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30 Years of IDEA Book - Chapter 4 : Advocacy

11 May 2022 7:52 PM | Anonymous

ADVOCACY for Drama/Theatre & Education

Since the foundation of IDEA in 1992, one of its main activities was advocacy for drama/theatre education. In 2006 IDEA has become one of the founding members of the World Alliance for Arts Education (WAAE). Together with other members of the WAAE : International Society of Education through Art (InSEA), International Society for Music Education (ISME) and World Dance Alliance (WDA) and in collaboration with UNESCO, IDEA promotes and advocates for arts education as a basic human right of every individual. IDEA has played an important role in the construction of the Road Map in Lisboa (2006) and the Seoul Agenda, realized in 2010, both events organised by UNESCO.

In 2019 Frankfurt Declaration IDEA joined the WAAE to assert the rights for all, towards the nurturing of a paradigm of solidarity, cooperation and good living, whether in formal, informal and non-formal education. Therefore IDEA assumes the defense of rights on several fields, like the creation of policies, the presence of arts in the curriculum of schools, the existence of a drama and theater pedagogy for teachers and specialists, the presence of drama as a school subject with regular hours per week, promoting holistic educational approaches for special purposes such as social justice, education for peace, saving the world, and collaborating with other arts education associations.

We are witness to the efforts of our members to look for different opportunities to influence, convince, create and call to action for colleagues from local, national and international communities to join together. The creation by IDEA of a special IDEA Day on 27 November annually gives great example of the creativity and persistence of the action of our members.

The IDEA members are the most important actors in advocacy for the theatre & education field in their persistent and often creative actions to achieve a structural place for drama/theatre as part of a full human education. Their actions are addressed to school directors, local administrations, politicians, parents, the press and all concerned stakeholders.

This is why we asked IDEA members to send us short statements in their local language, answering questions, such as:

What does advocacy for drama/theatre education mean to you?

What actions you have taken for the cause?

What is for you the most effective action for the future of the field of drama/theatre education?

On the next pages you will find the received statements in the local languages, also translated into English.

Borisav Matic

PLAIDOYER pour l’art dramatique/le théâtre et l’éducation

Lors de la fondation d’IDEA en 1992, l’une de ses principales activités a été d’élaborer le plaidoyer pour l’éducation théâtrale. En 2006, IDEA est devenu l’un des membres fondateurs de l’Alliance mondiale pour l’éducation artistique (WAAE). En collaboration avec d’autres membres de la WAAE (International Society of Education through Art (InSEA), International Society for Music Education (ISME) et World Dance Alliance (WDA) et en collaboration avec l’UNESCO) IDEA promeut et défend l’éducation artistique en tant que droit humain fondamental de chaque individu. IDEA a joué un rôle important dans la construction de la feuille de route à Lisbonne (2006) et de l’agenda de Séoul, réalisés en 2010. Deux événements organisés par l’UNESCO.

En 2019, la Déclaration de Francfort IDEA a rejoint la WAAE pour faire valoir les droits de tous, vers le développement d’un paradigme de solidarité, de coopération et de bien-vivre ensemble, que ce soit dans l’éducation formelle, informelle et non formelle. Par conséquent, IDEA assume la défense des droits dans plusieurs domaines, comme la présence d’idées politiques dans les créations, la présence des arts dans le programme scolaire, l’existence d’une pédagogie du théâtre et la pratique du théâtre pour les enseignants, la présence du théâtre en tant que matière scolaire avec des heures régulières par semaine, la promotion d’approches éducatives holistiques à des fins définies telles que la justice sociale, l’éducation pour la paix, sauver le monde et collaborer avec d’autres associations d’éducation artistique.

Nous sommes témoins des efforts de nos membres pour rechercher différentes occasions d’influencer, de convaincre, de créer et d’appeler à l’action pour que les collègues des communautés locales, nationales et internationales se réunissent. La création par IDEA d’une journée spéciale IDEA le 27 novembre de chaque année donne un excellent exemple de la créativité et de la persévérance de l’action de nos membres.

Les membres d’IDEA sont les acteurs les plus importants dans la défense du théâtre et de l’éducation, dans leurs actions persistantes et souvent créatives pour obtenir une place structurelle pour le théâtre / théâtre dans le cadre d’une éducation humaine complète.

Leurs actions s’adressent aux directeurs d’école, aux administrations locales, aux politiciens, aux parents, à la presse et à toutes les parties prenantes concernées.

