I edizione – 2019

I edizione – 2019

First International Conference – Italy

 4-5-6 April 2019

In recognition of artistic and pedagogical contribution that Teaching Artists provide to the community of educators, school and all learner of the arts, the Free University of Bolzano/Bozen (IT), Faculty of Education, in partnership with the Teachers College Columbia University New York (USA), with participation of Conservatorio di Musica di Bolzano “C. Monteverdi”, Fondazione Scuola di Musica di Fiesole and Mus-e Italia, are pleased to announce the 1st Italian conference on Teaching Artists. The Conference aims to explore how all the arts support the education of students in a variety of contexts, with special attention given to early childhood and primary school settings. The conference intends to provide a space where to cinder and discuss the role that Teaching Artist hold in the education of all students, from infancy to old age, and in partnership with classroom teachers.



Lori CUSTODERO – Keynote Speaker  Flow Experience and the Arts:  A Lesson in Responsive Pedagogy

When one is deeply involved in an activity and perceives clear goals and immediate feedback from such engagement, they are most likely in flow.   This enjoyable state of consciousness is reminiscent of both the artistic process as described by musicians, visual artists, and dancers and also the playful and exploratory learning behaviors of young children. This talk will feature the speaker’s research on flow and its implications for teaching and learning in the arts.

Lori Custodero and Claudia CALI´  Creating Flow Experience with Children Workshop

Young children are said to be in flow most of the time. They transform everyday objects into whatever their imaginations require and they find joy in what adults have long taken for granted. Working with artistic materials in creative ways provides opportunities for children to show what they know and awakens adults to the notion of possibility. Teaching to flow experience means “listening” to what children are “telling” along with a willingness to adapt one’s original plan to accommodate perceived student needs. In this workshop we will consider key features in the design of activities that generate flow experience. Participants will be invited to engage in artistic discovery in several art forms and reflect on the applications to teaching environments and pedagogical practice.




Workshop 1

In this workshop Kaboom will take participants through a collection of short percussion pieces and games that are designed to engage, entertain and challenge students in upper primary and middle school. Featuring very accessible instruments such as chairs, cups, buckets, drum sticks and body percussion – these pieces introduce basic drumming techniques, rudiments and rhythms in a fun and engaging way.

Every student is an equal and essential part in making each of these pieces work successfully. Having team-work be such an integral part of this musical experience ensures that there is a collective sense of joy and satisfaction when the group succeeds.

Our aim for this workshop is for participants to leave with a collection of new activities, pieces and strategies for making their classes enjoyable, stimulating and rewarding for their students.



Workshop 2

In this workshop, Kaboom will lead participants through their fun and interactive composition process that they have taught in primary and high schools all across Australia. Based on their own composition process, this method makes composition fun and straightforward, taking away the fear of a blank page through a combination of composition games, crowd-sourced decisions, and the idea of music being made up of building blocks.

This method ensures a satisfying end result even for first-time composers, and allows

the creativity of the students to shine through! Kaboom will demonstrate this process with un-tuned percussion instruments, though this process can be easily adapted to tuned compositions.



Alessandro LUIGINI

EDUCARE ALLE ARTI. Il disegno e l’illustrazione per raccontare l’architettura e il design.

Educare all’arte significa anche aprire l’esperienza di ognuno di noi a una varietà cangiante di possibilità di scelta e di costruzione del pensiero. Le modalità per educare all’arte sono molteplici e in rapida espansione Una delle possibilità è l’utilizzo del disegno come mediatore. In particolare del disegno dell’architettura e del design contenuto nei libri illustrati per l’infanzia.

La ricerca parte da una indagine di tipo storico-comparativo, in cui i libri presi in esame (oltre 150) vengono analizzati prima dal punto di vista iconografico e iconologico, dei linguaggi grafici e della semiotica visuale e infine dal punto di vista pedagogico-visuale. Il risultato è la definizione di una organizzazione tassonomica esposta anche tramite l’esegesi di alcuni casi studio.

I casi studio raccolti sono diversificati per origine, tecnica e target ma hanno in comune il protagonismo dell’architettura o del design sia in forma autoriale che anonima.

Nell’organizzazione tassonomica abbiamo identificato alcune categorie:

  1. Storie ambientate in architetture d’invenzione
  2. Storie ambientate in architetture e città autoriali
  3. Libri di viaggio
  4. Libri “non-fiction”
    1. Libri di concetto
    2. ABC’s book
    3. Experience book
  5. Monografie di architettura

Oltre alla catalogazione tassonomica si è analizzato ogni volume secondo quattro codici differenti:

  • Il codice iconico;
  • Il codice grafico e tipo-grafico;
  • Il codice di mediazione;
  • Il codice pedagogico.



“MUS-E PROJECT and the Artist almost Teacher in Italy” – Oral presentation

The intervention of Rita Costato Costantini, national coordinator of Mus-e Italia Onlus, concerns the nearly twenty-year experience of Mus-e in hundreds of classrooms in primary schools spread across Italy.

