Jonathan Livingston Seagull pack.pdf

Jonathan
Livingston Seagull
Richard Bach
"READING THROUGH THE LENS OF STEAM"
2020-1-LT01-KA229-078054

Table of Contents
Jonathan Livingston Seagull 3
About the author: Richard Bach 5
Questions to discuss 8
Quotes 9
Summary 12
Steam and experiential learning activities 19
Whirlybird 19
Birds in your backyard 29
Undiscovered journeys of birds 36
Hologram 45
One idea, many variations 59
The Flock 65
"READING THROUGH THE LENS
OF STEAM"
2020-1-LT01-KA229-078054

Jonathan Livingston Seagull
This is a story for people who follow their hearts and make their own rules...people who get
special pleasure out of doing something well, even if only for themselves...people who know
there's more to this living than meets the eye: they’ll be right there with Jonathan, flying
higher and faster than ever they dreamed.
The tale of unprecedented ambition and utmost curiosity, Jonathan Livingston Seagull by Richard
Bach revolves around the life of a seagull named Jonathan who wants to conquer the world by flying
off to distant lands instead of searching for the scraps of leftover food like his fellows.
Bach, through his animal protagonist, informs his readers that nothing remains impossible in this world
if one trusts one’s abilities and potentials and work tirelessly to achieve one’s goals.
Richard Bach started to work on this story in 1959. Than he lived in Long Beach and worked as va
draftsman, a mailman, and a freelance writer penning articles for Flying magazine. one night in 1959
as he walked home and heard a voice behind him say: ”Jonathan Livingston Seagull.” He turned
around to find that no one was there.
Richard rushed back home to his apartment, a little bit frightened, and when he sat down at his desk, a
full Technicolor movie played out in front of his eyes, showing the seagull’s story. Richard wrote down
what he saw as fast as he could.
Unfortunately, the movie suddenly stopped midway through. Richard was left with an incomplete
manuscript. He put it away in a drawer, where it would lie for the next eight years, when the ending
just as suddenly presented itself to him and he completed the story.
When he tried to get it published he received 19 rejections. At last, it was published by Macmillan in
1970.
Now illustrated with Russell Munson’s photographs of seagulls in flight, it would become a worldwide
best seller, selling 44 million copies (and counting) and be one of the top selling fiction novels of all
time. The book has remained continuously in print for over fifty years.
2020-1-LT01-KA229-078054

You should never be afraid to learn, you never know what more you'll discover.
Open your mind, be curious; stay curious. Ask questions.
Although Jonathan was awesome, he wasn't immune to self-doubt and sad moments.
Even the best of the best have anxious moments but still move forward.
He sought to teach others and share what he knew even when others were against him
and he was considered an outcast by his very own 'gull community. He showed
forgiveness, and with forgiveness, we let off massive weights of hatred from us that may
not let us move forward.
If you want to succeed, to do something you find impossible or difficult, the trick is to
know that you have already arrived or achieved it.
Have a limitless mindest and be teachable.
Learn to love and show kindness. Learn it. It gets difficult to show love after we have
gone through so much hardship, but you can always learn and learn again how to show
love.
Do not let the words of others get to you.
Never let the accolades get to your head either. Jonathan accepted the praises other
seagulls gave to him but only for a minute. Then he moved on and continued to practice.
He believed so much in practice making perfect.
Jonathan didn't want to be eulogized as a god but instead wanted others to know he
was an ordinary gull who made things happen, giving them hope that they too could
make things happen and find more meaning and freedom in their life.
When people don't understand you, they either call you a devil or a god. But your duty is
to keep showing up and being better than your previous self.
1.
2.
3.
4.
5.
6.
7.
8.
9.
10.
11.
12.
Mirabelle Morah
Jonathan Livingston Seagull
12 lessons from the book
2020-1-LT01-KA229-078054

Richard David Bach was born June 23, 1936 in Oak Park, Illinois.
Richard grew up in Long Beach — gazing through his homemade
telescope; skin diving along the shores of Newport Beach; and
making model airplanes in his backyard Quonset hut, dreaming of
someday flying a real plane.
After graduating from Woodrow Wilson high school in 1954, and
discovering he didn’t like college, Richard joined the Air Force.
Leaving the Air Force in 1958, Richard returned, now with his wife,
Bette, to Long Beach and took on jobs as: a draftsman, a mailman,
and a freelance writer penning articles for Flying magazine.
The Cold War brought Richard back into active duty, spending a
year in France from 1962 to 1963, flying F-84Fs in a war that could
go hot at a moment’s notice. He became Captain Richard Bach
during this time.
Richard traded fighter jets for antique biplanes after returning from
France, and worked as an editor, now, for Flying magazine in
Manhattan, then later moving to their West Coast office in Beverly
Hills.
A fan letter to Ray Bradbury in 1962 led to a lifelong friendship
between the two men, and membership in Ray’s exclusive writers’
group, which met once a month in Ray’s Los Angeles basement.
Richard would debut his Jonathan Livingston Seagull manuscript at
these meetings.
Richard Bach
1936 -
2020-1-LT01-KA229-078054
A pilot and aviation writer, achieved
success as a new age author with the
publication of Jonathan Livingston Seagull,
a novel that Bach maintains was the result
of two separate visionary experiences over
a period of eight years.

Richard Bach
2020-1-LT01-KA229-078054
In 1965, Richard moved his growing family (eventually growing to
six children) to Ottumwa, Iowa where he worked for the Antique
Airplane Association, while also devoting time to his passions: fixing
up airplanes in his front yard; barnstorming the Midwest during the
summers; and, of course, writing books.
Jonathan Livingston Seagull catapulted Richard to superstardom. He
and Jonathan were even featured on Time magazine’s November 13,
1972 cover.
Bach first wife, Bette Jeanne Franks was also a pilot. She is the
author of Patterns: Tales of Flying and of Life, a book about her life
as a pilot and single mother. She typed and edited most of Richard's
aviation writing. They divorced in 1970, and Bach spent years
without seeing his children.
Divorcing in 1970, Richard continued barnstorming and eventually
settled in Winter Haven, Florida. It was during this period he wrote
his second bestseller: Illusions – The Adventures of a Reluctant
Messiah.
In 1977, Richard began a relationship with the movie star, activist,
and businesswoman: Leslie Parrish. They would eventually marry in
1981, and his next two books would document their relationship:
The Bridge Across Forever and One. Both would become New York
Times bestsellers.
Richard and Leslie moved to Orcas Island in Puget Sound in
Washington state, eventually divorcing in 1999. Richard remained
living on Orcas Island for the next two decades.
On August 31, 2012, Richard suffered a serious plane crash while
flying solo in the San Juan Islands, which required a full year of
recovery. He writes about his crash and recovery in his book:
Illusions II – The Adventures of a Reluctant Student.
1936 -

Richard Bach
2020-1-LT01-KA229-078054
Richard has five living children: Robert, Kristelle, James, Erica, and
Jonathan (who is named after the seagull). His youngest daughter,
Bethany, sadly passed away in a car accident in 1985.
Richard and Bette's son Jonathan, named after the titular character
in Bach's bestseller, Jonathan Livingston Seagull, is a software
engineer and journalist. He wrote the 1993 book Above the Clouds,
about growing up without knowing his father and then later meeting
him as a college student. Richard gave his approval, although he
noted that it included some personal history he would "rather not
see in print."
Richard currently lives in Ashland, Oregon with his wife, Mindy.
Most of Bach's books have been semi-autobiographical, using actual
or fictionalized events from his life to illustrate his philosophy.
Bach's books espouse his philosophy that our apparent physical
limits and mortality are merely appearance.
Bach is noted for his love of aviation and for his books related to
Flying in a metaphorical context.
Most of Bach's books involve flight in some way, from the early
stories which are straightforwardly about flying aircraft, to Stranger
to the Ground, his first book, to his later works, in which he used
flight as a philosophical metaphor.
1936 -

Jonathan Livingston Seagull:
Questions to discuss
2020-1-LT01-KA229-078054
1.What is the theme of Johnathan Livingston Seagull?
2. What is the name of the flock that hunts for food in the morning in Richard Bach's
Jonathan Livingston Seagull?
3. What are similarities and differences between the philosophy of the Flock and the
philosophy of Jonathan in Jonathan Livingston Seagull?
4. What are the characteristics of Jonathan Livingston Seagull?
5. What is the point of view in Jonathan Livingston Seagull?
6. Who are the main characters in "Jonathan Livingston Seagull" besides the hero
Jonathan?
7. What does Jonathan say we must do with everything that limits us?
8. What are some examples of symbolism in "Jonathan Livingston Seagull"? How we
can identify the symbolism in the Jonathan Livingston Seagull?
9. What did Chiang teach Jonathan in Jonathan Livingston Seagull?
10. What is the problem of this story "Johathan Livingston Seagull"?
11. What makes Jonathan Livingston Seagull realize that he "pretty well a one in a
million bird" ?
12. How does Jonathan Livingston Seagull see the world differently?
13. Why do you think Fletcher insisted that Jonathan should not leave in Jonathan
Livingston Seagull?
14. Was Jonathan right when he said, "Don't you think there might be other flocks,
other Fletchers, that need an instructor more than this one, that's on its way towards
the light?" Why or why not?
15. What does Jonathan try to perfect?

Jonathan Livingston Seagull: Quotes
2020-1-LT01-KA229-078054
1.“Don’t believe what your eyes are telling you. All they show is limitation. Look with
your understanding. Find out what you already know and you will see the way to fly.”
2. “You have the freedom to be yourself, your true self, here and now, and nothing can
stand in your way".
3. “The price of being misunderstood, he thought. They call you devil or they call you
god.”
4. “Overcome space, and all we have left is Here. Overcome time, and all we have left
is Now.”
5. “He was not bone and feather but a perfect idea of freedom and flight, limited by
nothing at all”.
6. “Your whole body, from wingtip to wingtip," Jonathan would say, other times, "is
nothing more than your thought itself, in a form you can see. Break the chains of your
thought, and you break the chains of your body, too.”
7. “We can lift ourselves out of ignorance, we can find ourselves as creatures of
excellence and intelligence and skill.”
8. “We choose our next world through what we learn in this one. Learn nothing, and
the next world is the same as this one, all the same limitations and lead weights to
overcome.”

2020-1-LT01-KA229-078054
9. “Jonathan Seagull discovered that boredom and fear and anger are the reasons that
a gull's life is so short, and with those gone from his thought, he lived a long fine life
indeed.”
10. “The gull sees farthest who flies highest”
11. "The only true law is that which leads to freedom," Jonathan said. "There is no
other.”
12. “To fly as fast as thought, to anywhere that is, you must begin by knowing that you
have already arrived.”
13. “One school is finished, and the time has come for another to begin.”
14. “Do you have any idea how many lives we must have gone through before we even
got the first idea that there is more to life than eating, or fighting, or power in the
Flock? A thousand lives, Jon, ten thousand!”
15. “You don't love hatred and evil, of course. You have to practice and see the real
gull, the good in every one of them, and to help them see it in themselves. That's what I
mean by love.”
16. “For most gulls it was not flying that matters, but eating. For this gull, though, it
was not eating that mattered, but flight.”
17. “Heaven is not a place, and it is not a time. Heaven is being perfect.”

