Article Title: BECKETT’s BORDERLESS BODIESan Applied Theatre Experience in a Multicultural Italian Public School

Author Name: Maia Giacobbe Borelli

Author addresses: Vicolo Moroni 18, 00153 Rome, Italy

Mail address: maia.borelli@gmail.com

Keywords: education, Waiting for Godot, Beckett, multiculturalism,applied theatre

Abstract: Scenes from Samuel Beckett’s «Waiting for Godot» were employed to teach Italian to migrant children in a public primary school. The drama workshop helped the creation of a collaborative group of students, encouraging friendships and cooperative learning. The use of drama education in multilingual schools can offer solutions to many educational puzzles, improving communicative andrelational competences. Drama is also a tool for building functional vocabulary and creating this imaginary but quite real common space needed to establish a solid mutual understanding among students from many different cultures, where they are free to share their cultural similarities and differences.Drama can become the place for peacefully enacting the internal conflicts that arise in the building of a new, multi-cultural identity. From my students, I learned that a new common language could become a way of weaving intelligent relations between different cultures.

BECKETT’s BORDERLESS BODIESan Applied Theatre Experience in a Multicultural Italian Public School

Vladimir: How’s the carrot?Estragon: It’s a carrot

Vladimir: So much the better, so much the better.

Samuel Beckett

Esquilino, Rome: the Context

I employ drama in a primary school in Rome to enhance

language learning for multicultural groups of young newcomers to

Italy. In this article I will describe my practice and reflect on

a number of issues that have arisen in the course of my

experience.

In a summer workshop held in 2010, I used scenes from Samuel

Beckett's "Waiting for Godot" (translated into Italian) to teach

Italian to a group of newly arrived migrant students, from 10 to

13 years of age. The basis of this project is the conviction,

derived from years of experience, that teaching a new language to

young people requires the building of a common space within the

learning community. This common space is a kind of performance

stage where participants are free to meet and share their cultural

similarities and differences. In this context, beyond its artistic

value, drama is also a tool for building functional vocabulary and

creating this imaginary but quite real common space needed to

establish a solid mutual understanding among students from many

different cultures.

Drama summons into being a space for interaction that I shall

here call ‘interplay’, a term that combines the Latin word

"inter", which defines relations among distinct entities, with the

English word "play", which has many appropriate and varied

meanings denoting common social action, as in to play a game, to

play a sport, to play Shakespeare, etc. The fundamental natural

resource needed for interplay is raw time; time set aside from

other functional activities for an intense phase of creative

exchange among the participants. The benefits of interplay in the

context of a summer drama project become evident once the play is

over and the summer comes to an end, when students return to

school with a greater sense of belonging in the classroom

environment.

Using theatre to teach language opens up a variety of

reflections: on the nature of theatre as a social and

communitarian experience; on the challenges and difficulties of

introducing our language to newcomers; on the unique

characteristics of bilingual children and on the opportunities to

give value to their mother tongue; on the use of drama in

education to confront, discuss and reshape the concept of

diversity, and on the idea of diversity itself as a value to

preserve. Further, how may drama help teachers and students

develop an attitude of empathy, respect, and awareness both toward

others and for oneself?

Of all the questions raised by the use of drama in language

instruction for newcomers, perhaps the most profound of all is

this one: by using the denomination "foreigner", are we obliged to

trace a sharp line between Italians and non-Italians, or, on the

contrary, are our common experiences as human beings more deep

than our different languages, religions and traditions? Perhaps my

principal discovery in this project, once said, seems terribly

obvious: what we share as humans, even before language, religion

and tradition, is the body. I am not referring to the body here in

the sense that we are all fundamentally animals; rather, I affirm

that the body is our common language, the tool we all share to

begin communication.

I may have posed here too many unsolved but fundamental

questions, but let me introduce a few details about the context of

my project. My public school is located in a neighbourhood in

central Rome known as a destination for immigrant newcomers. The

primary school has 20 classes of children aged from 6 to 10 years,

plus a secondary school composed of 6 classes of youth aged 11-14.

A total number of about 600 students, mostly not Italian citizens,

whose parents come from 29 different countries and use many

different languages, with a preponderance of Chinese, Spanish, and

Bengal speakers. Migrant children constitute 64.46% of the

school’s students, although most of them are born in Italy and

have fewer language difficulties than newcomers.i The teaching of

Italian is therefore crucial in many of our educational programs.