Central pivot of the program, conceived by Yehudi Menuhin, is that art can be an ideal tool for working on a setting of education that values cultural differences and, at the same time, helps to lay the foundations for mutual understanding in a context of multiethnic society.

Mus-e aims at promoting intercultural dialogue, mutual understanding and social inclusion among children.

Focus of the project is that the arts can play a transformative role for the well-being of all children irrespective of gender, ethnic, religious or national affiliation.

The art, namely music, drawing, dancing, theater, anything that makes it possible to express the deep feelings of the individual soul, becomes common practice of acting by Mus-e who works with art professionals, dozens of experts who, on a daily basis, work in class: today, in Italy, more than 11.000 students can have free multidisciplinary Mus-e workshops.

Mus-e Italia is a no-profit organization with a federal structure configured as a network of local associations in 13 towns and each location has its own financial autonomy while following the same methodology and management.

The national network is essential, as well as fundamental is the international “network” that is part of the Yehudi Menuhin Foundation based in Brussels, to activate joint projects ranging from national training to Erasmus projects.



Playing Stop motion Workshop

IMPORTANTE – Ogni partecipante deve scaricare il software gratuito:

Ogni partecipante deve scaricare il software gratuito:

“Stop Motion studio” https://www.cateater.com/

e anche

“Remote Camera App” https://www.cateater.com/

NB: Sono App per i cellulari che si trovano in Google Play per Android e anche in iTunes  per iOS

Nel laboratorio mostreremo alcuni dei processi e punti cardine della nostra pedagogia, che si è consolidata sempre di più con l’esperienza sul campo. L’animazione stop motion è uno strumento interdisciplinare che coniuga, storytelling, manualità, tecniche audiovisive, espressione corporea e soprattutto teambuilding. Per noi l’artista insegnante è colui che riesce a guidare i suoi allievi in modo efficace, perché per primo è padrone della sua tecnica. Qui di seguito riportiamo i contenuti che affrontiamo durante il nostro laboratorio:


  • La creazione di gruppi eterogenei
  • La meccanica dell’animazione e della pixilazione
  • La postazione di lavoro collaborativa
  • Training teatrale
  • Divisione in ruoli, rotazione dei ruoli e spazio di confronto

Playing Stop motion

In the workshop we will show some of the processes and cornerstones of our pedagogy, which has become increasingly consolidated with experience in the field. Stop motion animation is an interdisciplinary tool that combines, storytelling, manual skills, audiovisual techniques, body expression and especially teambuilding. For us the teacher artist is the one who manages to guide his students effectively, because he is the first to master his technique. Below we report the contents we face during our workshop:

The creation of heterogeneous groups

The mechanics of animation and pixilation

The collaborative workstation

Theater training

Division into roles, rotation of roles and comparison space


Alessandro LUIGINI

EDUCARE ALLE ARTI. Il disegno e l’illustrazione per raccontare l’architettura e il design – Oral presentation



My space, Our space – Workshop

Movement is the most powerful nonverbal means of interaction.

It’s strength is based on experience, presence and emotion.

When I move, I involve my whole self, I challenge myself to relate with others, I share my own personal space with other bodies.

This workshop offers an experience for sharing, interacting and connecting, without the use of words. The focus is placed on visual contact, space interaction and clarity of intention.

Participants will be challenged to work on both an individual and group level.

The proposals aim to create a positive environment for individual expression, through the experience of empathy and mutual support. The goal is to encourage the participants to work as a group, while retaining the unique contribution of each individual member.

The lesson is articulated in movement games involving eye contact, space interaction, creative movement to encourage empathy, self confidence and commitment.



L’arte per lo sviluppo individuale e di gruppo – Workshop

Introducing ideas, tools and good practices, this 1,5 hours workshop is to raise awareness about the importance of experiential learning and more specifically to highlight the potential of applying arts in educational processes, especially in the elementary school environment. The interactive workshop introduces artistic (theatrical) moments that could be exploited when teachers want to support individual and group development processes in the classroom.

Theatre could become one of the most versatile art-forms when students are given the opportunity to apply their knowledge and skills by making connections to the real world. Therefore, effective learning entails active experimentation with a hands-on approach to learning. It is perceived that students learn more by being active. Students are interdependent in establishing group goals and decision-making skills. As a result, students are also capable of developing leadership skills, which can also enhance student motivation and confidence.

Working with our natural resources (our body, voice, concentration and imagination) attendees can experience a real journey through space, time and energy levels, while analysing the MUS-E approach and it’s real contribution to education.