2020-1-LT01-KA229-078054
18. “His one sorrow was not solitude, it was that the other gulls refused to believe the
glory of flight that awaited them; they refused to open their eyes and see.”
19. “Look with your understanding, find out what you already know, and you’ll see the
way to fly.”
20. “For in spite of his lonely past, Jonathan Seagull was born to be an instructor, and
his own way of demonstrating love was to give something of the truth that he had
seen to a gull who asked only a chance to see truth for himself.”
21. “Why is it,’ Jonathan puzzled, ‘that the hardest thing in the world is to convince a
bird that he is free, and that he can prove it for himself if he’d just spend a little time
practicing? Why should that be so hard?”
22. “He spoke of very simple things–It is right for a gull to fly, that freedom is the very
nature of his being, that whatever stands against that freedom must be set aside, be it
ritual or superstition out limitation in any form.”

Summary
2020-1-LT01-KA229-078054
Jonathan Livingston Seagull is different from
the other birds in his Flock. Most gulls only
know the “simplest facts of flight,” and use
flight as a utilitarian mode of transportation and
as a way to get food. Jonathan, however, loves
practicing airborne acrobatics and testing the
limits of his speed and form.
He struggles with being different—he is sad to
disappoint his parents.
He briefly considers trying hard to be just
another member of the Flock.
After he experiences a breakthrough in flight,
though, and successfully executes a
complicated dive from a height of five thousand
feet, he is more determined than ever to devote
his life to studying flight.
https://youtu.be/fnsekodYZV8

Summary
2020-1-LT01-KA229-078054
That night, when Jonathan rejoins his Flock up
on the beach, he is called into the center of a
Council meeting and singled out for Shame by
the Elder Gull before being Outcast and
banished to the distant Far Cliffs.
Jonathan had hoped to share his new flight
methods with the Flock.
He wanted to and show them how different
methods of flight would make it even easier to
find fruitful food sources in the ocean, but
resignedly accepts that he will be a loner for the
rest of his life
After many years pass, Jonathan has lived a
long but solitary life.

Summary
2020-1-LT01-KA229-078054
He was flanked in flight one evening by two
gleaming gulls who invited him to ascend with
them to a higher plane of existence.
In this new world, there are a handful of gulls
who believe the same things Jonathan does,
and long to perfect their innovative methods of
flight. Jonathan trains with an instructor named
Sullivan, who admires Jonathan’s skill, speed,
and self-possession, and tells Jonathan he is the
best pupil he’s ever had.
In his conversations with the Elder Gull of this
new Flock, Chiang, Jonathan learns that there
are ways to transcend even the physical limits
of his body.
He comes to realize that perfection comes from
being present in the understanding that his true
nature lives “everywhere at once across space
and time.”

Summary
2020-1-LT01-KA229-078054
Eventually, Jonathan masters instantaneous
teleportation, impressing even Chiang and
becoming Chiang’s special pupil.
IAs Jonathan learns more and more, he cannot
stop thinking about the world he left behind on
earth—he longs to return and teach the gulls the
truths he has learned in this new realm.
Jonathan returns to earth and approaches a
recently Outcast gull from his own Flock named
Fletcher Lynd Seagull—admiring Fletcher’s
flight, Jonathan offers to take Fletcher on as a
pupil on the condition that one day they will
return to their Flock and spread the things they
have learned together. Fletcher agrees, and the
two begin lessons.
After three months, Jonathan has amassed a
small group of six special pupils, whom he trains
in flight techniques and mental exercises to help
them break the chains of their bodies.

Summary
2020-1-LT01-KA229-078054
One day, Jonathan tells his students that the
time has come to return to their Flock and share
their knowledge. His students are doubtful, but
agree nonetheless to follow him back to their
old shore.
The Flock shuns Jonathan and his pupils as they
demonstrate their feats of flight over the water
just beyond the shore, but slowly, some curious
gulls from the Flock begin approaching Jonathan
and his group and asking to learn to fly.
Even the nervous Terrence Lowell Gull and the
lame Kirk Maynard Gull exhibit bravery in
joining Jonathan’s group.
And soon hundreds and hundreds of gulls
gather every day to listen to Jonathan’s musings
on the glory of freedom and the rituals,
superstitions, and limitations that stand in the
way of true freedom.

Summary
2020-1-LT01-KA229-078054
Jonathan is soon rumored to be a Divine bird—
perhaps even the Son of the Great Gull himself,
though Jonathan laments the fact that the
others cannot simply see him as one of them.
After Fletcher crashes into a cliff and has a near-
death experience, which he returns to life from,
the others begin to hail Fletcher, too, as a Divine
gull.
Jonathan tells Fletcher that it is time for him to
ascend, and leave Fletcher behind to continue
his legacy.
Fletcher begs Jonathan to stay.

Summary
2020-1-LT01-KA229-078054
Jonathan begins to shimmer, and then ascends
into the sky.
Fletcher, distraught but determined to carry on
Jonathan’s teachings, assumes his new role as
instructor of Jonathan’s old pupils. In the years
following Jonathan’s departure from earth,
Fletcher and his new Flock of pupils travel up and
down the coastline, spreading their messages to
new Flocks, and as more and more gulls take up
Jonathan’s message, a golden age of flight and
innovation commences.

Whirlybird
BUILD A PAPER "WHIRLYBIRD".
LINKS TO THE BOOK
Innovation and tradition
Jonathan Livingston Seagull is, at its core, a story of how innovation, progress, and self-
discovery all require what can often be a painful or difficult break with tradition. Longing to
free himself from his Flock’s rigid, boring routines, and convinced that there is more to life than
just hunting for food, Jonathan practices increasingly difficult and dangerous flight maneuvers,
edging away from not only the Flock’s comfort zone, but also from his own. As he studies and
practices flying—a metaphor throughout the book for experimentation and liberation—he
realizes that, although breaking with tradition draws the ire of the Flock and renders him an
exiled Outcast, these sacrifices are necessary in order to change and grow. Through Jonathan,
Bach allegorizes humanity’s tendency to seek comfort in the familiar, or in easy answers, and
argues that this impulse is directly at odds with the sacrifice and courage required for genuine
innovation.
Objectives
Overview
Learn about Aerodynamics.
Define drag and explain how this force depends upon factors such as
the shape of a helicopter blade.
Explain that weight is a force that increases by adding mass.
Collect data, make graphs and calculate averages.
What is a helicopter?
A helicopter is a type of aircraft. It uses rotating, or spinning, wings called
blades to fly. Rotating blades, or a rotor, let helicopters do things airplanes
cannot.
How Does A Helicopter Work?
In order to fly, an object must have "lift." Lift is what pushes something up.
Lift is made by wings. Wings have a curved shape on top and are flatter on
the bottom. That shape makes air flow over the top faster than under the
bottom. The faster air on top of the wing makes suction on the top of the
wing and the wing moves up. Airplanes get lift from their wings. A
helicopter's rotor blades are spinning wings. A helicopter moves air over
its rotor by spinning the blades. The rotor makes the lift that carries the
helicopter up.
What Can A Helicopter Do?
Helicopters can do things airplanes cannot. They can move straight up or
down. Most airplanes cannot do this. Helicopters can take off or land
without a runway. They can turn in the air in ways airplanes cannot.
Helicopters can fly backwards or sideways. They can also hover in one
spot in the air without moving.
2020-1-LT01-KA229-078054

Whirlybird
Overview
What Are Uses of Helicopters?
Helicopters can be used for many things. They can be used as flying
ambulances to carry patients. They can be loaded with water to fight large
fires. Military forces use helicopters to move troops and get supplies to
ships. Helicopters can move large objects from place to place. Helicopters
can rescue people in hard-to-reach places like mountains or in oceans.
Television and radio stations use helicopters to fly over cities and report
on traffic. Helicopters are used by police and by people on vacation. These
uses are just some of the many things that can be done with helicopters.
What is Aerodynamics?
Aerodynamics is the way air moves around things. The rules of
aerodynamics explain how an airplane is able to fly. Anything that moves
through air reacts to aerodynamics. A rocket blasting off the launch pad
and a kite in the sky react to aerodynamics. Aerodynamics even acts on
cars, since air flows around cars.
What Are the Four Forces of Flight?
The four forces of flight are lift, weight, thrust and drag. These forces
make an object move up and down, and faster or slower. How much of
each force there is changes how the object moves through the air.
What Is Weight?
Everything on Earth has weight. This force comes from gravity pulling
down on objects. To fly, an aircraft needs something to push it in the
opposite direction from gravity. The weight of an object controls how
strong the push has to be. A kite needs a lot less upward push than a
jumbo jet does.
What Is Lift?
Lift is the push that lets something move up. It is the force that is the
opposite of weight. Everything that flies must have lift. For an aircraft to
move upward, it must have more lift than weight. A hot air balloon has lift
because the hot air inside is lighter than the air around it. Hot air rises and
carries the balloon with it. A helicopter's lift comes from the rotor blades
at the top of the helicopter. Their motion through the air moves the
helicopter upward. Lift for an airplane comes from its wings.
2020-1-LT01-KA229-078054

Overview
How Do an Airplane's Wings Provide Lift?
The shape of an airplane's wings is what makes it able to fly. Airplanes'
wings are curved on top and flatter on the bottom. That shape makes air
flow over the top faster than under the bottom. So, less air pressure is on
top of the wing. This condition makes the wing, and the airplane it's
attached to, move up. Using curves to change air pressure is a trick used
on many aircraft. Helicopter rotor blades use this trick. Lift for kites also
comes from a curved shape. Even sailboats use this concept. A boat's sail
is like a wing. That's what makes the sailboat move.
What Is Drag?
Drag is a force that tries to slow something down. It makes it hard for an
object to move. It is harder to walk or run through water than through air.
That is because water causes more drag than air. The shape of an object
also changes the amount of drag. Most round surfaces have less drag than
flat ones. Narrow surfaces usually have less drag than wide ones. The
more air that hits a surface, the more drag it makes.
What Is Thrust?
Thrust is the force that is the opposite of drag. Thrust is the push that
moves something forward. For an aircraft to keep moving forward, it must
have more thrust than drag. A small airplane might get its thrust from a
propeller. A larger airplane might get its thrust from jet engines. A glider
does not have thrust. It can only fly until the drag causes it to slow down
and land.
Whirlybird
2020-1-LT01-KA229-078054

Whirlybird
Vocabulary Drag: a force that tries to slow something down. It makes it hard for an object
to move.
Gravity: the force that attracts a body towards the centre of the earth, or
towards any other physical body having mass.
Lift: the push that lets something move up. It is the force that is the opposite
of weight.
2020-1-LT01-KA229-078054
Materials
Printer paper
Whirlybird template or instructions to make whirlybird
Scissors
10 Paper clips
Stopwatch
High place from which to drop the whirlybirds. For example, you could get
an adult to stand on a chair or a ladder. If possible, you can drop the
whirlybirds from a second floor window or balcony (on a calm day without
too much wind), but only do this with adult supervision.
Lab notebook
Background
information
1.Fold one sheet of paper in half lengthwise.
2. Open the fold and cut along the folded line.
3. Take one of the halves and again fold it in half lengthwise.
The other long half sheet does not get used, so it is available if students make a
mistake with the first half.

