Short version
Target group:
The basic storytelling exercises are particularly well-suited for students with complex disabilities and intellectual disabilities. By adding differentiated materials, each story can be expanded and used in heterogeneous learning groups. The content can thus be experienced at a basic level or, in a supplementary form, meet higher cognitive demands. The content is suitable for middle and high school special needs schools. They can be implemented as project topics in kindergarten and primary school.
Notes on the basic experience stories: Each story download contains several components: In addition to the actual story, the methodological considerations, additional worksheets and links to the respective films.
The text of the story serves as a guide, but is told freely.
Most stories describe two analog experiences and include the corresponding digital film clips. The experiences can be used flexibly; for example, if time constraints prevent all experiences, just one analog experience with the corresponding films/film clips can be used. The stories can be repeated flexibly.
The analogue experiential offerings are designed so that students with complex disabilities can complete the work steps as independently as possible with minimal support. They have the opportunity to experience and shape the content at a basic level using all of their senses.
The digital experiences enable students to “enter” the worlds shown and thereby complement and expand their experiences.
The links to the films used can be found in the appendix. Over time, individual links may no longer exist. (Tip: Always enter the links in the search bar at the top of YouTube, otherwise the search won't work.) The notes on the films are intended as recommendations. The length of the films/film clips should be no longer than 1-2 minutes to avoid students losing concentration. If only one film clip is to be shown, this is noted in the appendix. The music used in the stories is an exception. This is intended to promote movement and relaxation.
The term "projector room" refers to the location where the projector is located. It's advantageous if this room can be darkened, so the images on the screen appear clearer.
Methodical didactic approach
For which group of students is the Basic Experience Theatre designed
Target group: The basic storytelling exercises are particularly well-suited for students with complex disabilities and intellectual disabilities. However, through the use of differentiated materials, each story can be expanded and thus used in heterogeneous learning groups. The content can thus be experienced at a basic level or (in a supplementary form) meet higher cognitive demands. The content is suitable for special needs schools and for the intellectual development curriculum with a differentiated learning goal at all learning locations. They can be implemented as project topics in kindergarten.
A group size of 7-9 students is ideal. Especially with physical activities, it's not easy to supervise a larger group. It's also important to consider the number of wheelchair users in the group to avoid overloading the space. There must still be enough space to allow for the physical activity activities.
Dealing with the building blocks of stories
Secondary education
Dealing with the building blocks of stories
The stories are divided into three columns.
The first column describes the methodological considerations. This explains how the story can be presented and how the individual materials can be used. The first column also provides suggestions for how students can use their senses to delve deeper into the story and the events.
Methodological considerations often include the phrase "The scene is acted out." In this case, the teacher takes on the task of describing the content of the story and, if necessary, acting it out. This creates a bridge between the individual stages that carries the story forward. At this point, it is very important to involve the school assistants/school assistants/integration assistants/inclusion assistants in the story.
The second column lists the materials, images, and films used in the scene. Detailed information is provided in the respective worksheets.
The pictures and links to the films are at the end of each story.
The third column contains the respective story. It serves only as a guide and inspiration. The story is told freely and in your own words.
For younger students, the narrator of the story can be represented by a puppet. For older students, the teacher can take on the role by dressing up as a character. The story can also be played fictitiously, with the teacher narrating the story without being physically present. It's important to stay within the narrative throughout the entire journey and avoid any breaks.
Digitalization
Digitalization in basic experiential learning makes it possible to bring students closer to spaces of perception, experience, and discovery. Students have the opportunity to experience the sights of individual countries, for example, visually, aurally, or sometimes even vestibularly. The films can be used to convey interactive experiences: for example, a museum visit, a roller coaster ride, a boat trip, or a cable car ride. The photos serve as visual aids, such as a map, individual fruits, animals, or landscapes.
Digital and analogue offerings
The stories are divided into days and consist of individual modules that create a world of experiences with holistic perception. These modules include film clips, photos, and analogue activities. The mix of digital and analogue activities allows students to be engaged through all of their senses. The digital activities should not last longer than 2-3 minutes, otherwise, students' attention will wane. The analogue activities allow students to explore opportunities for action and interaction.
Preliminary considerations of the historical building blocks
The stories are designed to be spread over several days. The film segments can be shown repeatedly each day. The respective analog offerings are divided so that only one offering is presented per lesson. The stories from basic experiential learning, for example, in geography, can be supplemented with typical local dishes or music, as well as a dance performance.
Entry and exit
In basic experiential teaching, for example in geography, the pupils are shown a map to introduce a new story.