Andor Timar, theatre and educational expert, President of MUS-E Hungary

“The art of creation lies in the gift of perceiving the particular and generalizing it, thus creating the particular again. It is therefore a powerful transformer as well as a generator of creative solutions to a given problem. It is what human exchanges are made of: what makes it possible to share states of mind and consciousness and discover new fields of experience”. Yehudi Menuhin, violinist, the creator of the MUS-E programme



Le forme della fantasia. Leggere, scrivere, toccare, dipingere, raccontare attraverso la letteratura per l’infanzia – Oral presentation and Workshop

La molteplicità, caratteristica predominante dell’albo illustrato, è data dai codici, dagli alfabeti, dai significati (Barsotti, 2015). Si nota infatti come le storie illustrate abbiano infatti la specificità di un vero e proprio linguaggio con risorse espressive proprie. Il libro può essere coniugato attraverso multiple forme verbali: prendendo un libro in mano, toccandolo ed interagendo con esso, si valicano i confini dello scibile verso nuovi orizzonti di senso. La lettura del testo e dell’arte grafica può diventare esperienza attiva di esplorazione degli spazi sulla pagina, conducendo il lettore in nuove aree artistico-creative. Leggere significa scoprirsi capaci di evocare e condividere storie e conoscenze grazie alle immagini e al testo, che diventano oggetti di comprensione ed elaborazione, in alcuni casi di commento. Quello della lettura, sia letteraria che iconografica, è una competenza che una volta acquisita concorre in maniera significativa a migliorare la qualità di un’intera vita. Ed è un piacere che si condivide e si dona (Dozza, 2010). Leggere un libro, in particolare un albo illustrato (Faeti, 2011; Salysbury & Styles, 2012; Evans, 2015) è un’azione complessa che quindi richiede il possesso di competenze multiple, proprio come un linguaggio a cui appartengono stratificazioni di forme, di simboli e di significati, un linguaggio che riesce a fondere tali ricchi significati in modo talmente efficace da essere compreso pienamente dai bambini lettori.


Michele CAGOL

I bambini e la composizione musicale. Una proposta pedagogica – Oral presentation

È indubbio che una bambina di tre anni preferirà cantare Aggiungi un posto a tavola di Armando Trovajoli piuttosto che Sequenza III per voce femminile di Luciano Berio (e, forse, questo è un bene). Non è altrettanto scontato che l’orizzonte musicale dei bambini – un orizzonte che condizionerà l’evoluzione dello sguardo e del gusto musicale personale – debba essere limitato alla musica diatonica più elementare, la cosiddetta «musica per bambini». Analogamente, non ci sono evidenze che giustifichino la chiusura dell’educazione musicale dei bambini rispetto a momenti di scoperta, invenzione, creatività e sperimentazione – una chiusura che non si ritrova, invece, nell’educazione alle arti visive e plastiche. In altre parole, non è chiaro perché i bambini non possano comporre la propria musica. Per provare a superare pregiudizi, conservatorismi e condizionamenti culturali, è forse necessario prendere in considerazione la possibilità (e l’urgenza) di un cambio di paradigma nell’ambito della pedagogia e della didattica della musica, a partire dalla prima infanzia. Una nuova prospettiva pedagogica, nell’ambito dell’educazione musicale, dovrebbe inserire nuove pratiche, mettere in primo piano alcuni elementi rispetto ad altri già collaudati, modificare l’ordine delle priorità: introdurre la composizione e l’improvvisazione, e anteporle all’esecuzione; favorire la sperimentazione timbrica, sia strumentale sia elettroacustica; privilegiare la ricchezza del continuum sonoro rispetto alla sua discretizzazione nelle note del sistema temperato equabile; dare rilievo ai suoni non periodici, ai rumori e suoni naturali; introdurre i bambini alle pratiche del field recording e del Deep Listening. La sperimentazione, l’esercizio e la pratica della composizione, per e con i bambini, a partire dall’imitazione dei suoni, dei rumori, delle musiche della natura (e, fra queste, i versi e i canti degli animali) potrebbero essere il punto di partenza di una nuova pedagogia della musica.

 The main purpose of this kind of free improvisation is to lead beginners and experts to explore the different qualities of the sound in a meaningful way; these qualities include variations in dynamic, articulation (different kinds of legatoand staccato), tempo, melodic profile, and expressive gestures while they search for a transposition from signs to sounds. The challenge to search a musical analogy of the graphic code via improvisation could be a means to improve the student’s awareness of different musical features on the instrument. For this reason, this process should be encouraged from the earliest stage, independently of the technical skill just acquired, due to the absence of tonal linguistic constraints of western music.

Accordingly although each language has its own semantic and structural idioms, a multimodal approach involving visual and musical domain can provide interesting insights in the field of art education.



