Migrant students often struggle to achieve a sense of belonging in their new school environment. Through gamification, students can engage with their peers, build connections, and foster teamwork, cooperation, and communication. This sense of community helps in their identity formation as they integrate their old cultural background into the new one (Grant, 2020).

Gamification creates a friendly and non-threatening environment for migrant students, allowing them to freely develop their skills. Gamified in-class activities provide immediate feedback, set achievable goals, and reward successful efforts. This leads to the enhancement of self-confidence and self-efficacy (Antonopoulou et al., 2022; Kapp, 2012).

Incorporating cooperative games and team-building activities into the school curriculum promotes the practice of social skills such as teamwork, empathy, and communication while working towards common goals. Moreover, decision-making games foster adaptability and critical thinking (Antonopoulou et al., 2022). Games that address emotions, conflict resolution, or ethical dilemmas cultivate emotional intelligence and empathy for others. The design of gamified activities can also facilitate cultural understanding and adaptation by introducing cultural elements and narratives within educational games. Migrant students can explore different cultural perspectives and histories (Gagliardi, 1995).

Resources

Antonopoulou, H., Halkiopoulos, C., Gkintoni, E., & Katsimpelis, A. (2022). Application of Gamification tools for identification of neurocognitive and social function in distance learning education. International Journal of Learning, Teaching and Educational Research, 21(5), 1-34. https://doi.org/10.26803/ijlter.21.5.19

Bizota, A. (2021). Gamification in Refugee Education: How to gamify a refugee classroom using Classcraft. (Undergraduate Dissertation, Hellenic Open University).

Filella, G., Ros-Morente, A., Oriol, X., & March-Lianes, J. (2018). The assertive resolution of conflicts in school with a gamified emotion education program. Frontiers in Psychology, 9, 1-8. https://www.frontiersin.org/articles/10.3389/fpsyg.2018.02353/full

Gagliardi, R. (Ed.). (1995). Teacher training and multiculturalism national studies. Paris, France: International Bureau of Education. https://unesdoc.unesco.org/ark:/48223/pf0000102238

Grant, M. (2020). The Impact of Gamification on the Feeling of Belonging Among Members of an Online Learning Community. (Master’s Thesis). Department of Education, Memorial University of Newfoundland. https://research.library.mun.ca/15070/1/thesis.pdf

Kapp, K. M. (2021). The Gamification of Learning and Instruction: Game-based Methods and Strategies for Training and Education. Wiley.

Mironova, O., Ruonala, L. A., & Ivanova, O. V. (2020). Gamification as a Method of Successful Adaptation of Migrants in European Countries: Socio-psychological and Economic Aspects. Frontier Information Technology and Systems Research in Cooperative Economics. Studies in Systems, Decision and Control, 36, 1041-1051. https://doi.org/10.1007/978-3-030-57831-2_111

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The POEME project suggests innovative tools to encourage and assist the second language acquisition by students of an immigrant background.  Cultural heritage monuments and especially those recognized by UNESCO at a global level, have been used as paradigms on which worksheets, e-books and ultimately, blended learning exhibitions, were based.  Art is a substantial art of cultural heritage worldwide and it may contribute to learning in several subjects, including language, either native or second.

Visual and performing arts, such as paintings, music, theater, and dance, can open a window into the culture and history of the target language. Artistic expressions have been part of human culture since the beginning of time, and they are deeply rooted in the history and traditions of each society. By studying the art of a target language, learners can gain insight into the values, beliefs, attitudes, and practices of the people who speak that language.

Visual arts can play a fundamental role in language acquisition by providing a visual representation of language concepts.  They can help learners understand new vocabulary and grammar structures in a way that is tangible and memorable. In addition, visual arts can help learners immerse themselves in the language and culture they are studying, leading to a deeper understanding of both.

Moreover, art can also help learners develop their language skills in various ways. For example, analyzing a painting or an artifact in the target language can support learners in improving their vocabulary, grammar, and comprehension skills. Also, performing arts can be used as a means to develop listening and speaking skills, as learners may have to work in groups and interact with others through dialogues and role-plays.

