Good practices Europe
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1
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Name of the practice |
Study Hall and Twenty Questions Students’ exhibition class-room |
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Name of the organization, or responsible |
Néprajzi Múzeum (Museum of Ethnography, Budapest) Emese JOÓ, museum educator, ethnographer |
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When did it take place |
September and October 2014 |
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Where did it take place |
In the Néprajzi Múzeum, in the last room of the exhibition Picking up the Pieces. Fragments of Rural Hungarian Jewish Culture (Kő kövön. Töredékek a magyar vidéki zsidóság kultúrájából) http://neprajz.hu/tartalom.php?menu2=770 |
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Format of the project (workshops, events, tours ) |
- preparatory courses in schools about how to learn with and through objects - collecting and selecting objects, writing stories about them - workshops in the museum for preparing the collection of personal objects and stories of the students for the exhibition - workshops for elaborating the conception of and curating the exhibition - workshops for creating the installation of the exhibition - workshops for interpreting the exhibition (3 hours workshops in the afternoon during weekday) |
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Aim of the project |
- participation of secondary school students in the whole process of the constitution and presentation of an exhibition - development of new tools (methods) for exhibition and interpretation by which their own generation can be reached |
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Short description (100-200 words) |
A students’ exhibition class-room was realised by a student curator programme. It involved 27 Jewish, Christian, Muslim and non-believer students from 5 different schools, all coming voluntarily in the framework of community service of schools. In a common work, they determined the criteria of a „good exhibition”, and created a (visually) pleasant and (intellectually) provocative space, they called The room of questions. In this, they exposed their personal objects and stories, expressing their Jewish identity or presenting their relation to the Jews. Obstacles: - their restricted knowledge about the Jewish culture, personal experience of manifestations of anti-semitism in school Advantages: - dialogue of youth, being familiar with Jewish traditions due to their origin or to knowledge gained by school practices (representing 30% of the group), with the rest of the group - indirect museum education methods, informal workshops, voluntary participation. Activities: - study of objects, composition of texts, elaboration of conception and installation, construction of the exhibition, preparation of communication materials, elaboration of programmes for visitors and their presentation, learning of, and participation in exhibition guidance and in museum education programmes. Results: - higher level of tolerance toward cultural differences, appreciation of museums’ role in comprehension of past and present time, better communication with their age group as voluntary exhibition mediators |
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Topic of the project according to our focuses (e.g. gender diversity, cultural diversity, age) |
- cultural diversity by getting acquainted with the Jews, and by recognition and adoption of different points of view about their culture - differences due to religious and cultural traditions and different generational approaches were in focus - integration of a new age-group (youth from 15 to 17) into a participatory role, helped by an innovative museum education method based on self-representation. They could criticize and intervene in the function of the museum, and had also the possibility to influence it in an active way meanwhile they communicated and interacted with each other and the museum staff. - providing equal opportunities and participatory cooperation to youngsters even from a disadvantaged area that were ignoring and even disliking the museum, as their participation in this programme did not require previous preparation and special knowledge - sustainability is assured as this cost-effective programme is mainly based on common reflection: it continues due to the request of the participants and of new candidates. |
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Target Group (preferable youth in deprived areas) |
15-17 years old, secondary and technic school students from inner districts and outskirts of Budapest, having different religious background or being non-believers |
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Duration (total hours) |
20 x 3 hours (60 hours) |
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Duration (hours per week) |
6-9 hours |
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Space (setting) |
Exhibition room and museum education workshop room |
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Outreach: Who/How many were reached by this project? |
The 27 participants communicated the project towards the teachers and students of the 5 schools. As a result, almost 200 people were present at the opening ceremony, 50 people at the Teachers’ Night, 120 people at museum education programmes, and hundreds came and continue to come to visit the exhibition. Participants activated their own school, friend and family networks. |
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Reasons for considering it a good practice (include indicators) |
Based on the principle with youth for youth, the students - participated as equal partners and experts in the museum work which seems to be a good initiative for changing the style of the museum exhibitions and programmes, as well as of the museum communication - became personally engaged - acted not only in order to modernize the museum according to their own interests and demands but also in order to present the results of their work and reach a new group of people by doing so and attract them into the Museum of Ethnography. |
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Institution(s) involved (e.g. museums,…), cooperation partners |
The main partner among the 5 participating secondary schools: Lauder Javne Jewish Community School http://www.lauder.hu/hu/en See about the common project on the website of the school: http://www.lauder.hu/hu/node/744102 |
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web/ contact address |
Contact person: Emese Joó, email address: emese@neprajz.hu |
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specific theoretical or methodological references |
Students’ exhibition class-room: http://www.neprajz.hu/tartalom.php?menu2=770 Museum education programme elaborated with the students: http://www.neprajz.hu/muzeumpedagogia.php?menu2=101&program_id=168 http://www.neprajz.hu/muzped/pdf/tantargy_es_barkochba.pdf https://prezi.com/wsahdzj2spml/ko-kovon/ |
2
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Name of the practice |
Cultural diversity, different viewpoints. Contact zone 1. Workshop in term of open dialogue and mutual learning |
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Name of the organization, or responsible |
Néprajzi Múzeum (Museum of Ethnography, Budapest), Edina Földessy, museum curator, Emese Joó, museum educator, ethnographer, Gabriella Vörös, ethnographer |
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When did it take place |
First elaborated in October 2011, still ongoing |
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Where did it take place |
Museum of Ethnography, Budapest |
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Format of the project (workshops, events, tours ) |
Workshop |
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Aim of the project |
- sensitizing youth in the matter of cultural diversity and in an interactive way - introduction of new visions to, conceptualisation of the topics - education for tolerance - contribution to the education of school subjects as human sciences, visual culture, way of life - offering programme to a thematic day, week, or study circle organized by schools or outside schools
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Short description (100-200 words) |
A series of programmes dealing with different aspects of diversity (intercultural, interethnic conflicts and difficulties of interpretations, conflicts in schools, values in a multicultural world and their preservation, possibilities of becoming acquainted with and the recognition of the others’ cultures) was elaborated continuing the Contact zone project of the museum launched in 2009 on the topic of intercultural dialogue and cooperation and in the framework of a Social Renewal Operational Programme in 2011. The workshopentitled Cultural diversity, different viewpointsleadsstudentstoactivate their personal experiences in interculturality, to discuss and understand some points of concepts/phenomena such as ethnocentrism, stereotypes, racism, cultural relativism, multiculturalism which are treated by different interactive means, and in a bi- or multilateral way: for ex. personal experiences of students about foreigners’ “strange” customs/objects vs. foreigners’ reports about Hungarians’ (Europeans’) curious habits; representation of Africans in publicity (on ancient and contemporary pub materials) and that of Europeans in African art illustrated by “colon” figures from the museum collection; denominations of peoples by others and by themselves (modelling by situation playing between student groups), extreme examples of racism (pencil-test in apartheid South Africa), etc. At the end, the creation of a common written or visual work is proposed which reflects the topics of the workshop and the feelings/evaluation of the participants. It is one of a series of 6 museum education workshops proposed in the Contact zone project (such as ecology and sustainable development, clothing and body culture, conceptions of health and sickness in different cultures, traditional and new customs in the household, rites and religion), and can be considered to be the introductory one for the others. By this, a whole course based on similar staff composition (curator and educator), and sensitizing education methods and material can be attended by classes or other outside school groups.