Whirlybird
2020-1-LT01-KA229-078054
Background
information
4. Use a ruler to measure10 cm from the left edge of the paper towards
the center . Then measure 5 cm after the 10 cm for the triangle and draw
a triangle along the unfolded edge of the paper.
5. Cut out the triangle. Be sure to cut through both layers of the paper
(the top and bottom sides).
6. Open the paper and cut down the center of the paper from one edge of
the paper to the starting point of the triangle.

Whirlybird
2020-1-LT01-KA229-078054
Background
information
7. Fold the tabs toward the center.. Use a small piece of tape to secure the
tabs. This serves as the helicopter base.
8. Now fold the blades along the dotted centered lines in opposite 90
degree directions. Doing this creates the helicopter propeller.
9. Test the helicopter to make sure it works.

1
In this activity students will make a paper whirlybird and explore how adding more
weight affects the time it takes for the whirlybirdsto fall to the ground.
Working in pairs the students create one whirlybird (helicopter) per team.
2
3
A class, decides a height from which to drop the helicopter. Then,
discusses a method for dropping the helicopter. Everyone must use the
same method of dropping the helicopter. Students also agree on a
method for timing and review how to use the stopwatches (and practice).
Reflection:
What can we do to alter the impact of forces? Do parachutes/helicopters with larger
surface areas go faster or slower? Which force is this taking advantage of?
What if we add weight? Could we make a parachute with a large area and a large
weight that falls at the same rate as a small area and a small weight?
What is the force that pulls the helicopter/parachute to the ground? What force is
acting in the opposite direction to the force of gravity when you drop the
helicopter/parachute? What happened to the descent time for the helicopter as you
added paperclips? How could you design your helicopter/parachute to make it more
effective?
What do you think your design would accomplish that this helicopter design did not
accomplish?
Would your observations for this activity change with your new model helicopter?
2020-1-LT01-KA229-078054
In each group one student releases the helicopter while a second student
times the helicopter's descent and records the time. students drop their
helicopters from the agreed-upon height and record the time of landing, in
seconds, on their worksheets. They repeat that two more times for the
second and third trials
Whirlybird
4
The students repeat dropping the helicopter by adding 1, 5 and 10
paperclips to the bottom of the helicopter.
5
The students calculate the average fall time for each number of paper
clips, make a line graph with the number of paper clips on the x-axis
(horizontal line) and the fall time in seconds on the y-axis and analyze the
results.

2020-1-LT01-KA229-078054
Whirlybird

Fall time in seconds
Number of
paper clips
Trial 1 Trial 2 Trial 3 Average
No paper
clips
1 paper clip
5 paper clips
10 paper
clips
2020-1-LT01-KA229-078054
Whirlybird
Make a graph showing the descent time as a function of the number
of paper clips on the helicopter. Put the descent time on the y-axis
and the number of paper clips on the x-axis. Use your average
values to make the graph. Determine whether the data is linear by
plotting a straight line through the origin and observing how the
data fits. Additionally, calculate the slope and y-intercept of the
graph

Birds in your Backyard
BUILD A BIRD FEEDER AND STUDY THE BIRDS IN YOUR BACKYARD.
LINKS TO THE BOOK
Individualism and collectivism
The titular character of Richard Bach’s Jonathan Livingston Seagull is an independent gull who
would rather practice aerodynamic flight techniques than forage for food in the wake of the
fishing boats that chug up and down the shoreline of the Flock’s home. Jonathan’s staunch
individualism initially seems in direct opposition to the collectivism of the Flock. The members
of the Flock do everything the exact same way, day after day, and never question the rote
routines of boring, straightforward flight or the endless pursuit of nothing but food. However,
when Jonathan finds himself a part of a mystical new group of seagulls whose self-exile from
their home Flocks has rendered them “Outcast,” Bach makes the complex and nuanced
argument that individualism and collectivism do not have to exist in stark opposition. The
individual cannot thrive without a solid, supportive community; likewise, a truly successful
collective will be composed of individuals whose independence of thought and action inspires
and nourishes those around them.
Objectives
Overview
Learn about different kinds of birds.
Observe the birds.
Build the bird feeder.
Birds are vertebrate animals adapted for flight.
Many can also run, jump, swim, and dive. Some, like penguins, have lost
the ability to fly but retained their wings. Birds are found worldwide and in
all habitats. The largest is the nine-foot-tall ostrich. The smallest is the
two-inch-long bee hummingbird.
Everything about the anatomy of a bird reflects its ability to fly. The wings,
for example, are shaped to create lift. The leading edge is thicker than the
back edge, and they are covered in feathers that narrow to a point.
Airplane wings are modeled after bird wings.
The bones and muscles of the wing are also highly specialized. The main
bone, the humerus, which is similar to the upper arm of a mammal, is
hollow instead of solid. It also connects to the bird’s air sac system, which,
in turn, connects to its lungs. The powerful flight muscles of the shoulder
attach to the keel, a special ridge of bone that runs down the center of the
wide sternum, or breastbone. The tail feathers are used for steering.
Birds have a unique digestive system that allows them to eat when they
can—usually on the fly—and digest later. They use their beaks to grab and
swallow food. Even the way a bird reproduces is related to flight. Instead
of carrying the extra weight of developing young inside their bodies, they
lay eggs and incubate them in a nest.
The fossil record shows that birds evolved alongside the dinosaurs during
the Jurassic period 160 million years ago. The best known fossil is
archaeopteryx, which was about the size of a crow.
2020-1-LT01-KA229-078054

Overview
Animal's Needs
Every animal on our planet, including birds but also humans, need food,
water, air, and shelter to survive. Animals need to eat regularly to get
energy for their bodies to function. The kind of food an animal eats
depends on the type of animal; some animals hunt or prey (carnivores) on
other animals whereas others will search for foods like plants or fruits
(herbivores) or eat both (omnivores). A wild bird's diet consists of plants,
such as grains or seeds, and animals, such as insects, worms, fish, or meat
from dead organisms. Each animal chooses to live where they can find the
food that they need to survive.
Water is also important. An animal's body can consist of as much as 90%
water. Most animals lose water when they sweat or exhale. In order to
replenish their water supplies, they have to drink on a regular basis. Some
animals that live in the desert, where there is not a lot of water, get most
of their water from the food they eat.
Almost every animal needs air, or a special gas called oxygen that is part of
the air. Even fish that live underwater need to take up oxygen with their
gills. The oxygen is important to keep the processes in the body working.
For example, oxygen is needed to make energy from the food an animal
eats. As birds need lots of energy and oxygen for flying, they have special
air sacs, in addition to their lungs, for breathing.
Shelter, or a protected place to live, is important for all animals. Each
animal can only live at a certain temperature range. When the
temperatures get too high or too low, an animal will die. A shelter will help
them keep in the temperature range they can tolerate. In addition, a
shelter is where wild animals can raise their young because it helps
protect them from dangers such as predators. The type of shelter, or
home, an animal is building or choosing for themselves can vary. Some
animals build underground burrows, some build a nest in a tree, and others
prefer to live in a cave. In the wild, birds build nests made of twigs and
other materials as their shelter. This is where they lay their eggs and raise
their young. Some birds also live in hollow trees.
2020-1-LT01-KA229-078054

Vocabulary
Bird: Birds are a group of warm-blooded vertebrates constituting the class
Aves, characterised by feathers, toothless beaked jaws, the laying of hard-
shelled eggs, a high metabolic rate, a four-chambered heart, and a strong yet
lightweight skeleton.
Ornithologist: a person who studies or is an expert on birds.
Bird feeder: a container designed to be filled with birdseed and placed
outdoors to attract wild birds.
Bird watching: the observing of birds, either as a recreational activity or as a
form of citizen science. A birdwatcher may observe by using their naked eye,
by using a visual enhancement device like binoculars or a telescope, by
listening for bird sounds, or by watching public webcams.
2020-1-LT01-KA229-078054
Materials
Plastic milk/juice container with cap
Scissors or craft knife
Wooden dowel, twig, or wooden coffee stirrer
Bird food such as seeds or a birdseed mix
Mini cup(s)
Water
Masking tape
Optional: paper plate
Possible decorations: tree bark, shells, stones, stickers, etc.
Note: Make sure that any materials you use to decorate the bird feeders
are safe for the birds. Stick to as many natural materials as possible.
Optional: paintbrushes and fast-drying paint, when using paint
Glue, or glue gun
Twine or thin rope
Pen or pencil
Bird field guide (book or online) that includes the birds of your region
Binoculars for bird watching
Graph paper
Lab notebook

Background
information
Building a bird feeder
1. Remove the cap from a clean plastic bottle. Use the pin to puncture
several small drainage holes in the base of the bottle.
2. Use the pin to make two level holes on opposite sides of the bottle,
near to the base. Use the scissors to widen them slightly.
3. Push a stick through the holes. There should be around 5 centimetres of
stick left outside the bottle on each side for the perches.
4. Slightly above each perch, use the scissors to cut a feeding hole the size
of 7 - 8 cm in diameter.
5. Use the pin to make two holes in the neck of the bottle, on opposite
sides and level with each other. Widen these with scissors.
6. Thread the string through the holes, then fill the bottle with a bird food
and replace the bottle cap. You may need to make a funnel with a sheet of
paper to make filling the bottle easier.
7. Find a sheltered location outside to hang your feeder - tying it onto a
tree branch or washing line would work well.
2020-1-LT01-KA229-078054

Background
information
Watching birds
The knowledge base and identification tips it is possible to get from
studying a field guide make practicing out in the world easier and more
enjoyable. It is recommended starting big with a national field guide.
Perusing it can help distinguish which birds live near you (and which
don’t), which birds migrate through your region and which habitats to
explore to find the birds you want to see.
The Merlin app is a birding cheat code. It’s a remarkable free app from the
Cornell Lab of Ornithology. Regional “bird packs” list likely birds for your
location. More importantly, Merlin is your digital multi-tool for bird
identification. Upload a photo or answer a series of questions about a
bird’s size, color and behavior and it will give you a list of potential results.
More recently, Merlin introduced the ability to listen to birdsong and
analyze it in real time to match with recordings from the Macaulay Library,
Cornell’s wildlife media archive. “What that has unlocked for people is just
a very easy way to understand the incredibly complex and confusing
world of birdsong.
Cornell has other free resources our experts recommend. eBird, also free
to use, as your birding Pokédex. It logs what you see in the field and
submits those findings to a public database as part of a citizen science
project for Cornell’s research. Every new bird you see and identify for the
first time is called a “lifer,” and your life list can be sorted in different ways
to keep track of where, when and what you observe. You can also upload
photos and audio to support your sightings.
Binoculars for beginner birders
Binoculars are the essential birding tool because they bring you closer and
reveal details unseen by the naked eye. Ideally, they’re rugged enough to
survive being dropped and light enough that you want to wear them
around your shoulder or neck. Look for adjustable eyecups, especially if
you wear glasses, as well as a lifetime warranty.
Most binoculars are classified by two numbers.
8x42 binoculars - the first number is their magnification, so everything
appears eight times closer than it actually is. The second number describes
the size of the objective lens, meaning the lens on the far side of such
binoculars that lets in light measures 42 millimeters in diameter.
2020-1-LT01-KA229-078054