By incorporating art in second language teaching, teachers may be assisted in several ways such as:

• Creating bridges between written and spoken language,
• Make learning relevant and meaningful,
• Help students develop self-esteem,
• Foster creativity,
• Highlight similarities and differences, including cultural ones,
• Promote analytical, reasoning, and questioning skills,
• Boosting students’ skills of observing, responding to, and representing the world.

In conclusion, art can support and enhance second language acquisition by providing learners with cultural, historical, and linguistic input. Educators should incorporate art in their language teaching practices to create a more immersive and engaging learning environment for their students. By doing so, learners can develop a deeper understanding of the target language and its cultural contexts, which can ultimately lead to more successful language acquisition.

Image credits: https://www.quotescosmos.com/quotes/Leo-Tolstoy-quote-14.html,  https://journals.sagepub.com/doi/10.1177/0040059920942266

References

Belli, S. A. (2018). A study on ELT students‟ cultural awareness and attitudes towards incorporation of target culture into language instruction. Journal of Language and Linguistic Studies, 14(1), 102-124.

De Jesus, O. N. (2016). Integrating the Arts to Facilitate Second Language Learning. Open Online Journal for Research and Education, 5, 1- 4.

Victoria State Government (2021), Literacy Teaching Toolkit: Introduction to literacy in Visual Arts. Retrieved on April 30, 2023 at:  https://www.education.vic.gov.au/school/teachers/teachingresources/discipline/english/literacy/Pages/introduction-to-literacy-in-visual-arts.aspx#link1

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For those who are not aware of it, Commandaria is a sweet, fortified dessert wine primarily produced in Cyprus in the mountain regions. It is thought to belong in some of the oldest grape varieties in the world, dating back to the Middle Ages. Commandaria is made from sun-dried grapes – both white and black varieties. Its name derived from the Latin term “La Grande Commanderie” which was the name of the medieval order of knights known as the Knights Templar. These knights are believed to have introduced the wine to Europe during the Crusades. It was said to be favoured by kings and queens, and it was often given as a gift to important dignitaries. Over time, the wine became associated with the island of Cyprus and became a symbol of its history and culture. Did you know that it’s even in the World Guinness Book of Records as the oldest named wine in the world?

Throughout the centuries, stories of the wine abound. According to legend, King Richard the Lionheart of England was so taken with Commandaria that at his wedding he pronounced it “the wine of kings and the king of wines.” Equally struck by the intoxicating liquor was the French King Philippe Augustus who is said to have declared it to be “the Apostle of wines”.

Today, Commandaria is still produced on the island of Cyprus, and it continues to be known for its rich, sweet flavour and its historical significance. It is often enjoyed as a dessert wine, and it is also used in traditional Cypriot dishes. Although it is not as widely known as other types of wine, it remains an important part of Cyprus’s cultural heritage.

Recently, mechanisms have been revealed for its application to be included in the UNESCO’s International List of Intangible Cultural Heritage. The Cyprus Commission President has recently revealed these developments in an interview given at the Cyprus News Agency.

If you want to find out more about the wine’s rich cultural heritage, visit our e-worksheets, e-books and sample blended exhibitions with this thematic!

• E-worksheets: https://poemeproject.eu/io2-the-poeme-e-worksheets/
• E-books: https://poemeproject.eu/io3-the-poeme-e-book-creation-and-training/
• Sample blended learning exhibition: https://poemeproject.eu/io5-samples-of-poeme-blended-learning-exhibitions/

References:

1. Hadjiloizou, P. (2023) “Application to register Commandaria wine in UNESCO’s list ongoing, Cyprus Commission President tells CNA” https://www.cna.org.cy/article/4698923
2. Taste from Cyprus (2022) “History of Commandaria Wine” https://tastefromcyprus.com/2022/12/08/history-of-commandaria-wine/
3. McNicoll (2013) “Commandaria: The oldest wine in the world”, CNN news https://edition.cnn.com/2013/12/13/business/commandaria-the-oldest-wine-world/index.html

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– greater accessibility that opens them to a wider audience,

– interactivity: blended exhibitions offer a high level of interactivity, which can make them more engaging and interesting for visitors. Interactive digital elements such as videos, audio recordings, and interactive displays can provide a more immersive experience and help visitors connect with the artwork and its message

