with' for something inanimate.

I will say:

- A child is playing with a doll!

In Serbian language, namely, the preposition 'with' is used to denote the company of a living being.

I would get a bad grade in a written exam because of this mistake. Unless I rebelled and explained to the teacher (and, for example, I'm in the first grade) that my doll is alive to me! That I can, sometimes, (just) talk to her without limits, that she always listens to me...

- Yes, teacher, I certainly know what the word (again the word!!!) KOBAJAGAI (imagination) means. You don't have to call my parents to "talk to them about my wild imagination..."

The child knows that the toy is an inanimate being. (An oxymoron – a little more grammar!) Guided by that knowledge, and *I know, I know that*, I did the first show from this cycle. With the former baby who (a long time ago) was six months old when she said her first word: "GRANDMA"! We were doing a show: today's expert in animation, sound, IT technologies, he was helping me – checking the tones that arrived by phone (Covid was taking its toll, in full swing). Mom Maja Radović, a wonderful mom and an excellent teacher of Serbian language and literature (grammar stalks me – I'll have to think carefully about those holes that appear when a word is 'swallowed'... it seems that grammar is 'giving me a blow'...) - so, that mom was filming her second child, the second boy, from the moment they arrived home from the maternity hospital. Vidak's first speech was not included in the show because the deadline for the submission of "Conversations of the first kind" was set. However, that does not diminish the preciousness of sounds, intimate moments in the Radović family... We had something unique!

Because I write texts for children, I wrote a story that is 'inserted' into the documentary material...

The toys talk, yes, yes, (and) to each other. Little Robot, a gift to baby Vidak, and Big Bear, a family heirloom – are the main characters of that story.

'Reading' the conversation between the toys and the child is a source of knowledge!

Three families became involved in the show: the Radovićs; mom and daughter who play Robot and Big Bear - Marina Đurđa Stojanović and Matija and Vesna!

Family weaving!

"Conversations of the first kind" are also a kind of family dictionary of verbal and non-verbal content.

Did I make a lexical mistake again?! A DICTIONARY is a printed book, an internet page, a whole that contains a list of words... Does it have to be a "printed book full of words"?! Could there be, for example, a compendium of non-verbal communication?! When non-verbal communication already exists, there should also be a non-verbal compendium that would compose grimaces, individual voices, groups of voices by which their creator – primarily the Child, successfully communicates with the environment...

The show "Conversations of the first kind" in a way denies the definition given by the experts. Because mother and father know what their baby 'says' even before the first words recognized by science...

Have you ever asked the parent of a 'talky' baby:

- What does it say? What is it saying?

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It sure is. And the parent, for sure, knew what the baby was saying. Of course, the parent who speaks, finds out, invests in this almost crucial communication.

Those parents know their babies. And science has also discovered this: babies have a greater imagination than previously known!

New research in the field of neuroscience (Philosophical Transactions of the Royal Society B) and scientists from Vienna have established the foundations of this knowledge: children as young as 14 months can independently consider several contents if they are shown an object that is not clearly recognizable and leaves several interpretations open.

By measuring pupillary diameter in infants, research by Nicolo Cesana-Arlotti (Johns Hopkins University), Balint Varga and Erno Teglas (both of Central European University) "provided evidence of increased mental effort when infants were exposed to situations compatible with several variants of the hypothesis."

These results indicate that the basis for our imagination and the ability to think about different possibilities is present very early, before babies speak.

It is precisely in this context that the "Crosswords" show fits in.

And in "Crosswords", it's about words!

Of course.

But, above all, about that part of communication with the child when the parent(s) and the child communicate by reading.

- Read *with* your child! - that is the basic message of psycholinguist, Nada Ševa, Ph.D. expert consultant for this show.

We followed that trail.

Nada Ševa, Ph.D. explained to us that "...children can hear what we say even in the prenatal period, in the stomach... How do they hear us? For example, if we put our hand over our mouth, what we are saying will not be understood very clearly. That's how babies hear us snuggled up in mom... It's also a fact that in that prenatal period, parts of the brain develop, the so-called Wenicke's area, which is also later responsible for the ability to hear voices, to hear combinations of voices that will be realized as some words, some simpler statements... which lasts until maturity when it is possible to express oneself....

...We don't know, in fact, how many words babies can remember, conditionally speaking it is rather the rhythm, some tones of voice, some characteristics that are specific to the speaker who addresses them the most, and these are, in fact, most often mothers because they carry babies for nine months, but they can also hear dads and all the family members..."

To move on, you'll have to close your eyes and ask someone to read this to you:

"I crossed three countries, and ran over three more, and sailed three seas - until I caught it blue rabbit, strange rabbit, the only one in the world."

(there are more...)

The poem "Blue Rabbit" by one of the most important authors of Serbian children's literature, Duško Radović, was our guide and connective tissue for this show. The poem - made up of a kind of cross-word puzzle, is one of the most demanding (if you are not a child!) for the interpreters of children's literature!

You don't have to search for what 'the writer wanted to say' (this item should be removed from all interpretations of the text! Both at home and at school, and at universities...). Listen up!

Or, read with your child some text that you know the child likes, and talk.

Like Anja and her dad, Pedja:

Pedja:

You know what these hurdles are? These are small fences that horses need to jump over when they race, you can see in the picture. Ready, Magic?

Anya:

Why do they call her Magic?

Pedja:

So that's how they named that horse. What is the name of the horse you rode, this last horse?

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Anya:

North.

Peja:

North. And what were the names of the horses you rode before?

Anya:

Gaitana, Clara, Petra and Little Star (Zvezdica) and Little Clara (Klarica).

Pedja:

Indeed.

What is the ultimate goal of reading, listening, talking?

First of all, with babies and children?

Probably to get to know (our) child. Because words (spoken and written) are – for now – the only way to do that. To get to know that Universe, to help the child become what that Universe offer them as a possibility. Or, to learn about some impossibilities through words, to make them possible...

The third project "On birds and people" started from that task:

A boy told us:

- My stuttering started a year ago. Then I started to block in sentences. I couldn't speak a sentence properly...I used to cry and shake. Because I was saying to myself: Why me, why me...

Nikoleta Stevović devoted her professional work to studying stuttering. In the manual (passive exhalation technique) intended for people who stutter, parents, experts, she states that "the cause of stuttering lies in the genetic but also neurological basis and predispositions and can be activated with triggers from the environment in the form of external and internal psycho-social factors."

Stuttering will not go away on its own. Attention must be paid to it; expert assistance is needed, various techniques must be learned:

"There is no guarantee that stuttering will not occur sometime during the life period; but such a possibility exists. No one can tell you that.

I teach children that stuttering is not terrible, that we should not be ashamed of it, we have to practice a lot..." says Nikoleta Stevović.

Stuttering is not terrible.

Aleksandar Petrović and I started 'writing' this show long before it became part of the B-AIR project. Colleague Petrović brought from the kindergarten precious material for the show "Confusion Book" (Zbunovnik) (everything that comes from the kindergarten is precious!): the boy stutters! For the first time, we had to 'synchronize' him, but we regularly played "The Stuttering Boy" on our radio shows. The boy's friends did not differentiate between their speech and the boy's. The children and the Boy were children from kindergarten! Without difference!

The broadcasts from the B-AIR project were made for a radio program, the Educational Program for Children, Youth and Family. Radio as a powerful medium, in a multitude of possible types of

communication between children and people, provides the possibility of trust, giving in and learning. Radio as a medium has a great influence on the development of a child's thinking. Excited by new phenomena in the media of various kinds, the radio program awaits – and will welcome – its return in a selection of many possibilities.

I hope that at that moment the show "Good morning, kids", which has been on the airwaves of Radio Belgrade since 1955, will still exist and that the accomplishment of that show will continue. Why exactly this show and why is it special? Because the show 'reads' with children and adults, it's always there when they want good words, and because, with the credits at the beginning of the five-minute 'constellation' of words, music and sounds, something chirps.

What is that!?

Is that a bird?

Many listeners would say yes.

It's not!

The inimitable actor Mića Tatić, whose birth century we celebrated this year, 2023, is chirping.

That chirping is also important to us, among other things, because, as new findings say, "there is an instinctive, primordial connection that, immersed in rhythms, unites people and animals, birds above all..."

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In the latest study, a team of biologists and psychologists from the American National Academy of Sciences came to very interesting results: birds and humans have comparable ways of recognizing songs, based on their rhythmic patterns.

It is precisely the problems arising from disturbed rhythmic patterns that are associated with numerous language and speech disorders in childhood.