1
In this activity students will first build the bird feeders from recycled materials, and then
they will watch the birds that visit their bird feeders.
Working in pairs or individually the students build a bird feeder from
recycled materials. They place the bird feeders outside thinking about
which location would be best for bird watching.
2
3
The students do some research on the types of birds living in this area
and what they eat. (It is good to use a field guide for birds.) They print
pictures of the birds theyexpect to visit their bird feeders and glue the
pictures into the lab notebook.
Reflection:
Which types of birds did you see coming to your bird feeder the most? What was the
total number of birds that you observed each day? At what time of day did you see
the most birds coming to your bird feeder, in the morning or evening? There are
probably some more questions that you can think of. Look at your data and graph to
see if you can answer them with the data that you collected. Are there questions you
cannot yet answer with the data you have so far? What other data would you like to
collect with your bird feeder?
2020-1-LT01-KA229-078054
The students compare the birds that they have seen coming to their bird
feeder with the pictures or list of the birds that they were expecting to
come. They analyze the data and prepare the grapfic presentation of the
observation.
4
Each student chooses a period of 15 minutes every morning and evening
to observe the birds that come to his/her feeder. Students have to do this
at the same time each day, for at least one week. Note that it might take
a couple of days for the birds to get used to the bird feeder. If a students
doesn’t see any birds at his/her feeder within a week, he/she should try a
different location or extend the observation time.
5
The students record the observation data into the lab notebooks:
1.Write down the number of birds of each breed that they observe into
the data table or each observation session.
Every bird coming to the feeder counts, even if the same bird visits more
than once.
2. Take the pictures of the birds of each breed and glue them to the lab
notebook.
3. Make the detailed descriptions ob the birds.
4. Use Merlin or eBird apps to identify the birds.

Birds Date, time and number of the birds
Picture Description
.../.../...
... am
.../.../...
...pm
.../.../...
... am
Sparrow, a small
bird coloured
pale brown and
grey.
2020-1-LT01-KA229-078054

Undiscovered journeys of birds
FIND MIGRATORY ROUTE OF A CHOSEN BIRD
LINKS TO THE BOOK
Individualism and collectivism
The titular character of Richard Bach’s Jonathan Livingston Seagull is an independent gull who
would rather practice aerodynamic flight techniques than forage for food in the wake of the
fishing boats that chug up and down the shoreline of the Flock’s home. Jonathan’s staunch
individualism initially seems in direct opposition to the collectivism of the Flock. The members
of the Flock do everything the exact same way, day after day, and never question the rote
routines of boring, straightforward flight or the endless pursuit of nothing but food. However,
when Jonathan finds himself a part of a mystical new group of seagulls whose self-exile from
their home Flocks has rendered them “Outcast,” Bach makes the complex and nuanced
argument that individualism and collectivism do not have to exist in stark opposition. The
individual cannot thrive without a solid, supportive community; likewise, a truly successful
collective will be composed of individuals whose independence of thought and action inspires
and nourishes those around them.
Objectives
Overview
Investigate the ecosystems the birds live in, the food chain,
migration, the greatest threats to the existence of the birds and the
causes of extinction.
Create an awareness-raising gallery.
A bird’s habitat
There are four broad categories of habitat:
1.woodland habitats—coniferous or deciduous trees;
2. aquatic habitats—lakes, ponds, swamps, marshes, oceans, and
shorelines;
3. scrub-shrub habitats—short woody plants and bushes;
4. open habitats—grasslands, agricultural fields, and tundra.
Birds occur in all major habitat types; some generalist species may utilise
several habitats but many specialist species are confined to just one.
Forests are by far the most important habitat supporting 77% of all
species. Fifty percent of all birds have adapted to live in human modified
habitats.
Food Chain
Many animals get their food by eating other animals. These animals are
called secondary consumers, because they are the second consumer step
in the food chain.
Animals that eat secondary consumers are called tertiary (third)
consumers, because they are the third consumer step in the food chain.
2020-1-LT01-KA229-078054

Overview
Food Chain
The caterpillar eats a plant, so it is a primary consumer. The blue tit eats
the caterpillar, so it is a secondary consumer. The sparrowhawk eats the
blue tit, so it is a tertiary consumer.
2020-1-LT01-KA229-078054
A bird’s position in the food chain may vary according to what it eats. For
instance, when a blue tit eats seeds it is a primary consumer. But when it
eats a caterpillar, it is a secondary consumer because the caterpillar has
already eaten a plant.
Bird Migration
Geese winging their way south in wrinkled V-shaped flocks is perhaps the
classic picture of migration—the annual, large-scale movement of birds
between their breeding (summer) homes and their nonbreeding (winter)
grounds. But geese are far from our only migratory birds.
Why Do Birds Migrate?
Birds migrate to move from areas of low or decreasing resources to areas
of high or increasing resources. The two primary resources being sought
are food and nesting locations.
Birds that nest in the Northern Hemisphere tend to migrate northward in
the spring to take advantage of burgeoning insect populations, budding
plants and an abundance of nesting locations. As winter approaches and
the availability of insects and other food drops, the birds move south
again. Escaping the cold is a motivating factor but many species, including
hummingbirds, can withstand freezing temperatures as long as an
adequate supply of food is available.

Overview
2020-1-LT01-KA229-078054
Types Of Migration
The term migration describes periodic, large-scale movements of
populations of animals. One way to look at migration is to consider the
distances traveled.
1.Permanent residents do not migrate. They are able to find adequate
supplies of food year-round.
2. Short-distance migrants make relatively small movements, as from
higher to lower elevations on a mountainside.
3. Medium-distance migrants cover distances that span a few hundred
miles.
4. Long-distance migrants typically move from breeding ranges in one
continent to wintering grounds in another one.
The pattern of migration can vary within each category, but is most
variable in short and medium distance migrants.
Origins Of Long-Distance Migration
While short-distance migration probably developed from a fairly simple
need for food, the origins of long-distant migration patterns are much
more complex. They’ve evolved over thousands of years and are
controlled at least partially by the genetic makeup of the birds. They also
incorporate responses to weather, geography, food sources, day length,
and other factors. For birds that winter in the tropics, it seems strange to
imagine leaving home and embarking on a migration north. Why make
such an arduous trip north in spring? One idea is that through many
generations the tropical ancestors of these birds dispersed from their
tropical breeding sites northward. The seasonal abundance of insect food
and greater day length allowed them to raise more young (4–6 on
average) than their stay-at-home tropical relatives (2–3 on average). As
their breeding zones moved north during periods of glacial retreat, the
birds continued to return to their tropical homes as winter weather and
declining food supplies made life more difficult.
What Triggers Migration?
The mechanisms initiating migratory behavior vary and are not always
completely understood. Migration can be triggered by a combination of
changes in day length, lower temperatures, changes in food supplies, and
genetic predisposition. For centuries, people who have kept cage birds
have noticed that the migratory species go through a period of
restlessness each spring and fall, repeatedly fluttering toward one side of
their cage. German behavioral scientists gave this behavior the name
zugunruhe, meaning migratory restlessness. Different species of birds and
even segments of the population within the same species may follow
different migratory patterns.

Overview
2020-1-LT01-KA229-078054
How Do Birds Navigate?
Migrating birds can cover thousands of miles in their annual travels, often
traveling the same course year after year with little deviation. First-year
birds often make their very first migration on their own. Somehow they can
find their winter home despite never having seen it before, and return the
following spring to where they were born.
The secrets of their amazing navigational skills aren’t fully understood,
partly because birds combine several different types of senses when they
navigate. Birds can get compass information from the sun, the stars, and by
sensing the earth’s magnetic field. They also get information from the
position of the setting sun and from landmarks seen during the day. There’s
even evidence that sense of smell plays a role, at least for homing pigeons.
Some species, particularly waterfowl and cranes, follow preferred
pathways on their annual migrations. These pathways are often related to
important stopover locations that provide food supplies critical to the birds’
survival. Smaller birds tend to migrate in broad fronts across the landscape.
Studies using eBird data have revealed that many small birds take different
routes in spring and fall, to take advantage of seasonal patterns in weather
and food.
Migration Hazards
Taking a journey that can stretch to a round-trip distance of several
thousand miles is a dangerous and arduous undertaking. It is an effort that
tests both the birds’ physical and mental capabilities. The physical stress of
the trip, lack of adequate food supplies along the way, bad weather, and
increased exposure to predators all add to the hazards of the journey.
In recent decades long-distant migrants have been facing a growing threat
from communication towers and tall buildings. Many species are attracted
to the lights of tall buildings and millions are killed each year in collisions
with the structures.
Studying Migration
Scientists use several techniques in studying migration, including banding,
satellite tracking, and a relatively new method involving lightweight devices
known as geolocators. One of the goals is to locate important stopover and
wintering locations. Once identified, steps can be taken to protect and save
these key locations.
Extinction
A total of 182 bird species are believed to have become extinct since 1500.
Avian extinctions are continuing, with 19 species lost in the last quarter of
the twentieth century and four more known or suspected to have gone
extinct since 2000. The rate of extinctions on continents appears to be
increasing, principally as a result of extensive and expanding habitat
destruction.

Vocabulary
2020-1-LT01-KA229-078054
Extinction: the fact or process of a species, family, or other group of animals or
plants becoming extinct.
Habitat: the natural home or environment of an animal, plant, or other
organism.
Food chain: in ecology, the sequence of transfers of matter and energy in the
form of food from organism to organism.
Migration: seasonal movement of animals from one region to another.
Materials
smartphones
Artivive app
iNaturalist app
• 4 coloured prints of different Red-list (most preferably) bird pictures.
• Pictures of the bills of the birds (5-10).
• 6 sheets of drawing paper (A2 or bigger).
• Coloured pencils, crayons, pastels, etc.
• Natural materials: pine needles, cones, small branches, leaves, wood bark,
small stones, reed stems, seashells, sand, dirt, grass, etc. Materials from
different ecosystems.
• Glue
• 6 printed maps of Europe and 6 printed maps of Africa in the same scale or
combined map.
• black pens
• tape, blue tack
• 6 sheets of transparent plastic paper
• 6 sheets of white A4 paper
Background
information
1.Preparation for the activity:
Check the Red list of birds in Your country, find birds living in a different
environment. Select 10 birds, print pictures of them, hang it on walls.
Birds to look for: warblers, storks, ducks, crows, lapwings, gulls, falcons or
eagles, pigeons, owls. swallows, hawks, etc.
.Choose birds living in different habitats: reeds, meadows, swamps, coniferous
forests, cities, deciduous forest, lakes and rivers, rock cliffs, etc.
2. Introduce an app iNaturalist to identify the birds and search information
about their habitat and ecology.

2020-1-LT01-KA229-078054
Background
information
Find the birds‘ migratory routes.
Identify where the birds are wintering if they do. Which continent? The
same they are living or another?
Draw the migration road on a printed map with the distance the bird
travels from the kids‘ hometown.
Count what is the distance between those two places using the scale.
1.Preparation for the activity:
Check the Red list of birds in Your country, find birds living in a different
environment. Select 10 birds, print pictures of them, hang it on walls.
Birds to look for: warblers, storks, ducks, crows, lapwings, gulls, falcons or
eagles, pigeons, owls. swallows, hawks, etc.
.Choose birds living in different habitats: reeds, meadows, swamps, coniferous
forests, cities, deciduous forest, lakes and rivers, rock cliffs, etc.
2. Introduce an app iNaturalist to identify the birds and search information
about their habitat and ecology.
3. Introduce Movebank (https://www.movebank.org/cms/movebank-main)
Movebank is a free, online database of animal tracking data hosted by the Max
Planck Institute of Animal Behavior. It helps animal tracking researchers to
manage, share, protect, analyze and archive their data.

