Play Your Rights

CARD 1 – TOOLKIT
The Play Your Rights toolkit is designed to promote children´s participation as

a fundamental right. Participation must be an imperative in all relationships
established between children and adults or between children and institutions.
Children’s participation must be authentic and meaningful and adults and
institutions must be prepared to take children´s visions, dreams, hopes and
concerns on board. An authentic and meaningful children’s participation
requires a radical shift in adult thinking and behaviour as well as a radical
shift on the institutional level — from an exclusionary to an inclusionary
approach to children and their capabilities.
Children's participation has an important role in science and education. As
argued by Lacan no one can be educated, psychoanalysed or politicised,
it is a subject's task. Paulo Freire signed in the same direction by saying
that knowing is the task of subjects, not objects. And it is as subject and
only as a subject that human beings can truly know. Therefore science and
education should provide children with the experience to develop their
talents and abilities to full potential, to gain confidence and self-esteem,
to use their initiative and creativity, to gain life skills and take informed
decisions and to understand. The right to education means the right to
experience citizenship. Children must be perceived not as mere recipients of
knowledge, what Freire names as Bankarian Education, when children are
perceived as an empty bank account in which adults launch information.
www.playyourrights.com — www.siscatalyst.eu
CARD 1 – TOOLKIT
Adults and institutions must develop their practice to take children as active
players in the learning process. It is for this reason that the UN Convention on the
Rights of the Child puts so much emphasis on the aims of education (article 28)
and on an educational system that respects the child's human dignity. Perhaps
the first feature of human dignity is freedom.
Despite children’s participation being a right which all the United Nations
members have signed and only 3 nations have not ratified, it remains the most
violated right. Despite all the scientific evidence adults still rule the children´s
world without their participation.
The Play Your Right toolkit is organized as a series of activities which can be
applied as a whole or taken separately to foster attitudinal and institutional
change in the relationship between children and adults.
Card 2 - Toolkit objectives
CARD 2 - TOOLKIT
OBJECTIVES
Toolkit Objectives:
• To help with the process of increasing the participation of children
and young people in decision-making and policy-making

• To be a resource for organizations taking part in SiS Activities
• To support organizations throughout consultations and participatory

activities with children and young people in the area of access to
Education and Science
• To help ensure consistency and quality in consultations

• and participatory activities, taking into account the diversity of
groups
• To provide a summary of the different approaches and methods of
participation in relation to policy consultations

• To be a comprehensive and accessible on going resource for policy
consultation with children and young people that will also be
available via the Internet

CARD 2 - TOOLKIT OBJECTIVES
Who is this toolkit for?
• Policy makers and decision makers including the European Commission, local
authorities and the European Parliament
• People working with children and young people in local authorities (e.g. in
community education), schools, science museums and children’s Universities and

higher education institutions
• Children and young people involved in consultation processes
• Young people involved in carrying out consultations with their peer groups
CARD 3 - SIS CATALYST
SiS Catalyst was a 4 year, European Commission funded Mobilising Mutual
Learning Action Plan. It was an initiative to foster and support ethical, effective and
sustainable engagement between children aged 7-14 years and the social, cultural,
political, scientific and educational institutions which make the decisions that shape
their futures. We believe that enhanced interaction will benefit both children and
institutions through exchange of views and improved mutual understanding.
While it seeks to empower children everywhere and influence all kinds of institutions
to engage with them, the initiative has a particular focus on strengthening
relationships between post-secondary education institutions and the children who,
despite ability, currently appear unlikely to enter them.
Based in Europe, SiS Catalyst involved people and institutions from other regions of
the globe and drew on many different sources of ideas, energy and wisdom.
The SiS Catalyst community included government and non-government educational,
cultural and scientific institutions and organisations, expert advisors and other
individuals and groups who shared a vision. It was co-ordinated through the
University of Liverpool, U.K.
CARD 3 - SIS CATALYST
SiS Catalyst Aims:
• To explore and identify the best ways to involve children (aged 7-18) in the social,
cultural, political, educational and scientific decision-making processes that will
affect their futures
• To support and guide institutions and people new to working with children
through training, exchange of best practices and mentoring

• To mobilise mutual learning among stakeholders at different levels and from
different sectors, regions and countries
• To encourage institutions to empower children and instil early positive attitudes to

learning through activities such as ‘Children’s Universities’
• To provide a blueprint of activities for engaging, inspiring and motivating children

with ability who appear unlikely to progress to post-secondary education
• To enrich lifelong learning and social inclusion through the next generation of
learners.
Card 4 Index
CARD 4 - INDEX
Card 1– Toolkit Card 22 – Staging Children’s Right
Card 2 – Toolkit Card 23 – Staging Children’s Right
Card 3 – Sis Catalyst Card 24– Cross and Circle
Card 4 – Indices Card 25 – Write your name in the air
Card 5 – How to use the cards Card 26 – Parts of the Body
Card 6 –Right to Take Part Card 27 – Good Morning
Card 7 – Right to Take Part Card 28 – The circle of knot
Card 8 – Ball and Circle Card 29 – Two by three by Bradford
Card 9 –Twins Card 30 – Person to person
Card 10 – I like you... because… Card 31 – Collective Character – Adult and Child
Card 11 –Volleyball Card 32 – The great game of power
Card 12 – Building a group contract Card 33 –The imaginary journey
Card 13 – The adult must have in mind: Card 34 – Explaining Forum Theatre - The handshake
Card 14 – Art 12 Card 35 – Complete the image
Card 15– Art 13 Card 36 – Gallery of Statues
Card 16– Art 14 Card 37– Image of transition
Card 17 – Art 15 Card 38 – How many ‘A’s in a single ‘A’?
Card 18– Art 16 Card 39 – Homage to Magritte
Card 19 – Reclaim The Rights! Card 40 – Forum Theatre Session
Card 20 – Take your side Card 41 – Collecting and Performing Child Stories
Card 21 – Staging Children’s Right Card 42 – Bibliography and Credits