Even stuttering.

In Serbia, in the city of Belgrade, in the "Vladislav Ribnikar" Elementary School, this spring (May 3rd 2023) one of the greatest tragedies that can happen to a society, a civilization, happened: a student (13 years old) killed his peers and a security guard and seriously wounded a history teacher with his father's gun.

Where did this terrible fact in the show about words come from?

We are yet to fully find out about that terrible event. Some words, spoken, but, what is much more important, *unspoken* between this thirteen-year-olds (is there a *word* to name him and what he committed?) and his environment, above all his parents, may help in discovering a way to prevent this from ever happening again.

Words. A few letters, a small item in the dictionary. But, without them, abysses arise. Sometimes only one heard or written word – is enough.

<figure><img src="image_341.png" /><figcaption>Vesna Ćorović Butrić and Aleksandar Petrović, creative team behind "Crosswords" and "On Birds and People", in the editing room</figcaption></figure>

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# AUDIBILITY: APPROACHING DEAF EXPERIENCE(S) WITH SOUND ART

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# TO AUDIBILITY AND BEYOND

Within the B-AIR project, TWIXTlab's core contribution was entitled "Audibility", and was concerned with the experience and the ways of the Deaf<fnref n="1" /> with music and sound art. The project engaged in three interrelated fields: research, pedagogy and public intervention, using inclusive artistic learning-through-making as a vehicle for bilateral inquiry (for both adult researchers and pedagogues, as well as teenage students), and ultimately as a medium for creative expression and the promotion of public awareness. In this chapter we will be laying out the contents of the three-year long endeavour, documenting our activities while reflecting on our research questions, our educational approaches and the processes we initiated and facilitated.

In a nutshell, the "Audibility" core team<fnref n="2" /> worked on formulating the plan of action and promoting it through the channels of Deaf education and beyond. On one front, we introduced an educational program aimed at acquainting Deaf and Hard-of-Hearing children with sound art, radio art and music. The second thread of the project was based on multi-layered research, within the framework of multi-modal ethnography. Using participant observation within

and outside the classroom, discussing with specialist pedagogues and art practitioners, 'interrogating' technological applications, and also reflecting on our own art-pedagogical methodologies, we sought to shed light on the Deaf experience with sound and music. Last, we aspired to foster connections among cultural and educational stakeholders, institutions, or individuals affiliated with these fields. The ultimate objective was to promote Deaf accessibility, inclusivity, and active participation in the creative process, breaking down cultural constraints and stereotypes regarding this particular social group's exclusion from sound-based artistic fields.

Particularly, the program consisted of four semesters of creative workshops – three of which were held in a High School for Deaf and Hard of Hearing, and the fourth one in the prestigious setting of the National Opera of Greece. In parallel, our stakeholder engagement plan brought together creative individuals, organisations and institutions from various levels (from the classroom to the Ministry of Culture) in the creative educational process. Further, our dissemination strategy brought us to present our research and

its artistic outcomes in academic settings, peer-reviewed journals and publications, conferences, workshops, seminars, and exhibitions, both in the framework of the B-AIR partnership and outside of it.

Our aspirations towards the legacy of the project span beyond the time-limits of the Creative Europe co-funding scheme: one of the key goals is to design a methodology for teaching music and sound art in a more inclusive way, sensitive to neuro-diversity, and propose it to the central educational authorities in Greece to adopt it in the school curricula.

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Audibility logo designed by Melissanthi Saliba & Myrto Delivoria

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<footnote n="1">1 In this text we will be using the conventional distinction between 'Deaf' (with a capitalised 'D') and 'deaf' ('d' in lowercase) to signify the conceptualization of deafness as cultural and linguistic diversity ('D') in contrast to hearing impairment ('d'). In brief, the Deaf partake in the so-called Deaf culture and community, and constitute a linguistic minority – using Sign Language(s) as their primary means of communication, whereas the vernacular term 'deaf' signifies 'hearing impaired' individuals who are not necessarily members of the aforementioned community.</footnote>

<footnote n="2">2 About the "Audibility" core team, please see at the end of this chapter.</footnote>
**Yorgos Samantas**
Anthropologist, sound designer
TWIXTlab.com
Akoo.o

**Dana Papachristou, Ph.D.**
Sound Artist, Akoo.o team
Adjunct Lecturer, Department of Culture, Creative Media and Industries
University of Thessaly, Volos, Greece
Founder - Director, To Aesthate G.P.

geosams@gmail.com

dimpapachristou@uth.gr

# AUDIBILITY:
## Cross-disciplinary approaches on scientific research, education and pedagogy, and social intervention, through artistic creation

Within B-AIR, TWIXTlab played a role with its "Audibility" initiative, which delved into the relationship between sound art and music and the experiences of Deaf and Hard-of-Hearing individuals. The project encompassed a series of creative encounters between sound artists, musicians, Deaf and Hard-of-Hearing students, and their educators. These encounters, which consisted of workshops and presentations, initially targeted Schools for Deaf and Hard-of-Hearing individuals in Athens, Greece, with the potential for expansion beyond the school environment. These interactions shaped an educational and creative research framework, where invited artists, educators, and students collaborated on the creation of artistic works facilitated by our expert collaborators each semester.

We should note that our general strategy in regards to artistic making was to think beyond the concept of 'accessibility', and design our approach in terms of 'inclusivity'. From this perspective, students were

<figure><img src="image_347.png" /><figcaption>Invited artist Tatiana Remoundou presents in School, November 18th 2021. More info on Tatiana's series of workshops in the "Unicorn" article. Photo by Yorgos Samantas</figcaption></figure>

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involved through workshops in the process of artistic creation, and into a collaborative framework with the invited artists, rather than solely as end-users or spectators. Respectively, our observational focus was put equally to the artworks as final outcomes, as well as in the processes of collaboration and collective creation. This would provide participants not only with the joy of creation and the benefits of artistic education, but also with insights to the applied knowledge that underlie each process and artwork. In order to highlight the processual dimensions of the endeavour, and also for extending our reach to specific audiences, we documented the workshop activities in video or audio recordings.

As general and educational coordinators of the project, for us these activities were not only a framework for teaching, but also for learning in terms of research. Within the methodological framework of ethnography, we applied long-durational observation on the field (for over a year and a half), gradually getting acquainted with the community, having recurring discussions with the participants in the workshops (be it teenager students, their educators, or young adults), and facilitated focus groups with expert interlocutors, grounding our research in qualitative data collection and analysis.

On one hand, ethnography as the key method of anthropology helped us understand, among others, the diversity of Deaf experience at the particular age group, to experience the educational framework and the group dynamics, and to have an insight within the young Deaf community in Athens, to which we are outsiders. This helped us to better understand the context in which we were acting and the impact we generated. We should add that the proliferation of a variety of media in ethnography,

the questioning of power asymmetries between the observant and the observed, as well as the so-called 'crisis of representation' (Clifford et al., 1986) in social sciences has led to epistemological reflections about who can produce knowledge for 'the Other', in what terms, and in which ways. Therefore, our aim was not to speak on behalf of, or represent our interlocutors to the hearing majority, but rather to 'make sense' together with them on the premises of sonic expression. Informed by methodologies on how to 'make sense' with a variety of media, but also by the critical approaches on knowledge production, "Audibility" project aspires to register into this newly formed domain of multi-modal ethnography (Dicks et al., 2006).

On the other hand, we also deployed an 'object-oriented' ethnography, a framework often used in the field of applied arts (i.e. arts and design), which helped us tailor particular art processes. Introducing props, such as transducers/exciters (vibrational speakers), or various modes of visualising sound, we questioned: What works, and what doesn't? What if we *translate* this sound in this colour, and not the other? What makes sense for our collaborators, and how does it come in negotiation with our own – and our invited artists' – initial aspirations and aims? As our main group of interest were primarily teenage students, we deployed *playfulness* as a central strategy for introducing our questions, props and methods.

A major part of scientific research focusing on deafness is currently powered by the so-called 'medical model' for disability<fnref n="1" />. This perspective focuses on deafness as a hearing impairment or deficiency, and thus as a condition to be 'corrected'. Cutting edge technology, like cochlear implants and up-to-

date hearing aids appear in the market as a 'remedy'. This approach represents only one of the ways one can understand deafness, or even experience oneself and dwell in the world as a Deaf person. Albeit very effective in making individuals' lives better, these medical-technological applications are, at the end of the day, dependent on individual financial capacity, access to the respective technology, or state policy support – not to mention critical stances or resistances towards one's life pathologisation.

