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Refine by Region Refine by Art Form Refine by School Level Finding our way Tell us the story of your project – What was it about? Who was involved? How did you begin? Lisa Cahill, Artist An invitation was sent to Gaelscoil Uí Fhiaich requesting a teacher to work in partnership with the Froebel Department of Primary and Early Childhood Education’s Dance Artist in Residence. This school was chosen because of its long and active engagement with The School Placement Committee at the Froebel Department of Primary and Early Childhood Education at Maynooth University. Triona Stokes, the Residency Co-ordinator supported the management and administration of the project from the very beginning. Tracey Kirrane, teaching Second Class pupils at the Gaelscoil accepted the invitation and we arranged a meeting. From the start, Tracey’s energy and openness was evident and it was clear that we shared a real excitement about the project and its possibilities. On visiting the Gaelscoil, I was immediately taken with Joe Butler’s Fish sculpture at the front of the school. This work was made as part of the Per Cent per Art scheme about three years previously. This sculpture became a stimulus for the development of the dance work. The aim of the project was to create a number of creative outcomes between all collaborators. I envisioned that this body of work would illustrate the context of the project, the creative processes and the learning that was taking place between all collaborators. These creative outcomes would include an integrated dance performance (students and children dancing together) and a film element. I also wanted the documentation methods and outputs to became part of the final sharing. These outputs would include recorded interviews, journals, reflections (both written and using art materials) and photographs. Tracey and I set up Thursday morning weekly sessions in the school for the children. Sessions were scheduled for an hour. Two students of the Froebel Department of Primary and Early Childhood Education at Maynooth University were scheduled to accompany me on a rotating basis. Their role was to participate as dancers and develop their own relationships with the children. They were also involved in the planning and evaluation of the workshop with me. They took on active, fluid roles in both leading group dance tasks but also following and learning from the children. This balance became an important element of our co-operative approach. All of us as participants needed time and space to learn from others, and to lead and share with our collaborators. Tracey Kirrane, Teacher One of the teachers in the school approached me asking if I would be interested in taking part in a dance project with Maynooth University. He knew I had a keen interest in dance and music. I always like to give the children in my class movement breaks and I find that dance can be a great way to do this. I had a meeting with both Triona and Lisa in the school and they explained the whole process. Instantly I thought this would be an interesting and exciting project to be part of . On that day we discussed what information needed to be sent to the children’s parents and we arranged that we would do hour long sessions on a Thursday morning. On the first session Lisa arrived, she did movement exercises with the children. The children were instantly engaged and I knew from then on that they would enjoy the journey we were about to begin. After returning to the class after this session the children were very excited and couldn’t wait for the next session. Louise Young, Student At the beginning I must admit that I was finding it hard to visualise the finished piece, but as the structure and story became more apparent the performance itself came together into a terrific piece. Claire Casey, Student I wanted to take part in this project as I thought it would be a challenging experience that would enable me to take part in something I’d never had experience in before. I would always jump at being involved in something with children outside of our normal placement and I am really glad that I took part in this project. How were the ideas developed and how did the young people, artist and teacher work together? Lisa Cahill, Artist The ideas developed through shared and separate work involving dance and reflection over 13 weeks. The layers of the project included: My own exploratory work in the studio and planning meetings with Triona Stokes; Sessions with the children (led by Tracey and/or the artist) Sessions with the students (facilitated by the students themselves or led by the artist) Integrated workshops with the children and students together. This took place at the school with small number of students. Workshops also took place on the Maynooth University Campus. There were three whole group workshops/ rehearsals. This included the class of 30 children with the six student teachers who committed to the performance element of the project. These sessions took place at the University and were supported by the Froebel Department of Primary and Early Childhood Education Dance Residency Committee and a large body of student assistants; The development of the work is exemplified through the partnership with Laura Thornton, who encouraged me to deepen our collaborative exploration of line. Laura Thornton is an art lecturer at Froebel. She supported me in broadening my artistic tools in this exploratory process. I used both the body and art materials in our investigation of line. I introduced the examination of line to the children and students. We created lines in our bodies through shape, we drew lines using a variety of body parts through the space. We studied, drew