CARD 5 - HOW TO USE THE
CARDS
Card 5 how to use the cards - picture
During the 4 year SiS Catalyst project we found several situations where children’s
rights are violated even though there is much talk about child participation.
Thinking of changing this scenario we developed a toolkit to promote the right to
participate. Pointing in the direction of a paradigm change but with a hands-on
approach, we developed activities focused on attitudinal and institutional change.
Our guide provides games and exercises that inform children and adults about
the rights to participate in a playful and reflexive manner indicating concrete
ways to promote the right to participation. We believe that children have the
right to be equal whenever difference diminishes them; children have the right
to be different whenever equality de-characterizes them. Thus children have the
right to develop a relationship with adults and their institutions based on equality
and equity.
Cards 1-3 introduce the reader to SiS Catalyst, the project generating the toolkit
and describe the ideas behind the Play Your Rights toolkit, its aims, objectives and
target group.
Card 4 is the Index which works as a menu of all the cards.
Card 5 is a brief description of how to apply the cards.
In Cards 6 and 7 the reader will find a discussion about children´s rights of
participation.
On Cards 8, 9, 10 and 11 are activities for people to introduce themselves bringing

different aspects of their personhood to the group.
Card 12 is a key activity through which the reader will learn how to develop a
group contract, setting up rules in a democratic way.
Card 13 is an ethical framework for working with children on participatory rights
developed by UNICEF.
Cards 14, 15, 16, 17 and 18 are respectively articles 12, 13, 14, 15 and 16 of the
UN Convention on the Rights of the Child. These articles are related to the right of
participation. The first step in working with children on their rights to participate
is to inform them that they have these rights and put these rights into a context.
Cards 19 and 20 were designed to debrief the content of these rights and put
them into a context.
Cards 21 to 40 are a selected series of games and exercises developed by Forum

CARD 5 - HOW TO USE THE
CARDS
Theatre to explore situations where children´s right are violated and create feasible
alternatives to overcome those violations.
Cards 21, 22 and 23 explain in details how Forum Theatre works.

