La Belle et la Bête – Opera Parallèle (Photo: Stefan Cohen)
La Belle et la Bête
Opera Parallèle
Zellerbach Hall
Berkeley, California
Beast Against Beauty
A review by Christopher Bernard
Over a recent weekend in March, Cal Performances hosted an original production by the local company Opera Parallèle, combining movie and stage, of Philip Glass’s uniquely beautiful conversion of Jean Cocteau’s classic film La Belle et la Bête into a cinematic opera.
The original “Beauty and the Beast” was written by the eighteenth-century French novelist Gabrielle-Suzanne Barbot de Villeneuve and appeared in her book La Jeune Américaine, et les Contes marins. The story, set in a romanticized High Renaissance France of François Premier and Diane de Poitiers, was later revised and abridged by Jeanne-Marie Leprince de Beaumont in the version best known down the generations. The story’s magnetic appeal has never weakened; in the age of toxic masculinity, it has never been, in some ways, more timely.
To say nothing of the aggression inherent in all masculine sexuality: Has there ever been a sensitive young man in love with a beautiful woman who did not, at some time, darkly suspect that, in reality, he was ugly, disgusting, unworthy of either loving or being loved—a beast indeed? Has there ever been a woman who wasn’t afraid at some point of bringing out the beast in the man who claimed he loved her? And, the claims in the fairy tale notwithstanding, how often has it occurred, not that the beast turned into Prince Charming, but that Prince Charming turned into the Beast?
Cocteau’s film, a masterpiece of French surrealism from the middle of the last century, contains some of cinema’s most famous sequences: the line of chandeliers held by disembodied arms protruding from a corridor’s halls, the moving eyes in the faces carved into a mantel above a blazing chimney fire, a pearl necklace turning into a writhing snake in the hands of a wicked sister, the dissolves from beast to human and from human to beast, and Belle’s gliding down a night-time hallway with windblown curtains without apparently stirring a foot, to name only a few.
The original script, itself rich with poetry yet containing enough realism to empower the magic, and Georges Auric’s film score work with these magical images to create a world of consummate fantasy speaking the curious truths poetry is uniquely capable of expressing. Philip Glass’s decision, half a century after the film’s release, to strip out and replace not only the soundtrack and sound design but all the dialogue as well into an immense musical fabric proved to be, not only as provocative as any surrealist gesture, but brilliantly successful and entirely aligned with the soul of the work. Unlike the notorious mustache on the Mona Lisa, Glass’s gambit enhances and even completes the work in a way one can only feel the original artists (with, of course, the possible exception of the silenced M. Auric) would have completely approved. It doesn’t displace the original but provides a perfectly viable alternative.
When I heard about Opera Parallèle’s production, I imagined one of three possibilities: a straight screening of a silent version of the film, with sound provided by live singers and instrumentalists, much like what I was lucky to experience on my first exposure to Glass’s setting. Or it might be an entirely live staging, with a few discreet bows to the film. Or it might be the most interesting but most perilous of the three: a fusion of the film with live action. But if they tried the latter, how would they solve the problem at the heart of any such attempt: how integrate the two without their blundering regularly and clumsily into each other? Because if staging and film weren’t merged into a seamless whole, it could be, indeed would be fatal: the genius of the film would require equal genius, above all in judgment, taste, and tact, in the staging, otherwise it would be in danger of overbalancing, then irretrievably sinking, the performance.
If this third choice were attempted, surely (I thought) the director would realize that film and staging would need to alternate; presenting them both at the same time would have to be generally avoided, for obvious reasons: the audience would not know which one to watch, the staging or the screen (or if two screens were used, which screen?). Staging theater is not like staging a dance or a concert, where multiple strands of movement or sound can be processed by the human mind without what is aptly called brain freeze.
One of the main problems was that some in the audience might resent any attempt to deflect their attention from the brilliance of Cocteau’s film. Concentrating the audience’s focus is, of course, one of any stage director’s primary responsibilities; diffusing attention must be avoided except for brief periods and for reasons that are perfectly clear to the audience as well as emotionally telling, whether dramatic or comic. And deliberately dividing their attention can court disaster.