To start creating, register for an Artivive account. This will give you
access to the content management system called Bridge by Artivive.
Choose ADD ARTWORK and upload the photo of the drawing in the
field IMAGE.
To see and share the images, download the Artivive App on mobile
devices from the app store or play store.
Upload digital content
Build your VR space
Become a Storyteller
4. Introduce Artivive and Artivive app.
Artivive is the augmented reality platform for art. It allows to create new
dimensions of art by linking clasical with digital art. The digital layer opens the
doors to a whole new world of possibilities. Artists can take visitors on a journey
in time and explain what lies behind, enhance the artwork or tell a story. This
new world can be unlocked by any smartphone or tablet and offer an extended
emotional experience.
Each free account allows a maximum of 3 artworks.
5. Introduce ARTSTEPS.
ArtSteps is an innovative, web-based application that empowers creators to
build exhibitions, events, and brand storytelling concepts by designing realistic
view.
Upload your images, videos, text, select from a variety of 3D models or
import your own. Add music and narration to create striking VR
environments.
Define the space of your virtual area, place walls and select colors and
textures to create a unique experience.
Place guide points across your VR space, stage your own narratives and
share your stories with your visitors.
2020-1-LT01-KA229-078054
Background
information

1
In this activity students will investigate the anatomy of birds, ecosystems they live in,
the food chain, migration, the greatest threats to the existence of the birds and the
causes of extinction. They will make drawings and create an awareness-raising gallery.
Working in groups of 3 or 4 the students identify the birds using app
iNaturalist. They search dor information about the habitat, eating
preferences, migration, etc. and complete the table.
2
3
Using https://www.movebank.org/ the students identify where the birds
are wintering if they do. Which continent? The same they are living or
another? They find the birds‘ migratory routes and draw them on a
printed map with the distance the bird travels from the kids‘ hometown
Reflection:
How do birds know when it is time to migrate? How do birds find their way?
How does weather affect bird migration? What are some problems birds encounter
while migrating?
How humans‘ life interconnects with the life of birds?
2020-1-LT01-KA229-078054
4
Students draw the replica of the bird’s image using the black marker.
They upload those drawings on Artivive, combine with the chosen video
and share with the class.
The students prepare virtual exhibition of their drawings on Artsteps.

Bird’s name
(in native language, in
English, in Latin)
Habitat
Eating preferences
Migration
Bird’s photo
Bird’s drawing
2020-1-LT01-KA229-078054

Hologram
MAKE A HOLOGRAM LIKE PROJECTOR
LINKS TO THE BOOK
Our potential is limited only to the extent we let it to be
That does not mean in ‘we as humans use only 10% of our potential’ way, but more often than
not, we are limited by our perception of what we are capable of achieving. Changing that
mindset is solely under our control. Why should we let someone else tell us what we can and
can’t do?
Remember Chris from the movie ‘Pursuit of Happyness’? The scene where he tells his son, “Hey.
Don’t ever let somebody tell you… You can’t do something. Not even me. …’.
Objectives
Overview
Explore light and reflection.
Construct holram like projector.
Light is a form of energy produced by a light source. Light is made of
photons that travel very fast. Photons of light behave like both waves and
particles.
Light sources
Something that produces light is called a light source. There are two main
kinds of light sources:
Incandescent sources use heat to produce light. Nearly all solids, liquids
and gases will start to glow with a dull red colour once they reach a
temperature of about 525 °C. At about 2300 °C, the filament in a light
bulb will start to produce all of the colours of the visible spectrum, so it
will look white. The Sun, stars, a flame and molten metal are all
incandescent.
Luminescent sources are normally cooler and can be produced by
chemical reactions, such as in a glowstick or a glow-worm. Other
luminescent sources include a computer screen, fluorescent lights and
LEDs.
Light travels much faster than sound
Light travels at a speed of 299,792,458 m/s (that’s nearly 300,000 km/s!).
The distance around the Earth is 40,000 km, so in 1 second, light could
travel seven and a half times around the world.
Sound only travels at about 330 m/s through the air, so light is nearly a
million times faster than sound.
If lightning flashes 1 kilometre away from you, the light reaches you in 3
millionths of a second, which is almost instantly. The sound of the thunder
takes 3 seconds to travel 1 kilometre – to work out many kilometres away
lightning is, count the seconds for the thunder to arrive and divide by 3.
2020-1-LT01-KA229-078054

Light takes about 8 minutes and 20 seconds to reach the Earth from the
Sun. When we see the Sun, we are seeing what it looked like over 8
minutes ago.
Light can travel through empty space
Unlike sound, which needs a medium (like air or water) to travel through,
light can travel in the vacuum of space.
Light travels in straight lines
Once light has been produced, it will keep travelling in a straight line until
it hits something else.
Shadows are evidence of light travelling in straight lines. An object blocks
light so that it can’t reach the surface where we see the shadow. Light fills
up all of the space before it hits the object, but the whole region between
the object and the surface is in shadow. Shadows don’t appear totally dark
because there is still some light reaching the surface that has been
reflected off other objects.
Once light has hit another surface or particles, it is then absorbed,
reflected (bounces off), scattered (bounces off in all directions), refracted
(direction and speed changes) or transmitted (passes straight through).
Models for light
The debate of whether light is made of waves or particles has been going
for hundreds of years. Sir Isaac Newton thought that shadows proved that
light was made of particles, but there is a lot of evidence that light is made
of waves.
Light as waves
Rainbows and prisms can split white light up into different colours.
Experiments can be used to show that each of these colours has a
different wavelength
wavelength
The distance between two successive points of a wave (from one peak or
crest of a wave and the next peak or crest). Usually refers to an
electromagnetic wave, measured in nanometres (nm).
.At the beach, the wavelength of water waves might be measured in
metres, but the wavelength of light is measured in nanometres – 10-9
(0.000,000,001) of a metre. Red light has a wavelength of nearly 700 nm
(that’s 7 ten-thousandths of a millimetre) while violet light is only 400 nm
(4 ten-thousandths of a millimetre).
Visible light is only a very small part of the electromagnetic spectrum – it’s
just that this is the range of wavelengths our eyes can detect.
Hologram
Overview
2020-1-LT01-KA229-078054

Light as particles
In 1905, Albert Einstein proposed that light is made of billions of small
packets of energy that we now call photons. These photons have no mass,
but each photon has a specific amount of energy that depends on its
frequency (number of vibrations per second). Each photon still has a
wavelength. Shorter wavelength photons have more energy.
Reflection
Reflection is when light bounces off an object. If the surface is smooth and
shiny, like glass, water or polished metal, the light will reflect at the same
angle as it hit the surface. This is called specular reflection.
Diffuse reflection is when light hits an object and reflects in lots of
different directions. This happens when the surface is rough. Most of the
things we see are because light from a source has reflected off it.
For example, if you look at a bird, light has reflected off that bird and
travelled in nearly all directions. If some of that light enters your eyes, it
hits the retina at the back of your eyes. An electrical signal is passed to
your brain, and your brain interprets the signals as an image.
Specular reflection
The angle at which light hits a reflecting surface is called the angle of
incidence, and the angle at which light bounces off a reflecting surface is
called the angle of reflection
If you want to measure these angles, imagine a perfectly straight line at a
right angle to the reflective surface (this imaginary line is called ‘normal’). If
you measure the angle of incidence and the angle of reflection against the
normal, the angle of incidence is exactly the same as the angle of
reflection. With a flat mirror, it is easy to show that the angle of reflection
is the same as the angle of incidence.
Water is also a reflective surface. When the water in a lake or sea is very
still, the reflection of the landscape is perfect, because the reflecting
surface is very flat. However, if there are ripples or waves in the water,
the reflection becomes distorted. This is because the reflecting surface is
no longer flat and may have humps and troughs caused by the wind.
It is possible to make mirrors that behave like humps or troughs, and
because of the different way they reflect light, they can be very useful.
Hologram
Overview
2020-1-LT01-KA229-078054

Concave mirrors
The inside curve of a spoon is an example of a concave mirror. Concave
mirrors are used in certain types of astronomical telescopes called
reflecting telescopes. The mirrors condense lots of light from faint sources
in space onto a much smaller viewing area and allow the viewer to see far
away objects and events in space that would be invisible to the naked eye.
Light rays travel towards the mirror in a straight line and are reflected
inwards to meet at a point called the focal point.
Concave mirrors are useful for make-up mirrors because they can make
things seem larger. This concave shape is also useful for car headlights and
satellite dishes.
Convex mirrors
Convex mirrors curve outwards, like the outside of a balloon. Parallel rays
of light strike the mirror and are reflected outwards. If imaginary lines are
traced back, they appear to come from a focal point behind the mirror.
Convex mirrors are useful for shop security and rear-view mirrors on
vehicles because they give a wider field of vision.
Scattering of light
Some light is scattered in all directions when it hits very small particles
such as gas molecules or much larger particles such as dust or droplets of
water.
The amount of scattering depends on how big the particle is compared to
the wavelength of light that is hitting it. Smaller wavelengths are scattered
more.
“Why is the sky blue?” is a common question. Light from the sun is made
of all the colours of the rainbow. As this light hits the particles of nitrogen
and oxygen in our atmosphere, it is scattered in all directions. Blue light
has a smaller wavelength than red light, so it is scattered much more than
red light. When we look at the sky, we see all the places that the blue light
has been scattered from.
This is similar to the question: “Why are sunsets red?” When the Sun
appears lower in the sky, the light that reaches us has already travelled
through a lot more of the atmosphere. This means that a lot of the blue
light has been scattered out well before the light arrives at us, so the sky
appears redder.
Clouds appear white because the water droplets are much larger than the
wavelengths of light. For this situation, all wavelengths of light are equally
scattered in all directions.
Hologram
Overview
2020-1-LT01-KA229-078054

Hologram - a three-dimensional image reproduced from a pattern of
interference produced by a split coherent beam of radiation (such as a
laser).
Hologram technology is starting to slowly impact our lives more and more.
Medical students are now being taught using new “mixed-reality” training
that involves them learning from life-like holograms.
The entertainment industry has also jumped on the hologram bandwagon,
performers can now be beamed around the world or even into a mobile
game.
In simple terms, hologram technology is a three-dimensional projection
which can be seen without using any special equipment such as cameras
or glasses. The image can be viewed from any angle, so as the user walks
around the display the object will appear to move and shift realistically.
Holographic images can be static, such as a picture of a product, or they
may be animated sequences which can be watched by multiple people
from any viewpoint. The technology used to capture and project
holograms has advanced rapidly in recent years. These latest techniques
allow increasingly convincing and interactive models to be displayed and
are expected to become even more widespread in the future.
In the classroom
One of the most exciting applications of holograms is the improvement of
the educational experience. In order to engage students more fully,
interactive digital lessons will be used in schools. This combination of
digital and real-world information is known as mixed reality.
Complex subjects can be taught using holographic images that students
can interact with and examine. For example, pupils can virtually explore
the ruins of an ancient building during history lessons, or observe
individual atomic particles and how they behave.
Alternative
Hologram technology will likely be beyond many schools currently due to
the cost of the equipment and the training time required for teachers to
become comfortable working with this technology.
Hologram
Overview
2020-1-LT01-KA229-078054