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Topic of the project according to our focuses (e.g. gender diversity, cultural diversity, age) |
- cultural diversity - building bridges and offering alternative education possibility to disadvantaged youth having behavioural problemes and/or learning difficulties - using new forms of museum education based on innovative practices of participation, dialogue and self-expression - sustainable as a museum education programme in a longer and a shorter form according to needs
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Target Group (preferable youth in deprived areas) |
14-19 years old school students, ethnically mixed classes, disadvantaged youth |
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Duration (total hours) |
Long version of 3 hours, short version of 1h30 |
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Duration (hours per week) |
As required |
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Space (setting) |
education workshop room, exhibition area, old library room of the museum as a friendly scientific workshop space |
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Outreach: Who/How many were reached by this project? |
50 persons |
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Reasons for considering it a good practice (include indicators) |
- it treats acute contemporary social/cultural problems - the museum included this workshop into its permanent education programmes - it involves participants in the topics by their personal experiences - it introduces (the meanings of) universal concepts - it uses objects of the museum collections and also contemporary objects as representative tools of the topics - it illustrates the topics in a “colourful” way by using objects, photos, films, live demonstrations, practices, plays, creative common work |
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Institution(s) involved (e.g. museums,…), cooperation partners |
In 2011, 2 contractual partner schools were involved (one of them was a community school for students having behavioural problems), since then, it is open for all schools |
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web/ contact address |
http://neprajz.hu/muzeumpedagogia.php?menu2=105&program_id=29 http://neprajz.hu/muzped/pdf/Kontaktzona1_Kulturalis_sokszinuseg_ajanlo.pdf Gabriella Vörös (voros.gabi@neprajz.hu) |
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specific theoretical or methodological references |
Claude Lévi-Strauss: Race and history (1952) Nous Autres / The Other (past temporary exhibition in Geneva (CH), and in Budapest, and guides for the exhibition in Hungarian, English and French) http://www.ville-ge.ch/meg/expo02.php |
3
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Name of the practice |
EtnoMobil 2.0 Traveling exhibition, photographic studio, archives |
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Name of the organization, or responsible |
Néprajzi Múzeum (Museum of Ethnography, Budapest) Emese JOÓ, museum educator, ethnographer |
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When did it take place |
32 days between the 20th July and the 15th October of 2011 |
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Where did it take place |
In 15 outdoor sites (streets, places, parks) of, or close to museums and in the sites of summer festivals in Budapest and other cities. In each site, the caravan stayed 1 to 5 days. |
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Format of the project (workshops, events, tours ) |
- Traveling exhibition in a caravan - traveling museum education program realized in and around the caravan - continuous daily opening during 6-10 hours according to local needs - countinuous programmes, with short elements adapted to the visitors’ needs: virtual collection of objects, writing of personal stories, photography, visit of exhibition, subjective guidance in the exhibition, riddle with artefacts, creative work, enrichment of the museum digital archives |
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Aim of the project |
- to change the concept about museum people usually have in their minds - to proof that even a big museum can also be mobile - to reach the public in the streets of a city, in a park, or in the site of a summer festival - to demonstrate that besides the past, the museum deals also with contemporary phenomena people are interested in and affected by, such as the mobility - to directly gather opinion of the public - to find open forms of collecting objects |
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Short description (100-200 words) |
EtnoMobil 2.0 was the main project of the contemporary research program of the Museum in 2011. Coordinated by its manager, Zsófia FRAZON museologist, ethnographer, it was created in collaboration with 17 museums and cultural institutions which rented objects for the exhibition and hosted the caravan. The exhibition presented the relationship between mobility and culture, by 25 objects and stories in a caravan rearranged for this purpose. Traveling and mobility, runaway, business trip, movement of diasporas, discovery for learning, mobile objects of teenagers, tourism, orientation, physical disability and mobility, green road, travel and hygiene were some of the topics, and a hitchhiker’s map and tee-shirt, theatre mask from spare bike parts or a pot for train were some of the objects. EtnoMobil 2.0 circulated during three months, appearing unexpectedly in 15 sites, where itsurprised the public with its mini exhibition, unusual topic and interactive playful programs. Visitors were invited to play guide or to create alternative transport passes (walkers’ card), a personal mobility journal or even to enrich the museum collection by documenting their own objects related to mobility. EtnoMobil 2.0 accomplished the Museum’s effort to reach remote sites from where people have difficulties to travel to the capital in order to visit it.
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Topic of the project according to our focuses (e.g. gender diversity, cultural diversity, age) |
- cultural diversity presented by a common topic such as mobility - involving everybody (male and female of every ages, without selection) in the streets - giving possibility to anybody to visit the museum even in a remote place - young public of summer festivals, usually not interested in museums, but by this new form, they were appealed to visite the exhibition and to participate in the programmes. |
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Target Group (preferable youth in deprived areas) |
People in the street, public of festivals, school groups in Budapest and other cities |
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Duration (total hours) |
32 x 8 hours (256 hours) (during 6-10 hours a day in every site) |
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Duration (hours per week) |
16-24 hours |
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Space (setting) |
The 10 m2 inner surface of a caravan and its surroundings in public sites (sidewalks, squares, parks) in the neighbourhood of the building of the partner institutions, where people circulated, or in the sites of festivals such as the lakeside and an island.
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Outreach: Who/How many were reached by this project? |
- 100 persons in the 17 collaborating institutions, who participated in the elaboration of the traveling exhibition, in the constitution of its material, and hosted it for a certain period during its country tour - 400 visitors per day, that is about 12800 visitors all together - inspired from EtnoMobil 2.0 and for taking more advantages from the mobility, a new mobile project was elaborated: the Pikk-pakk museumintegrates in a suitcase all the museum functions from the organization of an exhibition to its communication. Visiting schools with this suitcase, it will help to exploit the unique capacity of the museum, that is to learn to youth how to speak the language of objects. |
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Reasons for considering it a good practice (include indicators) |
- a museum innovation without precedent in Hungary - the museum by this caravan project entered to the public sphere producing a special sensation and revealing its new face - a considerable number of visitors (12800) saw the exhibition and participated in the programmes - 16 volonteers were involved in the functioning of the project - visitors participated actively in the enrichment of the museum collections by donating 148 objects as well as transmitting stories to the archives - the blog of the project was visited by a large public - sustainable by the creation of a web2 after the tour of the caravan which became an active contact site with the public and where the collect of objects related to mobility and personal stories can continue
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Institution(s) involved (e.g. museums,…), cooperation partners |
Laczkó Dezső Múzeum, Veszprém |
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web/ contact address |
http://etnomobil2pont0.blogspot.hu/ www.etnomobil.hu Contact person: Emese JOÓ, email address: emese@neprajz.hu |
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specific theoretical or methodological references |
https://www.youtube.com/watch?v=cnZFhVVGGLQ&feature=player_embedded http://elte.prompt.hu/sites/default/files/tananyagok/kiallitasikommunikacio/ch14s02.html http://www.magyarmuzeumok.hu/galeria/etnomobil_hangulatjelentes/1 http://magyarnarancs.hu/zene2/kiallitas_-_etnomobil_20-76887 http://www.magyarmuzeumok.hu/blog/cikk/51 http://vaskarika.hu/hirek/reszletek/4129/etnomobil_2_0_kiallitas_fotomuterem_archivum-/ http://noplaza.hu/hirek/2011/07/21/etnomobil-20-mozgo-lakokocsi-kiallitas-a-mobilitasrol/ http://fidelio.hu/kiallitas/ajanlo/utolso_allomasahoz_erkezett_az_etnomobil_20 |
4
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Name of the practice |
Clothing and body culture Workshop in term of open dialogue and mutual learning |
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Name of the organization, or responsible |
Néprajzi Múzeum (Museum of Ethnography, Budapest) Zsuzsanna Tasnádi, museum curator, Gabriella Vörös, museum curator and Emese Joó, museum educator, ethnographer |
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When did it take place |
November 2011 |
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Where did it take place |
Museum of Ethnography, Budapest |
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Format of the project (workshops, events, tours ) |
museum education programme and creative workshop |
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Aim of the project |
- to sensitize youth in the matter of cultural diversity in clothing and body culture - to show concrete examples from all over the world with the aid of the collections and exhibitions of the museum, and of the objects of the participants - to discover the different sign systems of clothing and body culture, to understand the reason and the signification of the variations - to incite for an open dialogue between youth and museum experts / curators about the current questions of clothing and body culture - to motivate youth to give contemporary feedbacks, by sharing their own experiences and knowledge with each other and with the museum curators/educators in verbal and written form and by an artistic creation - to eliminate prejudices, to educate for tolerance and respect of otherness - to contribute to the education of school subjects - to offer programme to a thematic day, organized by schools or outside schools
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Short description (100-200 words) |
„Clothing and body culture” aimstogivecompetences to youth to understand the complex signs system of traditional costumes and contemporary clothing, the social and cultural conventions coded in them, the message of costumes which are tools for self-expression. Museum objects and documents are used to inspire youth to give their own visual examples and objects as comparison. Topics: origins of the contemporary clothing and body culture of Hungarians and other cultures, sources of patterns, use of space and body movements; body modification and ornaments, clothing and body as a system of communication, meta-communication, fashion, cultural features of fashion trends, globalized fashion. Methods: indirect, cooperative discovery and elaboration based on intrinsic motivation realised in small groups, dialogue and cooperation in large groups, expression of personal experience and reflexion presented in a freely chosen form, improvisation of drama scenes, expression by visual art Activities: analyse of contemporary clothing and sign system by taking the example of clothing of several participants, demonstration of the putting on of a traditional clothing and the body language related to it. Study of objects: Hungarian headcovers and Oceanic body ornaments, demonstration and film: ancient and contemporary tattoos, traditional and modern body ornaments, creative work: collage of wearable and unwearable cloths, designing clothes by using tradition and contemporary elements, expressing a given signification, making tattoo fitting to a certain person. It is a part of a series of 6 museum education workshops elaborated in the Contact zone project, dealing with different aspects of diversity and offering new methods and area of education and self-expression |
