16 Feb 2010
I have been reading books to try to get ideas for my project, but I have so many ideas I don’t know where to start. I am thinking around the idea of research about doing drama with autistic children and how this benefits them. I am particularly interested in how we can encourage children with low functioning autism to become involved in drama as they usually live very much within their own world – could this be a way of helping them with their communication and socialising skills?
Monday, 15 March 2010
Monday, 4 January 2010
Academic: DRAFT 2
I led the second workshop for Resources for Autism at the building where I normally work. It was the same workshop as Pinocchio. The day was arranged so that the workshop fell in between other activities, which took the pressure off me.
There were five high functioning autistic children in the workshop. High functioning autism (HFA) is where the Child’s intelligence is normal or in some cases above average, however they have difficulties with listening and communication. Sandi Busch expands on HFA in her essay ‘Definition of high functioning Autism’;
‘On the opposite end of the spectrum, high functioning autism describes individuals whose language develops normally and who have average to above average IQs. HFA is often used interchangeably with Asperger's Syndrome (AS) […] some differentiate HFA by saying that these children have an early language delay while those with AS hit all the developmental milestones.’
In my previous experience, I have found that HFA children find it challenging to express themselves. I thought that it would be a good idea to begin with music and copying of movement, so that they could express themselves artistically, without feeling uncomfortable, which worked well, as the children were very enthusiastic and enjoyed making up their own movements. Dawson has argued that ‘Drama clubs can also be very helpful for children with AS-HFA. Your child may initially be self-conscious or otherwise reluctant to try such a group but the benefits can be substantial.’ Two of the major benefits of the workshop, was firstly teaching the HFA child to work in a group environment and secondly to follow instructions to the best of their ability, in their own time, without pressure. Dawson expresses that HFA children ‘prosper in drama groups.’ This individual child’s development was present within the workshop as the children gained confidence, became creative and where able to explore themselves.
Busch further explains ‘they may have a great vocabulary and can talk, but they can't truly share experiences through give-and-take conversation. They tend to interrupt and, oblivious to what others were chatting about, dominate the conversation by talking non-stop about the one topic that interests them.’ I found that I needed to explain, when I felt the focus was being lost that I would signal by putting up my hand, meaning that we all had to stop and regroup. This was an effective technique, as the children where able to identify that the hand signal meant stop and quieten down.
This was very useful to me during the workshop as the children responded well to this and it enabled me to manage the situation well.
When I started talking about the characters in the story they knew about them already and they knew what these characters looked like and how they would move, as they had all seen the Disney version. Then I played more music and had them role-play the various characters around the space. This was a great success and the children and myself all became very excited. I then found myself talking too fast for them and so I had to curb my enthusiasm and calm the workshop down a bit, by putting my hand in the air, to bring back the focus.
I then went on to do the sign language activity. The children managed to pick this up really quickly and were so engaged with this. I felt so pleased for them that it made me quite emotional and my heart quickened. I know how difficult it is to engage autistic children for very long and the fact that they stayed with me all the time and really enjoyed themselves, made me very satisfied indeed.
Then I sat the children down and asked them to tell me what they knew of the story. They all reflected the Disney version so I stayed within those boundaries so as not to alienate the children. This was section of the workshop was most challenging as the children didn’t listen to each other very well and talked over each other. I had to use my focus signal several time to restore order and this worked very well. In the end I manage to achieve a little simply story of how the children saw the story of Pinocchio.
The second part of the workshop took place after the walk and involved the children dressing up as the characters they wanted to be. They were all so enthusiastic it was hard to maintain the focus but it still went very well and I managed to narrate the story and direct the children in the characters and produce the performance.
Sources:
Sandi Busch ‘Definition of high functioning autism’ http://www.ehow.com/about_5260655_definition-high-functioning-autism.html
Ozonoff, Sally Geraldine Dawson and James McPartland, ‘A parent’s guide to Asperger Syndrome and high-functioning autism: how to meet the challenges and help your child thrive.’ (New York; The Guildford Press, 2002) Chapter 8
There were five high functioning autistic children in the workshop. High functioning autism (HFA) is where the Child’s intelligence is normal or in some cases above average, however they have difficulties with listening and communication. Sandi Busch expands on HFA in her essay ‘Definition of high functioning Autism’;
‘On the opposite end of the spectrum, high functioning autism describes individuals whose language develops normally and who have average to above average IQs. HFA is often used interchangeably with Asperger's Syndrome (AS) […] some differentiate HFA by saying that these children have an early language delay while those with AS hit all the developmental milestones.’
In my previous experience, I have found that HFA children find it challenging to express themselves. I thought that it would be a good idea to begin with music and copying of movement, so that they could express themselves artistically, without feeling uncomfortable, which worked well, as the children were very enthusiastic and enjoyed making up their own movements. Dawson has argued that ‘Drama clubs can also be very helpful for children with AS-HFA. Your child may initially be self-conscious or otherwise reluctant to try such a group but the benefits can be substantial.’ Two of the major benefits of the workshop, was firstly teaching the HFA child to work in a group environment and secondly to follow instructions to the best of their ability, in their own time, without pressure. Dawson expresses that HFA children ‘prosper in drama groups.’ This individual child’s development was present within the workshop as the children gained confidence, became creative and where able to explore themselves.
Busch further explains ‘they may have a great vocabulary and can talk, but they can't truly share experiences through give-and-take conversation. They tend to interrupt and, oblivious to what others were chatting about, dominate the conversation by talking non-stop about the one topic that interests them.’ I found that I needed to explain, when I felt the focus was being lost that I would signal by putting up my hand, meaning that we all had to stop and regroup. This was an effective technique, as the children where able to identify that the hand signal meant stop and quieten down.