– flexibility: blended exhibitions offer greater flexibility in terms of their format and content. They can incorporate a range of media, including text, images, videos, and interactive elements, which can create a more diverse and engaging experience for visitors

– education: blended exhibitions can be used as an educational tool to help visitors learn about a particular subject or theme. The combination of physical and digital media can make the learning experience more engaging and memorable (to read more about blended exhibitions in the educational settings, check out our December article)

– innovation: blended exhibitions represent an innovative approach to exhibition design that combines traditional exhibition techniques with cutting-edge digital media. This can be particularly interesting for visitors who are interested in the latest technology and its application in the arts.

Blended exhibitions become more and more important in the art world. Their adaptability makes them particularly attractive to the world that, after COVID-19 crisis od 2020, is shifting online. Below, you can read about some examples of blended exhibitions from the art world. The list is non-exhaustive!

1. The Virtual Museum of Canada: The Virtual Museum of Canada is an online platform that features a wide range of digital exhibitions, including interactive exhibits, educational resources, and virtual tours of museums and cultural sites across Canada. The platform is accessible to visitors from around the world, making it an excellent example of a blended exhibition that combines physical and digital elements.
2. Cooper Hewitt Design Triennial: The Cooper Hewitt Design Triennial is a physical exhibition that takes place in New York City every three years, but also has a digital component that allows visitors to explore the exhibition online. The digital component includes a website that features 360-degree views of the exhibition, as well as digital content that provides additional information about the artwork and artists.
3. Museum of the World: The Museum of the World is an online exhibition that was created by the British Museum in collaboration with Google. The exhibition features a timeline that spans over two million years of human history, with digital artifacts and exhibits that can be explored in detail through the online platform.
4. The Tate Modern: The Tate Modern in London is an art museum that has created a range of blended exhibitions, including physical exhibitions that feature digital components, such as interactive displays and video installations. The museum also has an extensive online platform that features virtual tours of its exhibitions, as well as digital resources and educational materials.
5. The Smithsonian American Art Museum: The Smithsonian American Art Museum has created several blended exhibitions that combine physical and digital elements, such as interactive displays and multimedia installations. The museum also has an online platform that features digital exhibits, virtual tours, and educational resources that can be accessed from anywhere in the world.

We hope that POEME blended exhibitions will be the next, valuable resource that will enrich our list presented above.

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The most obvious benefit of blended exhibitions is increased interactivity and accessibility. Physical exhibitions can be limited by their location and the number of people who can attend. With the addition of digital elements, blended exhibitions can reach a much wider audience, allowing for remote participation and online collaboration. This creates a more inclusive and expansive learning environment, where students can share their work with peers and teachers, regardless of their physical location. 

Blended exhibitions also provide opportunities for students to develop valuable soft and hard skills. For example, the process of creating a blended exhibition requires effective communication, as students must present their work in a clear and concise manner. Digital literacy skills are also developed as students become proficient in using technology to create and showcase their work. The creation of a blended exhibition also requires problem-solving and critical thinking, as students must evaluate their work, materials and technology, and make decisions about how best to present it.  

In addition, blended exhibitions encourage time management and teamwork. As students prepare for their exhibitions, they must prioritize tasks and meet deadlines, which helps develop time management skills. Collaborating with classmates and teachers to create a blended exhibition can also enhance teamwork, interpersonal and negotiation skills. These skills are essential for success in both personal and professional life, and can be further developed and reinforced through blended exhibitions.  

Blended exhibitions also provide teachers with new and innovative ways to evaluate student learning. The integration of technology and physical elements allows for a more comprehensive assessment, as students can demonstrate their understanding of a topic in new and creative ways.  

In conclusion, blended exhibitions offer an exciting new approach to student learning that enhances interactivity, accessibility and skill development. By incorporating physical and digital elements, blended exhibitions provide students with a unique and engaging way to showcase their work and achievements. Whether it’s through increased collaboration, problem-solving, or digital literacy, blended exhibitions provide an exciting new platform for student learning and growth.  