Card 24 to 39 are games and exercises to explore situations of violations and
prepare all the participants to perform.
Card 40 is the description of a Forum session.
Card 41 is related to how collect and Performing Child Stories to perform through
Forum Theatre.
Card 42 provides the Bibliography and credits.
There is no right or wrong way to use these cards, but remember this is a toolkit
to foster children’s participation. The aim is to promote children´s voices as well
as the ability to listen and therefore create a dialogue based on the rights to
participate.
We recommend you begin by reading cards 1 to 6, especially no’s 5 and 6 which
deal directly with the participation rights. Card 13 sets out ethical principles for
developing any work in this field.
It is an imperative that you then read the cards providing articles 12 to 16 of the
UN Convention on the Rights of the Child. Once you have done that reflect on
your own activities and try to imagine how you could implement these rights
at the interpersonal, group or institutional levels. You can pick one activity to
incorporate into your practice or you may begin with presentation activities,
group contract, introducing and debriefing participatory rights and staging
children´s rights.
Of course we hope that you will bring your experience and your own reflections
on the theme and develop your own ways to foster children’s participation. Taking
part in training courses and workshops may help but you should take the chance
to develop your own dialogic practises. Explore and Enjoy!
CARD 6 – RIGHT TO TAKE PART
The notion of human rights was born in the modern era, gaining institutional protection after World War II with
the Universal Declaration of Human Rights and the creation of the United Nations.
The declaration establishes the legal basis of the idea of a universal human. The Declaration of Human Rights
promotes the rights of all human beings irrespective nationality, ethnicity, religion or age. However bearing in
mind the need to ensure the child rights the Declaration of the Rights of the Child was adopted by the United
Nations in 1959 deepening the proposal of the Geneva Declaration of 1924. The convention adopted in 1989
establishing the paradigm of integral and special protection of children and adolescents.
The United Nations Convention on the Rights of the Child recognises that children are not merely passive recipients,
entitled to adult protective care. Rather, they are subjects of rights who are entitled to be involved, in accordance
with their evolving capacities, in decisions that affect them, and are entitled to exercise growing responsibility for
decisions they are competent to make for themselves.
The theory of integral protection is based on the understanding that the legislation which protects children must
conceive them as full citizens. Integral protection means that everyone is responsible for ensuring the rights
of children and their rights should be implemented wholly, in other words, rights are indivisible, so we must
ensure all rights. The principle of the protection takes into consideration moral stage, physical and psychological
development, therefore prioritizing the protection of children.
CARD 7 – RIGHT TO TAKE PART
Children's rights can be divided into three major groups: provision, protection and participation. The rights relating to
provision are those concerned with services such as health, education, social assistance, food, housing, among others. The
rights relating to protection are those that protect the integrity and dignity of children as well as keep them safe from any
form of oppression and discrimination. The rights to participation are those that guarantee freedom of expression, association,
opinion, belief and religion as well as guaranteeing the right to privacy. The articles below are those related to participation:
Art 12. Children have the right to give their opinion, and for adults to listen and take it seriously.
Art 13. Children have the right to find out things and share what they think with others, by talking, drawing, writing or in
any other way unless it harms or offends other people.
Art 14. Children have the right to choose their own religion and beliefs. Their parents should help them to decide what is
right and wrong, and what is best for them.
Art 15. Children have the right to choose their own friends and join or set up groups, as long as it isn't harmful to others.
Art 16. Children have the right to privacy
Western countries have advanced greatly in regard to protection and provision. However the rights related to participation
are the most violated worldwide. The adult-centric culture does not perceive the child as someone able to participate. There
are children’s right violations perpetrated actively by adults, for example anti-social behaviour orders (ASBO) in England.
Violations are perpetrated passively by adults as for example the failing to ensure spaces for participation in schools.
Participation is paramount in education and science communication. However educators and scientists often perceive the
child only as a mere receptacle of their own knowledge and neglect the child’s rights to participate actively in processes of
their own education as subjects of knowledge and rights. Phrases like ‘science is fun’ or the ‘kids are the future’ often conceal
a bias that prevents participation. In the first case, children are portrayed as only interested in fun activities, as unable to
enjoy concentration and quietness. In the second case the idea that children are the future hides the idea that the future is
to be adult, therefore children are not mature enough to have a say in the present. Adults are waiting for children to reach
adulthood, thus they don’t consider children’s opinions in the present.
CARD 8- BALL AND CIRCLE
Objectives:
Integration, interaction, presentation, relaxation, interpersonal relationship, warming up, observation /
concentration, communication.
Resources:
None
Time:
10 minutes
Instructions:
Make a ball of paper. Arrange participants in a circle and ask them to think about the activities which they carry
on in their daily lives, selecting the one that they like to do the most and the one they like the least. The facilitator
starts by saying his/her name, what he/she likes to do the most and least in their daily lives then passes the ball to
someone else, asking them to do the same. After speaking, this person passes the ball to another person - repeating
the same steps above until all participants have contributed.
CARD 9 - TWINS
Objectives:
Time:
50 minutes
Instructions:
Divide participants into pairs (A and B). Ask participants to get to know their partner (name, age, marital
status, children, education, goals at the event, institution, hobbies or leisure activities).
After time for this activity, each person will present information about their partner to the group (A about B, B
about A).
It is important to ensure a relaxed mood and openness to questions, but keeping the purpose of presentation.
The exercise concludes when all participants have contributed.
CARD 10- I LIKE YOU... BECAUSE...
Objectives:
Integration, interaction, presentation, relaxation, interpersonal relationship, warming up, observation / concentration,
communication.
Resources:
None
Time:
15 minutes
Instructions:
Participants sit on chairs arranged in a circle. There is one chair too few for the number of people. The person that
doesn’t have a chair stands in the middle of the circle and has to say “I like (name of one of the others) because (come
up with a reason: can be an external characteristic or one that you can’t see)”.
The person to whom the affirmation was addressed then stands and all other participants who also fit the description
given have to stand as well, and look for another chair to sit on. The person who can’t find a new chair makes the next
affirmation.
CARD 11- VOLLEYBALL
Objectives:
Resources:
None
Time:
15 minutes
Instructions:
Put the participants in two lines, one in front of the other, and ask each one to say their name.
Tell them they will play volleyball, but the ball will be their names: each line is a team, and they have to throw the
“ball” to the other team saying the name of someone in the other team and making the gesture of throwing the
ball with their hands.
They have to follow what they hear, not the gestures.
Let them practice for some time, then play the game.
If someone makes a mistake (“catches’ the “ball” if it wasn’t their turn, or doesn’t catch it when it was their turn,
for example), they have to leave the team.
CARD 12 - BUILDING A GROUP
CONTRACT
Objectives:
collective rules for work, developing a relationship based on democratic rules and a reflexive approach to their ap-
plication.
Time:
10 minutes
Resources:
Flipchart paper and markers.
Instructions:
Introduce the group to the importance of having an agreed framework for working together.
State that the dynamics of the work in the workshops and the success of these meetings depend on all partici-
pants. Then write the following words on a flip chart: listening, speaking, cooperating, organising.
Ask participants to choose one of these topics and encourage them to put forward an idea about how they will
contribute to the success of the workshop from the chosen word.
Set schedules and timetables for the event, detailing all activities including breaks.
CARD 13 – ETHICAL PRINCIPLES FOR WORKING WITH CHILDREN
Transparent and informative – children must be provided with full, accessible, and age-appropriate information (that is also
sensitive to children’s diversity) about their right to express their views freely; information should include how their views will be
given due weight, how the participation will take place, and its scope, purpose and potential impact.
Voluntary – children should never be coerced into expressing views against their wishes and they should be informed that they
can cease their involvement at any stage.
Respectful – children’s views have to be treated with respect and children should be provided with opportunities to initiate ideas
and activities. Adults working with children should acknowledge, respect and build on good examples of children’s participation
– for instance, in their contributions to the family, school, local culture, and work environment. Adults also need an understand-
ing of the socio-economic, environmental and cultural context of children’s lives. People and organisations working for and with
children should also respect children’s views with regard to participation in public events.
Relevant – the issues on which children have the right to express their views must be of real relevance to their lives and enable
them to draw on their knowledge, skills and abilities. In addition, children need to have opportunities to highlight and address
the issues they themselves identify as relevant and important.
Child-friendly – environments and working methods should be adapted to children’s capacities. Adequate time and resources
should be made available to ensure that children are adequately prepared and have the confidence and opportunity to contribute
their views. You need to consider that children will need differing levels of support and forms of involvement according to their
age and evolving capacities.
Inclusive – participation must be inclusive, avoid existing patterns of discrimination, and encourage opportunities for margin-
alised children (girls and boys) to be involved. Children are not a homogenous group and participation needs to provide for
equality of opportunity for all, without discrimination on any grounds. Programmes also need to ensure that they are culturally
sensitive to the situation of children from all communities.
Supported by training – adults need preparation, skills and support to facilitate children’s participation effectively – for exam-
ple, they need to develop listening skills, and to know how to work with and engage children in accordance with their evolving
capacities. Children themselves can be involved as trainers and facilitators on how to promote effective participation; they require
support to develop or strengthen necessary skills – for example, awareness of their rights, and training in organising meetings,
raising funds, dealing with the media, public speaking and advocacy.
Safe and sensitive to risk – in certain situations, encouraging children to express their views may put them at risk. Adults have
a responsibility towards the children they are working with and must take every precaution to minimise the risk to children of
violence, exploitation or any other negative consequence of their participation. Actions to mitigate such risks and provide appro-
priate protection include developing a clear child protection strategy, which recognises the particular risks faced by some groups
of children, and the extra barriers they face in obtaining help. Children must be aware of their right to be protected from harm
and must know where to go for help if needed. Investment in working with families and communities is important in order to
build understanding of the value and implications of participation, and to minimise the risks to which children may otherwise be
exposed.
Accountable – a commitment to undertaking regular follow-up and evaluation of participation activities is essential. For exam-
ple, in any research or consultative process, children must be informed as to how their views have been interpreted and used and,
where necessary, given the opportunity to challenge and influence the analysis of the findings. Children are also entitled to receive
clear feedback on how their participation has influenced any outcomes. Wherever appropriate, children should be given the
opportunity to participate in follow-up processes or activities. Monitoring and evaluation of children’s participation needs to be
undertaken with children themselves at the centre of the process.
CARD 14 - ARTICLE 12 OF THE UN
CONVENTION ON THE RIGHTS OF
THE CHILD
Article 12 of the UN Convention on the Rights of the Child
1. States Parties shall assure to the child who is capable of forming his or her own views the right to
express those views freely in all matters affecting the child, the views of the child being given due weight
in accordance with the age and maturity of the child.
2. For this purpose, the child shall in particular be provided with the opportunity to be heard in any
judicial and administrative proceedings affecting the child, either directly, or through a representative or
an appropriate body, in a manner consistent with the procedural rules of national law.
(Children have the right to give their opinion, and for adults to listen and take it seriously.)
CARD 15 - ARTICLE 13 OF THE
UN CONVENTION ON THE
RIGHTS OF THE CHILD
1. The child shall have the right to freedom of expression; this right shall include freedom to
seek, receive and impart information and ideas of all kinds, regardless of frontiers, either orally, in
writing or in print, in the form of art, or through any other media of the child's choice.
2. The exercise of this right may be subject to certain restrictions, but these shall only be such as
are provided by law and are necessary:
(a) For respect of the rights or reputations of others; or
(b) For the protection of national security or of public order (order public), or of public health or
morals.
(Children have the right to find out things and share what they think with others, by talk-
ing, drawing, and writing or in any other way unless it harms or offends other people).
CARD 16 - ARTICLE 14 OF THE
UN CONVENTION ON THE
RIGHTS OF THE CHILD
1. States Parties shall respect the right of the child to freedom of thought, conscience and religion.
2. States Parties shall respect the rights and duties of the parents and, when applicable, legal
guardians, to provide direction to the child in the exercise of his or her right in a manner consistent
with the evolving capacities of the child.
3. Freedom to manifest one's religion or beliefs may be subject only to such limitations as are
prescribed by law and are necessary to protect public safety, order, health or morals, or the
fundamental rights and freedoms of others.
(Children have the right to choose their own religion and beliefs. Their parents should help
them decide what is right and wrong, and what is best for them.)
CONVENTION ON THE RIGHTS
OF THE CHILD
1. States Parties recognize the rights of the child to freedom of association and to freedom of
peaceful assembly.
2. No restrictions may be placed on the exercise of these rights other than those imposed in
conformity with the law and which are necessary in a democratic society in the interests of national
security or public safety, public order (order public), the protection of public health or morals or the
protection of the rights and freedoms of others.
(Children have the right to choose their own friends and join or set up groups, as long as this
isn’t harmful to others.)
CONVENTION ON THE RIGHTS
OF THE CHILD
1. No child shall be subjected to arbitrary or unlawful interference with his or her privacy, family,
or correspondence, nor to unlawful attacks on his or her honour and reputation.
2. The child has the right to the protection of the law against such interference or attacks.
(Children have the right to privacy)