For me, it's important that every student can perceive the corresponding map to the best of their ability. This allows them to perceive where their home is and where they are traveling to.
Afterwards, the students tune into the music of their country. They experience the language of their respective country and can move to the rhythm of the music.
The end of the course is introduced by a film featuring a typical song from that country. Students experience the language and music of their respective country and find peace.
In the basic experiential geography class, the individual stories are written from the perspective of a girl or boy, with changing names, adapted to the respective country. However, in the final year, the students are a travel group (us). In the basic experiential physics and biology class, Louis and Lotti are used as puppets. They can be replaced by the teacher or another costumed person. They greet the students at the beginning and say goodbye at the end. The puppets, or the costumed person, are highly recognizable to the students.
In the basic experiential mathematics lessons, the teacher takes on the role of the magician Merlin, who guides the students through the respective stories.
In basic experiential history lessons, the protagonists alternate. Sometimes it's the teacher who takes on the role of Marco Polo, or a mouse who tells the story of, say, Columbus. In the final year, it's proven effective to put the entire group of students in the role of the protagonist, allowing them to experience the story as a "travel group."
Meine Materialien
Kleiderständer und Stangen
Die Kleiderständer und Stangen benutze ich für die räumliche Abgrenzung. Sie geben mir die Möglichkeit, mit einfachen Mitteln ein Flugzeug, einen Zug oder ein Boot darzustellen. Auch im Bereich der touristischen Sehenswürdigkeiten können sie als Museumseingang, eine Höhle oder eine Fahrt mit dem Fahrstuhl auf den Eifelturm genutzt werden.
Beschreibung der unterschiedlichen Reisearten
In den Unterrichtsentwürfen, in der Rubrik Methodische Überlegungen, ist häufig vermerkt, dass die Szene gespielt wird. Dabei handelt es sich um unterschiedliche Fortbewegungsmittel und Reisearten.
Die Anreise erfolgt oft mit dem Flugzeug, der Bahn, dem Schiff oder dem Auto. Diese Art der Reise kann den Schülerinnen und Schülern durch die Digitalisierung umfassender vermittelt werden, indem Filme die Reise visuell und akustisch untermalen. Die praktische Umsetzung sieht folgendermaßen aus:
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wir benötigen 2 Kleiderstangen
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weiße, braune und schwarze Tücher
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einen Beamer
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Die beiden Kleiderständer werden parallel vor die Leinwand gestellt, sodass sie das Bild oder den Film rechts und links begrenzen/einrahmen. Die Kleiderständer werden mit den entsprechenden Tüchern überzogen. Ein Flugzeug z.B. mit weißen Tüchern, ein Zug oder Schiff mit braunen oder schwarzen Tüchern. Für die Schülerinnen und Schüler ist es wichtig, die räumliche Abgrenzung zu erleben, so können sie sich auf das Geschehen fokussieren.
Im Weiteren können die digitalen Reisen schauspielerisch ausgebaut werden. Die Flugreise kann erst beginnen, wenn ein Pilot und ein Kopilot gefunden sind. Wenn alle Schülerinnen und Schüler eingestiegen sind, klärt eine Stewardess die Reisenden über die Sicherheitsvorschriften auf. Die Flugreise kann Turbulenzen erleben, mit Gewitter und Wolken. Die Schülerinnen und Schüler und das Flugzeug (die Kleiderständer) werden durchgerüttelt.
Im Zug kann es ein Schaffner sein. Auch Fahrkarten können eine Rolle spielen.
Die Bootsfahrten können als touristische Fahrten durch Kanäle erlebt werden oder als Ausflugfahrten aufs Meer. Hier können die Schülerinnen und Schüler z.B. die Meerestiere, die um das Boot schwimmen, erleben. Es kann auch ein Unwetter mit dicken Wolken, die mit Tüchern gespielt werden, aufziehen. Das Boot fängt in dem Seegang an zu schwanken. Es folgt ein Gewitter und die Gischt spritzt (Sprühflasche). Die Bootsfahrt kann auch zum Angeln genutzt werden, indem die Schülerinnen und Schüler vom Boot aus ihre Angeln auswerfen. Die Angeln bestehen aus einem Stock, an dem eine Schnur befestigt ist. Am Ende der Schnur befindet sich ein Magnet. Die Fische haben das Gegenstück aus Eisen und können so geangelt werden.