References:  

POEME Project. (n.d). Interactive E-guidebook for POEME exhibitions. Available at: https://poemeproject.eu/io4-interactive-e-guidebook-for-poeme-exhibitions/  

Education Tips – Ghent University. (2021, September 2). Omeka S: improving digital literacy through virtual exhibitions. Omeka S: improving digital literacy through virtual exhibitions | Educationaltips. Retrieved January 30, 2023, from https://onderwijstips.ugent.be/en/tips/omeka-s-werken-aan-digitale-geletterdheid-virtuele/  

Images from: www.freepik.com 

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To define blended exhibitions, let’s start by defining the term “exhibition”. By “exhibition” we consider the “act of showing something, for example, works of art” (Oxford Learner’s dictionary, n.d.). That is usually done in an organized presentation or display of a collection of items.

What are blended exhibitions?  

Blended exhibitions are the ones that take part both in-person and in an online environment. The blended exhibitions can also combine both physical and digital materials.

Using blended exhibitions in educational settings

Exhibitions can be used as a tool for learning and can be implemented in different settings, such as virtual, outdoors, museums, schools, blended, etc. Exhibitions also create a space for students to practice public speaking, use evidence, and present engaging visual displays (Davidson, 2009). In exhibitions, learners are encouraged to explore different concepts, ideas, and problems. Moreover, developing the blended exhibition offers an opportunity for cross-curricula and project-based learning. The Covid-19 accelerated the inclusion of digital technologies in learning environments. This led to many educators using online platforms, social media, blogs, and other online spaces to create exhibitions. Through blended learning exhibitions, learners can have the role of curators – plan the exhibition, select the cultural treasure to work on, create the digital material, organize the art, make sense of it, present it and explain it. Blended exhibitions offer unlimited potential for exploring various topics, for example, cultural heritage in language learning.

In POEME, we will create exactly that – examples of blended learning exhibitions covering the topics of cultural heritage to strenghten students’ language skills while learning about the cultural heritage of different European countries.

Parts of this article have been adapted from the 4^th result of POEME project: Interactive e-guidebook for POEME exhibitions. To find out more about how to create blended learning exhibitions, make sure to check out the 4^th result of this project which will be available soon on the project website.

And to get more concrete ideas and examples of blended learning exhibitions, stay tuned for this project’s last result, Samples of POEME blended learning exhibitions, which will be ready by mid-February. 

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During the last 6 months, the POEME partnership worked on the content, but also the visual and technical aspects of the e-books.

Each e-book is divided into three levels of difficulty, level 1 corresponding to the A1 level of the CEFR classification, level 2 to A2-B1, and level 3 to B2. Each level has its colour code. The content is getting longer and more complicated as the level goes up. This way, level 1 contains the text of 800 characters, which results in approximately one sentence per page. The language used in the first level is very simple, and accessible for beginners. Each story in level 2 has approximately 1500 characters, resulting in one long, or two sentences per page. Finally, level 3 is characterised by the longest, most developed text, resulting in 3 or more complicated sentences per page. Each level has a maximum of six difficult words selected by the partnership as the ones that can pose a problem to the readers, and whose acquisition can considerably enrich the readers’ vocabulary. Difficult words are highlighted with an adequate colour at each level. For better visual identification, they have also been written in uppercase letters.

 Each word has been associated with a simple, icon-style illustration that appears when a reader clicks on the word in the text part of each level. The illustrations along with the corresponding words can be found at the end of each level in a form of a glossary.

To improve the pronunciation of our readers, we also inserted an audio version of the text content. On each page, an audio button can be found. When clicked, it will play a read-out version of the corresponding text. We also used this solution in the glossary.

During the visual creation, the most important aspects were the ones regarding e-book accessibility. In the conceptual phase of this part of the project, we created a couple of options with slight differences, like the font, font size, and colours used in all the e-books, that created a coherent visual identity.  As an effect of discussions between the partners of the project, we made a collective decision to use the Open Sans font that, along with Arial, Calibri and Verdana, is an accessible font that is easy to read for all the users, especially the ones with learning disabilities like dyslexia or dysgraphia. In the text blocs, we decided not to use italics or underlining. The only visual modification we decided to introduce is an uppercase difficult word presented in a colour adequate to the level (level 1 corresponding to blue, level 2 to violet, and level 3 to pink). The text is presented on off-white pages, which considerably improves readability. To achieve a maximal level of comprehension, each sentence is accompanied by an image. This way, even if the reader does not understand the text after the first reading, the images can give him some hints.