CARD 19 - RECLAIM THE
RIGHTS!
Objective:
create meaning and coherence to the articles of the UN Convention, developing a collective understanding of
rights and identifying situations in which these rights are violated or not fully respected.
Resources:
Flipchart paper, markers, rights cards
Instructions:
First step:
Sitting in a circle give participants the printed version of the cards on the articles. Ask them to read the cards and
if there are any words that they do not understand. Try to find the meanings of these words with the group rather
than in the dictionary.
Once all the words are understood ask participants what they understand is the general meaning of the article and
to identify in their own lives when they can exercise that right and when that right is not respected or violated.
Discuss the main issues in the group.
Second step:
Take 4 flipchart sheets and write on them: Family, School, Community, Friends
Each flipchart sheet is related to a context. Place the flipchart sheets in different places where people can have easy
access to them and write on them (e.g. on the floor, on the wall or on four different desks).
Ask the participants to think about these four contexts and when their rights are not respected in each context.
Then ask them to write the situations on the flipchart sheets. They must not talk to each other in this phase. They
can also read and comment on what others have written. The exercises end when participants stop writing. At end
the facilitator reads out what participants have written.
Third step:
Sitting in circle again discuss the main situation of rights violations and debrief the feeling and emotions of the
session.
CARD 20 - TAKE YOUR SIDE
Objectives:
Thinking, Decision-Making, consensus and division
Instructions:
This activity is useful for exploring diverse opinions and emotions on a particular issue. It can be used as a lead into a
particular topic and to gauge participants’ interest and base understanding of the issue in question. It requires partici-
pants to take a stance on the issue and allows everybody to have a voice, even if they do not speak out. Participants are
confronted with ambiguity and grey areas, and it can enable them to see that opinions often have to be justified with
informed knowledge of the matter under discussion.
Implications for classroom layout - a large space is needed for ease of movement and interaction.
1. An imaginary line or spectrum is set up across the room – each end of the room representing opposing viewpoints.
2. A range of statements are read out.
3. Participants are allowed time to consider their opinion.
4. Participants then position themselves along the spectrum between the two viewpoints, depending on their opinion
on the given issue.
5. Participants should justify their position on the line.
6. If participants switch their position then they should explain why.
7. A debrief after the activity could discuss the issues on which there was consensus and issues that divided the class.
Statements:
If your parents want to they can search your bag without your permission
Children are not allowed to protest in their schools.
Children must help adults to recruit the staff in their own schools
Children have the right to believe that god exists.
Children have the right to believe that the sun revolves around the Earth
CARD 21 - STAGING CHILDREN’S
RIGHTS
Theatre is a powerful medium of education and dialogue. The Theatre of the Oppressed is a methodology created by
Augusto Boal that uses games and exercises to create dialogue between groups and sectors of society. It is composed of
six different theatrical forms, the most used being Forum Theatre, which has revolutionized theatre by turning the spect-
actor into a participant. This characterizes all techniques of the Theatre of the Oppressed.
The Facilitator leads the workshop by directing the group in acting and working together. He or she proposes games and
exercises. Initial activities are aimed at integrating participants so that they become a group. They also aim to create a
space where members of that group feel comfortable and welcome and able to raise issues that oppress them. From that
point, the group starts to investigate problems related to children’s right violations. This will lead on to the formulation of
a piece of Image Theatre or Forum Theatre by the group. The group will rehearse possible solutions to the problem.
Image Theatre is one of the modalities of the Theatre of the Oppressed, which seeks to transform reality through the use
of body images. First, a participant raises an issue or topic for discussion. This can be local or global, but must have mean-
ing for most of the group. Next, some participants are placed within the ‘scenic area’ as ‘mouldable masses’, or statues
and the participant arrange these statues to represent the situation in question. Participants are then asked to change the
scene to create an ideal situation.
In the Image Theatre, group members are actors, directors and producers of their own pieces and the audience is not pas-
sive, but can step in and intervene in the problem presented to transform it.
After all, "citizen is not living in society, is one that transforms." The forum Images is a sincere question that a person or
a group of people does to the public. The public in turn rehearse possible answers to that problem. In the Image Theatre
Workshop, the Forum takes place from images of images of possible problems and solutions, as well as the testing of
steps to transform the image into an image problem solution.
The theatre workshop is structured in a planned sequence and should be developed in the order described below. The
first assumption that Boal developed in his work was that all people are able to play, all people are able to create Theatre.
(Boal famously joked that all the people are to do theatre - even the actors!) Some of the actors did not like this assump-
tion, so Boal formulated his idea in another way - that only good actors can do theatre, because bad actors only represent
themselves.
RIGHTS
People act in the world and by acting observe themselves in action. This ability to act and to be seen acting makes hu-
man beings able to review their actions and rehearse new ways of acting in the world. Boal calls this Essential Theatre. It
conveys the idea that all human beings are capable of ‘doing theatre’, including actors.
By repeating the same action several times and always acting the same character, themselves, humans eventually spe-
cialize their movements, so to speak, to act, to represent. To be able to play characters other than themselves, and also
to transform their everyday way of acting, the participant must ‘de-mechanize’ their movements. So Boal developed
games and exercises to de-mechanize the body and improve the ability to act and to do theatre. These are organized
into five different categories (see below). These activities encourage the physical and intellectual de-mechanization of
practitioners, encouraging them to pursue their own ways of expression.
The categories are:
1. Feel everything you touch.