Creative Interaction between Visual Art and Music Oral presentation

 Sandra Fortuna  Luc Nijs

The pedagogical project is being developed with the postdoc of Luc Nijs at Ghent University. The interaction between the arts according to a multimodal approach is one of the challenges of art education. It is based on the assumption that sounds can be perceived by sight and can suggest imagery, energy, stimulating a cross-modal interaction (Zimmerman & Lahav, 2012). At the same time the process of translation among different domains such us visual and sound represent a key to enhance the expressive nuances and creativity in the arts involved (Nijs, 2014). This idea is not news but represents one of the main standpoints of the Bauhaus Movement of art  (Kandinsky, Paul Klee, and Josef Albers), in which the association between painting, musical composition, and movement was explored. The pedagogical project that I am going to describe was implemented in an italian conservatoire of music and in an International Project involving three European Countries, with the aim to offer to teaching artists a model of musical improvisation based on the integration among arts. The free improvisation model is based on the musical interpretation of the features of abstract paintings converted into digital movements. After observing and analysing movements, colour, time, space, line thickness, and signs of an abstract painting, players are prompted to discover a musical transposition according to the expressive nuances of their own instrument or voice.

 The main purpose of this kind of free improvisation is to lead beginners and experts to explore the different qualities of the sound in a meaningful way; these qualities include variations in dynamic, articulation (different kinds of legatoand staccato), tempo, melodic profile, and expressive gestures while they search for a transposition from signs to sounds. The challenge to search a musical analogy of the graphic code via improvisation could be a means to improve the student’s awareness of different musical features on the instrument. For this reason, this process should be encouraged from the earliest stage, independently of the technical skill just acquired, due to the absence of tonal linguistic constraints of western music.

Accordingly although each language has its own semantic and structural idioms, a multimodal approach involving visual and musical domain can provide interesting insights in the field of art education.


Multimodality, Transposition, Improvisation, Teaching Artists, Music


Conservatory of Music – Frosinone – Ph.D Ghent University

Postdoc Ghent University


Antonello FARULLI

Il modello ACCADEMIA EUROPEA DEL QUARTETTO della Scuola di Musica di Fiesole, primo nucleo della European Chamber Music Academy Oral Presentation

Il modello ACCADEMIA EUROPEA DEL QUARTETTO della Scuola di Musica di Fiesole, primo nucleo della European Chamber Music Academy. Un modello che prende come suo  riferimento le “accademie” del passato per proporre una loro versione nel presente volgendo lo sguardo verso le attuali sfide della creatività contemporanea. L’Accademia è, secondo l’accezione originaria del termine, luogo di scambi di esperienze, fucina per l’apprendimento dei giovani artisti a contatto con i maestri, momento di esecuzioni pubbliche, in costante rapporto e apertura tra passato e nuova creatività.


Antonella COPPI

Teaching Artist Italy. Una Introduzione   Oral presentation

Nella scuola italiana assistiamo molto spesso all’incontro di un artista con l’insegnante, perché soprattutto nella scuola dell’Infanzia e nella Primaria, la tendenza è quella di assegnare ad uno “specialista” le attività curriculari ed extra-curriculari di espressione visuale, teatrale, musicale, drammaturgica e coreutica, ritenute troppo specifiche per essere insegnate da un docente “generalista” (Booth, 2009). Tali esperienze artistiche costituiscono uno dei mezzi di espressione maggiormente in grado di suscitare profonde emozioni e sentimenti significativi nei bambini (Sellari, 2011) e per questo irrinunciabili sotto il profilo educativo, seguendo una propria logica che è diversa da quella del linguaggio verbale (Nattiez, 1989). Molti insegnanti di discipline artistiche, nel nostro Paese, ma anche in Europa e negli Stati Uniti, provengono da una specifica formazione artistica, che non comprende temi pedagogico-didattici, ma molti artisti, anche per trovare uno spazio di lavoro, integrano la loro professionalità artistica con l’insegnamento (Cambi, 2014). In questo senso, gli insegnanti sperimentano le tipiche “contraddizioni” di uno sviluppo professionale che influisce seriamente sulla costruzione della propria identità professionale, sia come insegnanti di disciplina artistica che come artista professionista (Dallari 2009). D’altra parte, per molti artisti, l’insegnamento diventa una vera e propria scoperta, in cui trovare grandi soddisfazioni sia dal punto di vista didattico che artistico (Piatti, 2006). È innegabile che questa doppia “personalità” possa sollevare una sorta di “conflitto” di ruoli, che nel tempo può allontanare l’artista dalla scuola nel mondo di qualsiasi produzione artistica da solo, mentre altri, più dediti alla trasmissione di conoscenze e competenze, abbandoneranno la mera professione dell’arte per dedicarsi totalmente alla carriera didattica. Per altri, sarà possibile bilanciare le carriere di un artista e di un insegnante, costruendo un proprio modello identitario che integra il comportamento artistico con l’insegnamento. Questo profilo in un contesto americano e anglosassone, che si chiama Teaching Artist. Come si presenta questo contesto nel nostro Paese? È possibile individuare questo tipo di professionalità riconducibile al modello americano e anglosassone? Questo lavoro offre una riflessione sul ruolo e l’identità dell’artista-insegnante in Italia oggi, per individuarne le urgenze critiche, il rapporto con le istituzioni, i limiti e le potenzialità (Cappa, 2014). Oggi tutte queste questioni vanno oltre un unico campo disciplinare per affrontare un concetto più ampio di cultura e, inevitabilmente, dell’essere umano. Si intende inoltre analizzare, attraverso le posizioni di voci autorevoli in questo campo, come l’istruzione superiore e la formazione continua siano una risorsa essenziale per l’artista professionista, così come per l’artista professionista che è anche artista-insegnante, con particolare attenzione all’apprendimento permanente nelle arti, attraverso eventi e laboratori artistici. L’obiettivo è quello di evidenziare come le arti assumano uno spiccato ruolo di «fruizione, di immaginazione, di annuncio della “vita buona” per ciascuno e per tutti» (Cambi, 2016)e come in questo l’insegnamento dell’artista oggi possa costituire una risorsa cruciale per il futuro dell’educazione artistica, delle arti e del processo di apprendimento di ogni cittadino (Elliot, 2016).