and photographed lines and shapes on the Fish sculpture. From the ‘line drawings’ the children began to speak about following a map and finding treasure. Discussions and playful work developed around this idea. We traced and followed our maps through the space. Children spoke about great and small journeys they had been on. They recalled times when they had followed maps or watched their parents follow maps. The children introduced challenges and obstacles that one might meet along a journey. Real and imagined journeys were shared, danced and written about. Tracey encouraged me to consider what the story of the dance was. She talked about a story we are all familiar with, ‘Going on a Bear Hunt’ by Michael Rosen. From here, we began to clarify and refine how our story/ journey would be structured and organised. I appreciated and listened to Tracey’s experience and her gentle reminders to communiciate clearly the intention of our work and the intention of our dance. The dance evolved into a final performance called ‘Finding our Way’, “Ag lorg Slí” The performance illustrated moments of a journey. This was articulated through live dance performance, film and photographic work. A note from the performance programme read, ‘The dance journey reveals the discoveries the performers made throughout the creative process of this project. With trust and a light heart, we find our way together.’ Is trí dhamhsa, scannánaíocht agus grianghrafadóireacht a léiríonn “Ag lorg slí” giotaí d’aistear. ‘Aistear is ea “bogadh ó áit go háit”. Cruthaíonn na rinceoirí scéal an aistir trí chomhghníomhaíochtaí simplí maraon le damhsa drámatúil. Soiléirítear an próiséis cruthaitheach tríd an damhsa. Nochtar na fionnachtain atá aimsithe ag na rinceoirí le linn an aistir cruthaitheach don tionscnamh seo.’ Tracey Kirrane, Teacher Lisa and I discussed ideas together and a lot of them came naturally from watching the children participate in the sessions. Being a teacher, I like structure on things, as I feel that the children need guidelines to follow so they know what my expectations are. I knew that there needed to be definite stages in our dance with very clear transitions so children could easily participate in the process. I first thought of the story ‘We’re going on a Bear Hunt’ by Michael Rosen as it is a very clear depiction of a journey made up of individual sections. I discussed this with Lisa. Lisa really liked the sculpture of the fish outside the school. This is where she got the idea of curved and straight lines. Children were taught to move in a variety of ways including different directions and heights, using various parts of the body. Myself and Lisa had several meetings together to gather and share our ideas. I really felt we needed to start putting a plan in place as I felt we had a huge amount of ideas and there was no way that they could have been all incorporated into one dance. Niamh Jordan, Student Something I really liked, was the fact that the creative dance process overlapped and integrated with drama so much. The children were thinking creatively the entire time, embodying a character at times, and using movement and dance to express their emotions and feelings. In fact, I came to realise during the process, that there is so much scope for integration across the curriculum through the medium of creative dance. The use of the fish sculpture in this project as a stimulus for the creative dance, brought visual art into the process. Tadhg (Child) What I know now about dance? You can make anything of dance. What aspects of the project made you smile? What aspects of the project made you feel challenged? Tracey Kirrane, Teacher I really enjoyed seeing the shy or nervous children getting really involved. They trusted the process and each week they engaged more and more. It was very important that the sessions didn’t go on too long as I could see the children’s attention was fading and it would not be beneficial to continue. Lisa Cahill, Artist The project was a bilingual project. This both terrified and excited me. I facilitated as much as I could through the language of Irish and encouraged the children to support me. I often had to pause and rely on body language or fewer words to describe tasks. I think this had an impact on how we used our bodies throughout the project. I did not always understand the children/ students or Tracey’s words. They slowed down, utilising their bodies to help me to understand. Towards the final stages of the project, I needed to speak more and more English. It did make me smile though as the students and children continued to speak in Irish to each other. It was a perfect collaboration in action. Lauren O’ Callaghan, Student I especially enjoyed the communication between myself and the children, particularly as it was through Irish and I love to speak Irish with children. I felt like I had helped a lot after the session, and I felt I had begun to build a relationship with the children. Marie Casey, Student The fact that the project was done mainly through Irish was also a great experience as it allowed me to see the power of creative dance and the ability to create dance in any language. Lisa Cahill, Artist A challenge I faced in this project was managing and threading together the ideas and movements, created by the children and students during their separate sessions. I used a variety of improvisation tasks to encourage the dancers to explore and tune into their own movement responses. This was balanced with taught sequences and opportunities for mutual learning. I utilised the working concept of ‘translation’. This concept requires you to consider how participants are doing something, not what they are doing. This philosophy is central to choreographer