With those controversies in mind, our approach within "Audibility" embraced the so-called 'social model' for disability. In a society planted with various barriers, it is not the individual that needs to be 'fixed' or a diversity to be suppressed in order to fit in; it is the societal structures that should change, discriminatory attitudes that should be deconstructed, exclusion barriers to be eliminated. The social model stemmed from the Disability emancipation movement during the 1990's and resulted in the UN Convention for the Rights of People with Disabilities (2006). The Convention serves as a major catalyst in the global Disability rights movement enabling a shift from viewing persons with disabilities as objects of charity, medical treatment and social protection towards viewing them as subjects within society, full and equal members with full human rights.

Furthermore, our aim is not to understand 'deafness' per se. It is to put the understanding of sound and hearing (and not hearing) into a new perspective, by looking into what our Deaf interlocutors, as a socially excluded group, are doing with it. And, for the interventional aspect of our work, to map these potentials and propose them as a new methodology for more inclusion, both in art education and artistic creation.

<figure><img src="image_349.png" /></figure>

<footnote n="1">1 For the various 'models for disability', see, for example, the UNHCR edition in the following link: https://www.unhcr.org/media/handout-2-models-disability</footnote>
For this purpose, "Audibility" brought together a working group of expert collaborators from a range of academic fields and practices, forming a cross-disciplinary approach from the fields of anthropology, artistic pedagogy, radio production, music and sound art, socially engaged art, innovative technology, architectural design, and Deaf and Disability studies. Initially addressing Schools for the Deaf and Hard-of-Hearing, the project evolved to include young adult Deaf participants outside the school framework.

Through our project, we aimed to challenge the *naturalised exclusion* of the Deaf from sound-related educational and creative activities. We use the term 'naturalised' in order to highlight the fact that it is based on the common-ground misconception that sound is absent from the world of the Deaf. Based on this pervasive stereotype, a whole educational system – with perhaps few exceptions – understands musical education as futile for Deaf students. But sound and music is there for everyone; one can say that the Deaf have a different relation with it, than the hearing.

Our primary goal was then to expand the realm of the sound experience for all participants. By emphasising the concept of 'audibility' – a rendering into sonic terms of 'visibility' for marginalised groups – we delved into the theoretical and practical implications of integrating the educational system for the Deaf and Hard-of-Hearing individuals with that of music education. We also developed a systematic educational approach that explores new avenues of interaction between sound art and the Deaf experience.

Our initial research questions revolved around devising alternative means of accessing sonic media when guided by the experiences of Deaf and Hard-of-Hearing individuals:

1. Can we experience sound beyond the realm of hearing? What alternative pathways to sonic media access can we devise when informed by the experiences of Deaf and Hard-of-Hearing individuals?

2. In what ways can we conceptualise these alternative sensory channels and employ them artistically to promote the inclusion and audibility of the Deaf as a 'silent minority'? How can musical and sound art education contribute to deconstructing stereotypical, normalised exclusion from specific artistic fields?

3. What insights can we gain through the act of creating art?

We strived to reframe sonic perception in various ways, incorporating elements pertaining to the materiality of sound and the phenomenology of perception, such as vision, vibration and touch, physicality, spatiality/spatialisation, proprioception and kinaesthesia, but also respective media that can bring together those understandings: language and vocal performance, narrative, drawing and technological applications. These elements served as tools to further explore the Deaf experience and the perception of sound beyond conventional hearing.

<figure><img src="image_350.png" /></figure>

Students watching Lambros Pigounis presentation (in the background), as he refers to the vibrational qualities of voice, May 5th 2022. The banner above the screening reads "Role Models - We are imitating them", accompanied by religious iconography. It is indicative of the various models of disability that act upon the educational framework

<figure><img src="image_351.png" /></figure>
Based on contemporary technology, we examined the use of easy, free and accessible applications that offer the possibility of visually translating sounds and waves, (like spectrograms, oscillograms, etc.), bearing in mind that Deaf communities adopt respective applications with huge benefits. For example, the hearing majority can only imagine what innovations text messaging, and later video calling, brought to Deaf telecommunication. These technologies are enabling sound processing software to act as a communication channel for a 'listening' experience with visual aids and media.

Further, we looked into vibro-tactility, as a corporeal way for sensing sonic signals, through the use of transducers/exciters, that were used in many of our artistic applications. This entailed a specific research on vibrational conductibility of materials and an assessment of equipment for particular use, powering, and health and safety issues.

A particular focus was given to the Deaf voice, namely the individual voice of our interlocutors, which diverges from the norm of 'correct' articulation – because in most cases the Deaf cannot hear others nor their own voice, and as a matter of fact, the oral/spoken language is usually a second language particularly for people who were either born Deaf or experienced the hearing loss in early childhood, before developing speech. In accordance with the pervasive stereotype we wish to deconstruct, in the hearing majority's imagination the Deaf are not only unable to hear, but also to speak (encapsulated in the fix-phrase *kofálalos* in Greek,

equivalent to *deaf-mute*, a term obsolete in English as derogatory). This entails further exclusions that extend from the metaphorical understanding of voice as a means of political agency, to very tangible and everyday issues, like the diversity of voices articulated in public. The encouragement of Deaf voices served as a bridge between different forms of artistic oral expression, and can be understood as a space where physical expression, linguistic expression, and aurality intersect. However, as it became clear to us that not all of our interlocutors were comfortable with using their voice, we insisted on encouraging and empowering vocalisation, rather than making it compulsory, to further avoid the canonistic paradigm of the Oralist tradition in Deaf education, which at past times accompanied the ban of Sign Languages in pedagogical settings.

In our research, we also drew inspiration from attempts to negotiate between sound and imagery in various historical art movements. On one hand, it was the modernist approaches that used distinct elements such as colour, point, line, plane, sound, and timbre as educational tools. The modernist project developed between Wassily Kandinsky and Arnold Schoenberg to make music more "descriptive" and painting more abstract was put into artistic use. And on the other hand, particular Deaf art manifestations, prominent to the early Deaf rights movement (like the works of Betty Miller, Susan Dorpor and Anne Silver, or the De'VIA initiative, among others<fnref n="2" />) contributed to the conceptualisation of key arguments in the arts towards Deaf empowerment

and political visibility, as well as visual tropes for understanding sound and voicing at large.

By employing these methodologies and proposing sonic media to students in Special Schools for the Deaf and Hard-of-Hearing, our project sought to broaden the scope of sound perception, moving toward an inclusive understanding of the sonic that would transcend the limitations of conventional hearing, and question *the ear* as its epicentre. Through material experiences, sensory exploration, linguistic diversity, and technological tools, we aimed to explore new dimensions of aural diversity<fnref n="3" /> and heterogeneity.

Reflections on our cross-disciplinary approach were presented in the context of "Radio Utopia - News from the World", within the Ball Theatre program in the French Pavilion of the 18th Venice Biennale of Architecture, in the form of a 3-ply podcast, with the participation of scientific advisor on "Audibility", Panayotis Panopoulos (Anthropology of Sound, Music and Dance, University of the Aegean), educational coordinator Dana Papachristou (New Media Aesthetic Theory, University of Thessaly / To Aesthate), expert collaborator Eva Fotiadi (History and Theory of Art, CARADT / OtherAbilities project) and the "Audibility" project coordinator Yorgos Santas (anthropology, sound studies, TWIXTlab).

To listen to the podcasts:

<figure><img src="image_352.png" /></figure>

<figure><img src="image_353.png" /></figure>

<footnote n="2">2 An extensive catalogue of the genre can be found here (https://www.museumofdeaf.org/de-via, and https://deaf-art.org/). Curator and visual artist Ourania Anastasiadou (community liaison in "Audibility") delivered a keynote speech on the subject, which you can access here: https://b-air.infinity-radio/en/learning/audibility-inclusivityandsoundart/sound-art-education-and-inclusivity-for-deaf-and-hard-of-hearing-adolescents/ (video in Greek, with a transcription translated in English).</footnote>

<footnote n="3">3 The term "aural diversity" was coined by John L. Drever and Andrew Hugil in 2019 and was put in practice in the same-titled project the following years in the UK (https://auraldiversity.org/). The term clearly points to "neurodiversity" [neurodiversity], coined by sociologist Judy Singer in 1988, which became particularly popular in the decade that followed, spearheading the autism rights movement and the emergence of the social model of disability.</footnote>
<figure><img src="image_354.png" /></figure>

twixt lab

# SOUND ART
BEYOND HEARING:
PARTICIPATORY
ART IN SCHOOLS
FOR DEAF AND
HARD OF HEARING
Dana Papachristou, Ph.D.

Sound Artist, Akoo.o team

Adjunct Lecturer, Department of Culture, Creative Media and Industries

University of Thessaly, Volos, Greece

Founder - Director, To Aesthate G.P.