Alas, this production did not solve the problem described, mostly because it did not seem to realize there was a problem to solve in the first place. The film and the staging stubbornly refused to combine; at times, they even stood in hostile and irreconcilable opposition: the concept for the piece was often at war with the piece’s aesthetic, with frustrating consequences.
Almost all of Cocteau’s film was screened on a darkened wall placed mid-stage as part of the handsomely designed and lit set (kudos to the unnamed set designer). At apparently random moments, live singers, in full costume, walked onstage and, distractingly, more or less imitated what appeared on film. In a few instances the film was paused and the action of the story was given entirely by live singers on stage. These few scenes were the most effective in the performance; effective enough for one to wish there had been more.
To add to the problem of divided attention, there were also a (gratefully) few attempts to screen a second film, which again imitated the action in the Cocteau. The concluding scene of the production abandons Cocteau’s film entirely, replacing it with a shot-by-shot imitation of the film’s famous concluding sequence, this time of the singers we had seen live onstage. If this was meant to bring all of the elements of the performance together in a transcendent conclusion, it was only partly successful.
It is always dangerous to fiddle with a masterpiece once; to fiddle with it twice can be fatal.
Fortunately, the musical elements of the evening came off, for the most part, very well: Hadleigh Adams was in excellent form in multiple roles, including the Beast, as was Chen Kang as Belle. Sophie Delphis did fine double duty as both of the evil sisters, and Aurelien Mangwa was strong-voiced in three well-differentiated roles. Nicole Paiement conducted the small but powerful ensemble, perhaps pressing too hard at times on the volume. The wonderful costumes were designed by Natalie Barshow, and not to be forgotten, given the opulence of the era in which the story takes place, were the hair and makeup designs by Y. Sharon Peng.
_____
Christopher Bernard is an award-winning novelist and poet. His most recent book is the poetry collection The Beauty of Matter.
Regular contributor Bill Tope has launched a new literary magazine, Topiary, which is now accepting submissions! Please send short stories to billtopiary1950@gmail.com.
In March we will have a presence at the Association of Writing Programs conference in Baltimore which will include a free public offsite reading at Urban Reads on Friday, March 6th at 6 pm. All are welcome to attend!
So far the lineup for our reading, the Audible Browsing Experience, includes Elwin Cotman, Katrina Byrd, Terry Tierney, Terena Bell, Shakespeare Okuni, and our editor, Cristina Deptula. If there’s time, an open mic will follow.
Our Urban Reads bookstore in Baltimore
Our next issue, Mid-March 2026, will come out Sunday March 22nd.
Yucheng Tao announces the winners of his poetry competition, Steve Schwei and Mark DuCharme. We’ve invited both winners to submit their poetry to Synchronized Chaos for everyone to read!
Now, for March’s first issue! This issue, Fingering the Spines, pays homage to our annual in-person reading, the Audible Browsing Experience. It’s a visual metaphor for looking through various titles in a global bookstore or library.
Genevieve Guevara rings in the dynamic energy of the Fire Horse for Chinese New Year.
Jesus Rafael Marcano celebrates the beauty of France, likening the nation to butterflies. Timothee Bordenave honors the beauty and majesty of Christian faith, as shown through Notre Dame. Su Yun’s abstract work reflects a meditative, spiritual sensibility. Soumen Roy describes a physical and mental journey towards spiritual inspiration.
Abdumajidova Zuhroxon Ibrohimjon qizi explores themes of hardship and endurance, destiny, faith, patriotism, and loyalty in Shuhrat’s classic Uzbek novel Oltin Zanglamas. Iroda Ibragimova explores themes of resilience and human dignity through oppression in Shukrullo’s novel Buried Without a Shroud.Bakhtiyorova Zakro Farkhod qizi speaks to the role of the short story in Uzbek literature. Ro’zimatova Madinaxon Sherzod qizi analyzes themes of strength, weakness and humanity in Abdulla Qahhor’s story “Ming bir jon.” Anvarova Mohira Sanjarbek qizi contributes a heartfelt poem from the perspective of Gulchehra, a character in O’lmas Umarbekov’s “Being Human is Hard.”