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Topic of the project according to our focuses (e.g. gender diversity, cultural diversity, age) |
- cultural diversity in the matter of clothing and body culture - building bridges and offering alternative education possibility to disadvantaged youth having behavioural problemes and/or learning difficulties - using new forms of museum education based on innovative practices of participation, dialogue, self-expression and reflection - sustainable as a museum education programme in a longer and a shorter form according to needs |
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Target Group (preferable youth in deprived areas) |
14-19 years old school students, ethnically mixed classes, disadvantaged youth |
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Duration (total hours) |
short version of 1h30, long version of 3 hours |
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Duration (hours per week) |
as required |
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Space (setting) |
- education workshop room - exhibition area - old library of the museum as a friendly scientific workshop space |
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Outreach: Who/How many were reached by this project? |
50 persons |
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Reasons for considering it a good practice (include indicators) |
- it treats acute contemporary social/cultural problems - the museum included this workshop into its permanent education programmes - it involves participants in the topics by their personal experiences - it introduces (the meanings of) universal concepts - it uses objects of the museum collections and also contemporary objects as representative tools of the topics - it illustrates the topics in a “colourful” way by using objects, photos, films, live demonstrations, practices, playings, creative common work |
|
Institution(s) involved (e.g. museums,…), cooperation partners |
In 2011, 2 contractual partner schools were involved (one of them was a community school for students having behavioural problems), since then, it is open for all schools |
|
web/ contact address |
http://www.neprajz.hu/muzeumpedagogia.php?menu2=105&program_id=42 Contact person: Emese Joó (emese@neprajz.hu) |
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specific theoretical or methodological references |
http://kontaktzona.blogspot.hu/ http://www.neprajz.hu/muzeumpedagogia.php?menu2=105&program_id=42 “Cast off Linen Trousers, Shift” Visible and Invisible in the traditional costume (temporary exhibition and catalogue) |
5
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Name of the practice |
“Musée Ouvre-toi“ |
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Name of the organization, or responsible |
Anne Querijean, Program Sésame |
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When did it take place |
Program Sesame since 2003 and still ongoing |
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Where did it take place |
Royal Museums of Fine Arts - Belgium |
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Format of the project (workshops, events, tours ) |
Guided tours Creative workshops |
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Aim of the project |
*Accessibility to the museum by reducing cultural, economic and social obstacles *Social and cultural integration *Empowerment of the targeted people through their knowledge and the mediator during each proposed activity (reciprocity) |
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Short description (100-200 words) |
Sesame program (since 2003) is part of a policy of the Royal Museums of Fine Arts of Belgium; it aims to expand access to culture for people who, due to social economic and cultural reasons, are often excluded. When people meet art it becomes a learning experience, a moment of emotion, a creative participation. Sesame for social workers: A guided tour for facilitators, educators and trainers of social organizations to discover the resources of the Museum. After presenting activities and materials, the group visits the collections to better understand what happens during a visit. Visit outside the Museum Walls: Museum moves to visit social and community organizations! Museum comes with the "suitcase museum" and offers creative activities to prepare a guided tour at the Museum. Participative visit: A dialogue between the visitors and a guide who takes into account the level of language, cultural background and other factors relevant to the group. Creative workshop: After the guided tour, a creative workshop is proposed to make drawings, paintings, sculptures, and experience the approach of the artist discovered. Educational visit: These tours are organized by a teacher or a trainer, and are co-constructed with the museum guide. Themes proposed: Discovering Belgium ; Daily life and cultural habits ; What is a painting? ; Pictures and roles of women ; Portraits: Face, body and emotions ; Nature and landscapes ; Family
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Topic of the project according to our focuses (e.g. gender diversity, cultural diversity, age) |
- Cultural Diversity - Inclusion |
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Target Group (preferable youth in deprived areas) |
*target people who for various reasons have little contact with either art or museums *Adults (immigrants, adults in literacy programs, youth in reinsertion programs, mentally handicapped people, homeless people, psychiatric patients, blind and visually impaired people, deaf and hearing impaired people) *Youth (teenagers youngsters and children) *Families |
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Duration (total hours) |
Depending on the activity; most of them about 2 hours |
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Duration (hours per week) |
Ideal case: at least one activity per month with the same group. |
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Space (setting) |
Oldmasters Museum / Fin-de-Siècle Museum / Magritte Museum |
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Outreach: Who/How many were reached by this project? |
The first year in 2003 685 people entered to the Museum thanks to Sesame project, in 2007 they were 1870 and in 2010 the “visitors/participants” were 2997. |
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Reasons for considering it a good practice (include indicators) |
This project shows sustainability This project has regular evaluation and follow up with good results Their aims are reached and continues to increase every year |
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Institution(s) involved (e.g. museums,…), cooperation partners |
Sesame program collaborates with more than 250 social and socio-cultural organizations as partners (in neighborhoods and in the museum) |
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web/ contact address |
Article from : L’observatoire « L’art peut-il être utile au social ? n°70/2011 http://www.revueobservatoire.be/spip.php?article155&return=publication http://www.extra-edu.be/Sesame Chloé Despax : sesame@fine-arts-museums.be |
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specific theoretical or methodological references |
None |
6
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Name of the practice |
Musée Précaire Albinet / Albinet Precarious Museum |
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Name of the organization, or responsible |
Les Laboratoires and Thomas Hirschhorn |
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When did it take place |
The Musée Précaire Albinet project was prepared between November 2002 and the spring of 2004, and took place for twelve weeks (from March 29 to June 18, 2004, including its construction and deconstruction) |
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Where did it take place |
The Precarious Museum was built in a neighborhood called “Landy” area of Aubervilliers (Paris suburbs) - FRANCE |
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Format of the project (workshops, events, tours ) |
- Construction of the “precarious museum” - Exhibits - Collective meals - Conferences - Workshops This new concept of Precarious Museum served as an open public space that proposed several activities. It presented itself as a Museum with alternative rules; music, food and noise were welcomed. |
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Aim of the project |
The goal of the Musée Précaire Albinet was: * to exhibit some of the major works of 20th century art history, to bring arts and cultural goods of high importance to an area where it would not be shown under normal circumstances and with this to open it up to a different audience. (supported by Pompidou Centre & the Fond National d’Art Contemporain) * involving actively people from the neighborhood in the different phases of the project (some through jobs and many others as visitors) The project is the result of the desire to share this faith with people who do not ordinarily have access to these works, for reasons that are mostly social, economic and cultural. |
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Short description (100-200 words) |
Thomas Hirschhorn set up a makeshift museum – the Musée Précaire Albinet – in a Paris suburb. Run by local residents, it displayed a selection of modern masters borrowed from the prestigious collection housed at the Pompidou Museum. This idea of transporting major works and bringing them into a slum, on the capital’s periphery, demonstrated the fact that art is an issue that can concern every single person. This project was based on the love of art and faith in the idea that individual encounters with works of art can change peoples lives. Following the active principle of feeling the presence of the works, a different event occurred in the daily life of the place every day: installation of the exhibits, public inaugurations, collective meals and, in relation to each exhibit, conferences by art historians, debates introducing contemporary socio-political issues, arts and crafts workshops for children, writing workshops for adults conducted by writers, as well as cultural outings planned in places relative to each exhibit. |
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Topic of the project according to our focuses (e.g. gender diversity, cultural diversity, age) |
“Art is an issue that can concern every single person” Art in public space Museum comes to the city! |
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Target Group (preferable youth in deprived areas) |
* People who do not ordinarily have access to art for reasons that are mostly social, economic and cultural. * The inhabitants of Landy are invited not to merely percieve art, to see it in their own neighborhood; to gain, however temporarily, a legacy usually denied them. They were invited to run the institution in which this art can be seen. It was them who built the Musée Précaire; who were trained in advance at the Centre Pompidou in art’s security, handling and media exposure; who took over the bar in order to make a little money from concessions. It was also them who constructed and dismantled the museum, manned and guarded it. * Training program addressed to young adults 18 - 25 years old (trained in advance at the Centre Pompidou in art’s security, handling and media exposure) who were particularly involved and had responsibilities in the whole process of the Musée Precaire. |
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Duration (total hours) |
2 months from March 29 to June 18, 2004 |
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Duration (hours per week) |
-------------------------------- |
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Space (setting) |
Urban / Paris suburbs = Landy - Aubervilier (a slum) |
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Outreach: Who/How many were reached by this project? |
*Twelve young people had a two-month full immersion / training in the different departments of the Centre Pompidou, including security, art handling, framing, installing and public information and education. *This project gathered more than forty inhabitants from the neighborhood, paid for their participation in the construction and operation of the Museum, and also developed a considerable training program addressed to about fifteen people, between 18 and 25 years old, who were particularly involved and had responsibilities in the whole process of the Musée Precaire. *Open to the whole community, we don’t have official numbers |