As one of the results of this phase of the project, we also created an explanatory sheet for educators that will let them create their e-books. To maximise the educational value of POEME project, each partner also organised a webinar or a face-to-face session with interested educators and/or students, where they presented how to create e-books with one of the chosen software. The three software we privileged in this project is SIGIL, Bookcreator, and Pubcoder. The 10 e-books whose creation we described herein were created with Pubcoder.

Webinars and face-to-face sessions were organised to make it possible for the participants of the project (educators and/or students) to ask all kinds of technical questions, but also to see the process of creation of an e-book and to give them the necessary tools and digital skills to do so on their own.

All 10 e-books were translated into all languages of the partnership: French, Greek, and Portuguese. Therefore, they are accessible in 4 languages in total, English being the default language of the project. They will soon be accessible in the Resources – IO3 part of this website.

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Erasmus+ POEME: Choosing exhibits for language learning

Museums and exhibitions have been proved to be vital for informal learning. They may provide an effective field of sharing, social, cultural and scientific information. What is more, they might improve attitudes towards learning and cognition offering playful and more attractive channels of knowledge acquisition in several fields. Today, exhibitions (in museums or elsewhere) alike interactive science centres and children’s museums, focus on providing experiences that are often designed explicitly to meet educational goals in several fields.

One of these fields might be language learning and acquisition. The traditional walks through a museum may not inspire motivation and interest to those who do not have a particular connection or knowledge on the exhibits. And if there is not any kind of preparation and integration in the learning process on behalf of educators, then the visit does not satisfy importantly any learning goals despite its social value, which might be analysed elsewhere. So, two important parameters should be taken into account when organizing or selecting exhibitions towards language learning and/or development.

The first parameter is to select exhibits that are able to offer cognitive, emotional and sensory stimuli in order that they offer a meaningful experience to everyone. They should fit the age range of students-visitors and engage them in active learning. In this way, they will have the chance to use the language they are learning outside the classroom, see it in “action” and, hopefully, get to feel more confident with it.  The aim of employing an exhibition in language learning, is not only teach students the new language, but offer them the opportunity to view and immerse in the art, the history, the natural environment and the culture of their target language country.

A second parameter is the well-structured and efficient preparation of the exhibition visit. Educators need to have achieved the competence and access to tools to incorporate exhibition visits into their learning design. They might work more confidently in the framework of exhibitions if they understand the rationale behind their structure and the learning opportunities they might offer. This will enable them to prepare the resources that will engage students in active language learning. These should engage students in using the second language in several ways according to their knowledge level (e.g. name objects, ask questions, and organize dialogues).  Students may be encouraged to create their own activities like guided tours, treasure hunts or mock interviews on the subject of the exhibition.

            The constructivist, discovery and active learning theories are applied in language learning through exhibits. It is up to the teachers to select the framework of their teaching design and adopt relevant practices and activities.

The Erasmus+ POEME project is attempting to offer a kind of roadmap for the creation of exhibitions that promote the second language acquisition by immigrant students in their host countries. The developed resources will focus on both the methodology and the tools to be used, as well as the presentation of application examples, in order that the value and the contribution of the exhibition resources to language acquisition is highlighted.

References

Crowley, K., Pierroux, P., & Knutson, K. (2014). Informal learning in museums. In R. K. Sawyer (Ed.), The Cambridge handbook of the learning sciences (pp. 461–478). Cambridge University Press. https://doi.org/10.1017

Fisher, L. (2018). Learning languages outside of the classroom: a visit to the museum, MEITs blog, https://www.meits.org/blog/post/learning-languages-outside-of-the-classroom-a-visit-to-the-museum

Pikraki, A. (2019). Visite guidée dans le musée archéologique d’Héraklion: une method alternative pour l’enseignement/apprentissage du FLE chez les élèves du primaire en valorisant l’apprentissage par le vécu. Master thesis. Hellenic Open University. Available at: https://apothesis.eap.gr/

Image credits: The image is taken from the website of the Hellenic Children’s Museum and refers to their educational project “Learning Greek in the Museum”  (Active citizens fund) – https://www.hcm.gr/

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So, what are these soft skills and what do they entail?