This was very useful to me during the workshop as the children responded well to this and it enabled me to manage the situation well.
When I started talking about the characters in the story they knew about them already and they knew what these characters looked like and how they would move, as they had all seen the Disney version. Then I played more music and had them role-play the various characters around the space. This was a great success and the children and myself all became very excited. I then found myself talking too fast for them and so I had to curb my enthusiasm and calm the workshop down a bit, by putting my hand in the air, to bring back the focus.
I then went on to do the sign language activity. The children managed to pick this up really quickly and were so engaged with this. I felt so pleased for them that it made me quite emotional and my heart quickened. I know how difficult it is to engage autistic children for very long and the fact that they stayed with me all the time and really enjoyed themselves, made me very satisfied indeed.
Then I sat the children down and asked them to tell me what they knew of the story. They all reflected the Disney version so I stayed within those boundaries so as not to alienate the children. This was section of the workshop was most challenging as the children didn’t listen to each other very well and talked over each other. I had to use my focus signal several time to restore order and this worked very well. In the end I manage to achieve a little simply story of how the children saw the story of Pinocchio.
The second part of the workshop took place after the walk and involved the children dressing up as the characters they wanted to be. They were all so enthusiastic it was hard to maintain the focus but it still went very well and I managed to narrate the story and direct the children in the characters and produce the performance.
Sources:
Sandi Busch ‘Definition of high functioning autism’ http://www.ehow.com/about_5260655_definition-high-functioning-autism.html
Ozonoff, Sally Geraldine Dawson and James McPartland, ‘A parent’s guide to Asperger Syndrome and high-functioning autism: how to meet the challenges and help your child thrive.’ (New York; The Guildford Press, 2002) Chapter 8
My secon drama workshop that whet well.
Workshop Two – 28th Dec 2009
I led the second workshop for Resources for Autism at the building where I normally work. It was the same workshop on Pincchio. I was feeling much more relaxed than last time, as I knew more about what I was doing and I knew more about how the leaders wanted to day to run. The day was arranged so that the workshop fell in between other activities, which took the pressure from me. I led my workshop for and hour and a half, took a break for lunch and then a walk, followed by a return to my workshop for the final hour.
There were five high functioning autistic children in the workshop and I began with music and copying of movement, which worked well, as the children were very enthusiastic and making up their own movements. I did need to explain that if I felt the focus was being lost that I would signal by putting up my hand, meaning that we all stop and regroup. This was very useful to me during the workshop as the children responded well to this and it enabled me to manage the situation very well.
When I started talking about the characters in the story they knew already and they knew what these characters looked like and how they would move, as they had all seen the Disney version. Then I played more music and had them role-play the various characters around the space. This was a great success and the children and myself all became very excited. I then found myself talking too fast for them and so I had to curb my enthusiasm and calm the workshop down a bit, by putting my hand in the air and bring back the focus of the workshop.
I then went on to do the sign language activity. The children managed to pick this up really quickly and were so engaged with this. I felt so pleased for them that it made me quite emotional and my heart quickened. I know how difficult it is to engage autistic children for very long and the fact that they stayed with me all the time and really enjoyed themselves, made me very satisfied indeed.
Then I sat the children down and asked them to tell me what they knew of the story. They all reflected the Disney version so I stayed within those boundaries so as not to alienate the children. This was section of the workshop was most challenging as the children didn’t listen to each other very well and talked over each other. I had to use my focus signal several time to restore order and this worked very well. In the end I manage to achieve a little simply story of how the children saw the story of Pinocchio.
The second part of the workshop took place after the walk and involved the children dressing up as the characters they wanted to be. They were all so enthusiastic it was hard to maintain the focus but it still went very well and I managed to narrate the story and direct the children in the characters and produce the performance.
I led the second workshop for Resources for Autism at the building where I normally work. It was the same workshop on Pincchio. I was feeling much more relaxed than last time, as I knew more about what I was doing and I knew more about how the leaders wanted to day to run. The day was arranged so that the workshop fell in between other activities, which took the pressure from me. I led my workshop for and hour and a half, took a break for lunch and then a walk, followed by a return to my workshop for the final hour.
There were five high functioning autistic children in the workshop and I began with music and copying of movement, which worked well, as the children were very enthusiastic and making up their own movements. I did need to explain that if I felt the focus was being lost that I would signal by putting up my hand, meaning that we all stop and regroup. This was very useful to me during the workshop as the children responded well to this and it enabled me to manage the situation very well.
When I started talking about the characters in the story they knew already and they knew what these characters looked like and how they would move, as they had all seen the Disney version. Then I played more music and had them role-play the various characters around the space. This was a great success and the children and myself all became very excited. I then found myself talking too fast for them and so I had to curb my enthusiasm and calm the workshop down a bit, by putting my hand in the air and bring back the focus of the workshop.
I then went on to do the sign language activity. The children managed to pick this up really quickly and were so engaged with this. I felt so pleased for them that it made me quite emotional and my heart quickened. I know how difficult it is to engage autistic children for very long and the fact that they stayed with me all the time and really enjoyed themselves, made me very satisfied indeed.
Then I sat the children down and asked them to tell me what they knew of the story. They all reflected the Disney version so I stayed within those boundaries so as not to alienate the children. This was section of the workshop was most challenging as the children didn’t listen to each other very well and talked over each other. I had to use my focus signal several time to restore order and this worked very well. In the end I manage to achieve a little simply story of how the children saw the story of Pinocchio.