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Reasons for considering it a good practice (include indicators) |
Innovative approach Includes the artist, the museum, disadvantaged youngsters and inhabitant of the neighborhood Diversity and inclusion |
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Institution(s) involved (e.g. museums,…), cooperation partners |
Thomas Hirschhorn (The artist) The Laboratoires (Organization) Centre Georges Pompidou (Museum) Fond National d’Art Contemporain (Paris) |
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web/ contact address |
http://archives.leslaboratoires.org/content/view/144/lang,en/ http://www.tate.org.uk/context-comment/articles/precarious-museum pictures from : http://www.leslaboratoires.org/projet/musee-precaire-albinet/musee-precaire-albinet-1 |
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specific theoretical or methodological references |
None
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7
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Name of the practice |
Ecomusée |
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Name of the organization, or responsible |
Ecomusée du fier monde |
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When did it take place |
It was founded in 1980 |
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Where did it take place |
Centre-Sud in Montréal (this part of Montreal was touched by the industrial revolution at the second half of the 19th century which impacted the architecture of the city and the living condition of labor families) East of Montreal: Les Faubourgs (suburbs) |
|
Format of the project (workshops, events, tours ) |
- A permanent exhibition “All the lifelong day!”(Economic history phases of industrialization and deindustrialization) - Exhibition “D’un oeil différent” invites to unusual and creative meetings around varied program and adapted visual art. (It favors the inclusion of this community and of over 200 artists and performers with an intellectual disability or/and a pervasive developmental disorder. To see the detailed program, you can visit the web site of the exhibition http://www.dunoeildifferent.com/) - A virtual exhibition “Citizens - Yesterday, Today, Tomorrow” (portrays men and women who participated building the new Montréal society by giving a new vision or undertaking productive actions.) - Virtual exhibition of Ontario street (on the history of the monuments.) - Walking tours around the Faubourgs on different theme to explore monuments, places, art or gardens unknown or hidden in this neighborhood. |
|
Aim of the project |
*To use museum activities as tools toward popular education and empowerment *to emphasize the theme of labor in Montréal since industrialization *To contribute, in collaboration with various partners, to the local development of the Centre-Sud in Montréal. *To know the history of the city and understand the causes of the mutation of the city *To discover or rediscover the hidden treasures unknown by the majority of people, cultural places or gardens (depending of the theme) *To increase the value of the city *To encourage the feeling of belonging of people who lived in the city *To facilitate access to culture and art |
|
Short description (100-200 words) |
The concept of an ecomuseum thus reflects a concern with reinforcing the connection between the museum and its social surroundings and environment. An ecomuseum promotes the entirety of a culture and heritage related to a geographical territory and sphere of activity. This heritage can be material (artifacts, buildings) or immaterial (personal accounts, know-how). It favors public participation in its activities; it is anchored in its community and contributes to its development. The “Écomusée du fier monde” develops its museum practice based on popular education and establishes participatory projects in close collaboration with the neighborhood’s citizens, institutions and organizations. Furthermore, it is engaged in the issues that concern present and future development of its surroundings. In addition to the permanent exhibition, the museum proposes punctual exhibitions, virtual visits and walking tours. There is a very interesting example of walking tours project named Walking through the Faubourgs. It’s a way to discover places in the neighborhood and their history. This project proposes two visit tours on different themes. The first one is named Art and Culture (started in 2013). This circuit helps to discover cultural places through two topics; the reappropriation of the old industrial buildings by creative activities; and though the walls and their graffities. This theme offers the choice of 4 circuits to know the history of the development of the district. The second theme is Green Initiative. This tour proposes to the visitors to be accompanied for discovering urban gardens, green street or vegetable gardens in the neighborhood. Six circuits are proposed and they can be made by foot or by bike. It offers an excursion at the heart of the urban nature and the ecological initiative. |
|
Topic of the project according to our focuses (e.g. gender diversity, cultural diversity, age) |
This project focuses on the access to the culture for everyone (popular education) and history. Cultural diversity A new concept and format for a Museum |
|
Target Group (preferable youth in deprived areas) |
The Museum works with diverse communities and popular education groups. It seeks to promote the knowledge of a wide variety of persons and groups, including those who are marginalized. |
|
Duration (total hours) |
1h30 for walking tours but each activity has its own duration |
|
Duration (hours per week) |
Unlimited |
|
Space (setting) |
In the museum on the street / Urban setting (as an example: walk on the Faubourg) Online |
|
Outreach: Who/How many were reached by this project? |
It became a professional museum accredited by the authorities, and earned excellence awards and the acclaim of its peers by developing, among other things, methods that encourage the use of museum activities as tools of popular education. In total, 62 678 people came in their premises, saw one of their itinerant exhibitions or visited their web site. |
|
Reasons for considering it a good practice (include indicators) |
|
|
Institution(s) involved (e.g. museums,…), cooperation partners |
Écomusée du fier monde Corporation de développement communautaire (CDC) Centre-sud Société d’investissement de Sainte-Marie (SISM) CDEC Centre-sud/Plateau Mont-Royal Rayside-Labossière, Tous pour l’aménagement du Centre-sud (TACS) Éco-quartier Sainte-Marie Les Balades des Faubourgs exists thanks to the support of the Ville-Marie borough. |
|
web/ contact address |
|
|
specific theoretical or methodological references |
The Écomusée du fier monde is inspired by the Declaration from the round table of Santiago de Chile (1972) and by the ecomuseum philosophy developed by Hugues de Varine, among others. This is reflected in a museum philosophy based on: - popular education, a way of learning that makes use of the diverse knowledge of the populace and seeks to raise awareness and inspire public reflection; - cultural democracy, which is founded on equality between all the people and diverse groups that make up society, and on valorizing their expertise and knowledge, particularly those who are underrepresented in museums (or, who are given little voice); - the place and role of people, who take priority over objects at the Écomusée; the museum also pays particular attention to marginalized groups; - the relationships that the institution creates with its surroundings; - engagement, i.e. supporting people and organizations that want to play a role in advancing society, and acknowledging that the acts of individuals can contribute to changing the world and improving society.
•De Varine, Hugues (1978). « L’écomusée ». Gazette, vol. 11, no 2, printemps, p. 29-40. •(1989). La muséologie selon Georges Henri Rivière. Paris : Dunod, 402 p. •Mayrand, Pierre (1989). « L’écomusée dans ses rapports à la nouvelle muséologie + – ou =. Néanmoins la trame indélébile de G. H. Rivière ». Musées, vol. 11, no 3-4, p. 11-13. •(2002). L’écomusée : rêve ou réalité. Lyon : Presses universitaires de Lyon, Publics & Musées, n° 17-18/2000, 248 p. •(1985). « Images de l’écomusée ». Museum, no 148, vol. XXXVII, no 4, p. 182-244. |
8
|
Name of the practice |
Imagens que valem mil palavras… (Pictures worth a thousand words...) |
|
Name of the organization, or responsible |
Museum of Traje, São Brás de Alportel |
|
When did it take place |
Since 2009 |
|
Where did it take place |
Alportel, Portugal |
|
Format of the project (workshops, events, tours ) |
- Workshops; - Events; - Sightseeing; - Guided tours. |
|
Aim of the project |
- Understanding identities and construction of new identities - ( local community insertion of the inhabitants and visitors as well as the - Promote Community spirit; - Promoting a more representative, participative, and inclusive museology; |
|
Short description (100-200 words) |
This project changes the way museums connect with society as lead to an increased responsibility regarding the communities that museums serve. The activities developed in the museum are innovative because: - it increases the interaction between museum employees with the museum itself and the visitors; - the visitors are, for many activities, the residents of Alportel themselves; - By working with ancient techniques f, for example, manufacturing, the museum includes younger generations and older ones in the same room, at the same level; - Workshops of arts, photography, design, manufacturing, personal relations, understanding identities of the population of alportel – by knowing Alportel population and the diversity there exposed. - Activism through photography – understanding the way Alportel’s population take a different look of their lives after the photography workshop; |
|
Topic of the project according to our focuses (e.g. gender diversity, cultural diversity, age) |
- Cultural Diversity; - Community; - Identity, Inclusion and Integration of a specific population; - Empowerment of population; |
|
Target Group (preferable youth in deprived areas) |
- Alportel’s population (deprived area) |
|
Duration (total hours) |
Ongoing since 2010, with 15 hours a week. |
|
Duration (hours per week) |
15 hours |
|
Space (setting) |
Museum of Traje and Alportel city (streets, local communities and local businesses) |
|
Outreach: Who/How many were reached by this project? |
30 people a week |
|
Reasons for considering it a good practice (include indicators) |
- Innovative project; - Empowerment of Alportel’s population by the workshops about identity, cultural diversity and also training in many different areas - empowerment of the population of Alportel due to tools given by the museum The population had evident results on increasing life conditions (housing, working conditions and also integration in the city); - It is continuing to improve and the project; - It is a project to apply in other deprived areas; |
|
Institution(s) involved (e.g. museums,…), cooperation partners |
Museum of Traje and Alportel Municipality |
|
web/ contact address |
|
|
specific theoretical or methodological references |
CARVALHO, “Desafios da diversidade cultural nos museus do séc. XXI” CARVALHO, Ana “Os museus e o Património Cultural Imaterial. Algumas considerações” |
9
|
Name of the practice |
Projeto DDIG – Desafiando a (Des)Igualdades entre gerações: Museu Humano Itenerante Project Chalenging (In)Equalities between generations – Human Itinerant Museum |
|
Name of the organization, or responsible |
ASI – Associação de Solidariedade Internacional (International Solidarity Agency) |
|
When did it take place |
2013/2014 – Mostly on May 2014 |
|
Where did it take place |
Vila Nova de Gaia, Porto in Portugal |
|
Format of the project (workshops, events, tours ) |
- Workshops - Street performances - Events - Short Film Shows |
|
Aim of the project |
- Empowerment of the target group; - Sensitize to the issues of gender equality and equal opportunities; - Promote Diversity trhough art and non formal education; |
|
Short description (100-200 words) |
This activity implies the design of a Human Itinerant Museum under the aegis of Equality and Diversity . This traveling museum is one of the agglutinating intervention activities and a key part to the dissemination strategy of products and multiplication of the project results to share knowledge and experiences in the form of talks , workshops , short film shows , performances, etc. This action has the dual functionality of creating instruments and products that will be disseminated at national level in the themes: gender equality, interculturalism, promote social participation. On the other hand , stakeholders , from this experience will be agents of social change sensitizing third parties to this issue. The Museum travels from schools to schools, sports associations and community centres. The materials presented as exhibition are the materials that the particpants produce.
