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
Monday, 4 January 2010
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.
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