At this point I might add that I do not agree with the

current Italian definition of “migrant children” applied to all

children with non-Italian parents. I maintain that the word

“migrant” should denote only people who, during their own

lifetimes, have moved, or have been forced to move, from one

country to another, such as exiles, immigrants and refugees. It is

true, however, that some of the children born in Italy live

largely as if still living in their parents’ homeland, following

traditions very different from those we think of as typically

Italian. In effect they are patterned to live as foreigners for

their entire lives. For them, speaking Italian does not mean

understanding and practicing our local culture. Their dilemma is

that they are likely to considered aliens both in the country

where they live and in their parents’ countries. A growing issue

and opportunity for western societies is how to grant space to

children with multiple cultural identities. Second-generation

young adults in Italy who seek to construct a recognizable space

for themselves in the local Italian community pose this issue more

and more frequently. Our 'interplay' project provides a multi-

linguistic and multi-cultural educational framework in which

students can realize and explore both the uniqueness and the

universality of their special “identitarian” conditions. A

disappointed 9 years old student told me once, after Christmas

holidays, feeling discriminated: “Too bad, someone told Santa

Claus we are Muslims, so he didn’t come to my house to bring me

presents!”. This is the kind of misunderstanding we are

encouraging in our new multicultural Italy, if we don’t provide

space for original reflections and innovative educational

settings.

Eating Carrots and Longing for Home

I will concentrate particularly on those migrants who are

encountering the Italian language for the first time. During the

summer, the school organizes Italian language courses aimed at

facilitating the first contact with their future school for those

students who have just arrived in Italy.

I designed the special language course as a drama workshop

running every day for 2 hours, followed by 2 hours of more

traditional language instruction. The drama workshop helped me to

create a collaborative group of children, encouraging friendship

and cooperative learning that significantly increased the

effectiveness of the subsequent hours of language instruction,

which consisted of a series of teaching units using short

dialogues, exercises and tests.

In the first part of the course, I chose to work with Samuel

Beckett's best-known play, «Waiting for Godot». I divided the

group of ten students into five couples, each couple playing the

lead characters of the drama, the tramps Vladimir and Estragon.

The students were scattered around the space of the school’s

theatre, occupying chairs, stage, floor and all available corners.

Some couples sat back to back, some walked around, some lay on the

floor, some stood looking into each other’s eyes. Beckett’s play

echoed around the space as each couple rehearsed the same selected

scenes of the text, reading them aloud in Italian. I realized that

Beckett’s simple dialogues, such as when Estragon declares: «I’m

hungry», and Vladimir answers back: «Do you want a carrot?»

(Beckett 1952: Act. 1), were real facts the children could

immediately understand, connecting them to the daily experience of

hunger in their recent long journey to arrive in Italy, and the

long waiting for someone to come and solve their problems.

The next day I brought a bunch of carrots to class and

proposed to the various Vladimirs to offer a carrot to their

companion while speaking Beckett’s words.

The reaction was far more passionate than I expected: they all

charged the lines with the pathos of their migratory experience,

the uncertainty of their destiny and destination. As the work

developed, carrots passing hand by hand, the focus of my students’

feelings seemed to be their longing relation with the faraway home

they had just left. They easily recognized the two homeless men in

“Waiting for Godot” as similar to themselves. The simple idea of

‘home’ was much different for each of them, as they came from very

distant parts of the world, such as Nigeria, Eritrea, Ukraine,

Philippines, Ecuador, China. Even so, they all desired a happy

ending for Vladimir and Estragon; they wanted the tramps to find a

home.

After rehearsing Scene 1, I put them in circle and asked them

first to explain what they had just read and then to tell or to

draw on a sheet of paper the image of home they had in mind for

the characters of Beckett’s play. The work on their imaginary home

was re-used, in the language lesson after that day's drama

workshop, when they were called upon to describe the faraway home

they had left behind. The language lesson began by asking them to

answer two simple questions. The first was, “Come è la casa di V.

e di E.?” (“How is V. and E.’s home?). In order to answer,

students had to learn the Italian vocabulary of the different

colours, materials and dimensions. The second question was, “Da

dove vieni?” (“Where are you from?”). These questions provided a

simple way to enrich their vocabulary by adding a few adjectives

to their lexicon. But they also inevitably opened a cut,

soliciting memories of their homes. An image of ‘la mia casa’, my

home, soon arose from their answers. With the few Italian words

they knew, they began to speak or mime with gestures, trying hard

to describe the houses they had left behind in their homeland. By

asking about home, I had come upon a way to touch them and push

them to express themselves. Body memories began to arise: specific

colours, scents, textiles and materials typical of their homeland.