Cecilia Macfarlane’s practice and her work with Crossover Intergenerational Dance Company in Oxford, England. It meant that as part of our process all ideas were translatable across all the bodies and all ages. This is supported by careful selection of language in the framing of the ideas. I believe that the real value of this philosophy and working concept is that it allows for a shared ownership of the choreography and empowers participants to make choices. As I look back at the project now, I smile with pride as I recall dancing with Tracey. In the final performance we danced a short duet together. I know that it meant the world to the children and student teachers to witness Tracey and I dance together. Like the children and students, we were dancing our ‘journey’ also. Niamh Jordan, Student Something that made me smile during this project was during one of our rehearsals in the university with the children. I had the opportunity to work with a small group of children (the map girls) as they were practicing their piece in the dance. I remember standing back and watching them practice and perform, and thinking how wonderfully they were working together as a group, and coming together to perform a piece. It was an eye-opener as to how inclusive creative dance can be to all children in the class, as it does not rely on academic ability at all. The girls were working together and relying on each other to remember the sequence and the dance that they had created themselves. It was really lovely to be a part of this. What insights from the project are worth sharing? (These may seem small, but are significant to you) Lisa Cahill, Artist A personal objective I set for myself in this project was to pay close attention to my engagement with the other bodies. In wishing to open up to the possibility of interaction with the teacher, children and students, I endeavoured to pay equal attention to my ‘self’ (my own process and learning) and to that of the other(s). I wanted to ‘receive’ in equal attention to ‘giving’. So I explored the framing and structuring of my own attention. I did this through journalling, studio time, drawing and art work, play time for myself with the sculpture, meetings with the Residency Co-ordinator and through discussions with the lecturers at The Froebel Department of Primary and Early Childhood Education at Maynooth University who had expertise in a variety of areas (Art, Geography, Music and Irish). I met informally and interviewed formally the sculptor of the Fish, Joe Bulter. I also interviewed the former principal of the school Máirín Ni Cheileachar and the current principal Neil Ó Tarráin, , owing to a change in school leadership within the duration of the project. Both Máirín and Neil were active partners in the project. I had regular meetings with Tracey and weekly email conversations. I enjoyed tea with the students and we discussed how we could support their engagement with the project within a very busy college schedule. In engaging with the collaborators, I returned to a question in our shared dialogues throughout the project: ‘What do you know about dance now?’ ‘What do I know about dance now?’ ‘What do we know about dance now?’ Learning through practice was a key working philosophy for my own artistic practice and facilitation throughout the project. I endeavoured to trust and invite the knowledge that each individual has in their own body. I encouraged this in myself, the children, the students and Tracey. Making things our own, as a way to achieve deep learning. We all explored together and in separate spaces. Each person kept journals and had opportunities to share their reflections and considerations. Louise Young, Student In terms of dance as part of the curriculum, I found that there is so much scope in PE for dance outside the typical dances. Dance is an art and a set of lessons could easily be created around a theme or a concept, and this can develop throughout the weeks, giving the children the freedom to shape the dance and help it evolve. Dance can also be integrated into drama as an effective methodology, as well as SPHE as a means of self-expression. Claire Casey, Student I loved the way the children’s suggestions and ideas were taken on board as this meant that they had such an integral part in the whole project and they were really a part of it from the beginning to the end. Richard (Child) Dancing is like a different language, but your body does the talking. Eoghan (Child) I like dancing with everybody. They are good and I am. Has anything changed as a result of the project? Tracey Kirrane, Teacher I can see a notable difference in the children’s confidence in relation to movement and dance and also in their confidence in speaking out and sharing their opinions and ideas. When some children started out they were very reluctant to engage as they felt it may have seemed silly. But as the weeks went by they gained confidence in their abilities and were less conscious of others around them. The children worked very well in their groups and some proved to be great group leaders. On the morning of the performance the children were so excited and some a little nervous. They always knew there was no such thing as making a mistake and that if things didn’t go according to plan that they could continue on regardless. They astounded their parents during the performance and you could see how proud they were of their children. The video of the performance was shown at a whole school assembly. The children were in awe at what they saw and my class were so proud of all they had accomplished. I was extremely happy that I agreed to take part in this project and would most definitely recommend any class / school to participate in a dance