Teaching Artist Italy. An Introduction

In Italian schools, we often attend meetings of artists with the teacher, especially because in kindergarten and primary schools, the tendency is to assign the curricular and extra-curricular activities of visual expression, theatre, music, drama and choreography, to a “specialist”: those activities are considered to be too specific to be taught by a teacher considered a “generalist” (Booth, 2014). These artistic experiences are one of most important expression for children, able to arouse deep emotions and significant feelings (Sellari, 2011) and, therefore, essential from an educational point of view, following its own logic that is different from that of verbal language (Nattiez, 1989). Many teachers of artistic disciplines, in our Country as well as in Europe and the USA, come from a specific artistic education, which does not include the pedagogical-didactic way, but many artists, even in order to find a working space, find themselves integrating their artistic professionalism with teaching (Cambi, 2014). In this sense, teachers experience the typical “contradictions” of a career development that seriously affects the construction of their own professional identity, both as teachers of artistic discipline and as professional artist. On the other hand, for many artists, teaching becomes a real discovery, in which to find great satisfaction from both the didactic and artistic point of view (Piatti, 2006). It is undeniable that this double “personality” could raise a type of “conflict” of roles, that over time can push the artists away the artist from school in to the world of any artistic production alone, while others which are more devoted to the transmission of knowledge and skills, will abandon the mere profession of art to devote themselves totally to a teaching career. For others, it will be possible to balance the careers of an artist and a teacher, building their own identity model that integrates artistic behaviour with teaching. This profile in an American and Anglo-Saxon context, that is called Teaching Artist. How is this context presented in our Country? Is it possible to identify this type of professionalism, which can be attributed and reconciled to the American and Anglo-Saxon model? This work offers a reflection on the role and identity of the artist-teacher in Italy today, to identify the critical urgencies, the relationship with institutions, limits and potential (Cappa, 2014). Today, all these issues go beyond a single disciplinary field to address a broader concept of culture and, inevitably, of the human being. It is also intended to analyse, through the positions of authoritative voices in this field, how higher education and continuing education are an essential resource for the professional artist, as well as for the professional artist who is also artist-teacher, with particular attention to lifelong learning in the arts, through events and art workshops. The aim is to highlight how the arts assume a strong role of “fruition, imagination, announcement of “good life” for everyone and for all citizen” (Cambi, 2016), and how in this the teaching of the artist today can be a crucial resource for the future of art education, the arts and the learning process of every citizen (Elliot, 2017).






Dr. Lori Custodero, Associate Professor of Music and Music Education, has established an Early Childhood Music concentration at Teachers College that integrates pedagogy and research through both theory and practice. Her background includes degrees in piano performance and music theory: her doctorate in music education is from the University of Southern California. Prof. Custodero’s research has focused on children from infancy through preadolescence, and adults as musicians, teachers, and parents. She has presented and published on issues of musical challenge, engagement, and meaning in classrooms, playgrounds, and family settings; recent titles include “Singing Practices in Ten Families” and “Passing the Cultural Torch: Musical Experience and Musical Parenting of Infants” (Journal for Research in Music Education); “Observational Indicators of Flow Experience: A Developmental Perspective of Musical Engagement in Young Children from Infancy to School Age” (Music Education Research); and “‘Being With’: The Resonant Legacy of Childhood’s Creative Aesthetic” (Journal of Aesthetic Education). A guest editor for a 2002 issue of the Journal of Zero to Three entitled “The Musical Lives of Babies and Families,” Prof. Custodero has served in various professional leadership roles including Co-Chair of the Music Educators National Conference’s Special Research Interest Group for Early Childhood. She recently finished a 6-year term as North American representative on the International Society for Music Education’s Early Childhood Commission during which time she chaired seminars in Barcelona and Taipei. Interested in international issues of music education, she currently is involved in two projects, one involving flow experience and music teachers in Greece, and the other, a multi-national study on the spontaneous musical behaviors of young children. In addition to regular presentations at international conferences, Prof. Custodero has accepted invitations to speak in Australia, Greece, Crete, Portugal, England, Finland, and Taiwan. In addition to the international work, Prof. Custodero has developed music programs with many local institutions in New York City, including Jazz at Lincoln Center, the New York Philharmonic, the Midori Foundation, and Columbia Head Start.