Azimov Mirsaid draws on Ray Bradbury and traditional Uzbek crafts and hospitality to illustrate the value of human warmth and imperfection. Dr. Jernail Singh Anand urges humanity to look into the words of our past and present writers and philosophers for wisdom in this age of great technological advancement. Dr. Jernail Singh Anand also expresses hope for the continuance of human creativity in the age of artificial intelligence. Daniela Chourio-Soto renders all-too-human morning sleepiness with lively humor. Eva Petropoulou Lianou explores the feelings and inspirations of emerging Greek painter Vivian Daouti.
Author Victoria Chukwuemeka discusses her creative journey towards exploring psychology and the subconscious, becoming deeper and more straightforward in her words. Kassandra Aguilera’s work mourns her speaker’s incompleteness, probing whether we need observers to fully realize ourselves. Ananya S. Guha reflects on distance, separation, and reunion, how roads can both bring us apart and together.
Emeniano Somoza poetically compares creative writing and glassblowing: arts where creators shape, rather than force, their materials. Poet Su Yun collects a set of poems from children at the East-West Public School in Bangalore on the theme of “the power of the pen vs the sword.” Taylor Dibbert’s short piece is almost anti-poetry, suggesting without communicating a metaphor.
Stephen Jarrell Williams’ poetry speaks to the risks and joys of openness to emotion and experience. Komilova Parizod reminds us to make the most of our lives and appreciate the joy around us. Priyanka Neogi urges us to act with wisdom and restraint. Boymirzayeva Dilrabo highlights the importance of motivation and discipline in reaching one’s goals.
Axmedova Gulchiroyxon expresses her tender love and concern for her mother. Nurmurodova Masrura Xurshedovna honors the patient, dedicated, behind-the-scenes love of her father. Gulsanam Sherzod qizi Suyarova explicates the value of friendship and how to be a good friend. Aminova Feruza Oktamjon kizi celebrates the beauty and innocence of young love. Qozoqboyeva Husnida yearns with devotion for her soulmate’s arrival. Mesfakus Salahin falls into a reverie about a fanciful love that exists between his imagination and his memory. Prasanna Kumar Dalai smiles through a delicate and tender love. Joeb expresses his hopes for personal and global love and peace. Lan Xin celebrates transcendent union with all others and the universe, with the world as her homeland, in her fanciful dinner piece. Husanxon Odilov laments a love which he acknowledges will never return. Nicholas Gunther reflects on a high school lost love or friendship through a casual ghazal. Bill Tope and Doug Hawley present an unusual relationship arrangement that seems to make several older people happy. Masharipova Yorqinoy Ravshanbek qizi celebrates the tenderness of a mother’s love. Brian Barbeito’s gentle childlike piece creates a surreal atmosphere rich in memory and care. Orzigul Sharobiddinova Ibragimova versifies her love and longing for her Uzbek homeland.
Zarifaxon Nozimjon Odilova qizi highlights the historical contributions of Uzbek statesman and humanist leader Zahriddin Muhammad Babur. Toshkentboyeva Xumora outlines the contributions of Amir Temur to modern Central Asian statecraft. Poet Lan Xin highlights the wisdom and compassion of Chinese Dongba cultural leader Wan Yilong. Abdusaidova Jasmina explicates themes of spirituality, heritage, and love in Alisher Navoiy’s writing. Abduxalilova Shoxsanamxon Azizbek qizi celebrates the benefits of reading culture for society.
Olimova Marjona Ubaydullayevna celebrates the literary heritage of Zulfiya and her themes of patriotism, women’s dignity, and compassion. Munisa Yo’ldosheva highlights how Zulfiya’s life influenced her works and her contributions to supporting emerging authors. Nozigul Baxshilloyeva discusses emotional and spiritual themes within Zulfiya’s work and how they affect Uzbek readers. Sultonova Shahlo Baxtiyor qizi highlights the literary and cultural influence of Zulfiya’s poetry. Jurayeva Barchinoy does the same, while also highlighting her commitments to education and women’s rights. Nematullayeva Mukhlisa Sherali kizi relates the value of Zulfiya’s work through a narrative story. Gayratova Dilnavo highlights the enduring legacy of Zulfiya’s work, especially what it means for many Uzbek women.