C’est pourquoi nous avons demandé aux membres d’IDEA de nous envoyer de courtes déclarations dans leur langue locale, répondant à plusieurs questions :

Qu’est-ce que le plaidoyer pour l’éducation théâtrale signifie pour vous?

Quelles mesures avez-vous prises pour défendre l’idée de l’éducation artistique?

Quelle est pour vous l’action la plus efficace pour l’avenir de l’éducation théâtrale ?

Sur les pages suivantes, vous trouverez les déclarations reçues dans les langues locales, également traduites en anglais.

Borisav Matic

ABOGACÍA por el Drama/Teatro y Educación

Desde la fundación de IDEA en 1992, una de sus principales actividades ha sido la defensa de la educación teatral. En 2006 IDEA se convirtió en uno de los miembros fundadores de la Alianza Mundial para la Educación Artística (WAAE). Junto con otros miembros de la WAAE: la Sociedad Internacional de Educación a través del Arte (InSEA), la Sociedad Internacional para la Educación Musical (ISME) y la Alianza Mundial para la Danza (WDA) y en colaboración con la UNESCO, IDEA promueve y defiende la educación artística como un derecho humano básico de cada individuo. IDEA ha jugado un papel importante en la construcción de la Hoja de Ruta en Lisboa (2006) y la Agenda de Seúl, realizada en 2010, ambos eventos organizados por la UNESCO.

En la Declaración de Frankfurt de 2019, IDEA se unió a la WAAE para hacer valer los derechos para todos, hacia el fomento de un paradigma de solidaridad, cooperación y buen vivir, ya sea en la educación formal, informal y no formal. Por lo tanto, IDEA asume la defensa de los derechos en varios campos, como la creación de políticas, la presencia de las artes en el currículo de las escuelas, la existencia de una pedagogía del arte dramático y del teatro para los profesores y especialistas, la presencia del arte dramático como asignatura escolar con horas regulares a la semana, la promoción de enfoques educativos holísticos para fines especiales como la justicia social, la educación para la paz, la salvación del mundo y la colaboración con otras asociaciones de educación artística.

Somos testigos de los esfuerzos de nuestros miembros por buscar diferentes oportunidades para influir, convencer, crear y llamar a la acción a colegas de comunidades locales, nacionales e internacionales para que se unan. La creación por parte de IDEA de un día especial de IDEA el 27 de noviembre de cada año es un gran ejemplo de la creatividad y persistencia de la acción de nuestros miembros.

Los miembros de IDEA son los actores más importantes en la defensa del campo del teatro y la educación en sus acciones persistentes y a menudo creativas para lograr un lugar estructural para el drama/teatro como parte de una educación humana completa. Sus acciones se dirigen a los directores de las escuelas, a las administraciones locales, a los políticos, a los padres, a la prensa y a todas las partes interesadas.

Por eso hemos pedido a los miembros de IDEA que nos envíen breves declaraciones en su idioma local, respondiendo a preguntas como las siguientes

¿Qué significa para ti la defensa de la educación teatral?

¿Qué acciones has emprendido en favor de la causa?

¿Cuál es para usted la acción más eficaz para el futuro del campo de la educación dramática/teatral?

En las siguientes páginas encontrará las declaraciones recibidas en los idiomas locales, también traducidas al inglés.

Borisav Matic

戏剧/剧场和教育的宣传

自一九九二年IDEA成立以来,其主要活动之一是宣传戏剧和剧场教育。二零零六年IDEA成为世界艺术教育联盟(WAAE)的创始成员之一。 IDEA 与世界艺术教育联盟(WAAE)的其他创始成员:国际艺术教育学会 (InSEA)、国际音乐教育协会 (ISME) 和世界舞蹈联盟 (WDA) 一起,与联合国教科文组织共同合作,共同致力于促进和倡导艺术教育是全人类中每一位个体的最基本的权益。IDEA 在由联合国教科文组织策划的两项活动:二零零六年制订里斯本路线图和 二零一零年确立的首尔议程中发挥了重要的作用。

二零一九年在法兰克福宣言中,IDEA参与世界艺术教育联盟倡导维护所有人的权利:无论是在正式、非正式和非正规教育中,致力于培养团结、合作和美好生活的范式。因此,IDEA 设想于多个领域中捍卫权利,例如政策的制定、学校课程中艺术的在场、戏剧和剧场教学法存在于为教师和专业人士的培训中、戏剧课程以常态化的学时存在于学校的学科教学中,促进那些有着特殊目的的整体的教育性的方法,比如社会正义、和平教育、救世,以及与其他的艺术教育协会合作。

