What is Brave Kids Project


Workshops and City Final Show

Artistic Instructors

Who is an Artistic Instructor?

An Artistic Instructor is a person who works artistically with the participants of Brave Kids. Together with other artistic instructors, he or she facilitates artistic workshops using a variety of communication tools and helps kids to create a joint performance. In our professional life we are directors, dancers, choreographers, actors, circus performers, puppeteers, jugglers, musicians... we are Brave Kids Artistic Instructors.


The role of an Artistic Instructor

The role of an Artistic Instructor is to create a space for kid-participants to show their talents and to learn from each other. We LET THEM DO IT, which means that we try to delegate as much responsibility for the artistic work as possible. Our role as Artistic Instructors is to support them, equip them with helping tools, if and when needed.

We don’t ‘teach’ in the sense of imposing. Instead, we show, we suggest, we help. We show the field of opportunities and possible solutions, but don’t do it straight away. We give kids the chance to figure things out themselves. We can ‘rescue’ them from difficulties if needed, but only through dialogue and a negotiated agreement. (Mary) We are partners in this work.

Importantly, we don’t try to change the kids. We show that there are various ways of doing things, various cultures and values, to convince them that they can make a choice and create a positive change in the world through understanding each other.

We delegate responsibility and, at this same time, we pursue THE AIM. We are still leaders. We must set the borders and ensure the safe and reasonable framework of the workshops.


What are our values?

Compassion, Awareness, Humility, Respect, Openness and Heart! Artistic Instructors should always be thinking, first and foremost, about the potential benefits for the kids.


  • ‘I wanted to challenge myself a bit. I found it fascinating that people can be together despite all the differences, despite totally different backgrounds, it was really something that we are able to communicate and to understand each other. From the common standpoint there are common things although we express them by different rituals and in different ways. (…) for me this was also valuable - given my life path - to take part in something like that, and get to know these groups from different countries. I always get the feeling that I receive more than I give and that I learn more than I teach. Well I learn these songs with kids, which for me as a singer is an absolutely amazing experience. I learn how the kids live, what matters to them, how they live in their culture. To learn it not from television, or through some stereotypes and clichés. We really get to know each other.’

  • ‘I’m an anthropologist and choreographer so those were my skills that I brought to Brave Kids. I knew I could work with kids but I had never seen BK so I was excited. But I also had that thought: ‘I don’t really know what I’ve agreed to (…). Only during the artistic process I was discovering what this work was about. Now I think it’s not about the skills that these kids have and even not about creating the final performance. It’s all about bringing kids together. And it’s also me being connected to these kids and getting to know them, also helping them to find who they are. And through our methods of work also to show them that they are very special.’



What to do and what not to do as an artistic Instructor?

Mary: ‘What should I not do? Well, I guess I should not lose my faith in the idea they can really do something, as if I do, they will sense it at once and it’s terribly discouraging, I cannot show them I don’t like something, or that I find what they do kitschy. Neither I can let them abuse themselves culturally. I mean I cannot neglect the fact someone feels bad about what they do. I think it would be a total failure of my pedagogical efforts and empathy if after the show I would realize some of them feel uncomfortable with what has happened on stage.’


How to balance joy and high quality artistic performance?

On one hand we want kids to have fun during the workshops, to create a space for them to develop friendships. On the other hand, we want to create a high quality artistic performance, which demands hard and disciplined work. There is a danger that if we push too much from the artistic side, we'll make our group tired, unmotivated, and unhappy and that may also adversely affect the performance. On the other hand, if we focus too much only on creating a nice atmosphere and fun, our performance may be unfledged, and the kids who really want to work will be dissatisfied. We always need to keep this balance between the artistic and social aims in mind.


We work in pairs

Kasia:‘(…) Among the instructors there are more experienced, and those who are here for the first time and, undoubtedly, when you’re there for the first time you feel like you don’t know how to do it, well actually, that it cannot be done, that it’s impossible and you won’t cope for sure, and of course you pretend you’re fine. The truth is, those ones with experience provide you with a great sense of security. That’s why we try to work and pair up in a way that one person is the experienced one, and the other is new’.

Ask yourself...

  1. Are you ready to work with kids and 'let them do it'?
  2. What do you see when you meet a kid - a child or an equal to you human being?
  3. Are you ready to learn from the kids?
Continue to next chapter

Workshops and City Final Show

Contact us


Song of the Goat Theatre Association / Brave Kids

ul. Karkonoska 10
53-015 Wrocław, Poland
NIP 899-23-31-660
KRS 000108979

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