# PEDAGOGICAL APPROACHES ON DEAF (SOUND) ART EDUCATION

The historical exclusion of d/Deaf and Hard-of-Hearing individuals from the realms of music and sound art education, as well as their representation in the medium of radio, had been perceived as a seemingly 'natural', often framed within the context of pathology. This misconception, akin to a pervasive stereotype, had found its place even within educational systems, perpetuating a deprivation of access to a rich domain of cultural manifestations, as are music and the radio, for Deaf and Hard-of-Hearing students and adults.

In our endeavour, we wished to challenge this 'naturalised' exclusion through a fusion of emerging approaches in contemporary art, artistic education, Deaf studies, and Sound studies. We based our research and practice in highlighting the engagement of students with music and the arts in general, as it is generally accepted that this engagement yields a multitude of diverse benefits. Participation in music and the arts, as part of the educational process, provides a platform for personal and artistic expression. It allows students to merge sensory perceptions, become familiar with public performance, and partake in collective creation. Furthermore, it enriches their expressive toolkit, offering a means to externalise emotions. Additionally, music, as an art and a science, unfolds as a realm of extensive knowledge, touching

<figure><img src="image_355.png" /></figure>

Workshop on web-based tools for musical creation via visual means.
Google provides some of these tools in a very comprehensive Graphic User Interface, on https://musiclab.chromeexperiments.com/. Photo by Themelis Rizos

<figure><img src="image_356.png" /></figure>
upon various disciplines such as physics, history, philosophy, and anthropology.

Starting from these theses, and based on educational research in various eras and environments, our team was determined to take these educational benefits for granted for our students in the Deaf and Hard-of-Hearing schools as well, regardless of the existing exclusion in our educational systems. Our curriculum was structured around workshops based on contemporary art education practices, facilitated by education experts. The framework emphasised on fostering dialogue and hands-on interaction with the subject matter, rather than one-way knowledge transmission. Artists, educators, and students were encouraged to contribute with their individual knowledge, expertise, and experiences, all while learning from one another in an immersive and participatory manner.

"Audibility" project served as a platform for artistic processes and production, with music, sound art, and artistic education as its central themes. The research component of the program delved into the impact on Deaf and Hard-of-Hearing individuals, while the intervention aspect primarily targeted students in Special Schools for the Deaf and Hard-of-Hearing in Athens, but also extended beyond these schools through activities carried out in the National Opera of Greece.

Renowned artists from the fields of Deaf Studies, Sound Art, Performance Studies, and New Media were invited to share their knowledge and collaborate on artistic endeavours with students and workshop participants, both within and outside the school environment. These artists experimented with the phenomenological dimension of sound,

and explored the cross-sensory dimensions of auditory experiences. The focus was not on the limitations of auditory perception, but on the numerous alternative ways to engage with sound stimuli. Vibrations, visual translations, and various other methods of sensory transfer, translation, or representation became integral to this exploration. The collaboration between students and artists, along with their shared experiences, inspirations, and insights, stood as one of "Audibility's" primary aspirations throughout its implementation.

More specifically, our research drew on the works of contemporary Deaf and Hard-of-Hearing artists that explore Deaf experience(s), as well as insights from the fields of Deaf studies, anthropology, and art. We also explored the history and theory of art, especially in relation to artistic genres and forms, such as music, painting or graphical scores. Technological applications that facilitate 'sensory translation' further informed our approach. Our research extended beyond theory to the practical domain, where participant observation within workshops continually informed and refined our methodological approaches, contributing to the existing body of knowledge in the aforementioned scientific and humanities fields. Last, given the B-AIR's focus on radio, we explored the potential of radio as both a medium and a concept, adaptable through digital technology to provide more accessible multimedia content. Our aim was to unite audiences through its warm, emotional, entertaining, and informative characteristics.

An essential challenge faced by "Audibility" was the development of a framework for training and generating socially engaged and participatory art. Here, the artwork was not regarded as a final prod-

uct but as a dynamic process. Socially engaged art was envisioned as a means to intervene and establish frameworks and relationships that could positively impact the social sphere (Bourriaud, 2001)<fnref n="1" />. The ultimate aim encompassed social inclusion, the deconstruction of stereotypes, the enhancement of participants' lives, the cognitive development of students, the introduction of innovative educational tools for professionals, and the promotion of visibility (or rather, audibility) through art within the broader public sphere.

To summarise, the "Audibility" project was an exploration of the intricate interplay between modes, tropes, concepts and methods that stem from the sonic arts, with the Deaf experience with sound and music. It unfolded in a structured program of creative encounters between sound artists, students, and educators within Schools for the Deaf and Hard-of-Hearing in Athens, Greece, and a final series of workshops in the National Opera of Greece. This endeavour sought to impart the realm of sonic art through a succession of presentations and workshops, cultivating alternative avenues for the perception and engagement with sound as an artistic medium. Within the crucible of these workshops, a convergence of artists, students, and teachers ignited the collaborative creation of one or more artistic pieces, fostering a symphony of creative expression. Simultaneously, the project delved into reimagining sound perception, transcending the conventional confines of sound, beyond hearing. Its aspiration encompassed the formulation of a comprehensive curriculum and educational methodology, specifically tailored to enrich the musical and sonic education of Deaf and Hard-of-Hearing pupils and young adults. The ultimate ambition extended beyond the confines

<figure><img src="image_357.png" /></figure>

<footnote n="1">1 Bourriaud, N. (2001). *Esthétique relationnelle*. Les Presses du Reel.</footnote>
of the immediate context, with the intention that
this pedagogical framework may find relevance
and application in a broader educational spectrum.

Our initial engagement involved working with the
acclaimed artist and pedagogue Tatiana Remoun-
dou. In the subsequent semester, Lambros Pigou-
nis, a composer and sound artist, took the role of
the invited artist. Further, we delved into the realm
of radio, both as a technological medium and an
art form, through the project named “Tangible Ra-
dio – Class on Air”, with Kalliopi Takaki, Petros
Flambouris, George Mizithras and Orestis Kara-
manlis. Last, we extended our activities beyond
the school environment, adapting our methodolog-
ical approach to adult audiences. Under the ban-
ner of “Sound art and Deaf experience: hearing as
an embodied experience”, we conducted a series
of workshops organised in the framework of the
Educational and Social Actions of the Greek Na-
tional Opera. This initiative culminated in a relaxed
performance featuring Deaf, Hard-of-Hearing, and
hearing musicians, accessible to the general pub-
lic, with the facilitation of Dana Papachristou, Yor-
gos Samantas and Orestis Karamanlis.

The art of workshops

In the inaugural series of workshops, the project ex-
tended an invitation to artist Tatiana Remoundou.
Collaborating closely with the children at school,
she sought to craft a sonic composition based on
the distinct frequencies outlined in their individual-
ised audiograms. This perspective extends to the
Deaf community, underscoring the rich possibilities
within the varying frequency domains on which Ta-
tiana Remoundou worked her creative magic. Ta-

tiana's input was essential; being Hard-of-Hearing
herself, she was also ideal for inaugurating the se-
ries, making it relative and comprehensible to our
students' experience. Following an educational
logic of *role models*, Tatiana as an art professional
would introduce key concepts of her work, ways of
rendering her own experience into her artworks,
and insights of her professional life, as a Deaf artist
working on art production and education.

The second series of workshops was led by the
sound artist, musician and musical instructor Lam-
bros Pigounis. Labros was already known in the
Deaf community in Greece, as his durational per-
formance 'Micropolitics of Noise" (2016)<fnref n="2" />, within
Marina Abramovic's "As One" exhibition in Athens,
attracted significant attention. Anecdotally, during
the show, a Deaf attendant told Lambros "you
are Deaf and you don't know it", leading us to an
open-ended question: is there a particular domain
into appreciation, enjoyment, perception of sound
in the arts that exceeds our own understanding
and presuppositions as 'sound experts'?

