sound workshops designed for children and/or adults in autistic spectrum facilitated by Slavek Kwi.

"Any sound-situation where we accord attention becomes automatically musical."

micro-instrument 1. micro-instrument 2.

Aims and Objectives:

* To bring children into the process of creation. The comprehension of this process is possible only through direct experience. Stimulating creativity through an exploration of sounds.

* Heightening listening skills to develop an awareness of sound-environment, including other participants (= facilitator), e.g. notion of tolerance. Exercise of attention and memory span.

* Creating individual techniques through manipulating objects while producing sounds: a personal form of communication, searching for connections with other participants (=facilitator).

* Enhancing interaction and communication between participants (=facilitator) through development of improvisation, getting familiar with unstable character of reality, acceptance of unexpected factors within life etc.

* Awakening interest in the world of sounds and encouraging participants to explore and develop their place within this sound world. The sound becomes metaphor for social behaviour and integration of individual within collective. Focus on self-confidence.

* Preparation for further musical development through intensive listening. Pre-musical development listening skills.

ppballs in bowl

Basic concept of Improvisation and Interaction
Exploration of acoustic materials, discovering sound potential of ordinary objects, based on their diversity of textures such as paper, plastic, wood, metal, simple devices created from these objects, for example, plastic bottles of various volumes with one glass-marble or grainy materials placed inside etc. and, of course, voice. Gradually adding more complex sound-objects and musical instruments as various percussions, whistles and string instruments (as appropriate). Through "playing" the objects, creativity is stimulated by the freedom to experiment and discover the potential of each object as a means of making "music". By observing the effects of each sound, participants begin to create their own "language" and develop techniques automatically. This individual research within the situation evolves into an awareness and sharing of "language", establishing an integrative (co-existence) and/or interactive environment. From an awareness of sounds, participants select particular sounds based simply on subjective likes. Through engaging with a specific sound, natural curiosity is awakened, stimulating further exploration and creativity.