我们见证了我们的成员努力寻找不同的机会来影响、说服、创造和呼吁来自地方、国家和国际社区的同事们一起参与行动。 IDEA 在每年 11 月 27 日设立了一个特殊的 IDEA 日,这很好地展示了我们成员的创造力和坚持不懈的行动。

IDEA成员是倡导戏剧教育领域的最重要的参与者,他们坚持不懈并经常采取创造性的行动,从而实现戏剧和剧场教育在全人教育中结构性的地位。他们的行动关联着学校董事、地方行政管理者、政治家、家长、媒体以及所有的利益相关者。

这就是为什么我们要求 IDEA 成员以他们当地的语言向我们发送简短的陈述,并回答以下问题:

倡导戏剧和剧场教育对您来说意味着什么?

您为此采取了哪些行动?

对您而言,戏剧和剧场教育领域的未来最有效的行动是什么?

在接下来的页面中,您可以找到我们收到的、以当地的语言发来的声明,同时它们也被翻译成了英文。

Borisav Matic

Advocacy, members statements

Africa

Patrick Ogutu, KUPAA (Kenya Universities Performing Arts and Film Association), Kenya

Kiswahili: Shinikizo na Utetezi ya misingi ya binadamu kutumia tamthithila ili kutatuwa matatizo yanayo wakabili watu nchini. Katika nchi yetu huu mwenendo inaweza kutumika kutatuwa mambo yanayo athiri sisi wanadamu. Tumehakikisha kuwa sera zote nchini ina ipa kipa umbele utumizi ya thamthilia katika kufunza na kuelimisha jamii. Wasanii wote wanahitaji kujitosa katika siasa ili kuwa katika msitari ya mbele na kupigia debe hili swala kwani ni vigumu kutimiza lengo ikiwa uko nje.

Public support for a recommendation of a particular cause using performances and also teach the society. Advocacy means that drama and theatre can be used as a tool to eradicate and sensitize the community on different issues affecting the society. We ensured that the education curriculum is fully involving the use of theatre, and the policy guidelines have been developed to ensure that drama education is part and parcel of the training in the universities .The most effective action is for all theatre groups globally to ensure that they take part in political forums at the forefront, ensure that they become part of the policy makers both in parliament and outside parliament. Our voice will be heard much more if we fight from within, meanwhile there should uniform theatre education policy to be presented to all world leaders and need to tell them the importance of embracing the same.

Arnold Koledji, CAER Association, Togo

French: Le plaidoyer dans l'enseignement de l'art dramatique/théâtre est la prise de décision pour améliorer les conditions de cet enseignement. Et pour moi, il faut que les politiques et gouvernements de tous les pays du monde allouent des fonds de soutien au domaine d’enseignement de cet art dans les écoles depuis le primaire jusqu’à l’université. Mon association CAER et moi, avec l’appui des organisations internationales, avons initié le projet « Théâtre dans les écoles » pour travailler gratuitement avec les élèves en milieu rural. L’action la plus importante/efficace qui devrait être prise pour l’avenir de l’enseignement de cet art est la formation des enseignants de langues à pratiquer du théâtre dans leurs cours.

The advocacy in the teaching of drama/theatre is the making of decisions to improve the conditions of this teaching. And for me, it is necessary that the policies and governments of all the countries of the world allocate funds to support the field of teaching this art in schools from primary to university. My CAER association and I, with the support of international organizations, initiated the “Theater in schools” project to work for free with students in rural areas. The most important/effective action that should be taken for the future of the teaching of this art is the training of language teachers to practice theater in their lessons.

Asia & Oceania

Dr Jo Raphael, Drama Australia, Australia

As we emerge from pandemic times and the devastating effects of climate change, Drama Australia’s members face renewed determination to advocate for the importance and value of drama/theatre in education. Skills and dispositions learned through drama will help create the generation of creative and critical problem solvers and communicators needed for uncertain futures.

Miao Bin, China

在希腊学习教育戏剧之后,我回到中国成为了专职小学戏剧教师,在成都首开戏剧必修课,让每个孩子每周一节戏剧课。

After studying drama in education in Greece, I came back to China to become a full-time drama teacher in the primary school, and for the first time in Chengdu city to provide the compulsory drama classes in the schools, with which every student has one drama class per week.