Liliana DOZZA

Professor of Education at the Faculty of Education and President of the Master in Primary Education, member of PhD Collegium. She has been Vice-Dean and Dean, Deputy Rector for Education and the Bologna Process, Coordinator of the PhD “General and Social Pedagogy and Education”. She is co-Director of the Journal “Pedagogia più Didattica”, Trento Erikson, Fascia A and of the peer reviewed Editorial Series: “Educazione per tutta la vita” (Milano: FrancoAngeli); Education, Earth, Nature (Bergamo: Zeroseiup). Member of several Scientific Committees and Senior Reviewer of peer-reviewed series and International Conferences (END 2017, EERA 2018, Education, Earth, Nature, 2016, 2017; IAFOR 2017-2018). Scientific interests: General and social Pedagogy; Lifelong learning; Sustainable Development.







Kaboom Percussion are a duo from Perth who are passionate about inspiring a love for music in students of all ages. Both holding Masters Degrees in Percussion, Catherine Betts and Joshua Webster started Kaboom with some fun and quirky YouTube videos and just 4 years later Kaboom has grown to be a full-time, internationally renowned music education group! Cat and Josh have performed for over 50,000 students across Australia and New Zealand, and garnered more than 180,000 subscribers and 50 million views on their popular YouTube Channel. They have also presented workshops for music teachers at a number of conferences including ISME 2018 (Baku), ASME (Melbourne and Perth), MENZA (Wellington), ONZA (Auckland, Tauranga and Dunedin), KMEIA (Perth) and WAOSA (Perth). Their music is designed to be fun, engaging and immediately accessible. Whether it is creating rhythms on chairs, making up a body percussion beat with their friends or simply tapping on a cup, Kaboom loves empowering and inspiring kids to begin creating their own music.



Alessandro LUIGINI

In 2003 he graduated with honors from the Faculty of Architecture in Pescara. Since 2007 he is Ph.D. in “Representation and Survey of Architecture and the Environment” and since 2008 he is a contract professor. From 2003 to 2015 he worked as an architect. In 2013 he received the prestigious nomination at the Mies van der Rohe Award. Since 2015 he has been a Assistant Professor at the Faculty of Education Sciences of Bressanone and in 2018 he obtained the National Scientific Qualification as a Associate Professor. He has about 80 publications, 4 book edited and 2 monographs. He Is Scientific committee member of scientific journals, editorial series and international conference, and is coordinator of international and interdisciplinary conferences IMG2017 and EARTH2018.



Rita Costato Costantini

‘Conservator of cultural heritage’, technical co-director of “costantinistudio.com” from 1988. Graduated in painting at the Academy of Fine Arts of Bologna in 1985 and specializes in “watercolor painting” in London, is a qualified teacher of “Pictorial and scenographical décor art” (1998). In addition to activities related to the conservation of cultural heritage in Emilia Romagna, Veneto and Puglia (including teaching, publications and an exceptional experience on contemporary works), carries on artistic activity alternating paintings and painted books exhibited in numerous exposition in Italy and abroad. In parallel to the work of Conservator, she has devoted itself to the art education for young people through workshops and projects in schools and museums and in numerous public and private events (primary and secondary schools, Art Institute, Art Galleries, Jewish Museum, Art Book Festival, Art and Science Festival, Arte Fiera, Bologna City Council). Since 2001 she works in the Program Mus-e (Musique Europe-art at school) with the Association Mus-e Bologna of which is Coordinator since 2007. From 2013 she is the National Coordinator of Mus-e Italia Onlus and also follows the European projects of the national network Mus-e related with the Yehudi Menuhin Foundation in Brussels.




Juan Pablo Etcheverry. Graduate of the Academy of Fine Arts in Barcelona with a specialization in drawing, He is an expert in animation and digital graphics, he has been the author of animated short films since 1997, recognized with numerous national and international awards. Participates in numerous exhibitions and festivals around the world. His work Minotauromaquia has been nominated at the Goya, at the European Film Awards and forms part of the Spanish animation retrospective “Del trazo al píxel”. In 2007 he adapted the unique childhood tale of the Nobel Prize winner José Saramago. During all these years he has given animation courses for children of the Mus-e project, for teenagers, adults and teachers.