project in the future. Lisa Cahill, Artist I would say now that my ambitions and aspirations have been heightened following this project. I notice that when I speak and write about this particular project, my spine lengthens and my back broadens. I notice a feeling of absolute resolution, a feeling of muscular activation through my whole body, but a softening in the left side of my chest, my heart open and warm. I believe in the partnership model, artist and teacher, student teacher and child, artist and child, etc. I believe in building a relationship through the acknowledgment of the unknown and the known. I recognise and acknowledge the child, the teacher and the artist within me – within each of us. I wish to receive the facets of each individual in relationship. At the centre of the partnership is our physical selves- the body. The dance of each body; the dance of two bodies relating – evolving and responding, trusting and growing. In response to the question, ‘what is my response following this project?’ I can state: ‘a determination to continue to build dancing partnerships within our educational settings, a determination to continue to follow my interests and a need to listen and observe, respond and reflect.’ Marie Casey, Student I have seen first hand the children becoming creative agents in the dance project, becoming integral to the project itself and the performance. As a teacher, I feel more comfortable in exploring dance with a class (on my most recent placement following this dance project I decided to teach creative dance during PE lessons) and I feel much more confident that maybe one day I could engage a class in a project like this, using their own experiences, using their environment and personalities to create a vibrant, interesting and memorable performance with the children’s work at its core. Oisín (Child) “Everyone in the world can dance.” Senan (Child) “I now think dancing is really fun. The story is about a big adventure.” “It’s all about doing adventure stuff and doing different shapes along the way.” (Child participant) Spotlight Artist(s): Lisa Cahill, Dance Artist Lisa is a contemporary dance artist and movement educator. Since 2014, she has been the Dance Artist in Residence at the Froebel Department of Primary and Early Childhood Education at Maynooth University. She holds an MA in Contemporary Dance Performance from the Irish World Academy of Music and Dance and a Post Graduate Diploma in Dance, both from the University of Limerick. Lisa has developed a large portfolio of collaborative work in a broad range of professional, educational and community contexts. Lisa is co-artistic director of Spoken Dance, an integrated dance company. Recently she has directed a number of short dance films with Spoken Dance. 'two' was selected for the 2015 Light Moves Festival of Screendance. The practice of collaboration and relationship building through the art of dance intrigues Lisa. In June 2016, Lisa will work with Belfast based disabled dance artists Deirdre Corry and Linda Fearon and choreographer Sheena Kelly in the development of a new work. In 2016, Lisa received a Creative Engagement grant from NAPD. Scoil Bernadette at Montenotte, Cork and Lisa Cahill are proposing to engage in a collaborative contemporary dance project under the theme of ‘Dancing across the World’. The thematic content of the project will explore traditional folk dance from across the globe. Students will be challenged to recognise and describe the international folk dance and to develop creative responses to each folk dance. Teacher(s): Dance Residency Coordinator, Tríona Stokes: Coordinating the Maynooth University/Froebel Department Dance Residency has proven a hugely rewarding opportunity for me as an educator. Planning and collaborating with Lisa (Cahill) has been a stimulating and energising experience. It has served as a wonderful Continuing Professional Development opportunity for me as an Arts educator. Through the implementation of the residency programme strands, it has facilitated us as a Department to forge stronger relationships with our partner schools in County Kildare. Other: (Curator, agency, etc): Froebel Department of Primary and Early Childhood Education is known for the provision of a distinctive student-centred learning experience for undergraduate and postgraduate students. The Department is named after the 19th century German educator and founder of Kindergarten, Friedrich Froebel (1782-1852). He advocated reverence for the child, learning through activity, exploration of the environment, enjoyment of beauty in all its manifestations and acceptance of the gifts of each individual. Artist(s) Lisa Cahill Teacher(s) Tracey Kirrane Artforms School Level School/ Participant Group Gaelscoil Uí Fhiaich, Co. Kildare Participants 30 children & 12 B Ed students at Froebel Region Age/Class 2nd Class (Primary) Dates Sept-Dec 2015 Weblinks www.maynoothuniversity.ie/ froebel-department-primary- and-early-childhood-education/dancer-residence www.ncca.ie/uploadedfiles /Curriculum/PE_Gline.pdf Leading Agency Froebel Department of Primary and Early Childhood Education Key themes/ lines of enquiry • Sharing and learning the principles of ‘creative dance’, through practice, playful improvisational tasks and discussion; • An exploration of line (curved and straight); • Examination of a permanent art work on the school site; • Reflecting on the theme of a journey; • Responding physically to new environments met along a journey. Curriculum Strands Physical Education – Dance • exploration, creation and performance of dance; • understanding and appreciation of dance Research or relevant publications An Introduction to Community Dance Practice by Diane Amans, 2008, A & C Black. Dance and Age Inclusive Practice by Ruth Pethybridge, 2010, Foundation of Community Dance. The Art of Dance in Education by Jacqueline M. Smith Autard, 2nd edition 2002, Palgrave Macmillan. I can see a notable difference in the children's confidence in relation to movement and dance and also in their confidence in speaking out and sharing their opinions and ideas. Tracey Kirrane, Teacher, Gaelscoil Uí Fhiaich