Of course, to speak of home is to speak of oneself. As

Jacques Derrida observed, “The home is a metaphor for a metaphor:

expropriation, being away from home, but still in a home, a place

of self-recovery, self-recognition, self-mustering, self-

resemblance, it is outside itself – it is itself” (Derrida 1974: 55).

Though they were now living in Italy in a social situation

preferable to the one they had left behind (for instance Asmarom,

one of the boys, have a status of political refugee from Eritrea),

they began to identify their own circumstances in the dilemma of

Vladimir and Estragon. With Beckett’s help, I had somehow found a

way to build into my student group the particular ‘tension’ needed

to give the Italian lesson a real touch of significance. The drama

exercise became a moment of sharing, as they had the possibility

to acknowledge a universal dimension in their individual migration

story. In other students' stories, they recognized their own; thus

they felt less alone.

Day by day, speaking Italian became a common ground for their

friendship to grow on. They began to sense the need to learn the

new language in order to deepen and facilitate their mutual

understanding. A group of friends was born out of the drama

project. They wanted to learn Italian to connect with each other's

experience, to reflect on their own, and to find a peaceful place

to locate their migration memories and their wandering bodies.

From my students, I learned that a new common language could

become a way to improve knowledge and exchange, a way of weaving

intelligent relations between different cultures.

Dacia Maraini, a writer and long-time traveler, asked herself,

“What does it mean to migrate from one language to another? Can

historical memory be shared? What does identity mean? What risk is

entailed in losing it?" (Maraini 2010: 127). Beckett and his play

were helping me to discover many shades of meanings around the

subject of migrating, of changing home, a subject central to my

students' concerns.

Beckett himself was a migrant writer who decided to write in

French, a language different from his own. What I want to explore

here is not at all the experience of Beckett as a migrant, but the

way his words resounded in a migrant’s ear, being aware that “the

writer should enter history mainly through the avenue of his art”

(Ha Jin 2008: 30) rather than through his own biography. By

placing Beckett’s dialogues into a context of human migrations, I

could begin to investigate some of its metaphysical aspects.

Beckett’s world, I realized, reaches the concealed metaphysical

feelings and meanings that surface when we encounter people coming

from life experiences that are very different from our own. As

Ruby Cohn states: “Beckett’s plays are nourished of fundamental

tensions - words wrung from silence, words belied by gesture,

gestures wrestled from inertia, darkness invaded by light, hope

betrayed by habit, passion eroded by compassion”(Cohn 1980: 12).

Exploring the whole palette of human desire, misery and despair,

“Waiting for Godot” embodies Cohn's affirmation. But why dig into

such a complex, necessarily painful texture of meanings in the

context of an educational project for children? One answer comes

from Martin Esslin in his fundamental text on Beckett:

It is the peculiar richness of a play like “Waiting for Godot”

that it opens vistas on so many different perspectives. It is

open to philosophical, religious, and psychological

interpretations, yet above all it is a poem on time,

evanescence, and the mysteriousness of existence, the paradox

of change and stability, necessity and absurdity. (Esslin

1961: 61-62)

The mystery of existence is precisely what appealed to my

young learners. The inner complexity of this mystery was explored

on the basic level of daily human experience - eating, fighting,

sleeping, waiting- the kinds of actions that could be easily

understood also in a non-verbal scene. The play therefore allowed

my students to explore a full range of bodily sensations: the thin

border between the demand for stability and the desire to wander,

the experience of distant migration and the joy of landing, the

departure on a long journey and the pleasure of arrival, the

excitement of discovering something new and the loneliness of

leaving friends behind. All the inner and painful conflict between

nostalgia and curiosity, the multi-faceted condition of migrating

they had experienced so deeply in their own skin. In some peculiar

and mysterious way, drama became a path of reconciliation and

transcendence in the midst of these many clashing feelings.