Yuan Yuan, China

做为一名小学戏剧老师,我不断挑战自己。除了每周的日常戏剧课,我还开设了英文戏剧和身体打击乐选修课,排演了几部英文和身体打击乐戏剧,并带着这些作品走进了校内外的剧场,给予了学生更多的戏剧学习体验和经历,得到了家长和学校的认可,也在孩子们的心中埋下了一颗戏剧的种子。

As a drama teacher in primary school, I have normal drama class weekly. Besides that, I conducted several English drama shows and body percussion shows using the method of TIE. Both students and parents found drama class fascinating, engaging and inspiring. Last but not least, I brought the students to theatre for performance and received good feedback.

Dr Janardan Ghosh, India

িথেয়টার বা যাত্রায় িবেবক শুধু মাত্র চিরত্র নয়, একান্ত ভােব প্রিতটি দর্শকর্শ ও অিভেনতার স্নায়ুতন্ত্রে প্রবািহত িবদ্যুৎশক্তি। আজন্মকাল এই শক্তি সৃষ্টি ও সঞ্চািরত করার উদ্দেশ্যে িথেয়টােরর বহু জন্ম ও বহু রূপ। বর্তমােন, ‘কথা-'কিল' গল্প িনর্বর্তেনর মাধ্যেম বাংলার প্রান্তিক মানুেষর স্বপক্ষে িকছু বলার অিধকার বোধ জাগ্রত করার প্রেচষ্টা কের চেলিছ।

In Bengali folk theatre (Jatra), Viveka is not only a character but the electric flow of conscience through the nerves of the actors and spectators. To generate this energy has been the primal effort of all theatres that were born and reborn and metamorphosed. Presently, through our ‘Katha-Koli’ storytelling performance and workshops we are trying to empower the marginalised rural people of Bengal to learn advocacy through storytelling.

Beng Cabangon, para PETA, The Philippines

Filipino: Itinataguyod ng PETA ang isang inklusibong uri ng edukasyon sa drama/teatro na isinasagawa sa loob at labas ng mga paaralan.

Sa pag-engganyo sa mga kabataan sa drama/teatro, nalilinang ang kanilang mga kakayahan sa pagiging malikhain, maparaan, pakikiramay sa kapwa, pagbibigay kaluhugan sa mga bagay at kaganapan, at pagkakaroon ng kritikal na pag-iisip.

Ang paglinang sa kritikal na kaisipan ng mga kabataan ay nakatutulong para labanan ang “kultura ng pananahimik at kumpormidad”, “kultura ng materyalismo at konsumerimo”, at ang “kultura ng karahasan” na namamayani sa ating paligid.

PETA advocates for INCLUSIVE drama/theater education that takes place WITHIN and BEYOND the walls of the classroom. Engaging young people in drama/theater cultivates their creativity, resourcefulness, compassion, meaning-making abilities and critical thinking. Developing the youth’s critical thinking will help overcome the “culture of silence and conformity”, the “culture of materialism and consumerism”, and the "culture of violence" around us.

Europe

Tintti Karppinen, FIDEA, Finland

Suomeksi = Finnish : FIDEA on 50v. vaatinut muiden maiden kanssa draamaa/teatteria itsenäiseksi taideaineeksi kouluihin. Jatkamme työtä: IDEA DAY oli FIDEAn aloite! Soitamme yhä kelloja, jotta kaikkialla kuullaan viestimme. Draamassa ketään ei jätetä yksin eikä suljeta ryhmästä ulos. Se on parasta rauhankasvatusta! Maailma tarvitsee ihmisiä, jotka osaavat asettua toisen asemaan. Draama ja teatteri opettavat sitä!

Translated to English by Hannu Heikkinen: FIDEA has demanded drama/theatre with other countries as an independent art subject for schools for 50 years. We will continue: IDEA DAY was an initiative of FIDEA and we still ring the bells to get our message heard everywhere. In the drama, no one is left alone or excluded from the group. That is the best peace education! The world needs people who know how to put themselves in another position. Drama and theatre teach it!

Ása Helga Ragnarsdóttir, FLÍSS, Iceland

Icelandic : FLÍSS, félag leiklistarkennara á Íslandi, var stofnað árið 2005. Markmið þess hefur ávallt verið að stuðla að eflingu leiklistar í skólastarfi. Frá upphafi setti félagið sér það markmið að fá leiklist inn sem námsgrein inn í aðalnámskrá grunnskóla.