The second part of the workshop took place after the walk and involved the children dressing up as the characters they wanted to be. They were all so enthusiastic it was hard to maintain the focus but it still went very well and I managed to narrate the story and direct the children in the characters and produce the performance.
Task D: Descriptive style of writing draft 1
My experience of my drama workshop.
I did not sleep well on the night of the 21st as I was so nervous about the first workshop I was ever going to lead on my own. My eyes were like a wild owl, open and alert. In the morning my unease was increased by the fact that the workshop was being held in a building I had never been to before. It was unfamiliar territory; I felt like an army general going into foreign land. I felt alien to my surroundings. On arrival, I was even more unnerved than before. My nerves started to take control and I became scatty as I walked into the building. The building looked like a school, but somehow more gothic and cold.
As soon as I got there the leader of Resources for Autism informed me that I would be leading for most of the day. I had not been previously informed about this. This led me to panic somewhat and my heart began to beat as fast as a racing car. In my head, it sounded like a beating drum.
The person who was meant to drop off the costumes and props was unable to do so and failed to inform me. This was a major setback for me as my workshop involved a lot of dressing up and simply would not be the same without these aids. I felt disappointed and let down like when the rain falls on a beautiful summer’s day.
At ten o’clock the workshop began. I felt like a school teacher encouraging the children to enter the classroom. When they came into the workshop room I played a CD from Chicken Shed’s Pinocchio which put them at ease and helped them to focus. They were enchanted by the magical uplifting music as the entered. This made them calm. They seemed like two little cats, resting in the garden, whilst appreciating their surroundings.
Part of the workshop was to show them sign language. I felt like a puppeteer, directing the children to mimic and follow my physical instruction. I felt like a proud puppeteer, watching the puppets become confident with their ability to sign. This part of the workshop was designed to be organised, but one puppet didn’t feel comfortable following me. He seemed confused, like a lost puppet. He wanted to come loose of his strings and be a free spirit.
I encouraged the child to join in, but he was happy watching. He watched, fixated like a child drawn to the television. I felt like I failed in being unable to persuade him to engage with us. I then realised that it was not a fault of my own, but that he was quite content to observe.
The second part of the workshop was more liberal. I had to improvise as the girl participant, wanted to dress up as a fairy, but as previously explained there were no costumes. So I took the initiative, to make a wand. I felt like the fairy God Mother, making her dreams come true, in helping her make a wand out of paper and glitter, in becoming the fairy she wanted to be.
I did not sleep well on the night of the 21st as I was so nervous about the first workshop I was ever going to lead on my own. My eyes were like a wild owl, open and alert. In the morning my unease was increased by the fact that the workshop was being held in a building I had never been to before. It was unfamiliar territory; I felt like an army general going into foreign land. I felt alien to my surroundings. On arrival, I was even more unnerved than before. My nerves started to take control and I became scatty as I walked into the building. The building looked like a school, but somehow more gothic and cold.
As soon as I got there the leader of Resources for Autism informed me that I would be leading for most of the day. I had not been previously informed about this. This led me to panic somewhat and my heart began to beat as fast as a racing car. In my head, it sounded like a beating drum.
The person who was meant to drop off the costumes and props was unable to do so and failed to inform me. This was a major setback for me as my workshop involved a lot of dressing up and simply would not be the same without these aids. I felt disappointed and let down like when the rain falls on a beautiful summer’s day.
At ten o’clock the workshop began. I felt like a school teacher encouraging the children to enter the classroom. When they came into the workshop room I played a CD from Chicken Shed’s Pinocchio which put them at ease and helped them to focus. They were enchanted by the magical uplifting music as the entered. This made them calm. They seemed like two little cats, resting in the garden, whilst appreciating their surroundings.
Part of the workshop was to show them sign language. I felt like a puppeteer, directing the children to mimic and follow my physical instruction. I felt like a proud puppeteer, watching the puppets become confident with their ability to sign. This part of the workshop was designed to be organised, but one puppet didn’t feel comfortable following me. He seemed confused, like a lost puppet. He wanted to come loose of his strings and be a free spirit.
I encouraged the child to join in, but he was happy watching. He watched, fixated like a child drawn to the television. I felt like I failed in being unable to persuade him to engage with us. I then realised that it was not a fault of my own, but that he was quite content to observe.
The second part of the workshop was more liberal. I had to improvise as the girl participant, wanted to dress up as a fairy, but as previously explained there were no costumes. So I took the initiative, to make a wand. I felt like the fairy God Mother, making her dreams come true, in helping her make a wand out of paper and glitter, in becoming the fairy she wanted to be.
Saturday, 2 January 2010
Task D: Marketing style of writing draft 2
Treat your family to Pinocchio this Christmas!
This Christmas, the must see show for both adults and children is the musical 'Pinocchio' at the Chicken Shed Thearte company in Cat Hill, Middlesex. Loved by children for generations, the story of the wooden puppet that becomes a boy has been turned into a wonderful musical.
Follow the journey of Pinocchio, the naughty puppet, who dreams of becoming a real boy. On his adventures meet all the interesting characters such as Jiminy Cricket, Pinocchio's conscience, the Bossy Blue Fairy, who teaches him a thing or two about lying and the money grabbing Mr Fox and Miss Kitty. Enjoy the heart warming relationship between Pinocchio and his father Gippetto at Chicken Shed this year.