Their ongoing reflections were helping them to realize that

we are not like trees, deeply rooted in a specific ground, as the

fear of the unknown might make us believe, but inhabitants of a

common land, our Earth. The traditional idea of being rooted in a

specific territory is difficult to overcome. Salman Rushdie

writes: “Roots, I sometimes think, are a conservative myth,

designed to keep us in places” (Rushdie 1983: 90).

Historically the idea of being rooted in a territory that

represents your home is deeply connected with the development of

nationalism, which implicates the idea of borders protecting your

land-home from others encroaching from beyond. That which is

beyond the border is the Heimlich, as Freud named it: the uncanny,

the disturbing, the strange, the spectral. At the base of the

Heimlich is fear of the other, a fear shared both by the one who

comes and the one who sees the other coming. About the fear of

others, Dacia Maraini writes:

The question of the other and the outside is complicated and

has infinite ramifications. Who is the other? Is the other

such only in respect to me as an individual, or does the other

oppose the culture of the people, the community whose destiny

I share? How do I recognize the other distinct from myself

when identities tend to shade one into another, to melt, to

weave together malignantly? Or benignly, depending on your

point of view? (Maraini 2010: 12)

In “Waiting for Godot” Vladimir asks his companion: «How’s the

carrot?» and Estragon can only answer back: «It’s a carrot». We

all agree with him. Beside the different word used to name it, a

carrot is a carrot for us all over the planet; it is food. And

this fact gives us the hint of our brotherhood through our common

body.

At the end of second day of my drama workshop Asmarom,

Angelo, Emmanuel and Madai, all of them coming from different

countries asked to take their carrots home, to share with their

families. Besides being used for play, a carrot is still a carrot;

we should eat it, they all thought…

Lin Yutang, a migrant writer, states: “the only way of

looking at China, and of looking at any foreign nation, is by

searching, not for the exotic but for the common human values …

The differences are only in the forms of social behaviour” (Lin

Yutang 1935: 15). It is important to be aware of a huge layer of

universal values, hidden beyond the different existing forms of

society. It is important to let my students recognize their common

origin and to give to each individual a proper value as human

beings, regardless of their different language and religion. Even

if this sometimes goes against the will of their parents, who are

trying desperately to preserve tradition.

Reflections on Images, Imagination, Imaginaries in an Applied

Theatre experience.

Theatre was helping me build a bridge between distant worlds

and distant cultures by focusing on a common experience. At the

center of my use of theatre was the desire to dialogue with

others, and also, by observing ones own body - its reactions,

sensations, desires and even its words - to dialogue within

oneself. And “Waiting for Godot” was helping us greatly. The text

says:

Estragon: Fancy that. (He raises what remains of the carrot by the stub of leaf,

twirls it before his eyes.) Funny, the more you eat the worse it gets.

Vladimir: With me it's just the opposite.

Estragon: In other words?

Vladimir: I get used to the muck as I go along.

Estragon: (after prolonged reflection). Is that the opposite?

Vladimir: Question of temperament.

Estragon: Of character.

Vladimir: Nothing you can do about it.

Estragon: No use struggling.

Vladimir: One is what one is.

Estragon: No use wriggling.

Vladimir: The essential doesn't change.

Estragon: Nothing to be done. (He proffers the remains of the carrot to

Vladimir.) Like to finish it?

Nothing could give more self-confidence to my students than

to hear: “One is what one is” connecting Beckett’s words with

their transforming identities. An inner dialogue between their

family tradition and the new one encountered in Rome opened into

their mind.

Samuel Beckett seems to imagine his plays as a series of

dialogues with his audience and with himself, meaning himself both

as author and as audience. John Fletcher emphasizes this

possibility of self-analysis when he names what is on the stage as

“double communication”, where the author can be both narrator and

audience of the play being performed (Fletcher 1972: 37). The

narrative of “Waiting for Godot” permits “displacement,

translation, periodicity, concealment and leads to revelation”

says Eyal Amiran (Amiran 1993: 62). This is true for any Beckett

reader or listener, and was even more so for my migrant students.

In this masterpiece they found formidable echoes of their own

thoughts, provoking them to reflect on their lives and sort out

solutions to improve its value.

Focus on the Learning Bodies of My Students

Using drama in education made me perceive with clarity the

need for each individual to master her body, the body being that

universal human condition connecting her as actor to all the

people watching. I mean that the corporal aspect of the

performance experience ultimately predominates over the textual

aspect. When your audience – in a class or at the theatre - does

not understand most of the words you are saying, how can

communication succeed? I think it is not matter of simplifying the

text, substituting complex terms with easier ones; on the

contrary, it is a matter of sharing our common human experience in

a simple physical and emotional way.

