The CrAL project is based on the good practice “Creative audiovisual writing and reading”, which was developed by our partner Istituto Centrale per i Beni sonori ed audiovisivi (ICBSA) and has already been experimented in Italy. In this blogpost, our partners from ICBSA will tell you more about the work and process behind the development of this methodology.
The Istituto Centrale per i Beni sonori ed audiovisivi (ICBSA), established in 1928 has the largest Italian public collection of sound and audiovisual documentation, both published and unpublished. Since its birth in 1928, the ICBSA has always played a central role in promoting audiovisual content. In fact, before the advent of the Internet, ICBSA was considered a place of excellence for the enjoyment of music. With the passing of the years and the birth of the Internet, with its portals and collections of music at the click of a button, ICBSA has changed its relationship with the public. ICBSA has always paid particular attention to young people through the training offered annually to schools and universities.
The idea of addressing school-age children to propose a project on audiovisual literacy started in 2008 through the collaboration with the Department of Literature and Document Sciences of La Sapienza University of Rome. Children have always used the telephone, the camera, the recorder without having full awareness of the object in their possession. That’s how the idea was born to show students and teachers the hidden potential and a new way to use common tools as a means to produce interviews, testimonies and documentation. The design phases of the audiovisual literacy workshops and the relationships with the University and the School Institutes were handled by Bianca Maria Zaccheo (ICBSA) and Samanta Segatori (MIUR), while the methodology for the workshops was curated by Annio Gioacchino Stasi (ICBSA). The aim was to propose to teachers and students a concrete experience of elaboration and composition of a narrative report through the use of video-sound reproduction tools.
This approach had a double purpose: to verify in this first phase which was the linguistic sound-visual imprinting to which our subjects referred and to highlight the possible path of definition of a point of view or individual vision, essential to be able to read the reality of video-sound production. The theoretical background to the methodology is described in detail in the CrAL Instructional document, which will be made available to all teachers involved in the project.