Working with vibrations, somatic response and
physics became the leading themes of Lambros
contribution, linking the arts-class with other fields
in the school curriculum. The artist ventured into
the realm of experimentation with sound as a phe-
nomenon in physics, linking it with artistic appli-
cations. Collaborating with the school's physics
instructor, Pigounis brought in class, and re-as-
sembled a prior work of his, the vibrational kinet-
ic sculpture titled “Immaterial Bodies” (2017), and
exemplified the physics that govern its function. He
then explored hands-on with the students the res-
onance of surfaces, exemplifying the formation of

patterns in Chladni's plate, with substances such
as salt and sugar on vibrational platforms. "Could
this be the taste of the sound frequency?", one of
the participants asked humorously. Finally, Lam-
bros introduced a DIY sound and laser projection
system, based on the aforementioned disciplines
in a hands-on application.

The third series of workshops consisted of a two-
fold project and the collaboration of a team of expert
designers, pedagogues and sound artists (Kalliopi
Takaki, Petros Flabouris, Orestis Karamanlis and
Giorgos Mizithras). On one hand, a prototype vi-
brating radio device called "Tangible Radio" was
developed by architectural designer Petros Fla-
bouris, based on vibro-tactility, rather than the
propagation of sound through the air. In parallel,
actor, radio producer and pedagogue Kalliopi Taka-
ki facilitated a series of workshops titled "Class on
Air", within which she introduced radio-storytelling
techniques. Based on these workshops, Deaf and
Hard-of-Hearing participating students made a ra-
dio story to be tested and played through the "Tan-
gible Radio". In this case, our approach included
an adaptation of the 'sound diary' methodology
(stemming from the Acoustic Ecology toolbox<fnref n="3" />) to
our *sound beyond hearing* framework, in order to
emphasise corporeal (vibro-tactile or other) sonic
stimuli perception. Students were invited to identify
tangible sounds in their everyday life, which in turn
became sonic themes and events for making up a
narrative. It is noteworthy that the broadcast was
recorded, featuring an audio narration delivered in
the distinct Deaf voices of the pupils, voices often
marginalised in the diversity of contemporary me-
dia's linguistic tapestry.

<figure><img src="image_358.png" /></figure>

<footnote n="2">2 https://lambrospigounis.com/micropolitics-of-noise/ and https://www.youtube.com/watch?v=XH_1kYIlle7s</footnote>

<footnote n="3">3 https://www.researchgate.net/publication/304146420_Sound_diaries_A_method_for_listenering_to_place</footnote>
“Tangible Radio – Class on Air” central themes and application were strongly informed by our two resident artists from Canada, Leslie Putnam and David Bobier, who have been working on the field of accessibility, inclusivity, and artistic pedagogy for over twenty years. In both artists’ work, vibro-tactility features as an expressive medium in a variety of ways, either in the form of sonic sculptures, vibro-tactile installations, or in workshops concerning accessibility to sound and musical spectacles. Their week-long residency bore fruit in the form of a master class and a collaborative workshop, uniting practitioners and artists in Athens under the banner of shared creativity.

The fourth workshop, a longer-term seminar that addressed adult audiences, was conducted at the National Opera in Athens, within the enchanting confines of the Stavros Niarchos Foundation, summoning a researchers’ group consisting of Dana Papachristou, Yorgos Samantas, and Orestis Karamanlis. This group facilitated a year-long seminar based on sound as an embodied experience. Here, the exploration spanned from composing through vibro-tactility, to reading and sketching graphical scores, ‘translating’ voice and other sounds into different sensory modalities and media, discussing (and composing) soundscapes from a Deaf person’s perspective, and thematising accessibility and inclusivity. The learning experience culminated in a structured improvisation, with the participation of Deaf and non-Deaf individuals, amateur and professional musicians.

In its entirety, the “Audibility” project was a dedicated practical study of the relationship between Deaf and Hard-of-Hearing individuals with sound and music. It endeavoured to uncover the common ground that unites the hearing and the Deaf individuals in their experiences of music and sound.

An additional objective was the formulation of an educational methodology and curriculum, informed by the Deaf perspective on the field – a field from which the Deaf are largely excluded from. This educational resource is intended for dissemination to the authorities responsible for shaping the curricula of Special Schools. The project fostered a milieu of co-education and participation, with the introduction of educational tools that have, until now, been sparingly employed in similar educational contexts.

<figure><img src="image_359.png" /></figure>
# UNICORN
by Tatiana Remoundou

For the inaugural series of workshops with the students of the Argyroupolis' High School for Deaf and Hard-of-Hearing we invited visual artist and pedagogue Tatiana Remoundou, who eventually created a mixed media installation together with the participating students, based on their own perception of a musical piece they contributed to.

According to the artist:

> There are some questions that I am concerned with in my artistic making. Mainly, how to share in a visual way my experience as Deaf, to convey what it is like to be a deaf person.

> Together with TWIXTlab we sought to make a musical composition with the children, which is adapted to the unique hearing of the Deaf and Hard-of-Hearing teenagers we are working with. As much as every person is different and unique, so is their hearing. It is even more so for people who perceive sound neither with the same volume nor with the same frequencies.

> So the purpose of the project is to make, through different musical experiments and games, a musical composition, so that the children will contribute to the music making and the musical experience, and eventually to enjoy a piece of music together, without obstacles and interruptions, either in tactile, aural or visual modalities.

Tatiana Remoundou, December 2021

<figure><img src="image_360.png" /></figure>

Instance from the final "Unicorn" installation, April 30th 2022: Speakers, microphone, spectrogram projection, paintbrushes, watercolours, and vibrational benches were the composites of a multisensory musical environment which invited students to interact with it. Photo by Yorgos Samantas

<figure><img src="image_361.png" /></figure>
Tatiana's approach unravelled in the course of four meetings of an educational and artistic character. The workshops included:

1. Introduction to "Audibility", to the legacy and importance of Deaf art for the Deaf community and beyond, as well as an introduction to various playful applications of *sensory translation*, between sound, music, visual stimuli and technological interfaces.

2. Introduction and meeting with invited artist Tatiana Remoundou. Tatiana's work largely aims at creating common understandings of hearing and oral/aural communication from her perspective as hard-of-hearing, to hearing audiences. Tatiana also communicated her central approach for creating a collaborative artwork with the students, namely to identify how individual participants hear, and to compose a musical piece based on the respective frequencies.

3. A game "Choreographic audiography" (or "Audiographic choreography"). In our approach we aimed at de-medicalising the process of the audiogram, which was initially thought it would provide us with the knowledge of how the participants perceive sound individually. Instead of conducting individual medical tests (a process that would generate misunderstandings on our approaches), we designed a game with no 'winning-clause' (no winners or losers): as we played sound frequencies through the speakers, participants were invited to move in space according to what they heard or didn't hear, and to identify their response to the stimuli with gestures. Through this process we mapped out frequency and amplitude response, but also realised two more things:

we can understand hearing as a collective process; and that tactility plays an important part in sonic perception.

4. Based on the knowledge we obtained before, we selected various musical samples that responded to various frequencies, tempi, and musical preferences, and we brought them in class. We displayed a simple Digital Audio Workstation (DAW), explaining the visual interface that represents sound frequency and amplitude (waveforms and spectrograms). Based on deliberation and voting, we put the samples together in three distinct musical pieces, orchestrating them in a way that, if played simultaneously, they would constitute a fourth musical piece. Each sample was associated with colour, and each participant would make a palette of three colourised sample packs that would constitute their individual tune.

The last day, the artwork was installed in the School's theatre, and was experienced by all the students and educators. It consisted of the musical piece(s) arranged in a 3-channel installation, a microphone that would 'hear' all the sounds in the room (including the music and the students' interactions with it) and 'translate' them real-time into a spectrogram projection on the wall in the theatre of the school. Two benches were enhanced with transducers/exciters, a particular technology that propagates sound through solids (rather than the air) in order to bring forth the tactile element. And last, a large work desk with painting materials invited students to 'translate' the experience themselves, and create artworks that were part of the final outcome.

To see the UNICORN process:

<figure><img src="image_362.png" /></figure>

## Credits:

**Original artwork:**

Tatiana Remoundou and the students of the Argyroupolis' Special School for the Deaf and Hard-of-Hearing

**Artistic curation (painting):**

Tatiana Remoundou and Vaso Plaskasoviti

**Music curation:**

Dana Papachristou

**Workshop design:**

Dora Kaneloglou

**Audio production support:**

Themos Rizos

**Executive production:**

Yorgos Samantas

<figure><img src="image_363.png" /></figure>
# IMMATERIAL BODIES AND THE SOUND VISUALIZER
by Lambros Pigounis

Next semester, “Audibility” welcomed sound artist, composer and educator Lambros Pigounis. The artist re-constructed and presented his vibrational kinetic sculpture “Immaterial Bodies” (2017), and exemplified the physics that govern it, namely the Chladny’s plate principles. Using the artwork as props, he explored together with the students the physics of sound, translating sound into physical shapes in salt and flour. Based on the same principles, the artist then made a DIY ‘sound visualizer’ using everyday materials, to apply this knowledge into a handcrafted artefact which he donated to the School’s physics laboratory.