I do not refer here to the use of the body to illustrate the

meaning of spoken words, as in pantomime. I refer instead to the

actor’s use of her body to embody and enact a text on stage.

We can imagine performing in theatre as a sort of danced dialogue,

a non-verbal dance, going from the actors’ body to the spectators’

body, through the common ground of the common body they all share.

It works beyond language and rational comprehension, as recent

research on mirror neuron activity demonstrates.

Interplay in education may be better explored by using a

total approach to language, both physical and playful, as we do in

theatre. It is important for a teacher to find the way to transmit

- through body language - this flow of live energy to her

students, including it in the practice she is proposing. It’s

essential to build a vivid physical connection that allows

communication regardless of languages and nationalities.

Dramatic Borderless Bodies: Training Teachers and Students in the

New Classroom 

Teaching, of course, is a form of performance.

In order to transform the learning process into a real life

experience, into something meaningful for their students, teachers

necessarily need to master certain skills that stimulate their

students to respond proactively, with their creativity fully

engaged. In my country, at least, the physicality inherent in

effective teaching is never considered. Body language, an

international non-verbal language, is transparent; it exposes

private images, fantasies and unspoken experiences of both teacher

and student. Teacher training that does not include body training

ignores a very significant percentage of the communication that

takes place in a classroom. When I say body training, I am not

speaking about fitness or gymnastics. What I mean is inculcating

an awareness of each individual’s presence conceived as a unity of

mind and body. Drama training workshops can give important skills

to teachers, especially empowering them when teaching migrant

children, when dealing with multilingualism, and when working with

students with learning difficulties.

As demonstrated by many research-actions focusing on

multicultural issues, the use of theatre for training children and

youngsters in general helps them to develop their relational,

communicative and listening skills, including the way they listen

to you as teacher. Drama workshops in schools enhance for the

better the life experience of student participants. Educational

studies confirm the value of non-verbal languages, theatre, dance

and music, as a way to smooth the learning process across the

curriculum.

Children today need to experience the real world with their

bodies in order to nourish their own thinking and dreaming. Their

imagination needs to pass through the use of their real bodies,

not only through the artificial life they experience with

videogames and virtual connections. Children need to play, move

and sing, as a way to learn how to deal with the world, besides

the virtual life offered by the Net. They need their whole bodies

to touch the real world, not to feel it just by moving fingers on

digital screens. Children from all over the world, gathered

together in schools by life accidents, may use theatre in order to

transform the classroom experience into something meaningful and

effective, because bodies are transnational tools that do not need

a specific alphabet for being understood. And theatre is the art

of that body, a borderless body.

Drama workshops that fully engage the body could be the

beginning of an effective learning process for newly-arrived

migrant children. The physical experience of migration can be re-

enacted using drama. Theatre can help a migrant child exchange his

or her troubled body with the fictional body of a character,

because travel is a narration that reveals itself in its doing.

Drama can become the place for peacefully enacting the internal

conflicts that arise in the building of a new, multi-cultural

identity. The examples given here of the drama activities I’ve

done while teaching language demonstrate the positive

reversibility between reality and narrative enacted in a play.

Theatre training is helpful for developing imagination, creative

thinking, narrative skills, reading and acting abilities.

Recent studies in pedagogy indicate that, in order to better

achieve positive interactions in multicultural environments, it is

essential to focus particularly on the relational and

communicative skills of the students, and especially the

cognitive, emotional and empathic capabilities required to connect

with others in all their complexity and diversity. The use of

drama education in multilingual schools can offer solutions to

many educational puzzles, improving communicative and relational

competences in the interactions between teachers and students and

within the group of students. Drama is not just an artistic

discipline with precise and codified techniques but also a

significant tool to help one other to recognize our common nature

of being part of a community that, to be vital, needs to

continuously renew itself through joyful and playful sharing, what

I call ‘the space of interplay’.

In the new multicultural Italy, I believe drama activities

should be fundamental in the curricula of primary schools.