Running from the 9th December 2009 to 16th January 2010, treat all the family to this two hour show.
At Chicken Shed we have a reputation for putting on inclusive theatre- adults and children with all abilities take part in our shows. In fact, we encourage anyone who loves performing to take the stage. Reflecting this, there are four seperate casts over the five week run involving 800 or so performers (200 per cast).
Our commitment to inclusivity is refelected in the wheel chair-friendly access to both stage and the 400-seater auditorium. The hearing impaired can follow the action and dialogue through the presence of signing performers.
Our front-of-house team are on hand to help if you need anything. We are always happy to help and like to make our public feel welcome and part of our thearte.
Ticket Information:
Box office: 0208 292 9222 Or book online at bookings@chickenshed.org.uk
Adults: £16.00 (Concessions: £12.00)
Time: 7:30-9:30pm (Interval of 20 minutes at the end of act 1)
Tuesday, 29 December 2009
Pinocchio drama Workshop for RFA
Workshop RFA
1. Team intro games getting children to set in a circle and from them to copy the movement I do. Then pass it on.
2. indcence a puppet Pinocchio to the children that then can hold and move and pass in around the circle.
3. Tell the children about the different character in the story get them to move room the space as the character they would like to be then show them how they would move like. Jiminy cricket jumps around . with fairy to wave the wand. Then can then dress up as the character they what to be and move how they what to move.
4. Get to work together to make a donkey using brown cloths and put the cloth over use and try and move as a donkey.
5. Teach them some Sign language from one of the songs in chicken shed Pinocchio.
6. Get them to dress up as the chacters get them to tell me what they think the story of Pinocchio is and get them to role play they story.
1. Team intro games getting children to set in a circle and from them to copy the movement I do. Then pass it on.
2. indcence a puppet Pinocchio to the children that then can hold and move and pass in around the circle.
3. Tell the children about the different character in the story get them to move room the space as the character they would like to be then show them how they would move like. Jiminy cricket jumps around . with fairy to wave the wand. Then can then dress up as the character they what to be and move how they what to move.
4. Get to work together to make a donkey using brown cloths and put the cloth over use and try and move as a donkey.
5. Teach them some Sign language from one of the songs in chicken shed Pinocchio.
6. Get them to dress up as the chacters get them to tell me what they think the story of Pinocchio is and get them to role play they story.
Thursday, 17 December 2009
Marketing D Pinocchio
This Christmas, the must see show for both adults and children is the musical ‘Pinocchio’ at the Chicken Shed theatre in Cat Hill, Middlesex. Loved by children for generations, the story of the wooden puppet that becomes a boy has been turned into a wonderful musical. Running from the 9th December 2009 to the 16th January 2010 the two hour show is a Christmas treat for all ages.
At the Chicken Shed we have a reputation for putting on inclusive theatre - adults and children with all abilities take part in our shows. In fact, we encourage anyone who loves performing to take the stage. Reflecting this, there are four separate casts over the five week run involving 800 or so performers (200 per cast)
Our commitment to inclusivity is reflected in the wheel chair-friendly access to both stage and the 400-seater auditorium. The hearing impaired can follow the action and dialogue through the presence of signing performers.
There is a bar serving food and drink and these can be ordered before the show, during the interval and after the show.
Our front-of-house team are on hand to help if you need anything. We are always happy to help and like to make our public feel welcome and part of our theatre.
Tickets
Adults: £16.00 (Concessions: £12.00)
Time: 7.30 – 9.30 (Interval of 20 minutes at the end of act 1)
At the Chicken Shed we have a reputation for putting on inclusive theatre - adults and children with all abilities take part in our shows. In fact, we encourage anyone who loves performing to take the stage. Reflecting this, there are four separate casts over the five week run involving 800 or so performers (200 per cast)
Our commitment to inclusivity is reflected in the wheel chair-friendly access to both stage and the 400-seater auditorium. The hearing impaired can follow the action and dialogue through the presence of signing performers.
There is a bar serving food and drink and these can be ordered before the show, during the interval and after the show.
Our front-of-house team are on hand to help if you need anything. We are always happy to help and like to make our public feel welcome and part of our theatre.
Tickets
Adults: £16.00 (Concessions: £12.00)
Time: 7.30 – 9.30 (Interval of 20 minutes at the end of act 1)
Monday, 2 November 2009
My Resources
My resources Chicken shed Chase side Southgate London N14 4PE We are a theatre company.
We make theatre.
Extraordinary, pioneering,
challenging, dynamic, moving,
groundbreaking, genuinely inclusive,
beautiful theatre. (from the Chicken shed website)
Chickenshed is a theatre company. We work using an inclusive creative process which means everyone is welcome, and everyone is valued. Not many places are for everyone and anyone - so a lot of people who find themselves unwelcome elsewhere in the world, come to us. Chickenshed runs Children's and Youth Theatre workshops for 600 people, education courses for over 100 students, community outreach projects and a network of satellite 'Sheds' across the country (and two in Russia) so even more can benefit. Every extraordinary piece of theatre created at Chickenshed shouts out the same thing: anyone can thrive in an environment where everyone is welcome.
In 1974, musician and composer, Jo Collins, met Mary Ward, a teacher and director. With a shared belief in harnessing the creativity in everyone and anyone, they started a theatre company. In a chicken shed.