According to the summary provided by Lambros Pigounis:

> The materiality of sound. Sound as a creative energy-tool for the Deaf community.

> The central idea of these workshops was to describe and demonstrate through experimentation non-obvious sonic qualities of sound, through the processes that seek to intensify frequency vibration as a technique for transforming energies through sound.

More specifically, considering that this topic was addressed to a large number of the Deaf student community in secondary education, the above idea was presented in two axes:

First, the basic principles of the physics of sound were presented and were taken further to explain

that sound is primarily a phenomenon of contact with the human body. How can we experience the sonic event as a physical tangible force in our environment? Density, mass, and physicality are creating vibrational atmospheres that can become a force of social transformations. It is in this very context that the human body is

experiencing a shifting acoustic ecology.

Secondly, we demonstrated the practical and creative ways that help us enter a new experience and perception of sound, as well as different ways the human body can relate to the sonic energy.

<figure><img src="image_364.png" /><figcaption>Various ‘sensory translation’ tools were deployed by Lambros Pigounis during his workshops at School, May 2022. His “Immaterial Bodies” sonic sculpture was brought to class as a prop, to playfully examine real-time produced spectrograms, waveforms, vibrations and tactility. Photo by Yorgos Samantas</figcaption></figure>

<figure><img src="image_365.png" /></figure>
Utilising the theory and experiments of Chladni's Plate, the students had the chance to discover the visual materiality of sound and a new way to participate in the sonic discourse in which hearing is not that necessary.

The author presented his own sonic sculptures in order for the students to interact in two forms:

A. A vibrational plate is driven by frequencies coming from a computer.

B. A vibrational plate is driven by the voices and the crowd's noise in the room. In this case, the real-time recorded sound of the room was causing a vibrational impact on a metal plate.

The students had the opportunity to touch and feel the actual room's resonant frequencies as well as to transform their own voice, or any other sonic gesture, into visual vibrational information.

On the last day of the workshop, the author presented a different approach to sonic visualisation by presenting a DIY construction that worked as a sound visualizer including a laser light, a plastic bucket with a stretched balloon across the top of it and a small mirror attached to it.

The Sound Visualizer is used to show how vibrations from sound waves are able to create a simulation of an analogue oscilloscope using a few simple pieces of equipment. The user can create vibrations by his/her own voice, or by placing the sound visualizer next to a speaker. As compression waves from sound hit the balloon surface, it may cause standing waves to form. The mirror attached to the surface has a laser aimed at it; the reflected beam is then aimed at a wall and a pattern will form due to the way the surface

deforms due to the standing wave. Changing the pitch will cause the surface to distort in different ways causing new patterns to be seen. As combinations of tones are played at the same time, more complex patterns will be formed."

Lambros Pigounis, May 2022

## Credits:

**Original artwork and workshop facilitation:**
Lambros Pigounis

**Installation software development:**
Yannis Kranidiotis

**Educational coordination:**
Dana Papachristou

**Executive production, audio-visual documentation:**
Yorgos Samantas

To see the IMMATERIAL BODIES process:

<figure><img src="image_366.png" /></figure>

<figure><img src="image_367.png" /></figure>
VIBRO-TACTILITY
'ON AIR'
**Yorgos Samantas**
Anthropologist, sound designer
TWIXTlab.com
Akoo.o

**Dana Papachristou, Ph.D.**
Sound Artist, Akoo.o team
Adjunct Lecturer, Department of Culture, Creative Media and Industries
University of Thessaly, Volos, Greece
Founder - Director, To Aesthate G.P.

geosams@gmail.com

dimpapachristou@uth.gr

# TANGIBLE RADIO – CLASS ON AIR
## Exploring radio through vibro-tactility as an expressive medium with Deaf and Hard-of-Hearing students

The third workshop series took shape as a two-fold endeavour named “Tangible Radio – Class on Air.” Within this sphere, we embarked on a re-evaluation of radio, not merely as a technological medium but also as a narrative art form. In this transformative context, Deaf and Hard-of-Hearing students emerged as the expert interlocutors and creators of radio content, breathing new life into a conventional medium re-thought and re-invented.

This project comprised two distinct yet interconnected facets:

- **“Tangible Radio”**: This facet revolved around the development of a prototype for an accessible radio receiver, founded upon the principles of vibro-tactile sound propagation through solids (in contrast to the conventional speakers' function of air-pressure oscillations). This innovative device was introduced to the classroom, serving as a conduit for students to 'touch the sound' and explore its expressive potential

<figure><img src="image_368.png" /><figcaption>Tangible Radio transmitter and receiver, during playback of “On the Planet” radio show, December 20th 2022. Photo by Yorgos Samantas</figcaption></figure>

<figure><img src="image_369.png" /></figure>
through tactile engagement. The invaluable feedback and insights provided by Deaf and Hard-of-Hearing students guided the refinement and incorporation of essential features, following a participatory design approach thoughtfully tailored to the unique requirements of a high-school environment.

- **"Class on Air"**: This dimension of the project was dedicated to the production of a radio show, written and narrated by the students themselves. This radio show, that was eventually titled "On the Planet", was broadcasted live and subsequently made available as a podcast, accessible primarily through the "Tangible Radio" device, and also through conventional audio systems.

In order to achieve these goals, TWIXTlab assembled a team of four new expert collaborators: actress, pedagogue and radio producer Kalliopi Takaki (Hackademy, radio bubble); architectural designer and modular synthesiser enthusiast Petros Flavouris (AAS, PhD candidate, University of Thessaly); sound and radio artists Giorgos Mizithras (aka MIZI, Loscop radio and PhD candidate, Ionian University); and musician/composer Orestis Karamanlis (Kapodistrian University of Athens).

This collaborative endeavour unfolded within the school itself, with a keen focus on adapting to the unique experiences of Deaf and Hard-of-Hearing students. The initial objective was to investigate how vibro-tactility could either 'substitute for' or complement the sense of hearing, thereby expanding our comprehension of the perception of sonic stimuli. The project also sought to delve into how vibration and tactility could be seamlessly integrated into our creative toolkit, especially when guided by the perspectives of Deaf and Hard-of-

Hearing individuals. The idea of the 'substitute' was quickly discarded, as the senses, or perception in general, work in a much more complex way than the Cartesian compartmentalization and categorization implies.

However, out of the workshops a new question emerged: can vibro-tactility become an expressive medium in itself?

The answer was given by the production of the radio show titled "On the planet", which is composed from vibrations chosen by the students, and narrated by themselves. The ultimate aim was to create radiophonic space for Deaf voices to not only

be heard but also felt, transmitted, and extended to a wider, more inclusive audience.

The piece is meant to be played-back through the "Tangible Radio" device, but one can follow it by ear, as mixed by MIZI (Giorgos Mizithras) for conventional speakers, and recorded by the CRES-SON team during a broadcast within the "Radio Utopia" event (Ball Theatre, at the French Pavilion of the Venice Biennale of Architecture, with an introduction by Nicolas Tixier).

To listen to ON THE PLANET within the "Radio Utopia":

<figure><img src="image_370.png" /></figure>

<figure><img src="image_371.png" /></figure>

K. Takaki and Y. Samantas presenting the project in the School's theatre. The presentation day coincided with the national commemoration day of the Polytechnic Uprising on November 17th, where the radio features as a political protest medium (relative imagery and text in the background on the right wall). This enabled the team to create links with the school's educational curriculum in regards to History class. Photo by Dana Papachristou

<figure><img src="image_372.png" /></figure>
# FLYING WITH RADIO
by Kalliopi Takaki

Workshop facilitator, actress and radio producer Kalliopi Takaki provided us with her insights of the experience:

> "When in spring last year I started talking with Dana Papachristou and Yorgos Samantas about our upcoming collaboration in the project "Tangible Radio - Class on Air" in the framework of the B-AIR project, there was, at least from my side, enthusiasm. I had already been working for five years with children and teenagers, conducting radio workshops in public schools.

Coming from a background in theatre and radio, in working through workshops with children, I used tools I had mastered as a professional. But it soon became clear that in order for children to be able to create, to be 'heard', you need to allow yourself to 'forget' what you know, to move, so that you can listen to their rhythms, their emotions, their thoughts and let yourself go along the path they eventually open up for you.