Maia Giacobbe Borelli

translated into English by Thomas Haskell Simpson

ReferencesAmiran, E. (1993), Wandering and home. Beckett’s Metaphysical Narrative, University Park: The Pennsylvania State University Press

Beckett, S. (1982), Waiting for Godot, New York: Grove Press

Cohn, R. (1980), Just Play: Beckett’s Theatre, Princeton: Princeton University Press

Derrida, J. (1974), White Mythology: Metaphor in the Text of Philosophy, (trans. by F. C. T. Moore) in New Literary History, 6:1, On Metaphor (Autumn, 1974), pp. 5-74 Baltimore and London: The Johns Hopkins University Press

Esslin, M. (1961), The Theatre of the Absurd, New York: Doubleday

Fletcher, J. (1972), Beckett: A Study of his Plays, New York: Hill and Wang

Jin, Ha (2008), The Writer as Migrant, Chicago: The University of Chicago Press

Knowlson, J. (1996), Damned to Fame: The Life of Samuel Beckett, New York: Simon & Schuster

Krashen, S. (1982). Principles and practice in second language acquisition. Oxford: Pergamon Press

Maraini, D. (2010), La seduzione dell’altrove, Milano: Rizzoli

Pattie, D. (2000), The Complete Critical Guide to Samuel Beckett, New York: Routledge

Rushdie, S. (1983), Shame, New York: Knopf

Yu Tang, L. (1935), My Country and My People, New York: John Day

Author Biography Maia Giacobbe Borelli holds a PhD by the Dept. of Social Studies (Anthropologie visuelle, Université Paris 7 Denis Diderot, France) and by the Dept. of Digital Technologies for the Performing Arts (Arti e Scienze dello Spettacolo, Sapienza University of Rome, Italy). She is a public school teacher in Rome and a researcher of interactions between digital technologies and Performing Arts. Shecollaborates with Centro Teatro Ateneo, the Research Centre for the Performing Arts of La Sapienza University of Rome (Info at www.eclap.eu/portal/?q=en-US/node/2859). Publication: Books and Papers - (2013) "How are on-line Digital Libraries changing Theatre Studyand Memories?" in P. Nesi e R. Santucci, (eds.), Information Technologies for Performing Arts, Media Access and Entertainment, Second International Conference ECLAP 2013, London and New York: Springer Heidelberg - (2013) "Come cambia la memoria del teatro nell’era digitale? Moltiplicare formati e produzioni senza perdersi..." in Mimesis, Scritture della performance, II, 1, pp. 149-161, Torino: AccademiaUniversity Press- (2013) Solo una questione di sguardi, in “Catarsi-Teatri della diversità” XVIII, 63: 2013, Urbino: Edizioni Nuove Catarsi - (2012) (ed.) Out of Order. Quel che resta del corpo nello spettacolo contemporaneo Roma: Bulzoni - (2011) "Il teatro e la Rete: dal corpo al "senza corpo" nella nuova scena digitale" in Andrea Balzola (ed.), La scena tecnologica. Dal video in scena al teatro interattivo, Roma: Dino Audino - with Savarese, N. (2004), Te@tri nella Rete, arti e tecniche dello spettacolo nell’era dei nuovi media", Roma: Carocci.Online Articles: in “Antropologia e Teatro”, Bologna: Università di Bologna, onlineat: http://antropologiaeteatro.unibo.it

-Il liquido rosso: riflessioni sul sangue da Macbeth a Paul Valery, 5/2014, pp. 32-54; -Artaud a fior di pelle. Percorsi del corpo nella società contemporanea a confronto con l’ultima opera di Artaud, 4/2013, pp. 141-176.

in “Education 2.0”, online at: http://www.educationduepuntozero.it

-with Iacomini M. and Mezzetti Maura, Immigrazione e ambienti di apprendimento: quali metodi d’indagine? 01/20/2010; -Strategie non verbali per la scuola multiculturale, 03/08/2012; -Danza musica mimo e teatro per fare intercultura, 06/28/2011.

in “Alfabeta2”, online at: http://www.alfabeta2.it-Pornografia un gioco di sguardi, 05/10/2014; -Ganesh a teatro, 04/08/2014; -Per un teatro nomadico, 07/25/2013; -Poco lontano da qui, 03/20/2013.

Maia Giacobbe Borellimaia.borelli@gmail.com

i The Italian law considers as migrants even children born in Italy from non-Italian parents (ius sanguinis). The global percentage in my school is far above the limit of 30% migrant formally suggested by our Ministry of Education for a suitable educational setting.