Hologram: a three-dimensional image reproduced from a pattern of
interference produced by a split coherent beam of radiation (such as a laser).
Reflection: the throwing back by a body or surface of light, heat, or sound
without absorbing it.
Hologram
Vocabulary
2020-1-LT01-KA229-078054
Materials Acetate sheet(s) (clear plastic)– for example, overhead projector
transparency or clear binding cover
Copies of the template of pyramid or you can make template by yourselves
Smartphone or tablet
Access to YouTube video
Scissors
Felt pen
Ruler
4 cardboards 10,6 x 10,6 cm
2 cardboards 16 x 10,6 cm
Glass 15 x 15 cm
Hot glue gun and hot glue sticks
Smartphone or tablet
Ruler
Pencil
Scissors
I OPTION
II OPTION

I OPTION
1.Choose the size of the template depending on whether you are using a
smartphone or a tablet – small template for smart phone, large template
for tablet.
Drawing template:
Draw a trapezium with size 60mm x 35mm x 10mm.
1. Draw a vertical straight line on the graph paper
2. Mark two dots at 3cm right and left from the vertical line.Then join them .(
Base of the Trapezium )
3. Mark a dot on the vertical line 35mm above the base line
4.Draw a 10mm line parallel to base.Then Join them to make the complete
Trapezium.
5. Cut out the templates with some margin on each sides.
Now your Template is ready.
Hologram
Background
information
2020-1-LT01-KA229-078054
2. Stick/transfer the template to acetate sheet. Carefully cut along the
solid black lines. Carefully use scissors or a craft knife to cut the slot.
Or cut out 4 trapezium shapes.
3. Place a ruler along the dotted lines, and use the scissors to score the
acetate. This will help you fold the sides of the pyramid. Crease and fold
the sides. Insert the tab into the slot. Adjust the corners. Loosen or
squeeze them so that each corner forms a 90° angle.
Or place the 4 shapes as shown in the picture. Join the four edges to form a
pyramid shape. Stick them together by using clear tape.

II OPTION
1.Take a cardboard 10,6 cm x 10,6 cm and cut into 2 equal triangles.
4. Invert the pyramid and place it on a flat surface. The pyramid should sit
level with the surface. If it doesn’t, consider whether you need to trim
(cut) the acetate or reshape the folds so you have 90° angles.
5. Find and play the video (e.g., HoloQuad Holographic Video Compilation
3D Mobile Cell Phone Hologram Videos MMD
(https://www.youtube.com/watch?v=nLAAym_0TGA).
6. Lay the smartphone or tablet on a flat surface. Place the inverted
pyramid in the centre of screen. The light from the screen reflects from
the pyramid face at 45° angles. Consider where to place your line of vision
to catch this reflection.
If you do not see a 3D image forming in the centre of the pyramid, consider
what you might need to do to make the projector work.
Some reasons may include the pyramid is on an angle due to imperfectly cut
edges or folds, the room is too light, the student is viewing the pyramid from
an incorrect angle.
The projection works best in a darkened room. Some faces of the pyramid
may work better than others, so try rotating the phone or tablet.
Hologram
Background
information
2020-1-LT01-KA229-078054
Make the same with one more cardboard.

5. Prepare the box structure.
4. Cut the opening in cardboard 16 x 10,6 cm. Ensure the opening size is
suitable for your mobile phone.
2. Cut out a strip of 2 - 3 mm of the basis of one triangle.
Hologram
Background
information
2020-1-LT01-KA229-078054
Repeat this with one more triangle.
3. Glue 2 triangles on the cardboard 10,6 x 10,6 cm.

Hologram
Background
information
2020-1-LT01-KA229-078054
6. Place glass inside leaning back at the angle 45.
7. Play a hologram-specific video or animation on your smartphone.
Place the smartphone upside down on the bottom of the box,
5. Prepare the box structure.

1
In this activity students will choose to use a sheet of acetate to make a transparent,
four-sided pyramid or cardboard and glass to build box screen for hologram video
projector.
The pyramid’s sides act as four mirrors, situated at 45° angles on a smartphone or
tablet screen, and create a hologram-like projector.
Working in pairs students hologram pyramid or box screen.
2
3
They find a hologram-specific video or animation on Youtube using their
smartphones.
Reflection:
What kind of difficulties do you encounter making hologram like projector?
How would you like to improve your projector?
What is the working principle of hologram like projector?
2020-1-LT01-KA229-078054
Students test their hologram projectors.
Hologram

2020-1-LT01-KA229-078054
Hologram

One idea, many variations
MAKE A PHOTO COLLAGE
LINKS TO THE BOOK
The Misinterpretation of Doctrine
The fourth and final section of Jonathan Livingston Seagull flashes forward nearly two hundred
years after Jonathan’s disappearance from the face of the earth and supposed ascendance to
heaven. In the centuries that have passed, Jonathan’s teachings of introspection, self-
determination, and the pursuit of one’s individual truth have been misinterpreted, warped, and
picked apart like so much chum.
Bach suggests that religious and spiritual movements must—or at least should—reexamine their
roots and return to the simplistic messages of self-discovery, charity and community, pursuit of
a greater collective good, and the sacredness not of one figurehead but of each member of the
larger community.
Objectives
Overview
Investigate the subjectivity of the message hidden in words, text,
picture, etc.
Analyze how an object or concept can be visualized in different
ways.
Use photography to share the message.
One particular dualism that is prevalent in today's socio-cultural theory is
that of objectivity and subjectivity. Objectivity is a theoretical perspective
that is omniscient, neutral, and detatched with respect to a certain
attribute or set of attributes. The objective courtroom judge has no reason
to favor the defendant or the plaintiff, and the objective journalist
includes no judgmental inclination in reporting an event. Subjectivity, on
the other hand, is the opposite condition, of being located within one's
personal feelings and opinions. An editorial writer is subjective by
definition, to juxtapose the earlier example of the journalist.
The situated nature of perception, i.e. its subjectivity or objectivity, is an
extremely important qualifier of the human experience. It is in fact one of
the most widely recognized and researched fields of psychological inquiry,
particularly in light of Jaques Lacan's theory of "the mirror stage." In this
developmental period, Lacan claims, an individual reconciles the tension of
having a projected image in a mirror that is separate from the experienced
phsical self. Eventually, the individual recognizes the singular body, in the
presence of a mirror, as simultaneously subject and object. Although this
stage marks the first time that a person ever confronts this perceptual
dualism, it is a tension that remains throughout the person's entire life
(Wikipedia: Jaques Lacan)
2020-1-LT01-KA229-078054

Overview
One of the shortcomings of Cash's (1990) account of the relationship
between body physicality and body image is his sharp analytical division of
objectivity and subjectivity, whereby he essentially dismisses their
simultaneous effects on body perception. He argues that the experience
of body image can be "neatly divided" into the two separate perspectives
of objectivity and subjectivity, or a "view from the outside" vs. a "view
from the inside" (p. 51). This is a reductionist analysis, because the two are
inseparable. The view from the inside is deeply affected by the way that
people perceive others to view them, and vice versa. Furthermore, it is
clearly impossible for anyone to ever attain a completely insulated
objective or subjective view, because nobody can escape their own
perception and nobody can exist without receiving social cues,
affirmations, and denunciations from others.
In situating oneself as an intersubjective person, a crucial influence is the
context of action; there are locations and environments that are requisite
stages for us to engage in our various activities and roles in the world. It is
not very meaningful to envision ourselves doing anything without also
envisioning our circumstantial context as well. Goffman breaks down this
context into what he calls the "setting" and the "personal front" (Goffman
22-24). The setting includes furniture, physical layout, decor, or any other
site-specific topological entities. On the other hand, there is the more
personalized physicality of the personal front, which includes adaptable
equipment used to express relationships and status with respect to other
people and institutions. The personal front would include clothing, image
attributes like weight or age, gender, posture, and speech dialect. It is this
second subset of context that is of interest for this study, since mirrors are
a tool for visualizing and realizing the personal front.
The personal front is an essential tool for impression management. When
we interact with others, we judge and categorize one another according to
information gathered from the interaction. It is therefore often in a
person's interest to project a certain impression, since that impression will
influence the responses of others (Goffman 3). While body image and
body affectations are not the only way that people do this, they play a
major role. A person looking for an office job would want to seem hygienic
and socially competent during an interview, which might physically mean
wearing nice clean clothes, being clean-cut, or consciously keeping body
language competent and smooth. The important concept in this scenario is
that the interviewee is able to use a mirror to project his or her body
image, assume the role of the interviewer, and anticipate which
components of the personal front will be well-received.
2020-1-LT01-KA229-078054

Overview
The action or fact of visualizing
The power or process of forming a mental picture or vision of
something not actually present to the sight; a picture thus formed.
Photography
There is a vast belief that photography starts with cameras and confusing
knobs and menus. Photography starts with you and your mind. Your
ability to see an image. So what is visualization? Author Robert Collier
said, “Visualize this thing that you want, see it, feel it, believe in it, Make
your mental blueprint and begin to build.”
And that wasn’t written specifically about photography, because
visualization fits any creative activity. You can use this in every part of
your life. The Oxford Dictionary lists Visualization as
In your photography, you’re getting an idea before you even pick up a
camera what it is you want to photograph. If you’re taking snapshots, it’s
done without any thought. That’s what a snapshot is. You’re just pressing
the shutter. You’re not even thinking necessarily about where would be
the best place to photograph that day.
Ansel Adams said the whole key to a photograph is visualization, and that
is the difference between photography as an art form and a snapshot.
There’s always a visualization process that goes along with your
photography. Even if you say, I want to go out today and photograph on
the main street of my town. You’re getting a quick visualization right
there. Now, if you can expand on that and really explore it, your
photography will get better. That can happen in a split second.
2020-1-LT01-KA229-078054
Vocabulary
Interpretation:the action of explaining the meaning of something.
Subjectivity: the quality of being based on or influenced by personal feelings,
tastes, or opinions. The quality of existing in someone's mind rather than the
external world.
Visualization:the power or process of forming a mental picture or vision of
something not actually present to the sight; a picture thus formed.