Loki Nounou’s piece dramatizes a woman stripped of her individuality in a toxic marriage, becoming only a vessel to hold others’ dreams. Abigail George probes the maternal and domestic as both sacred and violent, an origin and a wound, along with critiques of colonialism and the power of self-kindness. Manik Chakraborty calls for a natural, spiritual feminine awakening. Asadullo Habibullayev warns of the dangers and social injustices young women can face in Uzbekistan, even when educated, and calls for the younger generation to respect the wisdom of their elders. Eva Petropoulou Lianou urges respect for women and for the roles women play in society, including motherhood. Maxmarajabova Durdona Ismat qizi celebrates the love and care of human mothers and the value of Mother Earth.
Zamira Moldiyeva Bahodirovna analyzes what the nature motifs in Alexander Feinberg’s work reveal about his thoughts on memory and identity. Noah Berlatsky draws on trees to illustrate our shared human heritage, how we connect to each other and hold each other up. Dilafruz Muhammadjonova presents a natural and cultural tour of Uzbekistan’s Andijan province. Suyunova Fotima Oybekovna reminds us of how crucial it is to preserve the environment. O’gabek Mardiyev outlines ways to improve the efficiency of solar power generation. Shavkatova Mohinabonu Oybek qizi urges improvements in Uzbek public transit to encourage tourism as well as benefit ecosystems. Sultonaliyeva Go’zaloy Ilhomjon qizi analyzes the social, cultural, ecological and economic aspects of tourism in Central Asia. Turgunov Jonpolat discusses the ways in which media framing of climate issues affects how people address the problem. Surayyo Nosirova highlights the need for more consistent communication from journalists to the public about climate change in Uzbekistan.
The works of primary school children in China, collected by Su Yun, reflect moments of happiness and ordinary summer fun in nature. Alan Patrick Traynor’s Irish-inspired piece becomes incantatory, mystical, inhabiting littoral and transitional zones at the ocean’s edge. Tea Russo’s spiderweb poem seeks both expansive transcendence and the peace of oblivion, melding into various aspects of nature. Turkan Ergor dreams of the permanence of the ocean’s waves. Eleanor Hill reflects on the calm strength and dignity of a whale, unbothered while creating waves and blowing bubbles. Ri Winters turns to the ocean and its kelp forests as metaphor for the deep, isolating, yet restful morass of depression.
Brian Barbeito sends up a preview of his book Of Love and Mourning,highlighting the original content and the memorials to beloved pets who have passed. Filmmaker Federico Wardal celebrates a film award for a very humane documentary about veterinary care that saved the life of a racehorse. Jerrice J. Baptiste’s piece, accompanied by gentle, colorful artwork, expresses a graceful and natural surrender to death. Sayani Mukherjee’s piece sits between devotion and restlessness, calling the sky a neighbor yet screaming at stars. Mykyta Ryzhykh crafts a fevered love elegy at the edge of war, eros, and annihilation.
Patrick Sweeney sends up a set of index cards from a memory archive. Mark Young’s altered geographies trace the outlines of innocence, memory, and rupture. John Grey’s urban character and landscape pieces show dry, unsentimental grace.
Image c/o Jacques Fleury
Duane Vorhees’ poetry meditates on time’s circularity, embracing contradictions and the past, present, and future. Ibrahim Honjo reflects that one day his home and everything he knows will fade into memory. Christopher Bernard continues exploring hope, ruin, and creative resilience in the second installment of his prose poem “Senor Despair.”
Maja Milojkovic speaks to the implacable ticking of conscience. Mahbub Alam laments the selfishness and wickedness of humanity. James Tian dramatizes the pain of being underestimated, dismissed, and misunderstood. Mark Lipman calls for greater taxes on the wealthy and for economic egalitarianism. Jacques Fleury hoists his commentary on the fragility of modern democracy on the scaffolding of an extended construction metaphor.
Orinboyeva Zarina discusses how to help children psychologically and emotionally navigate their parents’ divorce. Botiriva Odinaxon elevates the teaching profession and calls for professional development and competence in those who educate young children. Nishonboyeva Shahnoza speaks to her wisdom and dedication towards her goal of becoming a preschool teacher.