Ilaria Migliaccio, art name Franca Battaglia Teatro. She graduated in theater and entertainment history at Sapieza University, where began her theatrical training. Years later moves to Naples and meeting important masters such as Rem & Cap, Enzo Moscato, Emma Dante and Anna Redi. At 2005 He wins in a special mention at “Scenario Natiotal Award” with play “’O mare” with “Taverna est” company and in 2009 again arrive in final stage with his own play “La bella Lena”. He wins the residency prize at the “OFF Space” independent Teather of Trento and was part of the selection “Pills” at the “Teatro Studio Uno” in Rome, where he currently holds his theatrical laboratories. For years he has devoted himself to the theatrical training of adults, children and elementary school children for the Mus-e project.




Choreographer/Dancer/Teacher/Trainer Sara commenced her contemporary dance training in Florence at Imago Lab Studio, studying Graham, Cunningham, Improvisation and Choreography with Simona Bucci, Susan Sandler and Richard Haisma. She perfected her technical and choreographic skills in London, graduating at the London Contemporary Dance School in 1997. In 2002 she won a scholarship for a professional course in choreography at the Dance Centre, directed by Mimma Testa in Rome. Her work as dancer and choreographer has been performed in many theatres in Italy and abroad. For several years she has been teaching contemporary dance and choreography in her own studio and as guest artist for dance and theatre companies. Since 2001 she has collaborated with the London based choreographer/dancer Fortunato Angelini. Together they founded rAn-network Company. In 2005 she founded KolAm Theatre, a space dedicated to the research and promotion of Contemporary dance and theatre. This project has been the result of a collaboration with the theatre director Monica Bucciantini. In 2012 she founded The Loom-Movement Factory, a research centre for production and performance, where her dance company is based at present. As of 2010 she is the artistic director of The Contemporary Dance Festival BodySongs – Corpi che cantano. Since 2011 she is involved in Mus-e (Musique Europe) as a movement teacher. In 2016 she was selected to represent Italy in the META international project (Minority Education Through Arts), in collaboration with Y. Menuhin Foundation (Belgium) and the University of Florence. The team have developed a new methodology for teaching arts in schools, to encourage the integration of children from different cultural backgrounds. Of late, Sara has developed a strong interest in community dance. She has worked as choreographer and dance teacher with various companies in Tuscany, such as Teatro Metropopolare (with whom she won a call by the Ministry of the Arts and Cultural Activities) training groups of African refugees. In 2018, thanks to her collaboration with Teatro Metropopolare, she began a series of creative movement workshops for a group of incarcerated men in the penitentiary of Prato. Links: www.ran-network.eu www.theloom.it www.bodysongs.eu



Johan van der Sandt

Johann van der Sandt completed his studies at the University of Pretoria, and his  choral conducting at the Institute of Choral Conducting in Gorinchem, Netherlands. He is a sought after juror, composer and choral clinician. He is a professional choral conductor and has led numerous choirs throughout his career. Before his appointment as  professor of music education at the University of Bolzano in Italy he was  professor of choral conducting at the University of Pretoria, South Africa and choir director and musical rector at the Drakensberg Boys Choir School, South Africa. Apart from his teaching and research interests at the University of Bolzano, he also leads the male choir Brummnet and the Provincial Youth Choir of South Tyrol.




Well established lecturer and trainer, helping artists, teachers and other people management professionals to excel. Catalyst for developing outstanding educational skills and supports the development management of an entire team of artists/teachers or schools. A real challenger – with empathy to share – who encourages his course members to reach out for results beyond expectations. When coaching individuals, his executive coaching diploma provides the solid foundation for setting the right tone and style even with the most challenging people.




Maria Teresa Trisciuzzi, PhD, lecturer in Children’s Literature at the Faculty of Education at the Free University of Bozen (Brixen) and at the University of Urbino. She is Director of the Education Series at the ETS publishing house in Pisa, is member of different Scientific Committees of National and International Series,  and is a member of several Scientific Academy: SIPED – Società Italiana di Pedagogia; SIPSE – Società Italiana per lo Studio del Patrimonio Storico-Educativo; CIRSE – Centro italiano per la Ricerca Storico-Educativa; IVITRA – ISIC-IVITRA “División de Ciencias de la Educación – Instituto Superior de Investigación Cooperativa” and she is member of the Colectivo Docente Internacional INNOVAGOGÍA, at the Universidad Pablo de Olavide, España. Some of her most recent publications include: Ritratti di famiglia. Immagini e rappresentazioni nella storia della letteratura per l’infanzia, ETS, Pisa, 2018; Hayao Miyazaki. Sguardi oltre la nebbia, Carocci, Roma, 2013, awarded the National Prize for Children’s Literature and Children’s Literature “Franco Trequadrini”; “Betwixt-and-Between” The pedagogical function of the relation between Children and Nature in Children’s literature, in “ISCHE 40” Education and Nature; Giardini segreti. Educazione e natura nella letteratura per l’infanzia, in (a cura di), Dozza L., Maestra Natura. Per una pedagogia esperienziale e co-partecipata, Zeroseiup, Bergamo, 2018; Bulle e pupe. Il bullismo femminile nella letteratura per l’infanzia e per ragazzi, in (a cura di), Burgio G., Comprendere il bullismo femminile. Genere, dinamiche relazionali, rappresentazioni, FrancoAngeli, Milano, 2018; Leggere le figure: Letteratura per l’infanzia, Wordlessbooks, Visual Storytelling, in (a cura di), Cantatore L., Primo: Leggere: Per un’educazione alla lettura, Edizioni Conoscenza, Roma, 2017; Il futuro è per tutti. Il romanzo di formazione nelle opere di Marie-Aude Murail, RIVISTA DI STORIA DELL’EDUCAZIONE, 2016.