Die Ständer können auch bei einem Museumsbesuch genutzt werden, indem sie als Eingang dienen. In diesem Fall werden zwei weitere Stangen auf die Kleiderständer gelegt. (Bitte auf die Stabilität der Konstruktion und Sicherheit aller Teilnehmer und –nehmerinnen achten!) Diese dienen zur Unterstützung, sodass das dritte Tuch nicht durchhängt. Dadurch haben die Schülerinnen und Schüler die Möglichkeit, die Veränderung des Ortes zu erleben.
Das gleiche gilt auch bei einem Höhlenbesuch, wie z.B. bei der Höhle von Lascaux. In diesem Fall wird die Konstruktion mit braunen und schwarzen Tüchern bespannt. Die Tücher können auch tiefer hängen, so dass die Schülerinnen und Schüler die Enge der Höhle erleben können.
Im Bereich der Digitalisierung können Fotos auch interaktiv genutzt werden. Ein Foto von einem Olivenbaum kann genutzt werden, in dem spielerisch die Oliven von dem Baum geerntet werden. Die Lehrperson versteckt eine Olive in ihrer Hand, die sie dann vom Baum pflückt. Im Anschluss werden ihnen die Oliven präsentiert, die sie gustatorisch erleben können. Das Gleiche kann auch mit anderen Früchten durchgeführt werden.
Die Reisen, die auf dem Flur stattfinden, werden gespielt. Die Schülerinnen und Schüler steigen in den Zug, in den Bus, in das Wohnmobil oder in das Auto ein. Die Schülerinnen und Schüler steigen ein und verteilen sich in Zweierreihen. Am Schluss wird die Tür geschlossen. Die Reise geht los. Dabei können das Anfahren, Gänge schalten, Hupen, Bremsen gespielt werden. Für die Schülerinnen und Schüler ist der Einsatz von einer oder mehreren unterschiedlichen Hupen immer wieder ein großes Vergnügen. Die Hupen können auch auf einem Brett befestigt werden, so können sie die Hupen besser auslösen. Auf dem Weg kann auch eine Ampel positioniert sein. Sie besteht aus einem Karton mit drei Löchern. Die Löcher sind mit roter, gelber und grüner Transparentfolie überzogen. Eine Schülerin oder ein Schüler kann mit einer Taschenlampe die jeweiligen Farben anleuchten und das Reisemobil muss anhalten oder kann weiterfahren.
Auf der Fahrt gibt es kleine, enge Straßen, Bergstraßen oder Autobahnen. Auf der Autobahn können sie schnell und abenteuerlich fahren. Sie können an einem Rastplatz anhalten und Entspannungsübungen durchführen oder ein kleines Picknick einnehmen. Auf der Fahrt kann es vorkommen, dass man sich verfährt, ganz plötzlich von der Autobahn abbiegen oder noch einmal auf die Karte schauen muss.
Die kleinen Straßen können kurvig sein und auf den Bergstraßen geht es ruckelig zu. Dies kann vermittelt werden, in dem die Rollstuhlfahrer oder Fußgänger gerüttelt werden.
Aus meinen eigenen Erfahrungen lieben die Schülerinnen und Schüler eine schnelle und kurvige Fahrt. Durch die vestibuläre Veränderung können sie sich besser spüren und sind viel präsenter bei dem Geschehen beteiligt.
Während der Reise übernimmt die Lehrperson die Rolle des Erzählers. Sie beschreibt die Umgebung mit allen typischen Merkmalen, sodass die Schülerinnen und Schüler die auf dem Bild gezeigte Landschaft, die in der Geschichte beschrieben ist, erleben können. Während der Reise ist es auch wichtig, das Fortbewegungsmittel so plastisch wie möglich zu spielen,
sodass ein entsprechendes Reisegefühl bei den Schülerinnen und Schülern entstehen kann.
teaching folder
The students have their own folder. I create a sheet of photos for each lesson.
At the beginning of the next lesson, the students receive their worksheet with the corresponding photos. They look at the pictures together and discuss the content of the previous lesson. This serves both to reinforce the lesson and to connect the students to the new journey.
Handling the worksheets and recipes
The worksheets and recipes are designed so that ingredients or materials can be checked off at the beginning. This method ensures that all necessary materials are on hand. This saves unnecessary trips that would otherwise cause confusion. The rest of the worksheets not only detail the steps, but also the procedures. After each step, the process can be checked off. This way, the whole group maintains an overview of the work process. Each student can take turns checking off items. The recipe can also be laminated and checked off with a washable permanent marker. This allows the recipe to be used multiple times.
Another option is to include the recipe or worksheet in the travel journal for the students. Many recipes and worksheets have a space at the end where students can add their own work digitally or by pasting a photo. This allows students to add a personal touch to their recipe or worksheet.