2. Listen to everything you hear.
3. See everything you look at.
4. Energize the various senses.
5. Memory of the senses
The games and exercises below are part of the arsenal of the Theatre of the Oppressed and aim to enable participants
to play theatre.
RIGHTS
Here is the sequence of games and exercises:
Card 24 Cross and circle

Card 25 Write your name in the air
Card 26 Nose, Ear and forehead
Card 27 Good Morning
Card 28 Circle of knots
Card 29 2 by 3 by Bradford
Card 30 Person to Person
Card 31 Collective Character – Adult and Child
Card 32 The Great Power Game
Card 33 Imaginary Journey
Card 34 Demonstration Forum - handshake
Card 35 Complete image
Card 36 Gallery of statues
Card 37 Image in Transition
Card 38 Homage to Magritte
Card 39 How many As in Single A
Card 40 Forum Theatre Session
Card 41 Forum Theatre Dramaturgy and Rules
Cards 24 to 30 aim to prepare participants to use the body in a more expressive and creative way. Cards 30 and 33 explore
the power relationship between adult and child. Card 34 illustrates what is oppression in the Theatre of the Oppressed and
also demonstrates the Forum Theatre. Cards 35 and 36 give participants the opportunity to explore a topic concerning the
violation of rights by using the images of the body as well as to improve the ability to create and read the images. Card 37
asks participants to use all elements learned so far to create an image that contains a question and the group will collec-
tively seek answers using theatrical language.
If the group and the facilitator decides to perform the story as a Forum play after or before doing the Image in Transition
than exercise 38 will help to include scenic objects in the play. Card 39 is designed to work on voice and interpretation of
the actors. Cards 40 and 41 explain how to organise a Forum Theatre session and collect stories to be performed.
Card 28 suggests a physical problem, a ‘human knot’ that challenges the group and demands dialogue among participants
to solve the problem. This exercise harmonizes the energies between participants and is proposed at the end so that partici-
pants leave the workshop feeling able to face this kind of challenge collectively. However the facilitator can also apply this
exercise at the beginning of the session to integrate the participants.
CARD 24 – CROSS AND CIRCLE
Objectives:
Integrate and activate the several senses
Time:
5 minutes
Resources:
room with or without chairs
Instructions: The cross and the circle

