1. Introduction (5 min): Explain the purpose of the activity (exploring materials and textures though sound, recycled crafting, jointly music making).
2. The sound of textures (15 min): At the beginning of the activity, participants are introduced to the concept, importance, and various types of textures. Textures refer to the perceived quality of an object, experienced through sight or touch. The facilitator explains the difference between visual textures (such as color arrangements, intensities, and brushstroke qualities) and tactile or surface textures (how something feels to the touch), discussing their roles in art, design, and everyday life. Participants then observe and explore various materials by touch, describing their textures using adjectives like smooth, soft, rough, coarse, or glassy. Following this, they are invited to explore how different textures can produce different sounds and how these sounds can be used to express different moods. Each participant demonstrates a texture-related sound, and the group discusses the materials used, how the textures affect us, and how we can creatively use them.
3. Crafting recycled instruments (60 min): Participants are divided into small groups of three and tasked with creating simple percussion instruments using various textures and recycled materials. While each participant builds their own instrument, they collaborate and support one another within their group. The facilitator guides them through the entire process—from brainstorming and design to construction and decoration—encouraging creativity and teamwork throughout.
4. Presentation and jam session (60 min): In this part of the activity, participants present their instruments and demonstrate the sounds they produce. They are encouraged to share their creative process, including which materials they chose and why. They reflect about the used materials, noticing the differences of sound based on texture and how the instrument is played. Following the presentations, the entire group explores their collective sound and engages in a jam session, experimenting with rhythm and attempting to find a shared groove. The facilitator records the session to capture the group’s unique musical expression.
5. Reflection and evaluation (10 min): At the end of the activity, the group gathers in a circle to share their thoughts and reflections. The facilitator poses guiding questions, and participants are invited to raise their hands if they wish to share. To conclude, the facilitator leads a final round in which each participant sums up their experience in one word and/or shares what they are taking away from the activity—what they learned or found meaningful. Participants may take their instruments home or keep them for use in future activities.

Reflection Questions:

• • Was this an interesting way to learn about textures?
  • What was the most interesting part?

For evaluation, observe participant engagement and mood, the way they react to the assignment and how they collaborate in groups. Collect feedback verbally, via a quick survey online or through association cards.

1. Introduction (5 min): Explain the purpose of the activity.
2. Simple rhythm game (15min): Facilitator encourages the group to remember rhythm games they played as children with one another, using hands for clapping with other people in pairs or groups. The facilitator goes first and shows the game with the group, demonstrating with one or multiple people from the group. The rest of the group is encouraged to form their own pairs or smaller groups and follow the facilitator’s group. Then, volunteers are called to share with the group. They demonstrate and the rest of the group follows. Optional: Facilitators share a rhythm game done in a pair, and then encourage volunteers to show games done in bigger and bigger groups, finishing in a big circle.
3. Rhythmic movement (15min): The facilitator explains the point of the exercise – to follow another’s movement with rhythm. Participants are split in pairs. Each person has 5 minutes for rhythmic movement, and the task of their pair is to follow their movement with rhythm produced in a way they wish – with hands, on objects, with simple percussion instruments (if available). The rhythm should try to match the other persons’ movement as best as possible. Then, the roles are switched. If there are visually impaired people, instead of movement the other person can use the voice or their own rhythm.
4. Dancing to the beat (35min): The group is split in two. The first group sits in a circle and develops their own rhythmic concert, using their body, objects, floor, or instruments. The facilitator explains that they should improvise, but also listen to each other and try to explore together. The second group is the audience and after some time, the facilitator encourages them to get up and start dancing to the music. Then, the groups switch roles.
5. Reflection and evaluation (10 min): Participants sit in a circle and share thoughts on how the activity was for them.

Reflection Questions:

• • What was this experience like for you?
  • How did you feel with the rhythm? Was it easy or hard for you to complete the tasks?
  • Was there something that surprised you? Which part of the experience was the most impactful for you?
  • Did you learn something new about yourself and others during the activities?

For evaluation, observe participant engagement and mood, the way they react to the assignment and how they collaborate in groups. Collect feedback verbally, via a quick survey or through associative cards.

