By Regine, Loiseau, Yves ", Merieux

Le consultant pédagogique de Connexions 1 suggest une creation vous permettant de vous imprégner rapidement et efficacement des fondements méthodologiques qui ont guidé los angeles perception de Connexions; pour chaque activité du livre de l'élève : des conseils méthodologiques, des pistes d'exploitation, des références culturelles, l. a. transcription de l'enregistrement, le corrigé de toutes les activités (ainsi que des propositions de corrigé pour les activités de productions orale et écrite); des activités complémentaires facultatives vous permettant de moduler los angeles durée de votre cours en fonction des besoins. Chaque unité contient au moins une activité complémentaire et on peut en compter jusqu'à quatre. Certaines d'entre elles sont sonores et leur enregistrement se trouve sur le CD/cassette pour l. a. classe; le corrigé des 12 assessments de fin d'unité et des four préparations au DELF; les niveaux de référence extraits du Cadre européen commun de référence pour les langues; une carte administrative de los angeles France

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Extra resources for Connexions: Guide Pedagogique 1

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Our research indicates that people become involved because they are Practice of Community Art: From Setting the Stage to Making the Art 23 interested in cultural, educational, family, and fun activities. In addition, young people are motivated by their interest in the projects, by their desire to have something to do after school, or by their need to honor parents’ or teachers’ requests. Motivations are important to consider when designing recruitment methods. For community art to be effective, there must be a core group of participants, including some type of community leadership, that is committed to participating for the project’s duration.

Consequently, they decided to design a space where individuals could feel peaceful and where peaceful interactions among people would be more likely to occur. Once the content or theme is chosen, the process for determining artistic form includes selecting the medium and the installation treatment or performance venue. For example, in the theater project, the art practitioners Practice of Community Art: From Setting the Stage to Making the Art 33 presented the proposal of a play as a cultural representation that could include dance and narration, among other ideas that participants generated and subsequently chose from.

Please see Appendix F, General Resources, for more information about funding. 7. Olivia Gude, “Beyond Monological Monuments: The Possibility of Heteroglossia in Public Space,” Public Art Review, no. 12 (Spring/Summer 1995): 40. 8. , 2004). 9. , and Philadelphia: New Society Publishers, 1996). 10. : New Society Publishers, 1994). 11. For additional information on how to facilitate participatory decisions, see Kaner’s Facilitator’s Guide to Participatory Decision-Making. 12. John Dewey, Art as Experience (New York: Minton, Balch & Company, 1934).

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