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Caolaigh de réir réigiúin Caolaigh le Foirm Ealaíne Caolaigh le leibhéal na Scoile Eispéireas Céadfach Áite Inis scéal do thionscadail dúinn – céard faoi a raibh sé? Cé a bhí páirteach ann? Cén chaoi ar thosaigh tú? Leanne Kyle, Múinteoir Bhíomar ag obair in éineacht le Comhpháirtíocht Foilsitheoireachta Kids’ Own ar thionscadal dar teideal Virtually There. Mar a tharlaíonn sé, le linn an tionscadail seo ní thagann an t-ealaíontóir isteach sa seomra ranga. Is tríd an gclár bán idirghníomhach a mbímid i dteagmháil le chéile den chuid is mó. Ba mise a bhí mar chomhordaitheoir ICT agus bhí dúil mhór agam sa tionscadal seo. Rud difriúil a bhí ann a chuir taithí nua ar fáil domsa agus do na leanaí. Ar dtús tháinig an t-ealaíontóir (Lisa) chuig an scoil chun bualadh linn. Lá iontach a bhí ann mar bhíomar in ann comhrá a dhéanamh agus seisiún pleanála a reáchtáil. Rinneamar siúlóid timpeall na scoile. Shocraíomar an dúlra agus timpeallacht na scoile a úsáid mar thúsphointe. Theastaigh uaim úsáid a bhaint as gairdín na scoile agus naisc a chruthú le héiteas scoileanna éiceolaíocha. Tharraingíomar é sin go léir le chéile i dtionscadal inar díríodh ar ábhar na ‘gcéadfaí’. Bíonn an-tóir ar an ábhar seo agus is ábhar é atá oiriúnach do P2 agus 3. Níos déanaí dhíríomar ar mhothú agus rinneamar go leor turas taobh amuigh ag obair le crainn. An fómhar a bhí ann agus mar sin thosaíomar ag díriú ár n-airde ar na duilleoga. Mhúin Lisa ‘damhsa duilleoige’. As go brách linn ina dhiaidh sin, agus muid dírithe ar dhúlra agus ar mhothú. Lisa Cahill, Ealaíontóir Thosaigh mé ag obair le Comhpháirtíocht Foilsitheoireachta Kids’ Own, le Leanne Kyle agus le Rang P2 & 3 in Achadh na Cloiche i mí Mheán Fómhair 2016. Ag an am sin ba mise an Damhsóir Cónaithe i Roinn Froebel don Bhun- agus Luath-Oideachas in Ollscoil Mhá Nuad. Ba é fómhar 2016 céim dheiridh na cónaitheachta trí bliana sin. Bhí Dámhachtain Sparánachta maidir le Daoine Óga, Leanaí agus Oideachas ón gComhairle Ealaíon faighte agam. Ba é a bhí mar fhócas agam ná forbairt a dhéanamh ar na frámaí agus na gníomhaíochtaí lena mbíonn an corp céadfach ag plé sa timpeallacht lasmuigh de shuíomh scoile amuigh faoin spéir. Le linn mhíonna an fhómhair agus an gheimhridh leanamar lenár dturas cruthaitheach le go leor comhpháirtithe. Is cuid thábhachtach de mo chleachtas é réiteach céadfach an choirp a fhorbairt trí theagmháil a dhéanamh leis an suíomh. Bhí mé ag caitheamh go leor ama taobh amuigh. Bhí mé amuigh sa ghairdín, sna páirceanna, sna húlloird agus i limistéir foraoise champas na hOllscoile. Bhain mo chuid fiosrúchán le gluaiseacht, scríbhneoireacht, cruthú ealaíne, bailiú fuaimeanna agus ábhar nádúrtha, léamh agus níos mó agus níos mó a fhoghlaim faoin timpeallacht nádúrtha ina raibh mé. Theastaigh uaim go mbeadh na fiosrúcháin seo mar chuid den tionscadal Virtually There. Bhí mé ag súil go mór leis an ábhar seo a roinnt le Leanne agus na leanaí. Theastaigh uaim an fhreagairt a bheadh acu a chloisteáil agus aird a thabhairt uirthi trí go leor cineálacha doiciméadúcháin éagsúla. Theastaigh uaim a fháil amach cén toradh a bheadh ar an turas seo a bhí ar bun againn le chéile. Bhí Leanne chomh fiosrach liomsa le linn na luathchéime seo sa phróiseas agus thosaíomar ag tabhairt faoi fhiosrú a dhéanamh maidir le: - Coirp chéadfacha; - Dul amach agus am a chaitheamh amuigh faoin aer; - Triail a bhaint as modhanna agus bealaí nua chun cumarsáid, éisteacht agus roinnt a dhéanamh idir na trí chomhpháirtí (múinteoir, ealaíontóir agus leanaí). Gheallamar go mbeadh sé i gcónaí mar aidhm againn cluas éisteachta a thabhairt do na comhpháirtithe go léir maidir lena raibh uathu agus maidir leis an bhfreagairt a bhí acu. Gheallamar go dtabharfaimis aird ar an bhfreagairt a bhí ag gach comhpháirtí ar na tascanna agus ar na gníomhaíochtaí. D’fhéadfadh an fhreagairt seo teacht chun cinn i bhfoirmeacha éagsúla, amhail i bhfocail ó bhéal, i scríbhinn, i gcomhartha nó i ngluaiseacht, i ngrianghraf, i bhfocal, nó i líníocht. D’airigh mé gurbh é an ról a bhí agam ná cuireadh agus meabhrú a thabhairt dúinn filleadh ar an gcorp agus ar na mothúcháin agus ar an mbraistint atá le mothú inár gcorp féin gach aon nóiméad. Agus ar an gcaoi sin leanamar ar aghaidh ar ár dturas. Cén chaoi ar forbraíodh na smaointe agus cén chaoi ar oibrigh na daoine óga, an t-ealaíontóir agus an múinteoir le chéile? Leanne Ag an gcéad seisiún ar líne, chuir na leanaí iad féin in aithne do Lisa. Scríobh siad cúpla focal fúthu féin agus bhain siad úsáid as an gclár bán idirghníomhach chun na focail sin a léamh amach do Lisa. Thosaíomar ag obair ar an damhsa duilleoige agus phléamar na séasúir éagsúla. Séasúr an fhómhair a bhí ann ag an am. Chuamar amuigh agus thugamar suntas don chaoi a raibh na duilleoga ag titim agus ag séideadh sna crainn. Thaispeáin Lisa a damhsa duilleoige dúinn. Spreag é sin na leanaí le machnamh a dhéanamh maidir le céard ba mhaith leo a dhéanamh. Bhí go leor ionchur acu. Chruthaíomar roinnt gearrthóg fuaime réamhaclaíochta céadfach in éineacht le Lisa. https://soundcloud.com/lisadance/virtually-there-warm-up Bhí sí iontach maith ag cur ceisteanna ar na leanaí faoina gcuid smaointí. Chinn na leanaí gur mhaith leo nithe ón taobh amuigh a thabhairt isteach. Thriaileamar bealaí éagsúla leis na hábhair seo a úsáid