|
|
Topic of the project according to our focuses (e.g. gender diversity, cultural diversity, age) |
- Gender Equality; - Interculturality; - Diversity; - gender Violence; - Youth. |
|
Target Group (preferable youth in deprived areas) |
- Migrant population; - monoparenting families; - senior citizens; - young people (in school) between 14 and 23 years old (deprived schools). |
|
Duration (total hours) |
2 years ( 17520 hours ) this includes everythoing (preparation, actions, etc.) |
|
Duration (hours per week) |
48 hours |
|
Space (setting) |
Municipality of Porto and Municipality of Vila Nova de Gaia; City of Porto and City of Vila Nova de Gaia |
|
Outreach: Who/How many were reached by this project? |
300 people |
|
Reasons for considering it a good practice (include indicators) |
- Mobilization and geographical outreach (north of Portugal) - Good capacitation and tools available; - New approach on the subject; - Diverse target group; - Goo work between organizations and institutions involved; |
|
Institution(s) involved (e.g. museums,…), cooperation partners |
Municipality of Porto and Vila Nova de Gaia ASI ILGA – Intervençã LGBTI CIG – Conselho para a Cidadania |
|
web/ contact address |
ASI +351 222 011 927 |
|
specific theoretical or methodological references |
None |
10
|
Name of the practice |
Mouraria para TODOS (Mouraria for All ) |
|
Name of the organization, or responsible |
Associação Renovar a Mouraria (Association Renew Mouraria) |
|
When did it take place |
Since February 2014 (ongoing) |
|
Where did it take place |
Lisbon (Portugal) in the Neighborhood of Mouraria
|
|
Format of the project (workshops, events, tours ) |
- Tours along Mouraria neighborhood; - Workshops in different places done by the resident population in Mouraria and the association; - Cultural Events (such as concerts, book fairs, food markets) |
|
Aim of the project |
- Open Mouraria, the most multicultural neighborhood of Lisbon, to the public (Portuguese and non-portuguese) by giving high quality tours around this area; - Social inclusion of the neighborhood (it was formally known as one of the most dangerous places in Lisbon and also the infrastructures were in really bad conditions, degraded) by putting this area in the map. The diversity on Mouraria is enormous and it is essential to show that to the audience; - Reconstruction of the image of the neighborhood and reconstruction of the neighborhood itself (by the tours on Mouraria, this area became a more frequented neighborhood promoting job opportunity for the residents and so decreasing immensely the crime rate and providing opportunities of reconstructing the buildings and make it a more attractive place - according, of course, with the different cultures there represented; - Social inclusion of the population of Mouraria (the population of Mouraria was segregated from the rest of Lisbon, by the fact its majority are immigrants); - Reformulate the concept of multiculturalism in the city (by showing that this aspect is only beneficial to the city and its population); - Empowerment of the Mouraria resident population; |
|
Short description (100-200 words) |
This project is an initiative for high quality guided tours, that are: 1. Done by higly trained guides (specific training provided by the association); 2. Available for EVERYONE - special care to provide tools that include all (ramps for people with reduce mobility, experiences with smells, sounds and textures for the blind and also a hand gesture translator for the deaf); 3. For two hours each visit; 4. Many offers of tour: Mouraria of Cultures and Countries, Mouraria of Traditions, Mouraria of Fado, Mouraria in the Castle - Road to the Castle. These different offers envolve each culture represented in Mouraria (now and in the past - Mouraria now is very different from, for example, the Mouraria in the 90s); 5.Tranversal to all guided tours is story telling by the guides, participants of the tours (residents) and the local businesses; 6. Inclusive project: all community is envolved in these tours, since the guide tour untill the woman that is crossing the one of the streets or the man in the barber; this further enrich the visits as the residents open the doors of their homes, work and worship places; 7. Higly interactive tours where it is presented the benefits of multiculturism by showing different cultures represented in a neighborhood brings so much to the city; |
|
Topic of the project according to our focuses (e.g. gender diversity, cultural diversity, age) |
- Cultural Diversity - Multiculturalism - Youth action - Training and education - Religion Diversity |
|
Target Group (preferable youth in deprived areas) |
- Youth in deprived areas (living in Mouraria and other similar neighborhoods); - Population resident in Mouraria; - Emphasis on Lisbon residents to help Mouraria became again a part of the city; - In the visits: portuguese, migrants and tourists of all ages, different social strata. Main prominence in sections of the population where a deconstruction of the meaning of multiculturalism is required. |
|
Duration (total hours) |
730 hours |
|
Duration (hours per week) |
14 hours |
|
Space (setting) |
- Office of the Association; - Local Communities Centers (such as Libraries, Schools, Restaurants, Hair Salons, Sports and Arts Associations within the Neighborhood Mouraria); - Neighborhood Mouraria (in the streets, squares, parks). |
|
Outreach: Who/How many were reached by this project? |
More than 2000 people |
|
Reasons for considering it a good practice (include indicators) |
- Innovative project; - The evident results: the neighborhood of mouraria transform itself from a danger and deprived zone/area to a Center for arts, culture, inter cooperation and a friendly neighborhood; - The population had evident results on increasing life conditions (housing, working conditions and also integration in the city); - It is continuing to improve and the project outreach is expanding each day (and predictions show very good odds to keep increasing); - It is an project to apply in other deprived areas - and easy to do so; |
|
Institution(s) involved (e.g. museums,…), cooperation partners |
Association Renew Mouraria, Câmara Municipal de Lisboa (Lisbon Municipality) |
|
web/ contact address |
http://www.renovaramouraria.pt/ |
|
specific theoretical or methodological references |
None |
11
|
Name of the practice |
Public Art Selfie workshop |
|
Name of the organization, or responsible |
Helsinki Art Museum |
|
When did it take place |
October 2014 |
|
Where did it take place |
Helsinki, 2 districts (Vuosaari, Itäkeskus) |
|
Format of the project (workshops, events, tours ) |
workshop and engaging tour into the public sculptures |
|
Aim of the project |
To increase young peoples knowledge about their home district and enhance their tools of visual thinking |
|
Short description (100-200 words) |
City has interesting contemporary art in new residential areas (built after 1960’s), but still those parts of the city are considered culturally poor and uninteresting. We organized with local cultural centers a series of workshops for those area’s school groups. The children were given cameras. There was 20 min discussion about composition in portrait tradition. 30 min walk around local sculptures. Children were given the task to take a selfie using the background as a reference to their local surrounding; they had 40 min for that. Then the pictures were printed out and pictures were discussed together for 30 min. |
|
Topic of the project according to our focuses (e.g. gender diversity, cultural diversity, age) |
Multicultural youth |
|
Target Group (preferable youth in deprived areas) |
Multicultural school groups, 13-15 years of age |
|
Duration (total hours) |
(2 hours per session, 5 groups in both districts) 20 hours |
|
Duration (hours per week) |
10 hours |
|
Space (setting) |
cameras, a printer, room in cultural center’s of Vuotalo and Stoa |
|
Outreach: Who/How many were reached by this project? |
200 pupils |
|
Reasons for considering it a good practice (include indicators) |
To use selfie as a tool to see one’s everyday surrounding was effective way to enhance youngsters interest in public art and creating a more positive outlook on eastern parts of the city |
|
Institution(s) involved (e.g. museums,…), cooperation partners |
Museum, cultural houses, schools |
|
web/ contact address |
|
|
specific theoretical or methodological references |
|
12
|
Name of the practice |
Unstraight Museum |
|
Name of the organization, or responsible |
Unstraight Museum, Stockholm, Sweden |
|
When did it take place |
Ongoing project since 21.7.2011 |
|
Where did it take place |
Mainly in Sweden, but small collection gatherings in other countries also. |
|
Format of the project (workshops, events, tours ) |
Workshops and active participation |
|
Aim of the project |
To collect UnStraight history, the target idea is to create positive atmosphere that everything is queer and nothing is “normal” and that’s a positive thing. |
|
Short description (100-200 words) |
Most museums neglect to tell the stories of Unstraight people. This project started to form a new museum focused on collective collecting. Anybody can be a collector, anybody can decide which artefact is important. To add to the collection, anybody can go to the Unstraight Museum’s webpage and in section ”Add your object” contribute to defining what being Unstraight is. The artefact it-self stays with the person adding it to the collection. Unstraight museum is in the form of virtual collection and it doesn’t have or wish to have a physical outreach. The objects them self stays with people but the story keeps spreding. |
|
Topic of the project according to our focuses (e.g. gender diversity, cultural diversity, age) |