Materials Smartphone or camera.
Pic collage or Photocollage apps or desktop version.
Colour printer.
Projector.
2020-1-LT01-KA229-078054
Background
information
Choose an object and take photos of it in five different ways:
1. ‘The object as we usually see it’ (questions to answer: how they
usually see this object, what does this object mean to the majority of
people).
2. ‘The object as we would never see it’ (questions to answer: what is a
nonsensical/absurd image? What semantic and fictional interventions
we make for a surrealistic representation?).
3. ‘The object as a dominant element of a social interaction’. Here,
people also take part (questions to answer: who may use the object and
in what social context).
4. ‘The object as a main character of a fairy-tale’ (questions to answer:
how can we create a non-realistic image which will have to relate to
some kind of narrative?
5. ‘The object as a product being advertised’, resulting in an image which
belongs to the ‘reality’ of the advertising universe (questions to answer:
who are the potential buyers that we would like to convince? What
setting will best depict the product? What will be in the background?).
Create a collage at least of 5 photos using app or sofware.
Produce a 1-2 min video related to the chosen object based on a
different style:
reportage (e.g. interviews /opinions of different people and
news);documentary (e.g. with a personal voice over);fiction (e.g. short
story with characters);social media video (consists of still photos with
short captions in large font, often called AJ+); advertisement.
The videos each should have their own visual, rhythmic, graphic style
and audio style.

1
In this activity students will take photos of the chosen object in different ways and
prepare the photo collages. Then they will produce a short video related to the chosen
object in a particular style.
Working in groups students choose a common everyday object and
photograph it in five different ways: reality, surreal use, advertising, fairy
tale and social interaction.
2
3
Each group presents their work to the whole class through the projector.
The creating group is not allowed to explain but should carefully hear the
thoughts of their audience. The groups could also add captions on the
side or in a more edited manner.
Topics will develop accordingly by proposals and “wrong” estimations from
the other groups. The group realizes that the audience’s interpretation is
based on their own stereotypes. Intuitively young participants realize that
they are actually expressing their own ‘truth’ and that recording ‘reality’ and
narrative is actually reflection of what they consider as reality and
storytelling. Here, the creator’s role becomes explicit.
Reflection:
How can an object or concept be visualized in different ways? Can an idea be
presented in multiple/ synthetic ways? Do all of us understand images the same way?
2020-1-LT01-KA229-078054
Each group prepares the collage at least of 5 photos.The aim is to present
a broader and enhanced image of the selected idea.
4
Each group selects and produces a 1-2 min video based on a different
style: reportage (e.g. interviews /opinions of different people and
news);documentary (e.g. with a personal voice over);fiction (e.g. short
story with characters);social media video (consists of still photos with
short captions in large font, often called AJ+);advertisement.
5 The groups share and discuss their works. Each group prepares the
collage at least of 5 photos.The aim is to present a broader and enhanced
image of the selected idea.

2020-1-LT01-KA229-078054

The Flock
TAKE PART IN A THEATRE LABORATORY
LINKS TO THE BOOK
Self-Determination Through Mind, Body, and Spirit
Jonathan Livingston Seagull is an ode to self-determination through transcendence of the body
and discovery of the limitless nature of the mind and the spirit. Jonathan longs to be in control
of his own life and govern himself independently of his hegemonic, small-minded Flock. His
experiments in airborne acrobatics begin as a way to distinguish himself from the rest of the
group and explore the possibilities of his small life. However, as Jonathan becomes a more
serious flier and eventually ascends to a new plane of existence where mystical, gleaming gulls
practice flight in peace all day long, he realizes that flight is a means of integrating his mind,
body, and spirit as one singular entity. Through Jonathan’s journey toward self-discovery and
self-determination, Bach uses Jonathan Livingston Seagull to make the controversial argument
that the self—the product of mind, body, and spirit in perfect harmony—is a limitless entity that
reaches its fullest potential when they are united in harmony with one another.
Objectives
Overview
Develop and strengthen the team
Encourage listening skills among the group
Develop individual's initiative
Strengthen confidence and self-confidence
Increase concentration skills
Experience different qualities of movement
The theatre was once defined as an art and a prototype of human
communication. It goes without saying that theatre constitutes a means of
a show but also a means of self-expression.
The theatre and the act of dramatization are present amongst children
from a very young age, for example, in role-play.
By playing theatre games, children practice body expression, develop
social and emotional skills, and enrich their language and communication
skills whilst simultaneously boosting creativity and imagination.
It is the teacher’s role to guide and encourage these types of drama and
theatre activities because learning through drama is all about play, learning
to express emotions, feeling, and actions to learn new things and material
in a natural and unforced way within the classroom environment.
How drama can be a powerful tool for fostering inclusivity
Sharing Perspectives and Stories:
Drama allows students from different backgrounds to share their unique
perspectives and stories. Through character development, improvisation,
and storytelling, students explore diverse experiences, cultures, and
identities. This promotes a deeper understanding and appreciation of
individual differences and fosters an inclusive and accepting classroom
environment.
2020-1-LT01-KA229-078054

The Flock
Overview
Breaking Stereotypes and Challenging Bias:
Drama education provides a platform to challenge stereotypes and biases.
Students can create performances that tackle social issues, challenge
discriminatory attitudes, and promote social justice. By examining and
addressing stereotypes through dramatic expression, students develop
critical thinking skills and contribute to creating a more inclusive society.
Building Empathy and Understanding:
Inclusive drama activities allow students to step into the shoes of
characters from different backgrounds, cultures, and identities. This
experience cultivates empathy, enabling students to develop a greater
understanding and respect for others. By engaging in collaborative and
inclusive practices, drama education fosters a sense of belonging and
empathy within the classroom.
Key aspects that highlight the power of drama education
Emotional Expression and Empathy:
Drama provides a safe space for students to explore and express a wide
range of emotions. Through role-playing and character development,
students develop empathy as they embody different perspectives and
understand the motivations and experiences of others. This cultivates
emotional intelligence and enhances interpersonal skills.
Communication and Collaboration:
Drama activities require effective communication and collaboration
among students. By working together in improvisation exercises, script
reading, or group performances, students learn to listen, express their
ideas clearly, negotiate roles and ideas, and adapt to others’ contributions.
These skills are crucial for effective teamwork and social interaction.
Creativity and Imagination:
Drama education stimulates students’ creativity and imagination. It
encourages them to think outside the box, explore different possibilities,
and take risks in their artistic expression. Through improvisation and
storytelling, students develop their imaginative thinking and enhance their
ability to generate original ideas.
Critical Thinking and Problem-Solving:
Drama activities promote critical thinking as students analyze characters,
scripts, and situations. They learn to interpret text, make connections, and
evaluate choices in their performances. Drama also presents students with
problem-solving opportunities, as they navigate through various
challenges in creating scenes, resolving conflicts, or adapting to
unexpected situations.
2020-1-LT01-KA229-078054

The Flock
Overview
Confidence and Self-expression:
Engaging in drama builds students’ self-confidence and self-esteem. As
they perform in front of an audience or participate in group activities, they
develop a sense of accomplishment and overcome stage fright. Drama
education empowers students to express themselves authentically and
find their own voice, boosting their overall self-assurance.
Language Development:
Drama education contributes to language development by improving
verbal and nonverbal communication skills. Students practice articulation,
intonation, and projection while delivering lines or expressing emotions.
They also develop active listening skills, observation, and interpretation of
body language, facial expressions, and gestures.
Personal and Social Awareness:
Engaging in drama fosters personal and social awareness. Students
explore their own identities, values, and beliefs while also recognizing and
respecting the identities of others. Drama provides a platform to discuss
social issues, challenge stereotypes, and develop an understanding of
diverse perspectives, promoting inclusivity and social responsibility.
Reflection and Self-evaluation:
Drama education encourages students to reflect on their own
performances, evaluate their strengths and areas for improvement, and
set goals for growth. This reflective practice enhances self-awareness,
self-regulation, and a commitment to continuous learning.
Joy and Engagement:
Drama education creates a joyful and engaging learning environment. It
taps into students’ natural inclination for play and storytelling, making
learning enjoyable and memorable. This, in turn, enhances motivation,
active participation, and overall student engagement in the classroom.
By harnessing the power of drama education, educators can create a
dynamic and transformative learning experience that nurtures students’
creativity, emotional intelligence, critical thinking, and social skills,
fostering their holistic development as individuals and active participants
in society. Moreover, it is important to adapt each activity to the age of
the group.
2020-1-LT01-KA229-078054

The Flock
Overview
Theatre laboratory
Jerzy Grotowski created the first “theatre laboratory”. He mentions in his
book Towards a Poor Theatre that theatre becomes a tool of knowledge
for the actor as a person. The laboratory objective is to discover the man
who exists beyond the actor and learner by looking for the origin of one’s
actions, awareness of values and urge to socialization. The theatre
laboratory is a friendly environment where the student is able to develop
his psycho-physical well-being without the fear to be judged, because the
laboratory is set up on the solid foundation of respect to the others.
Students’ spontaneity will go beyond expressing emotionally and
intellectually towards creating themselves strong persons.
Theatre games experimentation highlights technical skills to manage and
control the settings in the theatre laboratories, thus pupils become more
thoughtful towards their peers. In the theatre laboratory, socialization
strengthens students, helping them to reach uninhibited management and
expression of their own body and voice in individual or group activities.
Theatre laboratories allow students to explore and recognize their own
possibilities and potentialities, methods and options in order both to
combine the elements of the dramatic structure and to develop their own
social personality. Students’ reflection after theatre games within theatre
laboratories makes them think about the artistic activity they have
developed and link it to their own real life. During the theatre laboratory
activities, students will develop reproductive imagination - that allows
them to imitate and interpret productions of others - and also creative
imagination - that allows them to improvise and transfer the newly
acquired skills into real life situations: job interviews, working under
pressure, taking quick decisions etc.
In theatre laboratories, students will develop their aesthetic awareness
and through it they will identify in themselves appropriate resources that
allow them:
To express their ideas, feelings, emotions and sensations.
To get rid of phobias, prejudices or the tendency to judge other people.
To accept diversity both in people and ideas
2020-1-LT01-KA229-078054

The Flock
Vocabulary
Theatre: an art concerned almost exclusively with live performances in which
the action is precisely planned to create a coherent and significant sense of
drama.
Theatre laboratory: an interdisciplinary space, which combines the theory and
practice of contemporary theater.
2020-1-LT01-KA229-078054
Materials
Setting: outdoor on a safe floor ; indoor in an empty room
Comfortable clothing and barefoot (or comfortable shoes)
Music .
Background
information
How to plan a theatre laboratory
Settings
1. The space should be not dangerous, especially for physical work. Check
the ground, the walls, avoid objects that can become obstacles or barriers.
It is useful starting the work session, inviting all students to walk in the
room and get conscious of the characteristics of the space.
2. The place should be empty, not too small or too large. For a middle
group of students it takes a room bigger than a class-room but smaller
than a school gym. You must consider to have enough space per person,
laying on the floor without touching each other, or standing with open
arms.
It is important to avoid distracting environments, acoustically and visually. It
would be good if this room were as neutral as possible.
3. Cleaning is also required, especially if you work on the floor or barefoot.
Cleaning can also be a little ritual to be done before and after a work
session. Students themselves can set up a cleaning schedule.
By creating some rituals (taking off shoes, changing clothes, starting with
music... etc...), you can give students the sensation to take part to something
different that the normal school hours, the possibility to enter in a non-daily
space.