inár ngearrthóga réamhaclaíochta. Mar thoradh air sin, bhailigh na leanaí duilleoga agus rudaí mar sin. Agus mar thoradh air sin thángamar ar an ngníomhaíocht ab ansa leo; tatúnna duilleoige. B’aoibhinn leis na leanaí é sin. Rud chomh simplí, ach chomh héifeachtach ag an am céanna. Bhí ceangal maith idir an obair seo go léir agus na hábhair scoile a bhíonn ar bun againn, ina bhfoghlaimímid faoi na séasúir. Bhí ceangal ann lenár litearthacht, an fhilíocht go háirithe. Ar theacht an earraigh, scríobhamar dánta. Bhí an t-uafás fiosraithe againn faoin am sin. D'fhéachamar ar ár lámha, rinneamar líníochtaí díobh, chuamar amuigh chun nithe nádúrtha a fháil chun marcanna a chruthú ar an bpáipéar. Go deimhin, thaitin an marc-chruthú seo go mór leo. Thosaigh na leanaí, agus iad i ngrúpaí beaga, ag cur a ndamhsaí féin le chéile. Is iadsan a bhí i gceannas ar an bhfoghlaim ag an bpointe seo. Thosaigh roinnt acu ag smaoineamh faoi ghearradh síos crann, agus ag cruthú damhsa faoin téama sin. Agus thug sin ar thuras eile muid, ag fiosrú ábhar nua, ceann nach ndearna mé roimhe sin ar scoil; dífhoraoisiú, ag déanamh staidéir ar fhoraois bháistí na hAmasóine agus ar éifeacht an dífhoraoisithe. Ba iad na leanaí a bhí i gceannas go hiomlán don chuid seo. Bhí go leor gearrthóirí adhmaid ag leagan crainn. Ach ag cur crainn nua chomh maith. Tháinig na smaointí seo ó na leanaí i ndáiríre, mar thoradh ar ionchur Lisa. Ag céim níos déanaí sa tionscadal, rinne na leanaí póstaeir feachtais le seoladh chuig an Prince’s Rainforest Trust. Is scoil UNICEF muid agus bhí an t-ábhar go léir ceangailte leis na modúil Do Chearta agus Tá sé de cheart agat tuairim a bheith agat. Bhí sé de cheart ag na leanaí a dtuairim a chur in iúl gur dhrochrud atá sa dífhoraoisiú. Iadsan a bhí i gceannas ar an bhfoghlaim go huile agus go hiomlán. Déarfainn gur tionscadal fíor-chomhoibríoch a bhí ann, turas faoi conas obair a dhéanamh le chéile. Lisa Ba é an cuspóir a thug Leanne agus mé féin d’fhorbairt na hoibre a bhí ar bun againn le chéile ná cluas éisteachta a thabhairt dá chéile agus do na leanaí. Le linn na héisteachta sin, dhíríomar ar dul i dtiúin le fuinneamh agus freagairt na leanaí. Cén fhreagairt a bhí acu? Cad iad na pointí ag a raibh an fuinneamh ag ardú agus ag gluaiseacht? Go deimhin, ba mhinic a raibh sé dúshlánach dom fuinneamh na leanaí, teocht an tseomra, a thabhairt faoi deara agus é a ‘aireachtáil’ le linn gníomhaíochta. D’airigh mé go raibh frustrachas agus uaigneas fiú, in amanna, ag baint le bheith sa seomra ranga tríd an gclár bán idirghníomhach, b’in a bhí mar thaithí chéadfach agam. Trí bheith ag breathnú ar an seomra ranga trí scáileán cúng mo ríomhaire glúine thuig mé gur gá dom teacht ar bhealaí eile ina mbeinn in ann an t-eolas a bhí uaim a fhiosrú agus a shainaithint le go mbeinn in ann aireachtáil go raibh mé sa seomra seo a bhí lán le daoine. Bhí orm ceisteanna sonracha a chur ar na leanaí agus ar Leanne chun a n-aiseolas a fháil. Ní dhéanfaidh mé dearmad go deo ar an gcur síos a thug Leanne dom faoi fhreagairt na leanaí ar an tasc a bhain le tatúnna duilleoige a chruthú. Rinne sí cur síos ar áthas agus gáire na leanaí agus ar an gcúram a ghlac siad agus iad ag dathú na nduilleog agus iad á gcur ar a gcorp. Le linn thréimhse iomlán an tionscadail, lean mé orm ag roinnt gnéithe agus samplaí beaga ó mo chleachtas féin. Ag eascairt ón roinnt sin, thosaigh Leanne agus na leanaí ag forbairt a gceisteanna, tascanna agus foirmeacha cruthaitheacha freagartha agus machnaimh féin. Bhain mé go leor taitnimh as smaointí, ceisteanna agus freagraí daoine a fheiceáil, a chloisteáil agus a aireachtáil. Cad iad na gnéithe den tionscadal a chuir gliondar ort? Cad iad na gnéithe den tionscadal a raibh dúshlán ag baint leo? Leanne Tosóidh mé le dúshlán. Seisiún 9 a bhí ann. Bhí gach rud ag dul go fíormhaith lenár ríomhchlár, Blackboard Collaborate, go dtí sin. Ach le linn sheisiún 9, níor oibrigh an teicneolaíocht dúinn. Ní raibh Lisa in ann ceangal a dhéanamh linn. D’airigh mé go raibh mé ar strae. Tá an líonra scoile C2K i dTuaisceart Éireann an-dian. Ní raibh mé in ann facetime ná skype a úsáid chun teagmháil a dhéanamh le Lisa. Ag an deireadh bhaineamar úsáid as whatsapp. Bealach iomlán nua a bhí ann chun cumarsáid a dhéanamh le Lisa. Bhíomar in ann cumarsáid a dhéanamh le Lisa trí theachtaireachtaí béil whatsapp. Sheolamar grianghraif den obair a rinneamar an lá sin (a bhí ag leanúint den mhéid a bhí déanta againn roimhe sin). Dúshlán atá ann nuair a theipeann ar an teicneolaíocht. Ba é an buaicphointe an dá lá a chaith Lisa sa scoil i mí Aibreáin. Ní dhéanfaidh mé dearmad go deo ar an am a chaith sí leo sula ndeachamar amach ag scannánú a gcuid damhsaí. Ní dhéanfaidh mé dearmad go deo air sin. Ní dhéanfaidh na leanaí dearmad go deo air sin. Bhí sé go hiontach. Bhíomar tar éis an méid sin ama a chaitheamh ag comhoibriú le chéile ar líne. Agus ansin bhí sí ansin, inár measc. Buaicphointe an tionscadail a bhí ann dom féin agus do na leanaí. Lisa Go deimhin, cosúil le Leanne, níl cuimhne ródheas agam ar sheisiún 9. Níor oibrigh an modh cumarsáide eadrainn. Chaill mé beagán misnigh sa teicneolaíocht ina dhiaidh sin. Mhothaigh mé beagán imníoch roimh na seisiúin ina dhiaidh sin. Nuair a theipeann ar an teicneolaíocht, is cinnte gur dúshlán mór atá ann. Ach mar gheall gur thuigeamar nach bhféadfaimis brath ar an nasc ar líne, thosaíomar ag díriú níos lú fócais ormsa mar cheannaire ar na seisiúin. Ag féachaint siar air, tuigim anois gur phointe fíorthábhachtach inár dturas le chéile a bhí sa phointe seo. Tar éis sheisiún 9, ceapaim go ndearna Leanne agus na leanaí céim mhór chun tosaigh agus go raibh siad faoi lánseol ina dhiaidh sin. Go dtí seisiún 9 chaitheamar go leor ama ag cur aithne ar a chéile, ag fiosrú