Gender diversity, enhancing people’s idea of gender diversity and engaging UnStraight people to comment with history of everyday objects. |
|
Target Group (preferable youth in deprived areas) |
Anybody outside traditional museum audience, expecially gender/sexual minoritie |
|
Duration (total hours) |
- |
|
Duration (hours per week) |
- |
|
Space (setting) |
Virtual museum and virtual collection of people’s items that physically stays with them, but the virtual story lives in the virtual UnStraight Museum. |
|
Outreach: Who/How many were reached by this project? |
Museum has hundreds of objects |
|
Reasons for considering it a good practice (include indicators) |
Working outside traditional museum construction, crating “exhibition” not traditionally seen in museums. |
|
Institution(s) involved (e.g. museums,…), cooperation partners |
Postkodlotteriet, Svenska Institutet, Världskulturmuseet, Historiska Museet, Arbetets Museum, Malmö Museer, the Swedish Embassy in Hanoi, UNESCO, iSEE, CSAGA and CCIF |
|
web/ contact address |
http://www.unstraight.org/ |
|
specific theoretical or methodological references |
|
13
|
Name of the practice |
House of Memor-y/-ies |
|
Name of the organization, or responsible |
Started in MoMa, done in many museums around the world: National Museums Liverpool etc. |
|
When did it take place |
On-going practice in museums around the world |
|
Where did it take place |
The methodology was created by Moma and further developed in the National Museums of Liverpool. Now used all around the world. |
|
Format of the project (workshops, events, tours ) |
workshops, giving information about neurodegenerative diseases and how art museum collection can be used as a tool to play with memories and to communicate with people on various stage of dementia |
|
Aim of the project |
Aim of the project is to give tools for partners and families of the people with dementia to deal with the issues of chronic neurodegenerative disease with the help of art |
|
Short description (100-200 words) |
House of Memories training programme targets the carers of people living with dementia. It provides participants with information about dementia and equips them with the practical skills and knowledge to facilitate a positive quality of life experience for people living with dementia. A number of practical memory resources and activities have also been developed for anyone to use, for example toolkits with pictures and different interactive guided tours. The programme offers people with dementia the opportunity to access personal experiences and long-term memories and participate in meaningful activity that fosters personal growth.
|
|
Topic of the project according to our focuses (e.g. gender diversity, cultural diversity, age) |
Elderly people and people living with elderly peoplef |
|
Target Group (preferable youth in deprived areas) |
Elderly people affected by dementia and people living or working with them |
|
Duration (total hours) |
Four days of training |
|
Duration (hours per week) |
- |
|
Space (setting) |
Museum |
|
Outreach: Who/How many were reached by this project? |
Hundred’s of people working and living with dementia |
|
Reasons for considering it a good practice (include indicators) |
It has been adapted to many museums worldwide, the dementia is a problem of ageing western world and good practices dealing with it are important to find |
|
Institution(s) involved (e.g. museums,…), cooperation partners |
- |
|
web/ contact address |
A good long study that was made about the effects of the programme http://www.liverpoolmuseums.org.uk/learning/documents/house-of-memories-evaluation-report.pdf |
|
specific theoretical or methodological references |
|
14
|
Name of the practice |
Art Workshop Zubietxe |
|
Name of the organization, or responsible |
Zubietxe Association |
|
When did it take place |
Since 2003 |
|
Where did it take place |
Art workshop in headquarters of the association, in Bilbao (Basque Country, Spain). |
|
Format of the project (workshops, events, tours ) |
The basic format is workshop of arts application for development and integration. Interaction, visibility and exposure, social awareness. |
|
Aim of the project |
• Facilitate the integration of people at risk of social exclusion working through processes of artistic creation, • exchange with artists, • visibility in outdoor areas and interconnection with other social contexts. |
|
Short description (100-200 words) |
So they disseminate their work and make visible artistic creation as a universal capacity that contributes to improving the quality of life ant the integration into society. |
|
Topic of the project according to our focuses (e.g. gender diversity, cultural diversity, age) |
Migrants, youth in deprived areas, social exclusion |
|
Target Group (preferable youth in deprived areas) |
youth in social exclusion, migrants, all kinds of groups related to vulnerability and social exclusion. |
|
Duration (total hours) |
Monday and Tuesday. The opening hours are from 9: 30h to 13: 30h. The assistance depends on the individual plans of each participant. |
|
Duration (hours per week) |
|
|
Space (setting) |
|
|
Outreach: Who/How many were reached by this project? |
|
|
Reasons for considering it a good practice (include indicators) |
The Zubietxe Association has received numerous awards for his work. |
|
Institution(s) involved (e.g. museums,…), cooperation partners |
Art exhibitions in cultural centers, outreach and awareness in schools, radio, conferences... |
|
web/ contact address |
http://artezubietxe.blogspot.com.es/
zubietxe@zubietxe.org Tf. 94 416 6941 Fax 94 416 1854
C/ Veintidos de Diciembre, 1 y 2, bajo Bilbao, 48003 |
|
specific theoretical or methodological references |
They take as reference the project „The Studio Upstairs1” (London, England), www.studioupstairs.org.uk |
15
|
Name of the practice |
Ruido Photo |
|
Name of the organization, or responsible |
Ruido Photo |
|
When did it take place |
Since 2004 |
|
Where did it take place |
Headquartered in Barcelona and activities in over twenty countries |
|
Format of the project (workshops, events, tours ) |
Different formats: Creating Visual Classrooms in prisons, participatory photography workshops, reportages and participatory documentaries ... |
|
Aim of the project |
Using documentaries with strong social and cultural commitment as tool of reflection and social transformation |
|
Short description (100-200 words) |
Ruido Photo is a network of photographers, journalists and designers who understand the documentary as a tool of reflection and social transformation. It focuses on three areas: research and documentation, training and dissemination, and practices for community revitalization. Works in the areas of migration, conflict and violence, devising projects to promote participation, debate and awareness seeking innovative ways of production and realization in different formats, such as photography, text, video, or multimedia, books, films, exhibitions, community revitalization, blogs. The association carries out projects of participatory photography where, through photography workshops, groups with different social problems are adressedin the use of visual language as a new way of explaining their own life stories. Participatory photography is a tool, a mirror for participants to reflect, discuss and analyze their own reality, and as a window on this reality to society. Implementing these and other projects, Ruido Photo try to generate participation, discussion, awareness of various problems in contemporary communities, stimulate the capacity for reflection and transformation of people on their own reality, and make those who are less visible, visible through their own images and voices. |
|
Topic of the project according to our focuses (e.g. gender diversity, cultural diversity, age) |
Youth in deprived areas or social risk, migrants, gender, cultural diversity |
|
Target Group (preferable youth in deprived areas) |
Youth in deprived areas or social risk, women, migrants, cultural diversity in communities |
|
Duration (total hours) |
|
|
Duration (hours per week) |
|
|
Space (setting) |
|
|
Outreach: Who/How many were reached by this project? |
|
|
Reasons for considering it a good practice (include indicators) |
|
|
Institution(s) involved (e.g. museums,…), cooperation partners |
Ruido Photo works closely with public and private entities, in local, national and international projects (neighborhood organizations, prisons...) to carry out projects of participatory photography, documentary or another strategies to generate participation, awareness, creative spaces in real contexts, social transformation and other ways of looking to his target groups. |
|
web/ contact address |
www.ruidophoto.com
contact@ruidophoto.com Tel.: +34 93 442 47 05
RUIDO Photo C/ Nou de la Rambla nº48 2on 08001 – BARCELONA, Spain |
|
specific theoretical or methodological references |
Participatory photography as transformation tool. Generating creative spaces where participants can be active, make decisions and take responsibility. |
16
|
Name of the practice |
Subtramas |
|
Name of the organization, or responsible |
Reina Sofía Museum, Madrid, Spain |
|
When did it take place |
10.2014- 01.2015 |
|
Where did it take place |
|
|
Format of the project (workshops, events, tours ) |
Audiovisual activities, events, workshops |
|
Aim of the project |
Focuses on social inclusion through visual art |
|
Short description (100-200 words) |
Scuola senze fine: http://subtramas.museoreinasofia.es/en/contenidos/SCUOLA-SENZA-FINE |
|
Topic of the project according to our focuses (e.g. gender diversity, cultural diversity, age) |
Cultural diversity, gender diversity |
|
Target Group (preferable youth in deprived areas) |
Youth, women, old people, migrants, broad public |
|
Duration (total hours) |
|
|
Duration (hours per week) |
|
|
Space (setting) |