So, when I was asked if I had a ready-made presentation on what radio is, at first I was surprised and then, embarrassed. I answered negatively. I don't use presentations; there is no lesson in the workshops, no specific methodology. I open the microphone and start the dialogue. I allow children to express themselves freely, to introduce themselves, to play with their voice. We meet equally and discuss what the voice is, what sound is and, ultimately, what radio is.

We ask questions such as: why did I choose these words and not some others? Why did I speak in this voice and not in another? How many voices can a person speak in? How is anger and how is joy captured aurally? What do I want to talk about and, most importantly, why do I want to speak into the microphone?

All of the above has happened and is happening in workshops involving hearing children. 'Improvisation' in this group of children is always achieved. Most of the times we don't even need editing; we keep the mistakes as part of the narrative. But here, in this project, we had children and teenagers who have never listened to radio and probably don't know its importance and usefulness. How to capture the voices of Deaf and Hard-of-Hearing children? With what methodology? How would we explain and ask children who have never heard radio to do a 'radio' show?

A considerable amount of literature was uploaded to our team's thread. Some of it I read with interest. The first and, perhaps, the most important step in understanding this new world for me, occurred in the master class with David Bobier and Leslie Putnam. The discussions and presentations that occurred that September at TWIXTLab were a useful and enlightening introduction to what followed in this collaboration. Then, the conversations I had with Xenia Nikolakopoulou. The words of a teacher and sign interpreter Xenia, after the first meeting/presentation with the group of teenagers at the Highschool

of the Deaf and Hard-of-Hearing, helped me to understand their differences, to understand their relationship with each other, their problems and their conveniences in order to decode, among other things, their unexpected enthusiasm. To find my own place and pace, on an equal footing, in the group of children so that I can continue. As the content manager, my anxiety and constant personal question was whether I would be able to help them create their own story.

As we proceeded in the second meeting, we 'offered' them the environment and the main idea:

We cross the park in order to take our rocket to our planet. There, only Deaf and Hard of Hearing people can feel the sound. We started with a basic question: what do we observe in the park?

The children wrote and/or drew the sounds they perceived on a walk in the park. After we collected their words, we asked if anyone wished to stand in front of the microphone and describe in their voice the sounds they wrote/drew on paper. It was touching to see the children's participation. Quite a few children stood up. Lots of sounds. Animals, cars, trains. Compressors, rustling leaves, human voices, Super Mario, the moon.

I returned from this second meeting more confident. We heard their voices. We talked with the group and I wrote a pilot story with their sounds.

<figure><img src="image_373.png" /></figure>
Many versions of many narratives could have been written with these sounds, from these children's words. However, taking into account the impression I already had, I wrote only one version for each child. The pilot story was read to the children who showed more enthusiasm and, looking at us, smiled. They were ready to move on to creating their own story. The story that made history. We asked them to tell us collaboratively what was happening to our planet – that’s where we landed after the park ride. Each child picked up where the previous one had left off. A surreal story was created. Fantastic! We then asked them if any wanted to read the story into the microphone.

They stood up bravely; their story was recorded and put into their memory. I don't know for sure what the children gained from this experience, but I do hold on to the hugs they generously gave us on their last day of school, their wonderful looks and their thirst for new stimulation.

As the days go by I try to understand how this experience has registered with me. I have yet to find my own words, the words that could describe my feelings. But listening again to the final recording, I recognize myself in the first part of the children's story and so this great experience closes in on me:

"I come down from the rocket and I am surprised. The landing felt like an earthquake; but once out of the rocket I walked slowly. I'm wearing my astronaut mask and I can't breathe well. I'm light. The ground lifts me up. I feel a light sensation. The air is different. I have a pressure in my movement and I'm lifting up. I can feel my breath. I see stars. Very nice stars. They are very beautiful."

<figure><img src="image_374.png" /><figcaption>Tangible sound diaries by the students, November-December 2022. Photos by Kalliopi Takaki</figcaption></figure>

<figure><img src="image_375.png" /></figure>
# CRAFTING THE TANGIBLE RADIO
by Petros Flambouris

On the other fold of the project, that of the prototype device development, the invited designer Petros Flambouris provided us with his critical reflections:

> "The construction of the "Tangible Radio" was based on applied design practices mainly on the design traditions of 'inclusive design', 'universal design' and 'design for all', and more particularly to their effective application and their critical comparison.

> The design approach avoided relying on standards and guidelines, thus advocating design as a tool to create a dynamic relation with the user. A typical pitfall that generic design approaches tend to fall into is following expected methodologies during the design process, without actually meeting the requirements of all the target user groups or, on the contrary, not meeting the needs of the other groups, making a design ineffective for all.

On the other hand, a design process that systematically takes user participation into account has often proved to be effective. However, difficulties in the process are expected, particularly when the user group is diverse culturally, neuro-physiologically, or otherwise. During the design and the use process, issues arise concerning exclusion of users. These can arise for disabled people or people regarded as able-bodied or neuro-typical (in our case Deaf, deaf, Hard-of-Hearing, hard-of-hearing, hearing), at all levels of use to anyone.

<figure><img src="image_376.png" /><figcaption>Petros Flambouris at work: basic circuitry, receiver and amplification channeling, October 2022
Photo by Yorgos Samantas</figcaption></figure>

<figure><img src="image_377.png" /></figure>
In the design process, exclusion is often treated as a 'necessary evil' phenomenon. The need for diversity in design – aural diversity in this case – and avoidance of exclusion, highlights the specificity of each subjectivity, i.e. how one perceives stimuli, depending not only on the physiology and function of one's sensory organs but also on cultural background and personal experiences. In this case, this is the reason we decided to embed in the device both a set of transducers, attached to each side surface of the artefact, and a conventional (cone) speaker at the base.

Inclusion policies cannot be limited to vulnerable social groups; they must involve a holistic process and therefore the possibility of changing the ethics of design by creating multimedia objects and easily accessible features in them at a universal level, regardless of the medium and field (auditory, visual, spatial, etc.)

Thus, the methodology of radio design/construction was based on the theories of acoustics, ambiences, prototyping and object design and primarily on the methodology of 'research by design', which is a research methodology for design that involves putting forth a design product (in this case the “Tangible Radio” artefact) and elicit answers for its amelioration by observing, interrogating, participating in its application on the field of study. By understanding and integrating sound in its various forms and diffusion media in the early stages of design, we explored how to respond to issues of scale, shape, materiality and use.

As a result, the goal of the device was the design and construction which would enable dynamic communication and expression of the user through the generation of vibrations and/or

sound and the passive acoustic properties, and which would at the same time be accessible to all users or, at least, to the widest neuro-diverse or aurally-diverse spectrum possible.

Expectedly, during the design process of an object, there is a dynamic feedback relationship – necessities arise to readjust and parameterize the approach to it, and especially so when the project has a simultaneous educational and didactic character. Therefore, hourly workshops of the working group with the school children had to be formed, along with seminars and parallel workshops, in order to approach the 'tools' and 'methods' of communication.

The first mock-ups of the radio were constructed through 3D Nerbs modelling software and with the help of parametric design applications. Through the building process, different configurations were tested regarding the electromechanical aspects, all influenced by DIY culture. The act of rapid prototyping by creating a physical model quickly, reduced the gap between the project and its execution. A direct tangible (aptó in Greek, from which 'haptic' is also generative) outcome could immediately be used by the users without aiming at the final outcome, but the process itself. Of course, different configurations were tested material-wise. The interaction of different materials with the transducers was experienced by all individuals in the research group. Glass, liquids, building materials, ceramics, metal plates and more. The final choice of the wooden shell was made due to the durability of the material along with its response to the widest vibration spectrum.

The electromechanical parts consist of two radio receivers, four mono audio amplifiers, three exciters/vibrating speakers and one woofer

speaker (as well as a lot of wire and soldering). In this way, it is possible to group two sets of independent receiving radio transmissions playing simultaneously. The shell is constructed by laser cutted plywood of 3mm thickness by the method of unfolded geometry, which is supported together by a plastic net reinforced with liquid resin. The tangible radio is controlled through a controller that consists of two FM transmitters.”