Claudia CALI`

Dr. Claudia Calì is a musician, piano teacher and researcher. A native of Italy, Dr. Calì holds a Diploma in Piano Performance, and two Masters from the University of Perugia and the Catholic University of Milan. She earned a Doctorate in Music and Music Education from Teachers College Columbia University, where she currently works as the project manager of professional development program for teaching artists, the Teaching Artists Community Certificate Program (TAC@TC). She also serves as Adjunct Professor of Music Education at Queens College, Long Island University, and she has been a faculty member at the Juilliard School, the University of New Haven and Teachers College. Along with an intense performing activity, she devotes time and energies to researching young children, and their spontaneous musicality. Her research also brings attention to families and to the influences that music has on parent-child relationships. Such interest is rooted in her long experience, teaching piano to young children and their parents both in Italy and in the United States. Recently, she created and currently teach an original music curriculum, “Musicali si Nasce,” for young children of Italian families in New York. “Musicali si Nasce” is inspired by her observations of young children’s spontaneous music-making and aims to cultivate in young children and their families a love for Italian through music.



Michele CAGOL

Researcher with a fixed-term contract (RTD) in General and Social Pedagogy (M-PED/01) at the Free University of Bozen-Bolzano, Faculty of Education. He earned a BA+MA in Philosophy (Bologna University), a 2nd level Master degree in Cognitive Sciences (Siena University), and a PhD in Education (Free University of Bozen-Bolzano). His main research themes are emotional pedagogy, visual/musical storytelling, pedagogy of communication, media education. He also studied Clarinet and Experimental Composition at Bolzano Conservatory, held the Electronic Music Production Certificate at SAE Institute Milano, earned a MA in Music and New Technologies at Bolzano Conservatory, and he is obtaining a MA in Composition at Trento Conservatory. His recent instrumental compositions have been performed by MotoContrario ensemble in Trento, Riva del Garda, and Udine. He is part of the experimental electronic music duo kvsu (with Hannes Pasqualini). With kvsu and kvsu~akirasrebirth (Roland Lioni), he has done concerts and performances in Bolzano, Bologna, Milano, Innsbruck, Munich, Dresden, and he participated as composer and performer at the Festival of contemporary culture Transart 2014 and 2015.



Antonella COPPI

Juniorprofessur (RTD) – SSD L-Art/07 – in Musicology and History of Music at the Faculty of Education, University of Bolzano, Italy. She has been Lecturer (adjunct professor) of Music Pedagogy at University of Perugia (from 2002 to 2006).  From 2001 until today she is Lecture in Vocal Pedagogy and Conductor of University Choir and Orchestra of University of Modena and Reggio Emilia.

Dr. Coppi`s research has focused on music and children from infancy through adolescence, and adults as musicians, and teachers. She has presented and published on issues of Community Music, Music Education, El Sistema in Italy and International experience of Music education; recent titles include “Community Music. Nuovi orientamenti Pedagogici” (Monography – Milano: Franco Angeli, 2017). “Arte e Oltre: Percorsi educativi multidisciplinari ed interculturali per l`inclusione a scuola” (L´Intgrazione scolastica Journal2018); “El Sistema e il coro de Manos Blancas: modelli educativo-musicali tra realtà consolidate e scenari futuri” (Musica Docta, International Journal 2018); “Didactic and Pedagogical Implications in Community and Arts” (International Forum of Academic Research, 2018). She currently is involved in a research projects, one involving an investigation on the educational impact of choral activities in South Tyrol from a Lifelong Learning perspective and the other AHRC – Music, social inclusion and well-being in North and South, in partnership con York St John University and University of Sheffield. UK

In addition to regular presentations at international conferences, Dr. Coppi has been Visiting Professor at Zayed University, Dubai and Brooklyn College, New York. Antonella Coppi is Co-Editor in important musicological serie “Ars Musicalis, Musicology, Music and Pedagogy”, Lucca LIM, and Senior Peer Reviewer for IAFOR and MDPI Journal 2018. In addition to the research work, she is the National Coordinator of Italian University Choirs and Orchestras and Italian Referent for International Activities of El Sistema in Italy, Italian Referent for Sounds of Hope International Foundation, Minneapolis-Saint Paul (Minnesota, USA). Since May 2018 she is also is the International Coordinator for Europe of the Venezuelan Foundation “Coro de Manos Blancas”.