Within the museum activities + workshops in civil centers |
|
Outreach: Who/How many were reached by this project? |
Every Friday debates were formed from the presentation of a set of projects and projections by artists, cultural producers and researchers to analyze questions like: How to enable collaborative processes in audiovisual production ?, What kind of political and social transformative dimension can be achieved? |
|
Reasons for considering it a good practice (include indicators) |
|
|
Institution(s) involved (e.g. museums,…), cooperation partners |
Reina Sofía Museum, Ministry of Education, Culture and Sport, Generalitat de Catalunya, CoNCA |
|
web/ contact address |
http://subtramas.museoreinasofia.es/es/anagrama |
|
specific theoretical or methodological references |
http://subtramas.museoreinasofia.es/es/zias |
17
|
Name of the practice |
Tedd Oda Magad is (Put yourself there) |
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Name of the organization, or responsible |
Artemisszió Foundation |
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When did it take place |
Between March and May 2009 |
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Where did it take place |
In Hungary, Budapest and three countryside locations |
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Format of the project (workshops, events, tours ) |
- preparatory workshops locally held by a drama facilitator(1 workshop/location where the students were participants) - theatre performance locally (1 performance, each one different, the students and teachers assisted) - follow up workshops in the schools with the same facilitator (1-2/ location) - visit of the exhibition and museum pedagogy workshop (1 workshop/location) - methodology workshops for the teachers of the schools
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Aim of the project |
The project intended to extend a cultural action: to promote diversity linked to an exhibition in the Museum of Ethnography and bring its results closer to disadvantaged young people living far from the capital. At the same time it was also intended as a tool to make disadvantaged and non-disadvantaged publics meet and cooperate. |
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Short description (100-200 words) |
2008 was the European year of Intercultural Dialogue. Artemisszio, together with the Museum of Ethnography organized a demonstrative exhibition with the title “The Other”. The project was an accompanying action to this exhibition. First a drama teacher went to work with the young people in their villages (5 locations, 4 at the countryside of Hungary, and 1 at the outskirts of Budapest). In the sessions young Roma people were involved from disadvantaged schools as well as youth from the majority society. The aim of this workshop was to prepare the participants for a reflection on diversity. After this a theater play was presented in the village, open for a mixed public. The play tackled issues like migration, conflicts caused by cultural differences or stereotypes – the performances were not made directly for the project, but have been well chosen for the purposes. The second drama workshop for the students elaborated themes of the play around difference and diversity. In the third step, the students from the participating schools were brought to the Museum in Budapest, and participated in an interactive exhibition visit (guided tour and workshop of museum pedagogy were used to facilitate the encounter of the kids and the topic of the exhibition with practices of none-formal education). The process was closed with a final workshop and the training material used during the sessions was transferred to the participating schools. |
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Topic of the project according to our focuses (e.g. gender diversity, cultural diversity, age) |
Disadvantaged youngsters enter to the Museum, prepared by artistic tools. Mixed audience – disadvantaged and majority youngsters in cooperation. |
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Target Group (preferable youth in deprived areas) |
Youth from locations where there are not too many access to culture. Roma youngsters and youngsters from majority schools. |
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Duration (total hours) |
2 months |
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Duration (hours per week) |
……………………….. |
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Space (setting) |
Local schools (workshops), local cultural centers (theatre plays) mainly from the countryside of Hungary but from different regions, Museum of Ethnography (Budapest) |
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Outreach: Who/How many were reached by this project? |
As for the primary target group: more or less 30 students per location were reached by the drama workshops and museum visits, accompanied by 3-5 teachers, all in all around 120 youngsters were involved. The teacher trainings had 10+20 participants. There were around 60 people in the public of the theatre plays (in 4 places), once it reached the number of 200. |
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Reasons for considering it a good practice (include indicators) |
Diversity as a topic and of the target group Involving a Museum and exhibition Access to culture (museum and theatre) where there was not a lot of options before
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Institution(s) involved (e.g. museums,…), cooperation partners |
Museum of Ethnography Different theatre groups (professionals) |
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web/ contact address |
none |
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specific theoretical or methodological references |
Drama pedagogy: http://en.wikipedia.org/wiki/Theatre_pedagogy |
18
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Name of the practice |
the 8th district and me |
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Name of the organization, or responsible |
informal group of young sociologists, drama and photo experts |
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When did it take place |
between October and December of 2011 |
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Where did it take place |
At the 8th district of Budapest (multicultural, socially diverse, but mostly disadvantaged) |
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Format of the project (workshops, events, tours ) |
- workshops of photography and drama pedagogy (twice a week) |
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Aim of the project |
The aim of the project was: - to support the youngsters (kids between 10-15 years) of the most disadvantaged district of Budapest to speak about their life, environment and dreams by the tool of photography - to empower them, to gain self-confidence and support their self-expression, and also to cooperate with each. - to change the image of the district – from a quite negative perspective - by showing it from the youngsters point of view; was also an important aim of the project. |
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Short description (100-200 words) |
The project combined to creative methodology: the photo voice method and tools of drama pedagogy – in order to help the youngster to express themselves and explore their local setting. The participants - local Roma youngsters who were interested and already somehow linked to the cultural centre (no selection categories were introduced) – were provided by a one time use camera, having a task for every week to accomplish, to take pictures in a specific topic. At the beginning of the process they learnt the basis of making photography, afterwards there were discussions about the pictures they took and the upcoming issues that were important in their life. To facilitate the discussions drama pedagogy was an important tool during the process: the participants could express themselves, their feelings and thought in a creative framework, using situation games and other methods. At the end of the project the parents and other locals were invited to the community center for an exhibition where all the youngsters had a self-portrait and most of them series of images in a determined topic linked to the district. Afterwards the exhibition had a tour in different local spaces (shops, bars, etc.). |
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Topic of the project according to our focuses (e.g. gender diversity, cultural diversity, age) |
- cultural diversity - using public spaces (for the exhibition, like bars or shops in the district) |
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Target Group (preferable youth in deprived areas) |
- Roma youth of a disadvantaged district |
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Duration (total hours) |
3 months |
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Duration (hours per week) |
2 times a week, 1,5-2 hours |
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Space (setting) |
Community center in the district (Budapest), public spaces (shops, coffees, bars as exhibition space) |
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Outreach: Who/How many were reached by this project? |
10-16 youngsters were involved directly during the creative process. The opening (first) exhibition had around 50-60 guests, afterwards the pictures were exhibited in different local spaces where a diverse public had the possibility to get in touch with the images. |
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Reasons for considering it a good practice (include indicators) |
- Involving disadvantaged youngsters - Use of artistic methods (photo voice) in exploring the own local reality - Extending the project in public spaces (exhibition in local shops, pubs, etc.)