This exercise is theoretically easy to do and yet, because of our psychological and physical mechanizations, is actually
extremely difficult to achieve in practice. The participants in a workshop or a forum session can try it sitting down or
standing up, on a chair, on a table or on the ground. As there is no need for preparation, non-actors are afraid to throw
themselves into it. Warning them that it is almost impossible to do well means they aren’t ashamed of not succeeding.
As there is no compulsion to succeed, they feel free to give it a try.
The participants are asked to describe a circle with their right hand - large or small, as they please. It’s easy, everybody
does it. Stop. Ask them to make a cross with their left hand - even easier. Everyone gets there. Stop. Ask them to do both
at the same time. It’s almost impossible. In a group of thirty people, sometimes one person manages it, almost never
two. Three is the record!
CARD 25 – WRITE YOUR NAME IN
THE AIR
Objectives:
integration and activating several senses
Time:
5 minutes
Resources:
room without chairs
Instructions:
Ask the participants to draw a circle with their right foot, seated (easier) or standing. They do it for a minute. They forget
about the foot, still continuing to make circles. Then ask them to write their first name in the air with their right hand at
the same time as the foot is making circles. Again, this is almost impossible for the foot has a tendency to follow the hand
and write the name as well.
To make the exercise easier, try making a circle with the left foot and writing with the right hand. This is easier - sometimes
people manage it.
Why is this so difficult? Pure psychological mechanization, since there is absolutely no physical obstacle. So, with practice,
it can be done.
CARD 26– PARTS OF THE BODY
Objectives:
Integration and listening to what we hear
Time:
5 minutes
Resources:
room with or without chairs
Instructions:
tell the participants that they should put their hands on the parts of their body that the Facilitator names. After
doing this several times, the Facilitator "deceives" the participants by putting his/her hands on one part, but
saying the name of another. For example: saying ‘head’, but placing hands on the neck. This causes confusion
among participants, who observe the Facilitator’s actions and are driven to copy what he/she does rather than
what he/she says.
Important: The facilitator should begin by making the action three or more times and can accelerate the
time.
CARD 27 - GOOD MORNING
Objectives:
Interaction, feel everything you touch
Time:
5 minutes
Resources:
Empty room
Instructions:
Ask the participants to think about what in their day-by-day life are the things that they like doing the most and
dislike doing the most and to think about themselves doing those things. Then ask them to walk around the room
and when they meet someone, say “Good morning!” to the person, give their name and then mime doing what they
don’t like and what they like. The other person has to try to guess what these things are.
CARD 28 - THE CIRCLE OF KNOTS
Objectives:
fostering a dialogue among the participants and collaboration
Time:
10 minutes
Resources:
room without chairs
Instructions:
(a)By way of preparations, make an ‘elastic circle’: the actors join hands to form a ring and then move apart till only their
fingers are touching, while their bodies continue to move as far away as possible. After a few moments, they do the oppo-
site and cluster together in the middle, trying to occupy as little space as possible.
The whole thing can be combined with a voice exercise – when moving apart, the actors vocalize sounds which express
their desire to touch one another, and when touching they make sounds expressing their desire to be apart.
(b)Make a circle again, holding hands. The actors must not change their grip or loosen it for the duration of the whole
exercise. One person starts to move forward, pulling his neighbours after him (always slowly, without violence, with a light
touch) and he travels over or under the hands of the people opposite, as if tying a knot. Then a second actor does the same,
the another, then two or three at a time, over or under, till everyone has made all the ‘knots’ possible, and everyone is so
tangled that no one can move anymore. Now very slowly and without violence, and above all, in silence, without words,
and still without unlinking hands, everyone tries to untangle the chain and get back to their original positions - which is
sometimes achieved . . .
Variation
The same thing with eyes closed. This version must be done even more slowly to avoid collisions
Variation
A line instead of a circle
Variation
In a tight group, each person joins hands with two different people opposite. Then, without loosening their grip, they move
away from the centre and try to undo the knots
CARD 29 - TWO BY THREE BY
BRADFORD
Objectives:
Interaction, activate several senses
Time:
5 minutes
Resources:
Empty room
Instructions:
The actors get into pairs facing each other. The exercise has four or more parts. First they simply count up to three
out loud a number of times: actor A says ‘One’, B says ‘Two’, A says ‘Three’, and so on. They try to get this working as
fast as possible.
Then instead of saying ‘One’, A does a rhythmical vocal sound accompanied by a rhythmical action, which must take
the place of the number whenever it would have been said. Thus the sequence now goes: A does sound and ac-
tion, B says ‘two’, A says ‘Three’, B does the sound and action invented by A, A says ‘two’ , B says, ‘three’, B does the
sound and action invented by A, A says ‘Two’, B says ‘Three’, and so on. Whatever sound and action A does at the
beginning of this second sequence must be repeated as accurately as possible whenever the ‘One’ would have been
spoken.
In the third phase of the game, as well as the sound and action in place of ‘One’, a different sound and action is sub-
stituted whenever ‘Two’ would have been spoken. Again the partners play for a few minutes, trying to get as fluent
as possible.
And of course in the fourth phase, yet another sound and action is substituted for the number three. So now what
you see is a kind of sound and action dance, with no numbers being spoken at all.
The game works best if each sound and action is very different from the one which precedes it. This way the players
get less confused.
Any number of variations are possible – the count can be taken up to five, of seven, etc.; an even number will not
work, because the players end up doing and saying the same things each round, instead of having to observe and
copy each other’s actions and sounds.
CARD 30 - PERSON TO
PERSON
Objectives:
integration and preparation of actor’s body
Time:
10 minutes
Recourses:
room without chairs
Instructions:
Everybody gets into pairs. The workshop leader calls out the names of parts of the body, which
the partners must join together; for instance, “Head to head”- the partners must join their heads
together; or “Foot to elbow” one partner’s foot must touch the other’s elbow(and vice versa, at the
same time, if it’s possible). The game is cumulative, i.e. when the partners have conjoined two parts
of their bodies they must keep those together
CARD 31- COLLECTIVE
CHARACTER – ADULT AND
CHILD
Objectives:
exploring symbolic, imaginary and real features of adults and children; identifying similarities and differences;
developing a character which might be played in the image theatre exercise.
Resources:
Flipchart paper or similar; markers; flipchart holder or blue tag or tape to glue the paper on the wall
Time:
20 -30 minutes
Instructions:
Take two flipchart paper sheets and on the first one draw a figure which will represent an adult and on the other
draw a figure of a child. Write Child or Adult on the top of each sheet. Ask the group to give the main features
of each character and write down each one. The facilitator can give some categories like: Food, Famous Person,
Hobby/leisure activity, Sport, People, Book, Movie, School, Subject, Type of Clothes, Major problem in life, rights
CARD 32 - THE GREAT GAME OF
POWER
Objectives:
Time:
5 minutes
Resources:
Empty room
Instructions:
A table, six chairs and a bottle. First of all, participants are asked to come up one at a time and arrange the objects so as
to make one chair become the most powerful object, in a relation to the other chairs, the table and the bottle. Any of
the objects can be moved or placed on top of each other, or on their sides, or whatever, but none of the objects can be
removed altogether from the space. The group will run through a great number of variations in the arrangement.
Then, when a suitable arrangement has been arrived at, an arrangement in which, by a group consensus, one chair is
clearly the most powerful object, a participant is asked to enter the space and take up the most powerful position, with-
out moving anything. Once someone is in place, the other members of the group can enter the space in succession and
try to place themselves in an even more powerful position, and take away the power of the first person established.
CARD 33 - THE IMAGINARY
JOURNEY
Objectives:
Understanding the image of the body as a language
Time:
25 minutes
Resources:
room without chairs
Instructions:
In pairs. One partner is a guide and the other a blind person. The blind partner must be led across a series of real or
imaginary obstacles found or invented by the guide, as if the two of them were in the middle of a forest (or any real
or fantastic environment the guide has in mind: downtown in a big city, in a crater on the moon, a supermarket, etc.).
As in all the exercises of this kind, speaking is forbidden because it distracts attention from images and sounds from
imagination; all information must be given by physical contact. Whenever possible, the guide should make the same
movements as the blind person, imagining his own story
The guides should show obstacles throughout the room – chairs, tables, whatever is available – so that the obstacles are
sometimes real, sometimes imaginary. The blind person must try to imagine where she is, on a river, for instance? Are
there crocodiles? Lions? Rocks? And so on. The guide can use physical contact or breath or sound, as a means of guid-
ance, but the blind people are not allowed to make any movement which they haven’t been ‘instructed’ to do.
After a few minutes, the exercise stops and the blind person must very quietly tell her guide where she is in the room,
who is next to her, etc. – in short, she must give all the real information she has been able to gather by means of all her
senses, bar sight. Then she tells her guide where she imagined she was journeying and the guide tells his/her story and
the two compare notes.
CARD 34 - EXPLAINING FORUM
THEATRE - THE HANDSHAKE
Objectives:
introducing the concept of oppression and demonstrating the structure of Forum Theatre
Time:
25 minutes
Resources:
room without chairs
Instructions:
A person(A) is happily moving towards another person(B) who is offering person (A) a hand to shake. When
person(A) gets to person(B), person(B) turns his/her back on person(A).
In this five-second scene there are the following elements of Forum Theatre: a protagonist (person(A) – s/he was
a wish, a will, and tries to exercise it); an antagonist, person(B); a counter-preparation – person(A) goes happily
towards person(B) believing person(A) is going to fulfil its immediate desire to shake hands; the Chinese crisis
(what can person(A) do now?) – at this moment there is both danger and opportunity. And finally the defeat –
person(A) loses, offering the spectactors every opportunity to replace person(A) and show their solutions
CARD 35 - COMPLETE THE
IMAGE
Objectives:
researching stories of children’s right violations and oppression
Time:
20 minutes
Resources:
room without chairs
Instructions:
A pair of actors shake hands. Freeze the image. Ask the watching group what possible meanings the image
might carry: is it a business meeting, lovers parting forever, a drug deal, they love each other, they hate each
other, etc. Various possibilities are explored to show all the ‘meanings’ a single image can have.
Everyone gets into pairs and starts with a frozen image of a handshake. One partner removes himself from the
image, leaving the other with his hand extended. Now what is the story? Instead of saying what he thinks this
new image means, the partner who has removed himself returns to the image and competes the image, thus
showing what he sees as a possible meaning for it; he puts himself in a different position, with a different rela-
tionship to the partner with the outstretched hand, changing the meaning of the image, but conveying an idea,
emotion, feeling – this is a dialogue of images, not just a juxtaposition.
Then the first partner comes out of this new frozen image and looks at it. When he/she was inside it, they had
a feeling; outside it, the remaining partner in the image staying frozen and now alone, the image will have a dif-
ferent meaning, evoke a different emotion, idea, etc. So, he/she completes it, changing its meaning again. And
so on, the partners alternating, always in a dialogue of images. The players should look quickly at the half-image
they are completing, arranging themselves in a complementary position as fast as they can not only to save