1. Introduction (5 mins): Explain the purpose of the activity (dance improvisation, self-expression, human rights, relationship between self and society).
2. Breaking the ice (25 min): If the group is meeting for the first time or consists of mixed participants, begin with a preparatory activity such as a name game. It’s also important to include a body scan, grounding exercise, or warm-up to help participants relax and connect with their bodies, the floor, to breathe and let go of all the worries. You can also use 1-2 introduction activities from the additional chapter at the end of the Toolbox, based on your needs.
3. Visualization and flow writing (30 min): Participants are invited to find a spot in the room and a comfortable position (they can sit, lay down on the floor, but should take a relaxed body position). The facilitator then leads a visualisation exercise to imagine for instance a happy place in nature, or an ideal city/community/world, depending on a topic or question (e.g. “How would a world with complete equality/inclusion/sustainability look like?”). The participants visualize it using all the senses in their imagination and to connect with feelings (“How does this place/world make you feel? What are the textures/colours/shapes that you see? What are the sounds, the smells?”). Then, they are invited to come back to the present, but with the visualization in mind. The facilitator hands out papers and pens and invites the participants to engage in ‘flow writing’, related to their visualization. That is, they can write freely their flow of thoughts without worrying too much about whether the text is coherent or structured. The important thing is that they try to unwind and write down their thoughts and feelings as freely as possible, without judgement, letting the flow take over. They can write whatever comes to mind—how they’re feeling right now, what they’ve been thinking about in the visualization, what did the world they imagined look like, what problems do they see related to the topic/question in the real world compared to the imagined world, or just anything that’s on their mind. This should last for 10 to 15 minutes. In the end, they are asked to circle out three key words from what they’ve written: a noun, verb and adjective (if possible). Provide an explanation with examples if some participants don’t understand these words.
4. Dance improvisation (35 min): Now the participants are given the task to create a small improvisation dance based on their three key words. The facilitator begins with a quick warming-up in a circle, and gradually lets the participants slip into their own movement. Their three key words are serving them as guide and inspiration for the movement, while music is played. The participants are encouraged to explore the movement and exercise their improvisation until they have a fixed small choreography. This part should last about 10-15 minutes. If there is time left, half the group can show their choreographies by performing for the other half as the audience, and vice versa. Afterward, the group gathers in a circle to share how it felt, what the key words were, and how they translated them into movement/dance.
5. Reflection and evaluation (15 min): The participants sit in a circle and reflect about how the activity was for them, sharing thoughts and discussing.

Reflection Questions:

• • How was the exercise for you?
  • What feelings emerged in the visualization?
  • Was it difficult to translate the words into movement?
  • Do you think such a place/community/world is possible? If not, why? If yes, what should happen to direct us towards this vision?

For evaluation, observe participant engagement and mood, the way they move and what they share in the reflection/discussion. Collect feedback verbally, via a quick survey or through association

1. Introduction (10 min): Set up the room and prepare the materials. Explain the purpose of the activity (expression, collaboration, inclusion, synesthetic experience, and exploration). Make a name game ice-breaker or ‘getting to know each other’ activity if the participants don’t know each other. Divide the participants into smaller groups.

Outline the rules:

• • Work in smaller groups.
  • Move and draw in response to the music. Refrain from drawing figurative images, but think of the lines as “movement on paper”.
  • Use only non-dominant hands or other body parts to draw.
  • Avoid walking on the paper. You can walk on the paper only barefoot and if drawing with your feet.

In the second part:

• • Use the provided tools and items to assemble a ‘drawing mechanism’.

2. Materials set-up and demonstration (5 min): Distribute the materials. Demonstrate how to use different body parts (except the dominant hand) by patching up drawing utensils to feet, elbows, fingers and so on, by helping each other in the smaller groups.
3. Drawing creation (at least 30 min): Participants collaboratively create an abstract drawing while following the set rules. The facilitator gradually introduces new tasks and variations. The music rhythm is changed periodically to influence movement and drawing dynamics. In the second half the task to create ‘drawing mechanisms’ is introduced and demonstrated.
4. Reflection and evaluation (15 min): Participants step back to observe the drawing that represents their collective artwork. They share their thoughts and impressions on the process and outcome.

The final experimental collective artwork can be displayed in a shared space where the group spends time together or in a public setting. Alternatively, it can be cut into smaller pieces to be exhibited in that form or given to participants as a keepsake and reminder of the experience.