Kadirova Feruzakhan Abdiyaminova discusses interactive games that could be useful in science education. Oroqova Nargiza outlines the rise of allergies in children and speculates on the causes. Umidjon Hasamov highlights the potential for artificial intelligence in medical diagnostics. Yunusova Sarvigul Siroj qizi highlights the importance of early screening for gastrointestinal cancer. Rajapova Muqaddas Umidbek qizi highlights the structure and function of the circulatory system.
Shohnazarov Shohjaxon highlights the impact of inflation on a nation’s economy and strategies for managing it. Mamadaliyev Kamronbek highlights the need for cybersecurity technology and cautions about cyberattacks as a weapon of war.
Dr. Jernail S. Anand calls out poets and academics whose lofty ideas don’t connect to present-day reality. While we are all capable of flights of fancy, we hope that this issue is grounded in our world and our humanity.
Artificial Intelligence in Medicine: Transforming Diagnostics and Treatment Planning
The use of intelligence and machine learning in medicine is a big change in the healthcare sector.
Intelligence and machine learning are helping doctors to make diagnoses and plan treatments.
Doctors used to have to do everything by themselves. Now they have machines that can help them.
These machines can look at a lot of information very quickly and accurately.
This is changing the way patients are cared for because intelligence and machine learning are making diagnoses more accurate and treatment more personal.
Intelligence and machine learning are also making things run more smoothly in hospitals and clinics.
The use of intelligence and machine learning is really changing the way medicine is practiced and it is helping patients get better care.
Artificial intelligence and machine learning are very important, in medicine now.
The use of Artificial Intelligence in medicine is really interesting especially when it comes to diagnosing illnesses. Doctors use things like X-rays, MRIs and CT scans to look at what’s going on inside the body. These tests give a lot of information. It can take a long time for doctors to look at everything.
Artificial Intelligence is also changing the way doctors plan treatments. Normally doctors use the treatment for everyone but this does not work for each person because we are all different. Our genes, the air we breathe and the way we live are all unique, so we need treatments that’re unique too. Artificial Intelligence is helping doctors make treatment plans that are just right, for each person. Artificial intelligence models can put together information from health records and other tests like genomic sequencing and clinical trials. This helps doctors create treatment plans for each patient. Studies have found that artificial intelligence systems are as good as doctors at finding diseases like cancer, heart problems and brain disorders when they are just starting.
For example, in cancer treatment artificial intelligence systems assist doctors in selecting the medicines by figuring out how a patient’s tumor will respond to those medicines. This way of treating patients is better because it improves the results and reduces side effects. As a result, the patient’s life becomes better overall. Artificial intelligence models are really helpful in this process because they use data, from health records and other sources to make decisions. Artificial intelligence is another thing that comes from using it in healthcare. Healthcare systems over the world are having a tough time because people are getting older there are not enough staff and costs are going up. Artificial intelligence tools do work make sure patients get the right care at the right time and help doctors make good decisions so doctors can spend more time with patients. In emergency rooms artificial intelligence can figure out which patients are in the danger and need help right away which can save lives.
Artificial intelligence, in medicine has some problems that need to be thought about even though it can do a lot of good things. Data bias is a problem. If Artificial Intelligence systems are trained on data that does not have a lot of kinds of people in it, they may not work as well for some groups of people. This can make it even harder for people who already have a time getting good healthcare.
Medical records have personal information, so we need to make sure they are safe and private. We need to have cybersecurity to protect this information, and we need to be open, about how we handle data. This is important because we need people to trust us with their information. Data bias and data security are both issues when it comes to Artificial Intelligence and medical records.
Hasanov Umidjon Ilhomovich was born on May 27, 2010, in Qorako‘l District, Bukhara Region. He began his education at Secondary School No. 9 in Qorako‘l District and has been studying since the 9th grade as a student of the Presidential School for Gifted Children.
Umidjon Hasanov has achieved numerous academic and social accomplishments. He is the holder of more than 50 international certificates and has actively participated in national competitions, earning over 20 certificates, diplomas, and letters of appreciation at the republican level. He is also the founder of several innovative projects.