time but to avoid thinking with words and translating them into images; like the modelling exercises, the actors
should think with their bodies and their eyes. It does not matter if there is no literal meaning to the way an ac-
tor chooses to complete the image – the important thing is to keep the game moving and the ideas flowing.
Then the facilitator (joker) can add a chair to the game, two chairs, an object or two objects – how does this
affect things, how does it change the dynamic?
Hamlet variation
The actors choose one scene from the play they are rehearsing and each one takes on one of the characters
involved in that scene; from that point on the game is the same with the actors ‘dialoguing’ in images, revealing
not only what is written in the text of the play but, above all, what is hidden in the subtext.
CARD 36 - GALLERY OF STATUES
Objectives:
researching stories of children’s right violations and oppression
Time:
20 minutes
Resources:
room without chairs
Instructions:
Divide the group into pairs. Ask participants to decide who is "A" and who will be "B" in each pair arbitrarily. Request
that "As" pick a topic to be discussed, which can be local or global, but that has meaning for most of the group. The "Bs"
participants take up position in the scenic area as mouldable masses or statues. The participant "A" must carve a statue
seeking to represent the situation in question. It is essential that there is total silence. When this is done the "A" partici-
pants walk around the room to look at the statues of other participants and try to imagine the story behind each image.
After reading the images by the participants, ask each to return to his/her partner and exchange roles repeating the same
steps above. The "B" becomes a sculptor and the "A" statue.
CARD 37- IMAGE OF TRANSITION
Objectives:
debating through images problems that constitute a problem to the group.
Time:
35 minutes
Resources:
room without chairs
Instructions:
This technique consists of working on a model, generating an argument by visual means alone. More than ever, it is vital that
words are absent here; but discussion should be as rich and full as possible.
The model
You proceed along the same lines as in the previous technique, to arrive at a model which the whole group (or most of it) is
willing to accept. The subject matter of this model must be oppression, of whatever kind, which the group has suggested.
Consequently this will be a real model of oppression. Then you ask the group to construct an ideal model, in which the oppres-
sion will have been eliminated and everyone in the model will have come to a plausible equilibrium, a state of affairs which is
not oppressive for any of the characters. After this, you return again to the real image, the image of the oppression, and go on
to ‘dynamise’ it.
The dynamisation
The Facilitator (joker) makes it clear that every participant is entitled to give their own opinion on all the ways of moving from
the ‘real’ (oppressive) image to the ‘ideal’ (non-oppressive) image. Each participant acts as sculptor and changes whatever
he feels necessary to transform the reality and eliminate the oppressions. Each person has a turn. The other participants must
simply give their opinion, saying whether they consider each solution to be realizable or magic, but without using words, since
the actual discussion should develop only by means of modifications of the images.
After everyone who wants to has shown the two ‘images of transition’ (in the process revealing their thoughts, ideology, ex-
pectations, hopes) you then proceed to a practical verification of what has been discussed. Thus, at a signal from the Facilita-
tor (joker) all the characters in the image start moving. Every time the Facilitator (joker) claps his hands, each character (each
actor in the image) has the right to make one movement, and one alone, to free himself (if he is playing one of the oppressed)
or to increase the oppression (if he is playing the oppressor). The movements made must be hands several times – thus after
several movements in slow motion, and at each clap (the clap now coming at a much slower rhythm), they take a look round
so that they can consider their positions in relation to others. Movement ceases when all the liberation possibilities have been
studied visually, when the image has come to an almost complete halt, when all the conflicts have been resolved one way or
the other, with happy/ unhappy endings.
CARD 38 - HOW MANY ‘A’S IN A
SINGLE ‘A’?
Objectives:
Time:
5 minutes
Resources:
Empty room
Instructions:
A circle. One actor goes into the middle and expresses a feeling, an emotion or an idea, using only the sound of the
letter ‘A’ in any of its possible inflections, plus a movement or a gesture that goes with it. All the actors in the circle
repeat that sound and action three times. Then another actor goes in and expresses a different idea, emotion, or feel-
ing, and again the circle repeats it three times. And so on. Then the same with ‘E’, ‘I’, ‘O’ and ‘U’. Then with a single
word. Finally with a sentence.
Hamlet variation
Same exercise using lines or phrases from the play made to signify extremely different feelings, emotions and even
thoughts.
CARD 39 - HOMAGE TO
MAGRITTE – ‘THIS BOTTLE IS
NOT A BOTTLE’
Objectives:
Time:
5 minutes
Resources:
Empty room
Instructions:
This game takes as one of its two starting points Berthold Brecht’s words: ‘there are many objects within a single
object, if the final goal is the revolution; but there would be no objects within any object, if that goal were to
disappear.’
The other starting point is the work of René Magritte, some of whose pictures bear titles or slogans which disrupt
the identification of the objects they depict ‘This bottle is not a bottle’, so what could it be? This chair is not a chair,
this table is not a table, etc. The game consists of giving the group an object, which each actor in succession must
discover a use for, by the addition of his body to the image; what could this object have been? A piece of wood can
be a gun, a baton, a stake, a horse an umbrella, a crutch, a cane a bridge, a ladle, a flagpole, a fishing rod, an oar, a
whistle, an arrow, a spear, a violin, a needle, many other things, even a piece of wood.
CARD 40 - FORUM THEATRE
SESSION
A technique pioneered by Augusto Boal. A play or scene, usually indicating some kind of oppression, is shown twice.
During the replay, any member of the audience ('spect-actor') is allowed to shout 'Stop!', step forward and take the place
of one of the oppressed characters, showing how they could change the situation to enable a different outcome. Several
alternatives may be explored by different spect-actors. The other actors remain in character, improvising their responses. A
facilitator (joker) is necessary to enable communication between the players and the audience.
The strategy breaks through the barrier between performers and audience, putting them on an equal footing. It enables
participants to try out courses of action which could be applicable to their everyday lives. The play then continues with
the audience member attempting to change the outcome by making new choices. Boal termed the participating audience
member spect-actor, for they are not merely spect-actors or actors but practicing elements of both roles simultaneously.
Boal embraced the spect-actor as part of his natural progression of theatrical exploration and his continued challenge
of traditional theatre, catharsis and the oppressive dynamic of the stage and theatre space. In traditional theatre, if the
spect-actor participates it is usually only in pre-scripted methods, and still the spect-actors are not expected to contribute
anything unique to the performance. The spect-actor challenges this monologic approach and functions to “democratise
the stage space—not to destroy it!—rendering the relationship between actor and spect-actor transitive, creating dialogue,
activating the spect-actor and allowing him or her to be transformed into the ‘spect-actor’. In reflective observation and
action, the spect-actor is a role of praxis. Forum provides a vehicle for another role unique to Theatre of the Oppressed:
the Coringa or Facilitator (joker). The spect-actors observe the Facilitator (joker) observing, which confuses the position
of who is watching and who is watched. This blurring of roles leaves space for others to step into the functions of the
blurred roles, thus encouraging participation of the spect-actors. In this altered space, Forum functions to foster dialogue
and to generate ideas and possibilities for future action. The scenes explore issues of oppression, and most commonly
the subjects and story lines originate from real experiences of the community members, developed during a series of
workshops and rehearsals.
CARD 41 – FORUM THEATRE
DRAMATURGY AND RULES
So that the debate can happen it is important that the play is born of a sincere question that a person or a group of
people raises to the public. In other words, one who suffers the problem does not know how to solve it or believes
that his way is not the only solution to the problem. Hence it is possible to have dialogue.
The play must have one or more scenes that clearly describe the main characters, their values, history and ideology.
Deadlocks, hesitations, doubts and contradictory desires of the character in relation to the desire itself are also
important in composing the plot. It is very important for the audience to understand the characters involved so
that they can develop a deeper understanding of the plot and are able to propose alternative solutions to problems.
After these scenes, the main plot develops, as illustrated on this card, in which the main characters will show their
will and put it into practice, confident that can implement their ideas and desires until the play establishes a
conflict with the antagonist. This is the time of the Chinese crisis. Boal represents crisis by two ideograms - risk
and opportunity - in Chinese. In the play the crisis will lead to defeat of the main character, they will be unable to
implement their wishes, for the antagonist will prevent it from happening.
After presenting the play from beginning to end, the facilitator asks the audience to think of alternatives to the
plot development and crisis, when opportunities can be presented. The facilitator along with the audience should
analyze each of the interventions offered, developing a collective understanding of each idea before proceeding
to the next intervention. Ideally, there would be at least three interventions. If there is only one the audience will
understand that there is only way to deal with the problem. Two interventions are for comparing one to the other.
Three show that there are always different ways of tackling a problem.
Solutions should be performed from the protagonist´s perspective. The protagonist should be replaced by the
audience. So for instance, if the play is about a student who wants to have a voice in the classroom but the teacher
stops him we have to replace the student to create ways to face this reality. If we replaced the teacher with another
who encourages students to participate, we would have solved the problem in the theatre, but would not have
learned how to deal with this problem in reality.
We can change the antagonist but always with the intention of improving their performance, to make the plot
more complex and detailed, but never in order to solve the problem. So for instance in the situation above in which
a student wishes to have a voice in the classroom but the teacher prevents him or her from doing so, someone in
the audience who knows the situation in reality can argue that in fact, beyond that control strategy shown in play,
the teacher also uses other means. This is changing the teacher to make the situation more complex to raise new
thinking about alternative solutions.
CARD 42 - BIBLIOGRAPHY
Bibliography:
Boal, A. 1998, Legislative Theatre: Using Performance to Make Politics New York: Routledge
Boal, A. 2000, Theatre of the Oppressed, Pluto Press
Boal, A. 1995, The Rainbow of Desire: The Boal Method of Theatre and Therapy. New York: Routledge
Freire, P. and Freire, A.M.A. 2004, Pedagogy Of Hope: Reliving Pedagogy Of The Oppressed, New York-
London: Continuum International Publishing Group
Freire, P. 2000, Pedagogy of The Oppressed, New York-London: Continuum International Publishing Group
Freire, P. 2006, Educacao como Pratica da Liberdade. Sao Paulo: Paz e Terra
Convention on the Rights of the Child, Adopted by G/A/RES 44/25 of 20 November 1989UNICEF
HANDBOOK- Children as Advocates Strengthening Child and Young People’s, Participation in Advocacy
Fora, UNICEF 2010
CARD 42 - BIBLIOGRAPHY
Credits:
This toolkit was developed based on my previous experience and on several workshops piloted during 4 years of SiS Catalyst.
I worked with 11 different groups of young people in Merseyside-UK but also France, Romania, Turkey, Netherland, Austria,
Slovakia, Poland, Croatia, Belgium, Scotland and Brazil with children and adults from more than 40 countries.
Author:
Raul Araujo – raul_araujo@yahoo.com
Design and Drawings:
Mila Motomura – mila.motomura@gmail.com
Youth Assistant:
Bruno Henrique dos Santos
Coordinator:
Vanessa Mignan
Layout:
Andrew Abrahamson
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CARD 1 – TOOLKIT