FLÍSS, the association of Drama Teachers in Iceland, was founded in 2005. Its aim has always been to give all children and young people advocacy through drama education. From the beginning, the association put the goal of having drama as a subject in the curriculum of primary education.

Salvatore Guadagnuolo Caccavale, Loredana Perissinotto and Giuseppe Coppola, AGITA, Italy

Italian: AGITA è un centro di studi, di ricerche e di documentazione sul teatro della scuola e del sociale, che offre la propria consulenza a chiunque, pubblico o privato, sia interessato alla progettazione, alla formazione, all’aggiornamento nell’ambito del teatro in educazione. AGITA è un punto di riferimento per insegnanti, animatori, operatori teatrali, studenti, artisti, educatori, organizzatori, mediatori culturali, amministratori pubblici, interessati ad un collegamento nazionale tra le esperienze, le iniziative, le rassegne teatrali, le manifestazioni; ad un confronto su temi, percorsi e metodologie artistiche e formative.

AGITA is a centre for studies, research and documentation on school theatre and social life. It offers its guidance to all, public or private, whether they are interested in planning, training, or updating within the theatre in education. AGITA is a reference point for teachers, theatre operators, students, artists, educators, organizers, cultural mediators, public administrators who are interested in a link between experiences, initiatives, theater reviews, or events; in order that is possible to make a comparison on the themes and methodologies (artistic and formative).

Maria van Bakelen, The Netherlands/France

Dutch: Pleiten voor het belang van theater/drama en educatie? Tsja, na 60 jaar ben ik dat zat. Bij tijd en wijle is er veel gewonnen, maar steeds volgde een terugslag. Voortdurend op je qui-vive blijven voor politici die de curricula weer willen veranderen of voor de directeur die bezuinigt. Pfffft.

Advocating for the importance of theatre/drama and education? Well, after 60 years I'm tired of that. At times much has been gained, but there has always been a setback. Constantly be on the lookout for politicians who want to change the curricula again or for the director who is cutting back. Pfffft.

Bogdana Darie, Romina Boldașu, Andreea Jicman and Victor Bădoi, UNATC, Romania

Romanian: Pledoaria pentru educație teatrală presupune promovarea acesteia ca mijloc de a crea comunități și de a le ajuta să conțină diversitatea, acceptarea și bunătatea. Înseamnă construirea de legături între grupuri mixte de indivizi prin intermediul jocului teatral, spectacolelor și cercetărilor academice. Una dintre cele mai mari reușite ale echipe noastre a fost aprobarea de către Ministerul Educației a introducerii a trei discipline cu specific teatral în preuniversitar.

Advocacy for drama/theatre education consists in promoting it as a way for bringing people together and helping them embrace diversity, acceptance and kindness. It means creating bridges between communities using drama games, performances and sharing written research. One of the biggest achievements was to have approved by the Ministry of Education the syllabuses for drama classes in the pre-academic educational system.

Sanja Krsmanović Tasić, CEDEUM, Serbia

Serbian: Инспирисана акцијом Тинти Карпинен из асоцијације ФИДЕА, покренула сам са ЦЕДЕУМ-ом 2020. године међународну акцију Звонимо за уметничко образовање током које се, 25.маја, првог дана Унеско Светске недеље уметничког образoвања, широм света звонило или свирало на разним инструментима у подне. Ова акција је прихваћена од стране WAAE и настављена 2021. #BellsforArtsEd #Zvonizaumetnost

Inspired by the action of Tintti Karppinen and FIDEA, I have intiated with CEDEUM in 2020 an international action Ring the Bells for Arts Education, during which on the 25th of May, the first day of the UNESCO Arts Eduction Week, at noon, all over the world people would ring bells or play instruments. This action was accepted by the WAAE, and repeated in 2021. #BellsforArtsEd #Zvonizaumetnost

Veronika Kořínková, Barbora Jurinová and Monika Martinčičová, EDUdrama, Slovak Republic

Dramatická výchova môže dať každému do života veľmi veľa. Vytvorením vôbec prvého dramatického centra na Slovensku a organizovaním vzdelávacích zážitkových workshopov, nových projektov pre školy a seminárov pre pedagógov je našou myšlienkou rozširovať dramatickú/divadelnú výchovu tam, kde je to možné, pod heslom „zaži život nanečisto“.