smaointí, ag baint triail as rudaí, ag úsáid na gcéadfaí lasmuigh agus laistigh, ag cur aithne ar fhoirmeacha agus trialacha cruthaitheacha beaga a chéile. Bhí a fhios agam gur fhorbair na leanaí a gcuid scileanna agus eolais agus go raibh dúil mhór acu sa ghluaiseacht chruthaitheach agus sa timpeallacht nádúrtha ina dtimpeall. Mar gheall gur sheas mé siar beagán, chruthaigh mé tuilleadh spáis don chomhpháirtíocht dhinimiciúil seo (múinteoir agus leanaí) agus do dhaoine indibhidiúla chun teagmháil a dhéanamh lena gcruthaitheacht féin. Ag smaoineamh siar air seo, tagann gliondar ar mo chroí. Cé na léargais ón tionscadail ar fiú a roinnt? (B’fhéidir go ndéarfá gur cinn bheaga iad seo, ach go bhfuil siad tábhachtach duitse) Leanne Ag an tús ní raibh mé cén cinnte cén treo ina mbeimis ag dul. Bhí orm céim ar gcúl a thabhairt agus anáil a tharraingt. Spreag Lisa muid lenár n-aird a dhíriú ar na rudaí simplí. Ach mar a tharla sé, bhí na rudaí simplí thar a bheith éifeachtach. Sna gnáthscoileanna faoi láthair, leagtar an-bhéim ar na leanaí a chur i dteagmháil lena gcéadfaí arís. Bíonn deacrachtaí céadfacha ag go leor leanaí sna scoileanna faoi láthair. Dhíríomar ar thadhall le linn na réamhaclaíochta. Roimh gach rang bhí na leanaí ar bís faoi bheith ag obair in éineacht le Lisa. Chabhraigh an réamhaclaíocht leis na leanaí a shuaimhniú. Is rud mór iad na deacrachtaí céadfacha faoi láthair sna gnáthscoileanna. Aithnímid go bhfuil gá le tacaíocht a thabhairt do na leanaí le gur féidir leo filleadh ar na bunchlocha, iad féin a shuaimhniú agus a rialú. Bhain mé go leor as an réamhaclaíocht. Dhíríomar ar thadhall agus ar mhothú, ar do lámh a chur ar do lámh, do chos, do cheann. Ón taobh céadfach de, bhí sin suntasach domsa, agus cheap mé gur chabhraigh sé go mór leis na leanaí a ullmhú dá ndamhsaí. Lisa Rud amháin ar mhaith liom labhairt faoi ná an chaoi a ndearnamar iarracht doiciméadú a dhéanamh ar an bpróiseas tríd an iliomad modhanna doiciméadúcháin a bhailiú. Is grianghrafadóir mór í Leanne. Chruthaigh sí, bhailigh sí agus tharraing sí ár n-aird ar an modh físiúil doiciméadúcháin seo. Déarfainn anois, agus an tionscadal críochnaithe, go raibh an-tábhacht ag baint leis na modhanna éagsúla doiciméadúcháin agus gur coimeádán a bhí ann do na próisis agus na roghanna a tháinig chun cinn le linn an tionscadail. I measc na modhanna ar baineadh úsáid astu bhí grianghrafadóireacht, scannán, scríobh, ealaín, gluaiseacht agus bailiú ábhar. Thug na modhanna seo léargas do dhaoine eile ar an obair agus ar phróisis an tionscadail agus chruthaigh siad go leor pointí iontrála isteach ann. Ar athraigh aon cheo mar thoradh ar an tionscadal seo? Leanne D’athraigh. Chuaigh tionchar na réamhaclaíochta fuaime agus an aird a dhíríomar ar na céadfaí i bhfeidhm orm sa chaoi gur chuir sé ag smaoineamh mé faoin gcaoi a bhfuil luas faoi gach rud a mhúintear sna gnáthscoileanna. Tá tú ag dul chomh tapa sin ag iarraidh gach rud a chlúdach mar go bhfuil an méid sin ar an gcuraclam. Ag deireadh an lae de réir mar a bhogann an tsochaí chun cinn, agus de réir mar a bhaintear níos mó agus níos mó úsáide as an teicneolaíocht (agus admhaím gur ar an teicneolaíocht a bhí ár dtionscadal bunaithe), chaith an tionscadal solas ar an tábhacht a bhaineann leis an intinn a shuaimhniú. Análú, agus rialú, aireachas. Feasacht ar an spás timpeall ort, ar do chorp féin agus ar do chéadfaí a bheith agat, rud atá in easnamh ag go leor leanaí den aois seo. Déarfainn gur thug sin údar machnaimh dom mar mhúinteoir. Ní gá go mbeadh damhsa róstruchtúrtha. D’fhéadfadh sé bheith an-chruthaitheach, rud a chruthaigh na leanaí. Bhí mé in amhras faoi céard a cheapfadh na buachaillí faoi seo? Cén chaoi a n-éireoidh leis na buachaillí leis seo? Agus ós rud é nach damhsóir mé, ní raibh fios dá laghad agam cén toradh a bheadh leis? Sílim go raibh imní orm anois is arís faoin táirge deiridh. Ach tuigim anois gurb é an próiseas an rud is tábhachtaí. Bhí sé dochreidte an méid oibre a rinne na leanaí le linn an phróisis. Ní thar oíche a tháinig na damhsaí sin le chéile. Ghlac na leanaí úinéireacht ar a bpróiseas féin. Thaitin na laethanta a chaith Lisa ag obair le grúpaí beaga go mór liom. Rinne sé comhrá leo maidir lena ndamhsaí, thug sí aiseolas agus nodanna dóibh. B’aoibhinn leis na leanaí é sin. An próiseas an rud is tábhachtaí ach tá sé go deas táirge iontach a bheith agat ag deireadh an lae chomh maith. Ach is faoin bpróiseas atá sé i ndáiríre. Bhí sé an-tábhachtach dom go mbeadh na tuismitheoirí páirteach. Tógáil seans a bhí ann. Mhair na seisiúin an lá ar fad. Lá iomlán lasmuigh den ghnáthchuraclam, den uimhearthacht, den litearthacht a bhí ann. Lá damhsa a bhí ann! Bhí sé fíorthábhachtach go mbeadh na tuismitheoirí ar bord leis seo. Agus bhí. Bhí siad páirteach an t-am ar fad. Ón gcéad tionól ranga féin, nuair a roinneamar agallamh idir na leanaí, an múinteoir agus an t-ealaíontóir. Thaitin sé go mór leo. Bhí deis acu Lisa a fheiceáil. Bhí siad tar éis an méid sin a chloisteáil faoi Lisa ó na leanaí. Ach fuair siad an deis Lisa a fheiceáil agus bhí siad ag iarraidh níos mó a fhoghlaim fúithi. Sílim go raibh sé sin tábhachtach, go raibh na tuismitheoirí ar bord agus ag glacadh páirte. Rinneamar DVD mar chuid dár dtionscadal. Ní uaimse a tháinig an moladh do DVD. Ní ó na leanaí ná ó Lisa a tháinig sé. Ba é moladh na dtuismitheoirí a bhí ann. Tháinig na tuismitheoirí chugam tar éis an tionóil ranga agus d’iarr siad an píosa scannánaíochta orm. Bhíomar tar éis scannán a thaispeáint ina raibh agallamh idir Lisa agus na leanaí. Bhí beirt agallóirí ag cur ceisteanna ar Lisa. Rinne siad sár-jab agus bhí a dtuismitheoirí an-bhródúil astu nuair a chonaic siad chomh cumasach agus a bhí siad agus iad ag cur na gceisteanna. Ghlac gach leanbh sa rang páirt