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Institution(s) involved (e.g. museums,…), cooperation partners |
Kesztyűgyár (Local community center) |
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web/ contact address |
none |
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specific theoretical or methodological references |
Drama pedagogy: http://en.wikipedia.org/wiki/Theatre_pedagogy photo voice: http://en.wikipedia.org/wiki/Photovoice |
19
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Name of the practice |
„Common places“ Site-specific performance of the „Day and Night in the 7th“ Company in the old Jewish neighborhood of Budapest |
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Name of the organization, or responsible |
MAROM Budapest Project leader: Horvath Kata |
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When did it take place |
2013-2014 |
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Where did it take place |
Budapest, Hungary |
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Format of the project (workshops, events, tours ) |
- Seminars for MAROM’s volunteers in order to create the pedagogical methodology (Once a week during 3 months) - Drama workshops of the volunteers for the youngsters (once a week during 6 months) - Summer camp (5 days) - Public performances (2 times ) |
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Aim of the project |
- Involve local Roma youths in a site-specific learning project about their own neighborhood in order to: (1) raise their awarness about the socio-historical context of their everyday life, (2) empower them to express their own social experiences. - Make visible to a wider public urban children’s experiences in harsh historical and social circumstances and their extreme vulnerability. |
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Short description (100-200 words) |
The project was initiated by four activists of Marom Budapest Association who preveously have launched many formal and informal programs in the "Jewish District" of Budapest (officially: Inner Elizabeth Town) during the last years. This neighborhood has been the so called Jewish neighborhood of Budapest and this was the Jewish ghetto during the Holocaust. Today the area is still one of the most multicultural place of the capital. What is culturally less recognized is that a lot of poor Roma inhabitants are still living here. The initiators involved local Roma youngsters (between 11 and 17 years of age) in a program that articulate and promote different local understandings of the neighborhood. In the first step volunteers developed an innovative informal educational methodology which combined site-specific learning methods and participatory research with drama pedagogical techniques. During the rehearsal process the participating youngsters developed a fictional character for themselves who got in contact with the other characters. The creation of the text was based on improvisation too. Besides of the methodology of drama pedagogy they used painting and singing as artistic techniques. As a final performance they realized an interactive walking tours, a site specific performance on the main square of the neighborhood with the Roma youngsters for an audience of approximately 70 persons. The interactive performance (“The Ghost of the Klauzál Square”) tell the story of a young Jewish girl killed on this square in 1944 who can’t leave the place before telling her true story to other people. Children playing on the ground would help this ghost girl, try to understand what was happened to her and decide to present her story to the public. During the outdoor performance on the square the public is divided in small groups, they can follow one of the “actors”, get to know his/her character and his/her story about the ghost girl. At the end of the performance the members of the public meet with each other and put together the whole story by speaking about their own experiences with their own tours guide. |
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Topic of the project according to our focuses (e.g. gender diversity, cultural diversity, age) |
Raising awareness of marginalized Roma youths and making visible their social experiences – diversity |
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Target Group (preferable youth in deprived areas) |
Disadvantaged urban youth |
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Duration (total hours) |
200 hours |
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Duration (hours per week) |
3 hours per week during the year 8 hours per day during the camp and on the day of the performances |
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Space (setting) |
The workshops happened in different cultural centers of the VII district. The performance occurred at Klauzál Square which used to be the main place of the Jewish ghetto during the Holocaust, and now serves as playground, football ground and important meeting point of local kids. |
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Outreach: Who/How many were reached by this project? |
As for the primary target group: more or less 30 students per location were reached by the drama workshops and museum visits, accompanied by 3-5 teachers, all in all around 120 youngsters were involved. The teacher trainings had 10+20 participants. There were around 60 people in the public of the theatre plays (in 4 places), once it reached the number of 200. |
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Reasons for considering it a good practice (include indicators) |
- Local history of Jewish people and actual social experiences of marginalized groups are also relevant in the project - MAROM’s volunteers are working with disadvantaged Roma youths, they are creating together an artistic product (mixed group of Jewish and Roma kids, youngsters and young adults) - art-based methods (especially drama pedagogy, participatory research and site-specific learning methodologies are combined in the program in order to create a site specific performance. - This was a low budget “Youth in action – local initiative” project for one year. Volunteers didn’t stop the work with the youths when the project ended up, but have continued to meet with them regularly. They are now building up a new project together. - Klauzál square (the main place of the neighborhood where the performance took place) gained new meanings for the participants and for the audience as well – using the public space |
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Institution(s) involved (e.g. museums,…), cooperation partners |
Parforum and Anblokk Association: development of the pedagogical methodology and the evaluation of the process
MÜSZI, Kisüzem, Kazimir, Israeli Cultural Institute (cultural centers): infrastructure |
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web/ contact address |
https://www.facebook.com/ejjelnappal7ker?fref=ts
https://www.youtube.com/watch?v=eZUgaijyL50
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specific theoretical or methodological references |
Drama pedagogy: http://en.wikipedia.org/wiki/Theatre_pedagogy |
20
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Name of the practice |
SUBURB – CITY – HOME? |
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Name of the organization, or responsible |
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When did it take place |
24 – 27 September 2012 (project); 14 January – 1 March 2013 (exhibition) |
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Where did it take place |
Görlinger Zentrum, Cologne, Germany |
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Format of the project (workshops, events, tours ) |
Workshop: Introduction (to writing and photography) as preparation for the tours + tours in the Görlinger Zentrum; Blog; Exhibition |
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Aim of the project |
|
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Short description (100-200 words) |
Within the project students and seniors from the same neighborhood create a blog about their life in a suburb of Cologne. Two different perspectives of the everyday life are shown. The participants jointly explored their neighborhood, created texts and photographs and published them on their own generation blog, which is available online for residents of this area and beyond. Main questions therefore were: “What is my favorite place in my neighborhood?”, “What would I like to change in my neighborhood?”, “What do I miss?”, “What is typical for this area in town?”. While creating and editing the texts and photographs, the participants got in contact with each other and discuss their different perspectives. |
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Topic of the project according to our focuses (e.g. gender diversity, cultural diversity, age) |
Age/ intergenerational collaboration |
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Target Group (preferable youth in deprived areas) |
Students (age group 12) and seniors in a suburb of cologne |
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Duration (total hours) |
4 days working on the project; 6 weeks exhibtion |
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Duration (hours per week) |
|
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Space (setting) |
Introduction to writing and photography; create and edit text and photographs; exhibition at the at the local church Auferstehungskirche at Görlinger Zentrum, Cologne |
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Outreach: Who/How many were reached by this project? |
Students and seniors of the neighborhood Görlinger Zentrum as participants of the workshops, online readers of the blog, and visitors of the exhibition at Auferstehungskirche at Görlinger Zentrum, Cologne |
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Reasons for considering it a good practice (include indicators) |
central questions for students/seniors are related to the area/suburb they live. Although they got some introduction they generated the content autonomously and by themselves (empowerment); direct interaction between the two involved groups; face-to-face encounter were a sustainable effect can be expected (because people are from the same neighborhood –they see/meet each other on the street etc.); |
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Institution(s) involved (e.g. museums,…), cooperation partners |
Art education: Nina Waibel, Birgit Hauska, Sk Stiftung Kultur (Köln), media artist: Kerstin Gramberg; Max-Ernst-Gesamtschule (comprehensive school), participants from Görlinger Zentrum, Cologne (neighborhood of school); part of Eu Project: Mix@ges – Intergenerational Bonding via creative new media; 5 partners: Institut für Bildung und Kultur, University of Strathclyde, KulturKontakt Austria, Entr"âges, ZDUS |
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web/ contact address |
http://mixages.eu/?portfolio_33=intergenerational-art-blog, http://www.generationenblog.de/ |
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specific theoretical or methodological references |
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21
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Name of the practice |
Worldclass-Wieden-Tour |
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Name of the organization, or responsible |
Julia Landsiedl und Cora Akdogan (for Vienna Design Week) |
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When did it take place |
2013 |
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Where did it take place |
Vienna, district: Wieden |
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Format of the project (workshops, events, tours ) |
|
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Aim of the project |
|
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Short description (100-200 words) |
One district of Vienna is described from two different perspectives: Within a four month period Viennese show their district to young refugees from Afghanistan who newly arrived (3 to 4 month – 1,5 year) in Vienna and vice versa (exploring neighborhood tour). In the focus of the exploring neighborhood tour are spots and places that are of high relevance for the people – grocery shop, a restaurant, a bus stop etc. Motto: "Show me your district, I"ll show you mine“. For the exploring tour in pairs the couples got questionnaires and maps as some kind of framework. It was suggested to meet weekly but of course this was up to the people (pairs). Sometime the artists accompanied the meetings.
During Vienna Design Week three of the pairs invited festival visitors on tours. The tours were mix of places and spots of pair. There were three tours that took place parallel. The festival visitors could decide which one they want to join. The project produced a lively exchange of life stories, unexpected friendships and cast light on different perspectives on the meaning of "home". In the end of the tour there was an open halal sausage-eating in the office of the initiators where information about the project was displayed: who took place, city maps, spots that were visited etc.
Two factors were essential for the „internal“ success of the project: Social workers as „contact mediators“ between the artists and the youth, especially in the beginning, and the possibility to get to know the artists outside the core project - trust building, getting to know the persons to work with. There were also some events on voluntary basis beside the tour - like hiking - which were not connected to the tour but important in terms of trust etc. |
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Topic of the project according to our focuses (e.g. gender diversity, cultural diversity, age) |
cultural diversity, age |
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Target Group (preferable youth in deprived areas) |
Viennese who life in Vienna for a long time (all ages); new arrivers from Afghanistan without supervision/families (under 18) |
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Duration (total hours) |
Four months exploring the neighborhood. 3 Tour (Vienna Design Week): each 1,5 hour |
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Duration (hours per week) |
|
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Space (setting) |
Tour in the city |
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Outreach: Who/How many were reached by this project? |
tour pair: young refugees, who guided the tour (about 8 people) + Viennese (about 8 people); + Audience Vienna Design Week (about 100 people) |
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Reasons for considering it a good practice (include indicators) |
|
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Institution(s) involved (e.g. museums,…), cooperation partners |
Caritas der Erzdiözese Wien Vienna Design Week; |
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web/ contact address |
http://www.viennadesignweek.at/archive.php?id=614 |
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specific theoretical or methodological references |
|