Their creative process worked. More members joined as church halls replaced the eponymous shed. In the early 1980s the company included a boy with cerebral palsy for the first time. ‘If we’re open to everyone, why is he the only one?’ asked teenage members. Enter John Bull and his pioneering work on integration. He joined with Mary and Jo and Chickenshed became the first truly inclusive theatre company. Open to everyone.
Judi Dench and Trevor Nunn joined us as pro-active Trustees. Our first CD, a record contract, TV and West End performances followed – and an increasingly public profile.
Amidst all this, 1988 was a pivotal year: Lord and Lady Rayne met Chickenshed – and Lady Rayne became our President. She introduced our work to The Princess of Wales, who ‘got’ Chickenshed, heart and mind, from the start. As our Royal Patron, she shared her time – personal and professional – and gave us genuine loyalty and unwavering support.
When Enfield Council pledged land for a theatre, it was Lord and Lady Rayne who tirelessly raised the funds to build it. In December 1994, the company moved into a beautiful flexible space. At the heart of the building sits The Rayne Theatre, named after the family who turned our dreams into reality.
From our new home, things really took off. 1995 saw our first national tour. 2 months, 20 performers, 5 cities and 20 schools, enjoyed by over 5,000 people.
For Mary and Jo, the concept of inclusion that seemed so obvious at the start is now an international movement with a mission to change the world. The awards that recognise this – two MBEs, ‘This is Your Life’, Creative Briton Award, a Snowdon Award and Honorary Doctorates included – are as much for Chickenshed as for them.
Some of the original 1970s members are still the core of our company. Most have moved on, outside performance art, but the Chickenshed experience remains within them all. Adult lives underpinned by the values and skills absorbed during their magical time at the Shed. And an understanding that diversity and inclusiveness should be a way of life.
That understanding is just as relevant for members today. Every extraordinary piece of theatre they create at Chickenshed shouts out the same thing: anyone can thrive in an environment where everyone is welcome.
INCLUDEPICTURE "http://www.chickenshed.co.uk/images/history/11.108.resized.jpg?1166555019" \* MERGEFORMATINET
Links
• HYPERLINK "http://www.chickenshed.co.uk/gallery/main?item=11" Image Gallery
IPOP in barnent
(from the iPop website)
IPOP
Salisbury Road
Barnet
Herts
EN5 4JP
Our team is dedicated to providing disabled children, young people and their families with the right support to enable them to get involved with general play and leisure activities along with their friends and neighbours.
Inclusive Play Opportunities Project, or IPOP as we are widely known, is a HYPERLINK "http://www.charitycommission.gov.uk/registeredcharities/showcharity.asp?regno=1076063" \o "Charity Commission" \t "_blank" registered charity. Our formal charitable objectives are "the relief of disability and the advancement of education of children by the provision of opportunities for play and recreation and by the provision of information and assistance to the parents, families and carers of children with disabilities." IPOP has worked in the London Borough of Barnet providing play support and advice to disabled children and their families HYPERLINK "http://www.ipop.org.uk/history.php" \o "Company History" since 1994. HYPERLINK "http://www.ipop.org.uk/mission.php" \o "Our Mission" We believe that inclusive play and leisure activities are vital for the well being of all children, their families and their communities. We work towards making that happen in many ways including through individual support, our HYPERLINK "http://www.ipop.org.uk/services.php" \o "Our Support Programme" support programme and specialised HYPERLINK "http://www.ipop.org.uk/training.php" \o "Specialised Training Sessions" training sessions. IPOP is managed by a board of HYPERLINK "http://www.ipop.org.uk/whoswho.php" \o "Who's Who" Trustees, of whom at least two-thirds are parents or carers of disabled children and our Management Committee includes representation from our Youth Committee, ensuring that children and young people are and remain at the heart of our work. FACEBOOK Facebook is the world’s largest social network, with over 250 million users. TIME OUT London Your critical guide to arts, culture and going out in the capital.
Finchley Youth Theatre
142 High Rd
London, N2 9ED 020 83593540
Finchley Youth Theatre
If you're aged between 11 and 25 and want to tread the boards, work behind the scenes of a theatre, or just fancy making new friends, this is a great place to start. There are regular workshops in drama, dance and technical theatre skills, and regular productions.
We make theatre.
Extraordinary, pioneering,
challenging, dynamic, moving,
groundbreaking, genuinely inclusive,
beautiful theatre. (from the Chicken shed website)
Chickenshed is a theatre company. We work using an inclusive creative process which means everyone is welcome, and everyone is valued. Not many places are for everyone and anyone - so a lot of people who find themselves unwelcome elsewhere in the world, come to us. Chickenshed runs Children's and Youth Theatre workshops for 600 people, education courses for over 100 students, community outreach projects and a network of satellite 'Sheds' across the country (and two in Russia) so even more can benefit. Every extraordinary piece of theatre created at Chickenshed shouts out the same thing: anyone can thrive in an environment where everyone is welcome.
In 1974, musician and composer, Jo Collins, met Mary Ward, a teacher and director. With a shared belief in harnessing the creativity in everyone and anyone, they started a theatre company. In a chicken shed.
Their creative process worked. More members joined as church halls replaced the eponymous shed. In the early 1980s the company included a boy with cerebral palsy for the first time. ‘If we’re open to everyone, why is he the only one?’ asked teenage members. Enter John Bull and his pioneering work on integration. He joined with Mary and Jo and Chickenshed became the first truly inclusive theatre company. Open to everyone.
Judi Dench and Trevor Nunn joined us as pro-active Trustees. Our first CD, a record contract, TV and West End performances followed – and an increasingly public profile.