DE can give everyone so much for life. By creating the ever first drama centre in Slovakia and through organising educational experiential workshops, new DE projects for schools and seminars for teachers, our idea is to spread drama/theatre education where possible – following the quote „experience someone’s story – as a try“.

Patrice Baldwin, UK

In 2005, as Chair of National Drama, I created ‘Drama for Learning and Creativity’ (D4LC), a school improvement, action research initiative involving 300+ schools and 500+ teachers over 6 years. D4LC was awarded IDEA project status and presented at UNESCO’s 2nd World Arts in Education Conference in Seoul (May 2010).

Dr Geoff Readman, National Drama, UK

The process of enactment enables children and young people to explore their changing world. Drama is a social art form that facilitates a collaborative exploration of human contexts in schools and communities. ND has been central to a UK day of action, planned to provoke conversations with politicians and policy-makers of all political persuasion. ND believes that Drama and Theatre should be recognised as a subject with the same status as Art and Music in an appropriately balanced curriculum entitlement. ND believes that the most effective advocates for Drama are children and young people, who were central to our Seize the Day strategy.

The Americas

Silvia Vammaro, Argentina

Spanish: El arte no puede mostrar el presente sin hacerlo como si fuera pasado. La afirmaciòn es contundente . Y asì ocurre con todas las artes, con todas ..menos con el teatro. El teatro es el único arte que tiene como uno de sus componentes esenciales esta capacidad de hacer que las cosas ocurran aquì y ahora con nuestra presencia. Los actores piensan y analizan con y desde sus cuerpos y no solamente con sus cabezas y mediante el lenguaje. Es por eso que debemos entrenar nuestro instrumento a diario, asì como el mùsico lo hace con su instrumento. Ambos alumno y su guìa deberìan entrenarse a diario. Dime y me olvido, enséñame y me acuerdo, involúcrame y aprendo. B. Franklin

Art cannot show the present as if it were the past. Any art except Drama/theatre. Drama is the only art that has that capacity. The capacity of showing that the performance is taking place "here and now", with our presence. Actors/performers think with their bodies not only with their minds and language. That's why we must train our bodies every day, same as the musician does with his instrument. Tell me and I forget, teach me and I remember, involve me and I learn. B. Franklin

Liliana Galván, Perú

Spanish: Educar mediante el drama y el teatro implica el funcionamiento de todo un ecosistema conformado por diversos actores, entre ellos, un Estado que regule y declare a los lenguajes artísticos como competencia primordial en la formación integral de los estudiantes; escuelas que incluyan drama y teatro en el currículum y plan de estudios; docentes que se formen en pedagogía de las artes; padres de familia que valoren el poder de las artes en la formación integral de sus hijos; niños y niñas que se expresen, reflexionen, indaguen y creen proyectos de drama y teatro así como en otros lenguajes artísticos.

Educating through drama and theater implies the functioning of a whole ecosystem made up of diverse actors, among them, a State that regulates and declares artistic languages as a primary competence in the integral formation of students; schools that include drama and theater in the curriculum and syllabus; teachers who are trained in arts pedagogy; parents who value the power of the arts in the integral formation of their children; children who express themselves, reflect, inquire and create the arts in the integral formation of their children; teachers who are trained in arts pedagogy; parents who value the power of the arts in the integral formation of their children; children who express themselves, reflect, investigate and create drama and theater projects as well as in other artistic languages.

Matthew Sheahan, Council of Ontario Drama and Dance Educators CODE, Canada

Drama in education exists through the work of our students who are our legacy. They carry this work forever and pass it on through who they are and what they do. The best advocacy for drama education is creating inquisitive, creative and passionate people.

Sonya Baehr, USA

IDEA should sponsor more international exchanges between young people in which they share each other’s culture and devise performance pieces together. This act of working together creatively in a group gives young people a direct experience of democracy and freedom. We need to make these experiences available to youth from a variety of countries, cultures, economic and social backgrounds, enhancing their sense of themselves as members of a common humanity.


IDEA is a non-profit professional association for Drama Education registered in Portugal. 

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English: International Drama/Theatre and Education Association 

Portuguese: Associação Internacional de Teatro Educação

French : Association Internationale Théâtre et Éducation 

Spanish: Associación Internacional Teatro y Educación 

Chinese: 国际戏剧/戏剧和教育协会

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