At the national level, he won 2nd place in the “Youth Innovators” competition. In February 2025, he successfully obtained the CEFR B2 certificate. In 2025, he was recognized as the winner of both “Volunteer of the Year” and “Initiator of the Year” awards.
Additionally, he achieved honorable placements in the Republican Real Hackathon and Ideathon competitions for the EEAO book-related website project. Currently, Umidjon is actively organizing debate tournaments in his district and working on transforming the EEAO website prototype into a fully functional platform, collaborating with PIF members.
Annotation. This article provides an in-depth analysis of the role of interactive methods in ensuring high-quality and effective education for both students in need of inclusive education and healthy students in primary grades. The theoretical foundations of inclusive education, the pedagogical competencies of teachers in its practical implementation, as well as psychological-pedagogical approaches and methodological aspects, are scientifically substantiated. The article also reveals the mechanisms for applying interactive methods in primary grades and their role in supporting the individual development of students with diverse needs.
Keywords: inclusive education, primary grade, interactive method, pedagogical cooperation, differentiated approach, students with special educational needs, competence, educational technologies, adaptive environment, pedagogical innovation.
INTRODUCTION.
One of the most important tasks facing the education system in today’s globalization process is to create equal opportunities for all children, including providing quality education in the same classroom for students with special needs and healthy students. The inclusive education model is a practical expression of democratic values in world pedagogy and has been developing rapidly in the educational system of Uzbekistan in recent years. The Law of the Republic of Uzbekistan “On Education” also guarantees equal educational opportunities for all children [1].
According to UNESCO’s definition, inclusive education is “a system that enables full participation in the educational process by creating equal opportunities for all children, including those with special needs” [2].
Primary education is the foundation of this process, where students’ personality formation, social communication skills, and motivation for learning develop. Therefore, the quality of education in an inclusive classroom, the correct choice of pedagogical approach, and the use of interactive methods are of particular importance.
Pedagogical research shows that interactive methods — technologies such as “Brainstorming, ” “Blitz Questions, ” “Know-Want to Know-Learned (KWL) Chart, ” “Pair Work, ” “Role-Playing, ” “Circle Time” — are effective tools that unite students with different needs and encourage their activity [3].
This article covers the scientific and methodological foundations of improving the quality of inclusive education in primary grades using interactive methods, the results of experiments, and practical recommendations.
LITERATURE REVIEW.
Scientific approaches to inclusive education are based on several paradigms:
According to the “Social Model” put forward by M. Oliver, disability is interpreted not as an individual defect or biological limitation of a person, but as a result of an unadapted, barrier- filled environment of society. This model views disability not as a problem, but as a consequence of insufficiently inclusive environments and social structures. Therefore, it is considered wrong to segregate children with disabilities from society or evaluate them solely from the perspective of personal shortcomings. The main focus should be on adapting society itself — educational institutions, infrastructure, methodology, and communication culture [3].
In the context of inclusive education, this approach is even more significant. Oliver’s social model demonstrates the need to create equal opportunities for students with special needs by removing psychological, pedagogical, physical, or communicative barriers in the educational process. That is, interpreting disability not as a “defect in the person” but as “the educational environment not being sufficiently comfortable and adapted” encourages educators to create a supportive, adaptive, and discrimination-free environment for students. As a result, the educational process becomes open, fair, and inclusive for all children.
M. Ainscow’s “Pedagogical Integration Model” envisions creating a supportive educational environment and serves to enhance the individual capabilities of all students. This model ensures students’ full integration into the general education process by applying adaptive methods according to their needs and developmental characteristics. Especially in inclusive education settings, the pedagogical integration model creates favorable conditions for children with different needs to effectively integrate into the class community, participate in the learning process based on equal opportunities, and demonstrate their potential [2].
The main content of the model consists of adapting the educational process, individualizing the learning load, encouraging social cooperation among students, and ensuring psychological comfort. Through this, children with special pedagogical needs have the opportunity to learn at their own pace, gradually master complex tasks, and harmonize with the general educational environment. As a result, the educational process becomes not only effective but also fair and inclusive for all students.