Petros Flambouris, March 2023

<figure><img src="image_378.png" /></figure>
<figure><img src="image_379.png" /></figure>

<figure><img src="image_380.png" /></figure>

Work in Progress, Tangible Radio 3D printing models, November-December 2022, by Petros Flambouris

<figure><img src="image_381.png" /></figure>
PERFORMING
DIVERSITY
# PERFORMING DIVERSITY: AUDIBILITY IN THE GREEK NATIONAL OPERA Music and Deaf experience: Sound art as an embodied experience

For the last series of workshops we changed settings in order to address wider audiences and a different age group, as the prestigious Greek National Opera incorporated the project into its [Social and Educational Actions](https://www.greek-national-opera.gr/en/social-and-educational-actions). The seminars/workshops were led by TWIXTlab's key researchers and coordinators for “Audibility”, Dana Papachristou and Yorgos Samantas, with the collaboration of composer Orestis Karamanlis.

The project unravelled into 20 seminars/workshops with the participation of Deaf and Hard-of-Hearing young adults. The series ended with a relaxed performance of an ensemble consisting of Deaf and hearing members of our workshop, in collaboration with members of the Transcultural Orchestra of the National Opera.

The participants performed the piece “Radar”, a structured improvisation piece composed by Karamanlis. The piece was based on the homonymous original digital tool for conducting, developed for the purpose by the composer on the coding language of Supercollider. The piece was presented in the format of a ‘relaxed performance’ in the National Opera’s foyer, which was accessible and

easy to attend for individuals of all ages, and neuro-diverse.

In this series of seminars, the methodological approaches that were developed originally for adolescent participants in their school setting, were now adapted to an older audience, and to the highly prestigious setting of the Greek National Opera.

The following questions were key in the development of the curriculum:

* Can we review the history of contemporary western music from a Deaf person's perspective?

* What's the role of emerging technologies in the appreciation of music for Deaf subjectivities?

* Can we deconstruct the stereotype of 'naturalised exclusion' of Deaf and Hard-of-Hearing individuals from music, by simply playing music?

To listen to the recording of “Radar”, as performed in the GNO, April 29th 2023:

<figure><img src="image_382.png" /></figure>

<figure><img src="image_383.png" /></figure>
<figure><img src="image_384.png" /><figcaption>Relaxed performance of “Radar”, Greek National Opera, Athens, April 29th 2023. Composition and programming by Orestis Karamanlis, performed by the Deaf Ensemble, in collaboration with the Transcultural Orchestra of the GNO. Photo by Valeria Isaeva, courtesy of GNO</figcaption></figure>

<figure><img src="image_385.png" /></figure>
# PARADOXES OF NORMALITIES
## Curatorial text

The key word of the year-long seminar “Sound Art and Deafness: sound and music as embodied experiences” in the framework of the educational programs in the Greek National Opera would be the word ‘paradox’. Dealing with Sound Art and Deafness, our team was often confronted with surprise, curiosity and admiration.

We started discussing with the institution, but soon the questions took a more substantial turn: Can a dazzling institution devoted to fine listening, such as the Greek National Opera, open its programs to the Deaf Community and the numerous deaf and hard of hearing individuals of Greece? Can accessibility work in favour of those with different listening experiences, when music and sound are the main element? Can we use technology to our favour? Can we educate the deaf and hard of hearing to listen? Do we need to educate them or should we instead learn *from* them, and create a whole different listening methodology? Do we know what it takes to make this possible? Is it truly a paradox? Is a concert, opera or musical performance really all about sound?

These were the questions that we were trying to answer, not only for our deaf and hard of hearing participants, but for ourselves as well. Coming from

music and sound art education, we have mastered a great deal in this domain: pitch, timbre, performance, technique, history, affect, technology, musicality. But what do we really know about those things? Are these common for all individuals?

If a person that has not studied music or musicology can enjoy the opera, so can a deaf or hard of hearing individual. The average listening capacity, the unattainable golden ear, the ‘normality’ does not exist. So, we delved into this endeavour, hoping to learn as well, to share and to shift our own perspective of what music is, of how it can affect us, and what it means in a multimodal and multi sensorial way.

We started from vibration as a tactile way of understanding sonic phenomena without the mediation of the cochlear. We used colours, visual translations and drawing. We learned what a score is and how it can be read with the eye, getting all the information necessary for performing. We managed to create our own scores and compose our own pieces. We edited the sound looking at its waveform. We performed music together, overcoming our differentiations in hearing capacities and musical education.

“Radar”, a specially designed ‘maestro’, coded on SuperCollider by Orestis Karamanlis, functioned as a communal hearing-aid for all participants – Deaf, Hard-of-Hearing and hearing musicians, regardless of their musical skill and background. We presented what we learned together in a concert, also reflecting on how to make a show that would be more accessible to everyone, addressing aural diversity, neurodiversity, and situations that would otherwise appear as constraints (e.g. attendance by toddlers and their custodians), as new paradigms through which we can re-think spectatorship.

And then we knew, we understood from our experience, that listening is a complex process we should continue to expand if we want to grasp it in its entirety. For it is not confined to the ear anyway.

<figure><img src="image_386.png" /></figure>
# RESIDENCY PROGRAM

Throughout "Audibility", our inquiry and practice was greatly inspired by the TWIXTlab's two resident artists from Ontario, Canada, David Bobier and Leslie Putnam from the vibrafusionlab and o'honey collective.

During the residency period in Athens, in September and October 2022, David and Leslie presented their work on vibro-tactile installations, sound sculpturing and art education; met our working group and our scientific advisors, and delivered a master class. During their stay, among others they met with our scientific, educational and artistic personnel and visited other cultural and research centres.

In two artist talks on the 28th and 29th September, open to the public live and on Zoom, and with a parallel interpretation in Greek Sign Language, they presented their work on vibro-tactility as an expressive medium, on sonic sculpting, and on artistic educational approaches. And in a master class, on the 1st October, open to professionals, in TWIXTlab's project space, they exemplified devices, applications, approaches and thoughts, in a creative encounter with members of the soon-to-be the "Tangible Radio - Class on Air" working group.

**David Bobier** is a self-identified Hard-of-Hearing media artist with a mental health diagnosis, parent of two Deaf children. His work has been exhibited internationally and has been the focus of prominent touring exhibitions in Ontario and the Atlantic provinces in Canada. Bobier has received grants from Canada Council for the Arts, Social Sciences and Humanities Research Council, Grand NCE, Ontario Arts Council and New Brunswick Arts Council. He has partnered with Inclusive Media and Design Centre at Ryerson University, Toronto and Tactile Audio Displays Inc. in researching and employing vibro-tactile technology as a creative medium. As an extension of this research, Bobier has established and is Director of VibraFusionLab in London, Ontario, Canada. The Lab emphasises a holistic approach to considering vibration as a language of creation and exploration and to investigating broader and more inclusive applications of the sensory interpretation and emotionality of sound and vibration in artmaking practices. Through VibraFusionLab and in his own art practice Bobier aims at creating opportunities of greater accessibility in artmaking, art appreciation and in viewer experiences of art practices and presentations. Using performance and interactive installation Bobier explores the bridging of methods of communication and language and ways of interpreting or transforming one modality to another. His work is engaged in a multi-sensory approach and experimentation that allows for the transitioning and re-interpreting of content and experience from one medium to another with particular emphasis on the tactile as a form of creative expression.

**Leslie Putnam** is a London, Ontario based artist and educator. She earned her BFA from Concordia University in Montreal, Quebec, with a Major in Studio Art and Bed from Western University in London, Ontario. Putnam's early work included exhibitions in France, Portugal and Luxembourg. In Ontario, her work has been presented in solo and group exhibitions including Canadian Clay and Glass Museum, Electric Eclectics, Museum London, Nuit Blanche, JNAAG and Hard Twist Textile Exhibition in Toronto. As a multi-disciplinary artist, her studio production ranges from explorations using sound within sculptural pieces to large installation works made from natural materials. In 2010 she and David Bobier formed the o'honey collective as a platform for explorations between the natural world, and the way we have come to experience it through our own constructed realities.

To Leslie's artist talk:

<figure><img src="image_387.png" /></figure>

To follow David's artist talk:

<figure><img src="image_388.png" /></figure>

<figure><img src="image_389.png" /></figure>
## Literature

Clifford, J. & Marcus, G. (Eds.). (1986). *Writing Cultures - the Poetics and Politics of Ethnography*. University of California Press.

Dicks, B., Soyinka, B., & Coffey, A. (2006). Multimodal ethnography. *Qualitative Research*, 6(1), 77–96. https://doi.org/10.1177/1468794106058876

Bourriaud, N. (2001). *Esthétique relationnelle*. Les Presses du Reel.

<figure><img src="image_390.png" /></figure>