Kids Teach Kids



Grand Finale

What is Stage II?

During the second stage of the project, all participating groups travel to one central location where they stay in a summer-camp style setting. The beginning of the second stage involves initial integration of all the groups and a presentation of all the City Final Shows, which now serve as the starting point for the next stage of work. Once again, the groups dive into artistic workshops - teaching, learning, and merging new elements, to create a completely new performance: the Brave Kids Grand Finale. At this stage the Grand Finale performance is presented to the audience in Wrocław, Poland.

What is Grand Finale show about?

Each year the Brave Kids performances are different. However, we are aiming to create a big, hour-long, vivid and spectacular show, with a large number of kids on stage.

The main material for both, the City Final Shows and the Brave Kids Grand Finale are the artistic elements that kids have brought with them: songs, dances, theatrical scenes and other skills. The final show is actually a sum of all these elements artistically processed into a single coherent whole. To connect these elements we create a space for kids to share their skills and talents with each other, to LEARN FROM EACH OTHER.


  • ‘It’s simply the beauty, we also look for it, and we are happy to see this beauty in our kids and they are enjoying their beauty as well.’

  • ‘Therefore, our own ambition is more to achieve children's fun, spontaneity and joy on stage rather than accuracy.’

  • ‘The kids dance together, sometimes following the steps they would learn from each other in less than half an hour. They make mistakes, that’s obvious, but when they dance with a smile on their faces, the mistakes are imperceptible. This enthusiasm and this universal joy is much stronger and, in a way more spectacular than perfectionism.’

  • ‘We have completely disappeared from the stage. It wasn’t easy at the beginning. It took us few years to step away like that. The rule ‘no adults on stage’ seems risky with 150 kids performing on stage, equipment, props, instruments etc., but we did it! From year to year we also try to limit our interventions to an absolutely necessary minimum. We set the framework to make it safe, and establish some rules like: ‘put your instruments always at this side of the stage’ and ‘everyone watches his/her instrument’. Then we step back. It is amazing how leaving it to the kids releases the creative spirit together with the sense of responsibility. I believe in the creative process. If you have hope you may even work out your traumas through it but you need joy and laughter to make it happen. Nothing is going to work if we are tired, if we struggle. Joy is necessary and we cherish it, sometimes resigning from perfection.’



What should Artistic Instructors remember when preparing the GRAND FINALE?

  • Everybody on the stage - we try to prepare a performance with all the kids always on stage and active. Of course, we can try other ways, but still we aim to use all the potential and energy of a big group and not have children hiding in the backstage. There are also situations when we just have to let the actors go off the stage for technical reasons, such as: bringing props, changing costumes etc.
  • Energy balance (not too long, fast, efficient flow) – probably we will quickly fall in love with all the kids that we work with, and will be fascinated with their talents and cultures. We will also use a lot of energy for working on scenes and have so much that we want to include in the show. It will be difficult to make cuts, decide on what scenes to show and how long they should last. However, we have to remember that we are aiming to create a common performance, limited in terms of time. We always try to have a larger perspective and remember that, though we want to present each group and scene, the audience’s attention is limited.
  • No adults on stage - delegate responsibility - it should be first of all the kids’ performance, not yours. Try to create an environment in which  you are neither  needed on stage nor needed to direct the performance from the side. Let them do it, but keep the aim in mind. (see: workshop process) We believe that the kids’ performance is more powerful and honest when there are no adults on the stage....
  • Rather TRADITIONAL than modern - Be careful with elements of modern, global pop culture. Sometimes it's very authentic, worthy to share and use in the performance. Nevertheless, it can also dominate/overshadow traditional forms that, on one hand are less easy to catch or more difficult to understand, but on the other hand still very precious and interesting for the audience.
  • Rather LIVE than playback/recorded music - We assume that live music is more interesting than playback. It also provides more opportunities for sharing and gives space for more kids to participate. Try to use live music where possible in order to ensure a high artistic level. If there's no other way, you can also use playback. Playback may be also very helpful in creating and initiating a scene quickly and efficiently.
  • Rather GROUP than solo - There are always some amazing, very talented kids (or groups) offering really high quality art. It is our duty to find and show these talents. But be careful. Don't give too much attention to them. Appreciate but don't 'spoil' them. Always encourage to share these talents. Maybe  others can learn and join their scene? If there's no other way, show the ‘solo’ performance but not too long.

Ask yourself...

  1. Why should we do the Final Show?
  2. How to stay aside and give back some of your power to children?
  3. How to trust in children competence and abilities?

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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