Based on L. Vygotsky’s socio-cultural theory of learning, engaging students in cooperative learning significantly increases the effectiveness of the educational process. This approach is even more relevant in inclusive education settings. According to Vygotsky’s concept of the “zone of proximal development,” a student achieves higher results when engaging in cooperative activities with peers and adults in situations where it is difficult to acquire complex knowledge and skills independently. In this regard, cooperative learning methods in inclusive classrooms strengthen the social integration of students with special needs, develop their communication skills, and help them feel like full members of the class [6].
Furthermore, the cooperative learning process develops students’ social competencies such as mutual assistance, knowledge sharing, and supporting each other. As a result, favorable pedagogical conditions are created for children with different needs and abilities to participate in the general educational environment based on equal opportunities and fully realize their potential.
METHODOLOGY.
Our research was conducted in the following stages:
Diagnostic stage: The goal was to determine the students’ developmental levels, the psychological profile of children with special needs, and the readiness indicators of teachers for inclusive education.
Experimental stage: Two parallel classes were selected: one taught with traditional methods, the other with interactive methods.
· Unique interactive methods (role-playing, small groups, visual games) were applied.
Observation stage: Students’ activity, the strength of mutual communication, and the dynamics of task completion were studied.
Determination stage: Tests, interviews, and questionnaire methods were used. Interviews were conducted with students, teachers, and parents.
RESULTS.
The experimental process showed the following results: In the class where interactive methods were used, students’ active participation in the lesson increased from 28% to 70%. The level of communication between students with special needs and their peers increased 2 times. In the interactive class, the level of students giving independent answers to questions rose from 38% to 75%.
Indicators for written and oral literacy showed meaningful growth: literacy: +20%, reading technique: +19%, mathematical literacy: +25% (Figure 1).
[DISCUSSION. The obtained results show that using interactive methods in primary inclusive classrooms significantly strengthens the differentiated approach in the learning process.
This creates an opportunity to give each student tasks tailored to their individual abilities, capabilities, and needs. Students with special needs feel the positive impact of the inclusive environment by participating in the same activities and games as their peers, without feeling excluded. At the same time, group-based games and activities unite all children, fostering solidarity, cooperation, and social connections among them.
The use of interactive methods builds students’ self-confidence, increases motivation, and encourages an active learning process. Students test their abilities by completing tasks at different levels and develop self- assessment skills through a sense of achievement. At the same time, the interactive approach expands opportunities for teachers to implement inclusive pedagogy and adaptive technologies in practice. They can improve the quality of education by creating an individual education plan for each child, determining their developmental pace, and adapting the necessary pedagogical tools.
As a result, interactive methods serve as an important tool for effectively organizing the pedagogical process in an inclusive classroom, positively influencing students’ mutual cooperation, personal development, and teachers’ professional competencies. This is a crucial factor in improving the overall quality of inclusive education and creating equal opportunities for every student.
CONCLUSION.
The research results show that teaching students with special needs and healthy students in the same classroom using interactive methods is not only effective but also the most important condition for ensuring equal quality of education. Pedagogical approaches adapted to inclusive education develop students’ social integration, psychological adaptation, critical and creative thinking skills.
To ensure quality education in inclusive classrooms, it is important to develop differentiated educational programs, improve the set of interactive methods, enhance teacher qualifications, establish systematic cooperation with parents, and strengthen the activities of psychological- pedagogical services.
Indeed, every child has the right to quality education. Educating students with disabilities requires more effort and research from teachers. If lessons are approached more seriously and students are engaged using various interactive methods, change and growth in every child are inevitable. We believe that the methods analyzed above will certainly help in this process.
REFERENCES
Law of the Republic of Uzbekistan No. O’RQ-637 dated September 23, 2020 “On Education” / National Database of Legislation Information, 24.09.2020, No. 03/20/637/13-13.
Ainscow M. Understanding the Development of Inclusive Education. — London: Routledge 264 p.
Oliver M. The Social Model of Disability: An outdated ideology? — London: University College London Press, 1996. — 72 p.
UNESCO. Inclusive Education Guidelines. — Paris: UNESCO Publishing, 2009. — 52 p.