Amidst all this, 1988 was a pivotal year: Lord and Lady Rayne met Chickenshed – and Lady Rayne became our President. She introduced our work to The Princess of Wales, who ‘got’ Chickenshed, heart and mind, from the start. As our Royal Patron, she shared her time – personal and professional – and gave us genuine loyalty and unwavering support.
When Enfield Council pledged land for a theatre, it was Lord and Lady Rayne who tirelessly raised the funds to build it. In December 1994, the company moved into a beautiful flexible space. At the heart of the building sits The Rayne Theatre, named after the family who turned our dreams into reality.
From our new home, things really took off. 1995 saw our first national tour. 2 months, 20 performers, 5 cities and 20 schools, enjoyed by over 5,000 people.
For Mary and Jo, the concept of inclusion that seemed so obvious at the start is now an international movement with a mission to change the world. The awards that recognise this – two MBEs, ‘This is Your Life’, Creative Briton Award, a Snowdon Award and Honorary Doctorates included – are as much for Chickenshed as for them.
Some of the original 1970s members are still the core of our company. Most have moved on, outside performance art, but the Chickenshed experience remains within them all. Adult lives underpinned by the values and skills absorbed during their magical time at the Shed. And an understanding that diversity and inclusiveness should be a way of life.
That understanding is just as relevant for members today. Every extraordinary piece of theatre they create at Chickenshed shouts out the same thing: anyone can thrive in an environment where everyone is welcome.
INCLUDEPICTURE "http://www.chickenshed.co.uk/images/history/11.108.resized.jpg?1166555019" \* MERGEFORMATINET
Links
• HYPERLINK "http://www.chickenshed.co.uk/gallery/main?item=11" Image Gallery
IPOP in barnent
(from the iPop website)
IPOP
Salisbury Road
Barnet
Herts
EN5 4JP
Our team is dedicated to providing disabled children, young people and their families with the right support to enable them to get involved with general play and leisure activities along with their friends and neighbours.
Inclusive Play Opportunities Project, or IPOP as we are widely known, is a HYPERLINK "http://www.charitycommission.gov.uk/registeredcharities/showcharity.asp?regno=1076063" \o "Charity Commission" \t "_blank" registered charity. Our formal charitable objectives are "the relief of disability and the advancement of education of children by the provision of opportunities for play and recreation and by the provision of information and assistance to the parents, families and carers of children with disabilities." IPOP has worked in the London Borough of Barnet providing play support and advice to disabled children and their families HYPERLINK "http://www.ipop.org.uk/history.php" \o "Company History" since 1994. HYPERLINK "http://www.ipop.org.uk/mission.php" \o "Our Mission" We believe that inclusive play and leisure activities are vital for the well being of all children, their families and their communities. We work towards making that happen in many ways including through individual support, our HYPERLINK "http://www.ipop.org.uk/services.php" \o "Our Support Programme" support programme and specialised HYPERLINK "http://www.ipop.org.uk/training.php" \o "Specialised Training Sessions" training sessions. IPOP is managed by a board of HYPERLINK "http://www.ipop.org.uk/whoswho.php" \o "Who's Who" Trustees, of whom at least two-thirds are parents or carers of disabled children and our Management Committee includes representation from our Youth Committee, ensuring that children and young people are and remain at the heart of our work. FACEBOOK Facebook is the world’s largest social network, with over 250 million users. TIME OUT London Your critical guide to arts, culture and going out in the capital.
Finchley Youth Theatre
142 High Rd
London, N2 9ED 020 83593540
Finchley Youth Theatre
If you're aged between 11 and 25 and want to tread the boards, work behind the scenes of a theatre, or just fancy making new friends, this is a great place to start. There are regular workshops in drama, dance and technical theatre skills, and regular productions.
CV
CURRICULUM VITAE
NAME: Zoe Kennedy
PERSONAL QUALITIES I enjoy and relish working within a team, I enjoy working with children and young people, and I am very passionate and enthusiastic about meeting and working with new people. I am an excellent time keeper, and have an inclusive way of working with everyone.
EDUCATION AND QUALIFICATIONS
Foundation Degree in Inclusive Performance
Middlesex University and Chicken Shed
BTEC National Diploma in Performing Arts
(Distinction Distinction Merit)
Chicken Shed and Enfield College
2003-2004 Certificate in Childcare and Education Level 2
(Distinction) Key Skills Certificate Information Technology Level 2 (Pass)
Communication Level 1 (Pass)
Application of Number Level 1 (Pass)
Barnet College
2002- 2003 Health and Social Care Foundation
Level 1 (Pass) Barnet College
1997–2002 Certificate of Achievement English Language
(Distinction) Maths, Science, Expressive Arts and Information Technology GCSE’s St Luke’s School, Redbourne
EMPLOYMENT May 2008-present East Finchley Youth Theatre in association with IPOP- Support worker with children and Young adults between the ages of eight and twenty two. Oct 2008- Jan 2009 Northway school, special needs school- Teachers assistant for a six class. Jan 2009-present Full time personal assistant- personal assistant to a young woman with learning needs. April 2009-present Resources for Autism- Work with children on a one to one basis, as a support worker.
2006 to Present IPOP (Inclusive Play opportunities Project)- Support worker for children with Autism, Down Syndrome and other learning needs.
Wonderland Nursery - Class room assistant 0 to 5 year olds. With responsibility of supporting, setting up activities, making sure children are safe at all times. McDonalds - Children’s party entertainer. I led the parties and play party games with the children.