The worksheets and recipes are also suitable for mixed groups. Everyday school life often presents us with challenges, as we have not only our SMB group, but also students with minor intellectual disabilities. For these students, the worksheets and recipes are a particularly good way to promote their reading skills and text comprehension.
The recipes can also be taken completely outside the context of the respective basic experiential theater. A wellness day with the cosmetic products or a day on a farm where butter and cheese are made are ideal for this.
The current version of the Guidelines for Safety in Classrooms at General Education Schools in North Rhine-Westphalia (RISU-NRW) must be observed. ( https://www.schulministerium.nrw/06082024-richtlinien-zur-sicherheit-im-unterricht-allgemeinbildenden-schulen-risu-nrw-2024 )
https://www.schulministerium.nrw/system/files/media/document/file/risu-nrw_2024.pdf
When working with food, the framework hygiene plan for schools, “Kitchen hygiene”
to note!
( https://www.schulministerium.nrw/system/files/media/document/file/rahmen-hygieneplan.pdf )
https://www.schulministerium.nrw/system/files/media/document/file/risu-nrw_2024.pdf
Pages 131 - 135
Observation and perception
It is important to get to know the students in the group. There are also big differences among students with complex disabilities. The basic experiential stories are divided into different areas: digital and analog areas. The digital areas are often designed so that perceptual activities take place during the film. Lessons are often structured so that students experience the film purely visually and aurally first. The second time around, analog activities such as bark, water, stones, fish, etc. are provided to accompany the film. However, it is important to pay attention to how the students in the group react to the films. Do they perceive the film elements and their gaze is focused on the element, or is the film not perceived as such? If a student in the group does not perceive the film as a film, it is recommended to focus on the analog activities and view the film only as a spatial perception in the background. It is often the case that students need a certain amount of time to perceive the film as such. Care must also be taken with the activities to ensure that there is no sensory overload. Depending on the students in the group, the focus of the stories must be on digitalization or on analogue offerings.
Challenging and supporting pupils with high support needs
In my work with the students, I observed that as soon as the lesson began, they broke away from their stereotypes and were able to focus on what was happening. Their curiosity was piqued as soon as they were able to perceive new stimuli through their senses. With the digital offerings, they often needed a certain amount of time to get used to what was happening. The parallel tactile offerings helped them in some cases. However, I noticed that some of the students wanted to concentrate entirely on the short film and found the materials provided to be sensory overload. Others focused more on the materials. Based on these observations, I decided to show the short film twice: the first time just the film, the second time with the appropriate materials.
Even with the analogue offerings, it was clearly evident how interested they were in the individual experiments or offerings. With support, they happily participated in the offerings and observed the progress of, for example, their art project.
For me, it's important to continually expose students to new stimuli and experiences at a basic level, so that they are challenged and thus supported. Especially in the final year, it's important to me that they receive exactly the same subjects or activities at a basic level and aren't just kept busy with gentle stimuli in the quiet room. I could see how the students' eyes lit up the more intense and turbulent the experiences were. For example, the digital roller coaster ride, a winding road on the journey, or even the physics experiments that are used in some of the stories.
This presents a challenge for the teacher and the school assistants, integration assistants, and inclusion assistants. Each student's workstation must be adapted to optimally perform their task. This involves using work tables or mobile supports (boards) that can be individually adjusted to the student's height. The methodological considerations in the lesson plans describe precisely how the individual work steps can lead to the greatest possible degree of self-design for the students.
The students love the change, the escape from their often monotonous everyday lives, because they depend on us to take them out of it. Only with our support can they embark on the adventure of the world of experience. They can discover themselves through their own self-development.
Use of UK devices
The AAC devices are used in different ways in the various basic experiential theater stories. The Powerlink is used primarily in the analogue offerings, where it controls the hairdryer or the kitchen appliance.
Steppers can be used, for example, during debates in the Bundestag (German Parliament) or by playing various animal sounds. Steppers also offer the opportunity to introduce animals not through stuffed animals, but through pictures and videos. Students can trigger the appropriate sounds on the stepper. The individual basic experiential teaching stories can also be expanded by creating dialogues with the baker or the workshop leader.
Tickets can be purchased before individual museum visits or boat trips. This can also be done as a dialogue with the steppers.
If the student is equipped with a talker , photos can be set up on the AAC device to accompany the relevant activities. One of my students, who had a talker with eye-tracking, was able to participate particularly well in the analog activities by naming the materials we needed for our activity.