The Play Your Rights toolkit is designed to promote children´s participation as

and young people in decision-making and policy-making

• To support organizations throughout consultations and participatory

• To help ensure consistency and quality in consultations

participation in relation to policy consultations

consultation with children and young people that will also be

available via the Internet

community education), schools, science museums and children’s Universities and

SiS Catalyst Aims:

through training, exchange of best practices and mentoring

• To encourage institutions to empower children and instil early positive attitudes to

• To provide a blueprint of activities for engaging, inspiring and motivating children

Card 2 – Toolkit Card 23 – Staging Children’s Right

Card 3 – Sis Catalyst Card 24– Cross and Circle

Card 4 – Indices Card 25 – Write your name in the air

Card 5 – How to use the cards Card 26 – Parts of the Body

Card 6 –Right to Take Part Card 27 – Good Morning

Card 7 – Right to Take Part Card 28 – The circle of knot

Card 8 – Ball and Circle Card 29 – Two by three by Bradford

Card 9 –Twins Card 30 – Person to person

Card 11 –Volleyball Card 32 – The great game of power

Card 12 – Building a group contract Card 33 –The imaginary journey

Card 14 – Art 12 Card 35 – Complete the image

Card 15– Art 13 Card 36 – Gallery of Statues

Card 16– Art 14 Card 37– Image of transition

Card 17 – Art 15 Card 38 – How many ‘A’s in a single ‘A’?

Card 18– Art 16 Card 39 – Homage to Magritte

Card 19 – Reclaim The Rights! Card 40 – Forum Theatre Session

Card 21 – Staging Children’s Right Card 42 – Bibliography and Credits

On Cards 8, 9, 10 and 11 are activities for people to introduce themselves bringing

Cards 21 to 40 are a selected series of games and exercises developed by Forum

Cards 21, 22 and 23 explain in details how Forum Theatre works.

They have to follow what they hear, not the gestures.

Article 12 of the UN Convention on the Rights of the Child

Article 13 of the UN Convention on the Rights of the Child

Article 14 of the UN Convention on the Rights of the Child

Article 15 of the UN Convention on the Rights of the Child

Article 16 of the UN Convention on the Rights of the Child

(Children have the right to privacy)

The categories are:

1. Feel everything you touch.

Card 24 Cross and circle

Instructions: The cross and the circle

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