2002-2003 Toby Carvery - Kitchen assistant
VOLUNTARY 1999 – 2002 Play scheme support worker
HOBBIES AND INTERESTS
I have a strong passion for acting, singing and dancing and enjoy helping children who have special needs. In addition, I like to adapt stories and plays.
NAME: Zoe Kennedy
PERSONAL QUALITIES I enjoy and relish working within a team, I enjoy working with children and young people, and I am very passionate and enthusiastic about meeting and working with new people. I am an excellent time keeper, and have an inclusive way of working with everyone.
EDUCATION AND QUALIFICATIONS
Foundation Degree in Inclusive Performance
Middlesex University and Chicken Shed
BTEC National Diploma in Performing Arts
(Distinction Distinction Merit)
Chicken Shed and Enfield College
2003-2004 Certificate in Childcare and Education Level 2
(Distinction) Key Skills Certificate Information Technology Level 2 (Pass)
Communication Level 1 (Pass)
Application of Number Level 1 (Pass)
Barnet College
2002- 2003 Health and Social Care Foundation
Level 1 (Pass) Barnet College
1997–2002 Certificate of Achievement English Language
(Distinction) Maths, Science, Expressive Arts and Information Technology GCSE’s St Luke’s School, Redbourne
EMPLOYMENT May 2008-present East Finchley Youth Theatre in association with IPOP- Support worker with children and Young adults between the ages of eight and twenty two. Oct 2008- Jan 2009 Northway school, special needs school- Teachers assistant for a six class. Jan 2009-present Full time personal assistant- personal assistant to a young woman with learning needs. April 2009-present Resources for Autism- Work with children on a one to one basis, as a support worker.
2006 to Present IPOP (Inclusive Play opportunities Project)- Support worker for children with Autism, Down Syndrome and other learning needs.
Wonderland Nursery - Class room assistant 0 to 5 year olds. With responsibility of supporting, setting up activities, making sure children are safe at all times. McDonalds - Children’s party entertainer. I led the parties and play party games with the children.
2002-2003 Toby Carvery - Kitchen assistant
VOLUNTARY 1999 – 2002 Play scheme support worker
HOBBIES AND INTERESTS
I have a strong passion for acting, singing and dancing and enjoy helping children who have special needs. In addition, I like to adapt stories and plays.
Chicken Shed
Chicken Shed
The first time I every knew of a place called Chicken-shed was when I saw their show Peter Pen on TV, I was 8 year old. I loved the show and really wanted to be a part of the theater. I applied but there was a long waiting list.
One thing I like was a lot of children and people got the chance to perform with all different abilities. The next time I heard of chicken shed was when I heard the song I am in love with the world, which went in the UK chat at number 14. I really love that song it showed all different age group singing together. I always knew there was something special about this theatre group.
I got a place on the BTEC course when I was 18. I so Glad I got the charge to go there. Chicken shed work in an inclusive way with everyone, everyone is welcome no matter what their ability is. When you’re at Chicken shed you get the chance to work with children and people with all different needs and the change to perform in their show. . Is amazing what they have achieved.
This year their celebrating having been going for 35 years. This all started in 1974 when Mary Ward and Jo Collins were given an old chicken shed performance space were it got its name chicken shed. Mary and Jo wanted to change theatre and include everyone with a desire to perform no matter on his or her ability or back-ground.
Their Children Theatre in the 80s are our teachers today I Admire them for staying in the theatre for all there life Chicken shed is what they have created as children and now they are teaching us. They are teaching us how to create Theatre in an inclusive way and taking this on to other places we go to in our lives.
Today there have the largest children and youth theatre running workshops for over 600 people and education courses for over 100 students. They now have other sheds around the country Harringate shed and a shed in Blackpool, they now a shed in Russia. I think its great more people are taking on chicken shed way of working and its open up to other places to work in an inclusive way.
The first time I every knew of a place called Chicken-shed was when I saw their show Peter Pen on TV, I was 8 year old. I loved the show and really wanted to be a part of the theater. I applied but there was a long waiting list.
One thing I like was a lot of children and people got the chance to perform with all different abilities. The next time I heard of chicken shed was when I heard the song I am in love with the world, which went in the UK chat at number 14. I really love that song it showed all different age group singing together. I always knew there was something special about this theatre group.
I got a place on the BTEC course when I was 18. I so Glad I got the charge to go there. Chicken shed work in an inclusive way with everyone, everyone is welcome no matter what their ability is. When you’re at Chicken shed you get the chance to work with children and people with all different needs and the change to perform in their show. . Is amazing what they have achieved.
This year their celebrating having been going for 35 years. This all started in 1974 when Mary Ward and Jo Collins were given an old chicken shed performance space were it got its name chicken shed. Mary and Jo wanted to change theatre and include everyone with a desire to perform no matter on his or her ability or back-ground.
Their Children Theatre in the 80s are our teachers today I Admire them for staying in the theatre for all there life Chicken shed is what they have created as children and now they are teaching us. They are teaching us how to create Theatre in an inclusive way and taking this on to other places we go to in our lives.
Today there have the largest children and youth theatre running workshops for over 600 people and education courses for over 100 students. They now have other sheds around the country Harringate shed and a shed in Blackpool, they now a shed in Russia. I think its great more people are taking on chicken shed way of working and its open up to other places to work in an inclusive way.
Super-nanny - Jo Frost
People who have inspire me
Super-nanny - Jo Frost
I first saw Super Nanny on TV when I was 16. I was at the time doing a childcare course. A lot of the way she work with the children really inspired me when working with children in a calm way but being firm with them two.