According to the Connections Academy by Pearson (2022) soft skills are those attributes and traits which allow individuals to communicate effectively with various groups of people, to work well within teams, manage their time, solve problems, cultivate strong work ethic, but most importantly it allows for individuals to take personal responsibility for their own work. Individuals can develop their soft skills through socialization as well as relationship building, learning the appropriate actions, attitudes and values through various interactions with others.

During students’ time in school and especially in the more senior classes, soft skills are considered vital in order for students to be able to stay on top of their studies and for setting them apart from others, when they attempt to acquire a job later on in life. Since socialisation and relationship building are part and parcel of the early adolescent life, secondary education provides the perfect ground in preparing young students for acquiring these skills for the future through the incorporation of soft skills development in school activities (AMLE 2022).

The POEME project provides the opportunity for soft skills development for secondary school students through its aspects of digital education (i.e. e-books, e-worksheets, etc) as well as through the student-teacher collaboration leading to the creation of student curated exhibitions.

Written by CIP

Resources:

• Chong, Chia Suan. (2019). The soft skills that all students need. ETONX.
• (2022). Soft Skills: Preparing kids for life after school.
• Connections Academy. (2022). How to help high school students develop soft skills.

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According to a report by the Migration Policy Institute (Salgado & Patuzzi, 2022), participation in cultural activities and practices can help migrants and refugees increase their feelings of belonging to their host society, develop social bonds and create support networks, while developing their communication skills. According to the same report, studies have also shown that partaking in artistic activities can help challenge negative stereotypes about certain cultural groups within the host communities, facilitating the dialogue between migrants and locals. Not only that, but artistic creations by migrants can help bring new life to the art scene of these communities. Although this report is focused mainly on adults, it is natural to assume that artistic practices can also benefit children in the same way. There are several examples of good practices with positive outcomes. For example, UNICEF has organized several events that promoted the integration of migrant children through the arts. One example was the organization of a day-long event in Greece (in collaboration with a local NGO), where children painted a mural, symbolizing unity, peace and friendship. Another example is an Art therapy exhibition called ‘In Between – Stories of a Refugee’, created by migrant children in Trinidad. These are just two among many instances when artistic expression had very positive results in promoting feelings of belonging and integration among migrant and refugee children.

In view of these benefits, the POEME project also strives to leave a positive mark in the communities of its partner countries. One of the goals of the project is to bring together language learning and artistic expression, through the creation of blended exhibitions, with migrant and local students working together. Keep up with the project to find out about its future results!

References:

Ec.europa.eu. 2022. Children in migration – population and international migration statistics – Statistics Explained. [online] Available at: <https://ec.europa.eu/eurostat/statistics-explained/index.php?title=Children_in_migration_-_population_and_international_migration_statistics&oldid=550261> [Accessed 4 July 2022].

Näslund-Hadley, E. & Elías, A. February 16, 2022. Education without borders? The hope of migrant students. Enfoque Educación. Available at https://blogs.iadb.org/educacion/en/education-without-borders-the-hope-of-migrant-students/

Salgado & Patuzzi. 2022. Promoting the Inclusion of Europe’s Migrants and Minorities in Arts and Culture. Migration Policy Institute Europe. Available at: https://ec.europa.eu/migrant-integration/library-document/promoting-inclusion-europes-migrants-and-minorities-arts-and-culture_en

Siokou, O., 2018. Refugee and migrant children create mural to promote unity, peace and friendship in Greece. [online] Available at: <https://www.unicef.org/greece/en/stories/refugee-and-migrant-children-create-mural-promote-unity-peace-and-friendship-greece>

Moore, D., n.d. Art therapy exhibition providing opportunities for migrant children. [online] Unicef.org. Available at: <https://www.unicef.org/easterncaribbean/stories/art-therapy-exhibition-providing-opportunities-migrant-children>

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