The Flock
2020-1-LT01-KA229-078054
Background
information
How to plan a theatre laboratory
Duration
1. A regular laboratory, whose duration is about the whole school year,
once a week.
2. 1 - 2 hours for a meeting and 20 - 30 meetings in total. Two hours of
duration for a meeting ensure a deeper work. It is recommended during
the laboratory sessions, to have two different approaches: the mental one
and the physical one.
If the limited time available, it is necessary to focus as well as possible to the
topics of the work. For example, if the aim of the laboratory is to face the
phenomenon of bullying, the ten encounters needs to be calibrated on it. In
this case it is not recommended to work on a final performance.
Target group
The experience proves the best results come from very heterogeneous teams,
where purposes are clear and shared, and the work reward originality instead
of standardisation.
1.For an effective work, the number of students involved should be
between twelve and twenty people.
Groups made by more than thirty people are hard to manage, in concentration,
listening, and time dedicated one by one.
2. Age of the participants: a class group or a mixed group.
A positive aspect of a mixed-age team is contamination: the older people drag
the others and the youngest bring discovery, amazement and simplicity of
thinking. However, it is better to separate pre-adolescents from adolescents:
as an indication, from 10 to 14 years and 14 to 18, even though every person
grows up with different time. So, it is a task of the educator to understand
which work adapts better to every student.
3. Gender: more productive groups are composed by both male and
female.
In a team, knowing each other means to know limits and qualities of all, and
learning how to manage them. Students themselves can learn to deal with the
troubles of the members, and this would already be a great result.

The Flock
2020-1-LT01-KA229-078054
Background
information
How to set up a theatre laboratory
The most effective socio-affective education methodology that allows the
group to reveal himself and help trainers to understand in depth is the circle-
time method. The circle-time method: 1) Promotes self-knowledge; 2)
Facilitates interpersonal communication; 3) Facilitates the free feelings
expression and personal experiences expression; 4) Promotes ideas and
opinions sharing.
1.Circular communication mode, in addition to creating a climate of
greater serenity and trust within the group of students, greatly enhances
the involvement and participation in all activities.
2. The arrangement in circles makes knowledge and communication at the
point of acceptance in the classroom. It helps in setting up working groups
and the beginning of any collective action.
3. Equal distribution of physical space and the strict rotation of operations
produce almost immediately in the participants a sense of positive
complicity within the group.
4. The circle is perceived as a solid free and comfortable space that
develops and strengthens networks and cooperation. Students soon show
a preference for this method of work because is more relaxing and more
productive.
5. It is important to underline three recommendations: 1) Students must
be arranged in a circle 2) Everybody listens to others 3) Nobody is obliged
to speak or to participate in the proposed activities but is invited to do.
Trainers should never be authoritarian, with verbal or non-verbal
communication, and even if more importantly They should never make value
judgements on the content of students interventions or actions carried out by
students within the activity.

The Flock
2020-1-LT01-KA229-078054
Background
information Techniques related to physical movement: observation and
concentration, tensions and stasis, posture, gait, a perception of one's
body and body in the scenic space, work on individual rhythm and
common rhythm, relationship with partners, action and reaction,
intention and motivation of actions..
Vocal techniques: sound emission linked to the body resonance boxes,
breathing techniques and diaphragmatic breathing, articulation,
elements of acting, pronunciation and diction.
Techniques related to listening: body's and voice's creation in harmony
with the others without direction, development of internal listening
skills, scenic presence, improvisation techniques
Techniques related to actor training: improvisation, acting and choice
of styles, interpretation techniques.
Techniques relevant to the work on texts: re-reading and rewriting,
processing. Write a own text, writing in team, writing on stage.
Techniques to use to free the group and its emotions
Preference is also given to improvisation techniques, to encourage the
expression of one's own emotions, learning to manage it and to use its
emotional resources.
The students work:
1) On the body, through relaxation techniques and body perception.
2) On space, to become aware of oneself and the environment.
3) On emotions, to get in touch with your emotions and recognize them.
4) On the group, through exercises of trust and courage.
5) On the relationship, with the monologue and the dialogue.
6) On the creation of the environment in the scenic space.
7) On time, with the story of a story on the scene.
There are 6 steps:
1.Team building (Knowledge)
2. Confidence and strengthening of the group (Inclusion)
3. Freedom and self-confidence of the individual (Deconstructing)
4. Development of skills (Positive Relationships Building)
5. Artistic creation (Performance Elaboration)
6. Final debriefing (Process Understanding

The Flock
2020-1-LT01-KA229-078054
Background
information
Topics and issues
Theatre laboratory is a useful instrument to fight teenager's difficulties,
problems and discomforts. During such laboratories students can work on
relations, emotions and communication skills, bullying, social exclusion,
racism, and other phenomenon.
Every kind of topic will deal with the project issues, if it gets involved
teenager's life and thoughts. Arguments like love, friendship, identity,
death, fear, rebellion, rage, war, freedom, metamorphosis, madness are all
big boxes, containing everything students want to talk about. Other
interesting topics can be arguments related to our present time, like
connections, digital world, the image power, terrorism, dictatorship,
economics, Europe, woman and violence, genders, sex, religion, rights
...etc...
Tools and environment
1.For some exercises can be useful to have complete darkness, and,
generally, a different kind of illumination, maybe something more intimate
that neon lights can help, as well as curtains at the windows, not to
observe or be observed by the world outside.
2. Music and sounds are essential. So, this room needs to have a music
equipment. Furthermore, it has to be a place where students feel safe if
they sing or scream, without disturbing others, and especially where they
don't feel judged by someone outside.
Final Feedback
A final performance needs to be designed and written by the students.
The educator has to accept their proposals, turn them into scenes,
building a highly emotional performance, for boys and girls and for the
audience too. Students need the right time and method to be ready to
tread the boards, feeling secure and appreciated, supported by the whole
group, and the dramaturgy of the show.
Performances are more interesting than shows because of the option for the
audience to actively participate. It is a sharing event, which can move along a
path and in every stop something happens. This kind of experience can take
place everywhere, by building the performance sitespecific. A team
performance can take place also in the city spaces, squares, parks, streets,
preparing small actions to do in groups, involving people passing by and
residents

1
In this activity students will take part in a short performace.
The students work in absolute silence. Starting as a group, very close to
one another they move like a flock of birds, or a bunch, or a shoal of fish.
These animals’ behaviour is very interesting: they move in the same way at
the same time, without getting their act together. Here the aim is the
same: to act together as a unique body, without the help of words or
premeditation. There is a leader, at the beginning clearly identified, and
what he/she does, everyone does, as similar as possible. (Simple
movements, preferably slowly done.)
It is not important to watch directly the leader. Who is in back positions can
copy the movements from who is next to him/her.
This work is accompanied with different type of music what suggests different
ways of experiencing the movement.
2
3
when the leader turns to another direction, the group automatically
changes the leader, following the person who stays ahead. This
change has to happen fluently too, and without verbal agreements.
the members of the group have not to stay always in the same
position, so that everyone can become a leader during the exercise.
Leaders are changed automatically:
READING THROUGH THE LENS OF STEAM
2020-1-LT01-KA229-078054
The Flock
'Rebellion:
one person comes out of the group, and does something else whenever
he/she wants.
This fact can produce three type of solution: 1. The flock goes and
“reabsorbs” the insurgent; 2. The flock goes and follows the dissident,
who becomes the new leader; 3. Some people just go and follow the
rebel, building a second flock.
Potentially it can be created also a third, a fourth flock, but there is always
the possibility to come back as a unique group.

The leader has to ensure a safe atmosphere and environment.
Leaders tell the correct procedure and check if it’s clear.
Leaders have to remember the rules during the exercise; to stay
close, to keep silence, to change leaders, to change the kind of
movements, to copy as well as possible...
Leaders observe the different answers of students, identifying the
most shy and the most enterprising. It is important to find a balance
between them, for example with some added rules (Who has leaded
twice cannot lead anymore.). If someone suggests something, too
difficult to be copied, remember the sense of the work is not to be
better than the others, but to be the best together.
Leaders propose the variations described when the exercise is well
done. Avoid chaos. The exercise has to be precise. It always must be
very clear who is leading, and the movements need to be done in a
very similar way. Focus on details and precision. During steps 1 and 2
it is important to have a clear project, not to be confused about the
reactions to the variations.
Reflection:
Is it difficult to copy exactly another person? Did you feel part of something? When?
How was it to be a leader? Is it difficult to decide to rebel? Why did you rise up? Why
didn't you rise up? Is it more difficult to stay together with these rules or to stay alone
without rules?
2020-1-LT01-KA229-078054
The Flock
4
'Possible mistakes:
Lacking knowledge and preparation. The activity to be done needs
some equipment and space ready. The students’ concentration even
increases if we reduce the wasting of time on setting preparation.
Talking too much and doing too much. The students have to do the
activity according to their feelings. If the leaders talk too much about
what should happen it would represent a real obstacle to the
experiential learning.
Underestimating the students. The students can do it in a proper and
safe way if the leaders give them all the tools and the briefing they
need. And the leaders must support them during the process, from
the beginning to the end. During steps 1 and 2 the autonomy of the
group is important.
5

Resources
https://academy.allaboutbirds.org/inside-birding-habitat/
https://alchetron.com/Richard-Bach
https://www.allaboutbirds.org/news/the-basics-how-why-and-where-of-bird-migration/
https://www.appyourschool.eu/digital-ateliers/
https://www.bealsscience.com/post/2016/02/15/3d-hologram-projector-for-you-phone-or-
tablet
https://www.brown.edu/Departments/Joukowsky_Institute/courses/13things/7260.html
https://edition.cnn.com/cnn-underscored/outdoors/birdwatching-beginners-guide-
ornithology
https://englishsummary.com/course/jonathan-livingston-seagull/?utm_content=cmp-true
https://www.goodreads.com/work/quotes/1743336-jonathan-livingston-seagull
https://www.instructables.com/DIY-Pyramid-Hologram/
https://www.lamasatech.com/blog/hologram-technology-becoming-vital/
https://www.linkedin.com/pulse/12-lessons-from-jonathan-livingston-seagull-mirabelle-
morah/
https://www.litcharts.com/lit/jonathan-livingston-seagull/summary
https://www.movebank.org/cms/webapp?gwt_fragment=page=search_map
https://www.nasa.gov/audience/forstudents/k-4/stories/nasa-knows/what-is-a-helicopter-
k4.html
https://www.nationalgeographic.com/animals/birds
https://www.nhm.ac.uk/discover/how-to-make-a-bird-feeder.html
https://www.schooleducationgateway.eu/en/pub/teacher_academy/teaching_materials/off-
book-project-theatre-esl.htm
https://www.sciencebuddies.org/science-fair-projects/project-
ideas/Aero_p015/aerodynamics-hydrodynamics/make-a-whirly-bird-from-paper
https://www.sciencebuddies.org/science-fair-projects/project-ideas/Zoo_p066/zoology/bird-
feeder
https://www.sciencelearn.org.nz/resources/48-reflection-of-light
https://www.silberstudios.com/the-key-to-understanding-photography-visualization/
https://richardbach.com/bio
https://www.rspb.org.uk/birds-and-wildlife/natures-home-magazine/birds-and-wildlife-
articles/food-chains/catching-food/
https://www.teacheracademy.eu/blog/drama-education/
https://www.teachengineering.org/activities/view/cub_mechanics_lesson01_activity1
2020-1-LT01-KA229-078054

Jonathan Livingston Seagull pack.pdf

More Related Content

More from katyciai1

Recently uploaded

Jonathan Livingston Seagull pack.pdf