Super nanny would go to the parents home that have asked for her help with their child or children that are showing challenging behaviors and finding it hard to deal with and want to know why their child is acting this way. Super Nanny would watch how parents and child are towards each other so she can see how she going to help each family.
What I like about Super Nanny Is she works on the relationship with the parents and child. She wants to help develop an environment of honesty openness and trust. Something childcare workers need to have towards the child and with the parents. You can only have a good relationship with anyone though trust and honesty. So it making parents aware of were their need to charge towards their child, maybe there too soft and need to learn to say no to their child. Are both parents rowing that child is seeing this all the time? There is no routine for child to follow. Super-nanny is a good inspiration for parents to learn by.
Super nanny is known for using the naughty step where the child is placed to sit there when they’re showing naughtier behaviours. The older the child is they will have to sit there longer like if five years old 5 minutes. When times up parents would ask the child calmly why they had to sit there. After the child told their parents why they had to sit on the step, the child learns to say sorry and their parents give them a hug.
She also teaches parents to do a star chart when the child has been good they get a star when they are being naughty, the star gets taken away. When the child gets 5 stars they get a treat of something they like doing. All these things are showing how to be calm with the child but firm. You can see through the way super nanny is towards the children, that the child listens better then being shouted at. Parents would learn this tough super nanny and other parents could see this on TV.
Super nanny did so well in the UK Jo Frost Super nanny has the show on in America. I did not like being shouted at school and I always whetted the teachers to be calmer with me. There are ways that are better at dealing with children and this shows it really does work for children.
Super-nanny - Jo Frost
I first saw Super Nanny on TV when I was 16. I was at the time doing a childcare course. A lot of the way she work with the children really inspired me when working with children in a calm way but being firm with them two.
Super nanny would go to the parents home that have asked for her help with their child or children that are showing challenging behaviors and finding it hard to deal with and want to know why their child is acting this way. Super Nanny would watch how parents and child are towards each other so she can see how she going to help each family.
What I like about Super Nanny Is she works on the relationship with the parents and child. She wants to help develop an environment of honesty openness and trust. Something childcare workers need to have towards the child and with the parents. You can only have a good relationship with anyone though trust and honesty. So it making parents aware of were their need to charge towards their child, maybe there too soft and need to learn to say no to their child. Are both parents rowing that child is seeing this all the time? There is no routine for child to follow. Super-nanny is a good inspiration for parents to learn by.
Super nanny is known for using the naughty step where the child is placed to sit there when they’re showing naughtier behaviours. The older the child is they will have to sit there longer like if five years old 5 minutes. When times up parents would ask the child calmly why they had to sit there. After the child told their parents why they had to sit on the step, the child learns to say sorry and their parents give them a hug.
She also teaches parents to do a star chart when the child has been good they get a star when they are being naughty, the star gets taken away. When the child gets 5 stars they get a treat of something they like doing. All these things are showing how to be calm with the child but firm. You can see through the way super nanny is towards the children, that the child listens better then being shouted at. Parents would learn this tough super nanny and other parents could see this on TV.
Super nanny did so well in the UK Jo Frost Super nanny has the show on in America. I did not like being shouted at school and I always whetted the teachers to be calmer with me. There are ways that are better at dealing with children and this shows it really does work for children.
People who i admire Michael Jackson
Michael Jackson is one of the people admire. I really look up to Michael Jackson as a performer. He started at the age of 5 he dedicated his whole life to performing and he writes his own music. He begin at 5 with his brothers called the Jackson 5 who were a huge hit.
By the age of 20 he went solo. He wrote one of the best albums of all time Thriller. I remember through my childhood listening to Michael Jackson’s songs I love them all. My favourite was Heal the World. As a child I wanted the world to live in peace and people to all come together. Michael expressed this a lot in his music.
I think his music did help bring different cultures together because so many people looked up to him and his music was full of so much emotion it made me think so I’m sure it made others too. He also inspires me though his dancing when you listen to his music, you have that will to dance it such a good feeling. Watching his dancing I can’t keep my eyes off him I like trying out his move like the moonwalk. I love dancing.
A lot of Stars today were inspired by his dancing all his move have progressed from his move into other people’s dancing styles. His dancing will live on forever. Michael had one of the most soft and beautiful voices, all his songs mean something. People would say he was so hands on in his music and know all his songs and the music. He directed people at his tour he know how he wanted it to look and the feeling he would have in his performances in the way he wanted it to be. He was so talented and inspiring to all of us and forever will live on.
By the age of 20 he went solo. He wrote one of the best albums of all time Thriller. I remember through my childhood listening to Michael Jackson’s songs I love them all. My favourite was Heal the World. As a child I wanted the world to live in peace and people to all come together. Michael expressed this a lot in his music.
I think his music did help bring different cultures together because so many people looked up to him and his music was full of so much emotion it made me think so I’m sure it made others too. He also inspires me though his dancing when you listen to his music, you have that will to dance it such a good feeling. Watching his dancing I can’t keep my eyes off him I like trying out his move like the moonwalk. I love dancing.
A lot of Stars today were inspired by his dancing all his move have progressed from his move into other people’s dancing styles. His dancing will live on forever. Michael had one of the most soft and beautiful voices, all his songs mean something. People would say he was so hands on in his music and know all his songs and the music. He directed people at his tour he know how he wanted it to look and the feeling he would have in his performances in the way he wanted it to be. He was so talented and inspiring to all of us and forever will live on.
Monday, 5 October 2009
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