sa tionscadal seo. Bhí dúil ar leith ann ag na leanaí a fhoghlaimíonn níos fearr leis an bhfoghlaim chinéistéiseach. Rinneamar an DVD deireanach mar gur iarr na tuismitheoirí an t-agallamh seo a fheiceáil. Bhí na tuismitheoirí ag iarraidh damhsaí na leanaí a fheiceáil agus iad a roinnt le daoine eile. Sílim go bhfuil sé seo tábhachtach. Ní comhpháirtíocht amháin idir an múinteoir, na leanaí agus an t-ealaíontóir atá ann. Comhpháirtíocht leis na tuismitheoirí atá ann chomh maith. Nuair a tháinig Lisa go dtí an scoil i mí Aibreáin bhí sé go hiontach sceitimíní na dtuismitheoirí a fheiceáil. Bhí gach duine ag beannú di agus í ag éirí amach as a carr. B’in an chéad uair ar bhuail sí leo. Ach d’airigh siad go léir go raibh aithne acu uirthi. Tá sé dochreidte an chaoi ar féidir leat obair a dhéanamh le duine ar feadh bliana agus sibh ar dhá cheann na tíre. Nuair a thagann rud éigin mar seo le chéile, tá sé fíorspeisialta. Lisa Sílim gurb é an rud a fhanann liom ag an bpointe seo agus an rud gur mhaith liom coinneáil liom agus mé ag leanúint ar aghaidh le Leanne, leis na leanaí, leis na teaghlaigh agus le pobal Bhunscoil Achadh na Cloiche, ná an fhiosracht atá agam maidir le naisc a chruthú agus ceisteanna a chur. Níl freagra ná modh agam maidir le conas iad sin a dhéanamh go rathúil. Ach sílim gur féidir linn brath ar an rún éisteachta agus muiníne atá againn, agus ar an rún atá againn a bheith fiosrach. Seo nóta ó mo dhialann (a scríobh mé le linn an tionscadail). Cad iad na ceisteanna is féidir a roinnt chun cead a thabhairt le gur féidir le heispéireas tarlú? Sílim go bhfuil bealaí éagsúla ann chun machnamh a dhéanamh air seo. An fhéidearthacht le naisc a chruthú – ag foghlaim faoi rud éigin agus fúm féin ag an am céanna. Arís, cad iad na ceisteanna/an cheist chun oscailteacht agus fiosracht a spreagadh – ag tabhairt úinéireachta ar ais don duine aonair. Aithin Admhaigh Glacadh - glacadh leis an áit a bhfuil an duine ag an bpointe seo. Cur chuige neamhlíneach maidir le foghlaim agus rud éigin a bhaint amach. Cad a bhíonn ann idir an múinteoir agus an ealaíontóir? Aithnid agus anaithnid. Ag fanacht ar an imeall seo. D’fhéadfadh sé a bheith ar nós a bheith i bhfolús nó ag céim idirthréimhseach ar a bhfuil moill. Ag forbairt struchtúir le chéile atá comhdhéanta as na mothúcháin go léir a bhain leis an obair agus as ábhair. Dlúithe agus dialóg leis an obair le mothú – ag éisteacht léi. Tá gá le frámaí agus struchtúir a fhiosrú agus a chruthú, nach bhfuil ag brath ar aon éileamh ó tháirge nó léiriú deiridh. Tionscadal ina féidir linn go léir ceisteanna a chur ar a chéile. “Cad is eol duit anois?” “Conas atá tú anois?” Spotsolas Ealaíontóir(í): Lisa Cahill Is damhsóir comhaimseartha, éascaitheoir, agus oideachasóir gluaiseachta í Lisa. Ó 2014 go 2016, ba í Lisa an Damhsóir Cónaithe i Roinn Froebel don Bhun- agus Luath-Oideachas in Ollscoil Mhá Nuad. Bhí an chónaitheacht seo maoinithe ag an gComhairle Ealaíon. In 2016 fuair Lisa sparánacht ón gComhairle Ealaíon chun tacú léi leis an taighde faoi chleachtais shómatacha i gcomhthéacsanna oideachasúla a bhí ar bun aici. Tá Lisa páirteach sa tionscadal taighde ‘Virtually There’, atá á bhainistiú ag Comhpháirtíocht Foilsitheoireachta Kids’ Own Clár fadtéarmach le healaíontóir cónaithe atá sa tionscadal seo, a nascann agus a thugann tacaíocht d’ealaíontóirí gairmiúla, leanaí agus múinteoirí rannpháirteacha i dTuaisceart Éireann trí úsáid a bhaint as cumarsáid fhíorúil. Chun tuilleadh eolais a fháil maidir le ról Lisa sa tionscadal Virtually There, téigh chuig: www.projects.kidsown.ie Is iar-bhunmhúinteoir í Lisa a bhfuil MA aici i dTaibhiú Damhsa Chomhaimseartha ó Dhámh Chruinne Éireann Rince agus Ceol agus Dioplóma Iarchéime i nDamhsa, an dá cheann aici ó Ollscoil Luimnigh. Taispeánadh saothar Lisa ar bhonn náisiúnta, agus le déanaí bhí a saothar le feiceáil i Limerick Dance Collective, ‘Making Space: Changing Ground’. Comhoibrigh sí le Joan Davis in 2016/2017 mar chuid den tionscadal léirithe ‘Live Archive’ a tógadh ar chamchuairt náisiúnta. Tá punann mhór de shaothar comhoibritheach forbartha ag Lisa i raon leathan comhthéacsanna gairmiúla, oideachais agus pobail. Tá Lisa ar dhuine de chomhbhunaitheoirí Spoken Dance, compántas damhsa chomhaimseartha chomhtháite. Stiúir sí roinnt gearrscannáin damhsa leis an gcompántas seo. Roghnaíodh ‘two’ le haghaidh Light Moves Festival of Screendance in 2015. In 2015, fuair Lisa teastas tinrimh ó ‘Origins’, oiliúint sa teiripe agus gluaiseacht shómatach a chuir Joan Davis i láthair. Múinteoir(í): Leanne Kyle Múineann Leanne Rang P2/3 i mBunscoil Achadh na Cloiche. Is baile beag é Achadh na Cloiche atá suite ar theorann Chontae Thír Eoghain. Is maith léi cadhcáil, fánaíocht, taisteal agus grianghrafadóireacht. Ealaíontóir(í) Lisa Cahill Múinteoir(í) Leanne Kyle Foirmeacha Ealaíne Leibhéal Scoil/Grúpa Aughnacloy Primary School, Co. Tyrone Rannpháirtithe Réigiún Aois/Rang Rang P2 agus 3 Dátaí Meán Fómhair 2016 go dtí Bealtaine 2017 Naisc Ceannaireacht Ghníomhaireacht Kids’ Own Publishing Partnership Príomhthéamaí / línte fiosrúcháin An corp céadfach – na céadfaí Eispéireas céadfach na háite seo againne Ag éisteacht. Ba é an cuspóir a thug Leanne [an múinteoir] agus mé féin d’fhorbairt na hoibre a bhí ar bun againn le chéile ná cluas éisteachta a thabhairt dá chéile agus do na leanaí.Lisa Cahill, Ealaíontóir Similar Projects Virtually There with St Patrick’s P.S. Co Armagh Artist Sharon Kelly and teacher Fionnuala Hughes from at St Patrick’s PS, Co. Armagh, talk about their explorations for this phase of the Virtually There Project around the idea of balance. Virtually There Artist Vanya Lambrecht Ward collaborates with children from Ardfert National School, Tralee, via video conferencing technology.