Reflection Questions:

• • How did creating the drawing make you feel?
  • What was the most difficult part and how did you overcome it?
  • What did you learn about yourself and others through this process?

For evaluation, observe participant engagement and their willingness to share, the way they react to the assignment and how they collaborate in groups. Collect feedback verbally or via a quick survey.

1. Introduction (10 min): The facilitator welcomes the participants and explains the workshop activities (music, movement and creating with non-conventional materials).
2. Making music (10 min): The participants are asked to find some object in the room with which they can produce some sound. They try out different ways to make sound together with their object, experimenting with rhythms, volume etc.
3. Music and tactile drawing (30 min): Now the participants are split into two groups. One group continues with making music while the other is placed around a blank paper, are offered some “unconventional” materials (clay, slime, soil, seeds) and are invited to draw with their hands, splashing the materials to the rhythms and flow of the music. After 10-15 minutes, the groups switch. The group that was drawing takes a couple of minutes to wash their hands, while the other group is given a new, blank piece of paper. The activity repeats as previously.
4. Reflection and evaluation (10 min): The facilitator sums up the practice and invites the group to observe their two creations. Participants share how the activity was for them, what did they like/didn’t like, how they feel. The artwork can be cut into smaller pieces and exposed on the wall, or it can be sown in the soil somewhere outdoors, since all the materials are natural and the seeds might germinate and grow into a plant (if there’s some garden available and if it’s the right time of the year).

Reflection Questions:

• • How was the workshop for you?
  • Was it difficult to create music and to draw with your hands based on the music?
  • What part did you like the most?

For evaluation, observe participant engagement and mood, the way they react to the assignment and how they collaborate in groups. Collect feedback verbally.

1. Introduction (5 min): Explain the purpose of the activity (movement and dance expression, body awareness and non-verbal communication).
2. Breaking the ice (15 min): It’s really important to get participants into their bodies and connect with movement before starting the next activity. Use 1-2 introduction activities (name game, energizer, grounding) from the additional chapter at the end of the Toolbox, based on your needs. For example, ask the participants to move around the room with different prompts, like: walk as if you must catch the bus, walk as if you won the lottery, walk as if you were on the moon/the floor is on fire/made of ice.
3. Connecting and warming up (25 min): Participants stand in a circle and hold hands (be sure to check if everyone is comfortable with this). The facilitator sends a signal (a hand squeeze) that travels around the circle. The facilitator changes directions and, at one point, sends the signal in both directions simultaneously.
   Then, the facilitator leads a body scan and a couple of warming up exercises. Participants are invited to focus on their breathing and the sensations in their bodies, scanning each body part from head to toe and relaxing it. Here they should be invited to become more aware of the contact with the floor, of the room and of other participants. The warming up can be really basic and gentle, making circles with the main joints (neck, shoulders, pelvis, knees and ankles). Then, the participants are invited to continue to move freely as they like, in their place and then around the room, while the facilitator intensifies the music.
4. Movement and emotions (30 min): This session continues from the previous one in a flow. With music prepared in advance* by the facilitators, the group is guided to form pairs in the following way.

*Choose songs and compositions that are relatively neutral but capable of evoking various moods and emotions—such as classical, ethnic, instrumental, or atmospheric music.

Participants walk around the room while music plays in the background. They are guided to become aware of their bodies, muscles, and bodily sensations. They are encouraged to observe how their body wants to move and follow that instinct. After some time, they are invited to make contact with others in the group and sense the energy in the space. At one point, they stop and find the person nearest to them, forming pairs. In these pairs, guided by the facilitator’s voice, they are asked to move to express different feelings, for instance: happy, nervous, irritated, excited, shocked, scared, surprised, angry, in love, feeling friendship (each should last at least 3 minutes). They try to align their movements with their teammates, feeling who is the one leading and who is following in which moment, inter-changing these roles constantly. Then, each pair finds another pair and forms a group of four, continuing with the same task and with different emotions (sadness, excitement, happyness…). In the end, all groups merge into one large group in a circle  and dance to express more emotions (e.g. gratitude, calmness). After the large group dance, participants are invited to refocus again on themselves, noticing how their bodies want to move. They are guided to transition out of the emotions they expressed through dance and focus on their breathing. As a way of de-roling and re-centering, they are invited to shake off the feelings they’ve just experienced through movement.

5. Reflection and evaluation (15 min): After the exercise, participants sit in a large circle and briefly reflect on how they feel and how the exercise was for them. The group discusses emotions and their function.

Reflection Questions:

• What was this experience like for you?
• How did you feel while dancing alone, in pairs, and in a large group?
• Was it easy or hard for you to complete the tasks? Was it easier to express some emotions?
• Did you learn something new about yourself and others during the activities?

For evaluation, observe participant engagement and mood, the way they react to the assignment and how they collaborate in groups. Collect feedback verbally, via a quick survey or through associative cards.

1. Introduction (5 mins): Explain the purpose of the activity (dance improvisation, self-expression, celebrating diversity).
2. Breaking the ice (20 min): Use 2-3 introduction activities (name game, energizer, warming-up) from the additional chapter at the end of the Toolbox, based on your needs.
3. Mirror dance (25 min): The facilitator asks the group to walk around the room with different prompts (slow, fast, as the floor is on fire, made of ice etc.). Then, allows them to do a small and gentle individual improvisation dance. When ready, the participants are divided into pairs. Two lines facing each other can be formed with a fun binary question (e.g., “Pineapple on pizza—yes or no?”), so the person you’re facing is your pair. Or the participants can all come together in a close-knit circle, close their eyes and stretch their hands forward, reaching someone’s hands – the person whose hand they’ve reached is their pair.

If the number is uneven, the facilitator can join.

The pairs are asked to look each other in the eyes without talking. Gentle music is played. They try to feel each other’s presence, and while they can laugh, they should really focus on not talking—just looking at each other (2-3 minutes). If they feel comfortable, they can come one step closer, but they need to be mindful of the other person’s comfort. The facilitator emphasizes the importance of consent and paying attention to the other person that you interact with.
Then, they receive instructions for mirroring: one person leads the dance by making a movement, and the other must follow it as if they were a mirror. After a set time, they switch roles and continue with the same instruction (5-7 minutes each). At this point they can start to move around the room. Then, the next task is to make a mirroring contrast. For instance, if the leading person makes a slow movement, the other needs to make it fast, if the lead makes an upward movement, the other person goes down and so on. The goal is to find a contrast or opposite movement of our pair. They switch roles after 5 minutes. In the end, the pairs are given the task of moving together in such a way that the tips of their index fingers are constantly touching (without letting go), if they feel comfortable to do so. They improvise together for 5-7 minutes.

4. The doll (25 min): The facilitator begins by breaking the pairs and asking the group to move freely around the space. While they move, the facilitator gives simple prompts such as: “stop,” “go,” “clap,” and “jump.” After a while, the meaning of the commands is reversed—“stop” now means “go,” and vice versa; then, “clap” means “jump,” and “jump” means “clap.” This playful confusion increases focus and engages participants’ attention. Next, the facilitator introduces new movement prompts, such as: “move as if your left elbow is leading,” “move from your right knee,” or “let the top of your head guide your movement.” After a few rounds, the facilitator stops the activity and asks participants to form trios with those nearest to them. In each trio, one person becomes “the doll,” while the other two act as guides, giving nonverbal instructions by gently touching parts of the doll’s body (e.g., elbow, head, knee, arm, back). The doll responds by initiating a movement that starts from the touched point, allowing the motion to unfold naturally from that impulse. After 5–7 minutes, the roles rotate so that each participant has the chance to be the doll.
   A simple variation is that one person in the trio is leading the movement, and the others follow, while the roles get switched in rounds, as they feel.
   To end the activity, all the trios can move freely, improvising together and moving through the whole space.
5. Reflection (15 min): The participants sit together in a circle and take time to reflect on the shared experience, discussing how they felt during the activity and what they are taking away from it.

Reflection Questions:

• • How did moving with each other make you feel? Was it nice, uncomfortable, new…?
  • What did you learn about yourself and others through movement?

If there is enough time, it is advised to make a small reflection after each activity.

For evaluation, observe participant engagement and mood, the way they move and react to each other in each activity. Collect feedback verbally, via a quick survey or through associative cards.