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Espressione artistica, performance e innovazione sociale: il ruolo dell'educatore per l'accessibilità delle arti
FunderEuropean Commission
Funder Contribution €250,000.00
Funded underERASMUS+ | Partnerships for cooperation and exchanges of practices | Cooperation partnerships in adult education
Project code2022-1-IT02-KA220-ADU-000086370
Open Access mandatePublications: NoResearch data: No
Identifiers
Description
"<< Background >>The main needs identified during the application phase, addressed by the project, were:1. The Limited knowledge of European value history among adults and young adults. In this case, the goal was to promote the development of a path to rediscover the memory of the European conflict, challenging our conception of peace and democracy, which are much more recent achievements than commonly thought (ELPIS was founded at the outbreak of the war in Ukraine).2. Personalizing our perception of migration, challenging common biases. For this point, the aim was to develop an artistic journey of rediscovery, from an emotional and subjective perspective, of what the phenomenon of migration truly is, specifically from a female perspective.3. The devaluation of the arts in the formal curriculum. In response, ELPIS aimed to foster transversal skills through artistic practices, from theater to visual arts. This approach not only promoted research and cutting-edge knowledge but also introduced innovative methods for educators to directly evaluate the effectiveness of recreational activities linked to non-formal learning.<< Objectives >>The overall objective of the ""ELPIS"" project was twofold: first, to foster sensitivity and transversal cultural skills in a broad target group of adult and young adult learners on the already mentioned, wide-ranging and complex themes of female migration and the European conflict. Secondly, to promote these themes and awareness-raising practices through the arts, while placing a strong emphasis on creative methodology, the value, and the possible practical applications of various artistic forms, with particular focus on theater. In doing so, it was possible not only to promote European values, history, and memory, but also to significantly engage adults and educators (who are not typically ""art-goers"") with the arts. This work was particularly impactful in peripheral and significantly disadvantaged areas, especially in Italy.<< Implementation >>Primarily three artistic and workshop cycles were implemented across various project Work Packages, involving a large number of learners, amateur artists, untrained adults, and civic groups of young adults. Two of these cycles, specifically those in Italy and Croatia, utilized theater, creative writing, and improvisation to raise awareness on the topics of female migration and the European conflict. The third cycle, based in Slovenia, focused more on methodology, directly involving educators and other training staff, and developing resources on how (and why) to use the arts to support and enhance their curricular work. Finally, these cycles culminated in an awareness campaign and a final performance, which also served a multiplying function.<< Results >>For WP2:A creative writing and workshop cycle, targeting adult learners, primarily women, including the elderly, on the topic of human trafficking.A feedback event.A final performance.A multilingual publication on social theater.For WP3:A broad cycle of thematic workshops, focusing on theatrical improvisation, centered on the Yugoslav conflict, peace, and European memory.A final performance.An educator’s toolkit on the role of the arts and theater.Multimedia products serving as curriculum materials.A feedback event.For WP4:A workshop cycle on arts, creativity, and educational methodology.Several multimedia products serving as awareness tools with an educational purpose.An additional methodological publication.An informal photography workshop with young adults in Italy.A methodological compendium for educators.For WP5:An awareness campaign in synergy with the final project performance (see WP2).A methodological compendium on how to evaluate the effectiveness of non-formal learning and recreational and artistic activities, with a focus on the relationship between public education and NGOs.Lastly, the project also resulted in four transnational mobility events: two in Italy, one in Croatia, and one in Slovenia"
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"<< Background >>The main needs identified during the application phase, addressed by the project, were:1. The Limited knowledge of European value history among adults and young adults. In this case, the goal was to promote the development of a path to rediscover the memory of the European conflict, challenging our conception of peace and democracy, which are much more recent achievements than commonly thought (ELPIS was founded at the outbreak of the war in Ukraine).2. Personalizing our perception of migration, challenging common biases. For this point, the aim was to develop an artistic journey of rediscovery, from an emotional and subjective perspective, of what the phenomenon of migration truly is, specifically from a female perspective.3. The devaluation of the arts in the formal curriculum. In response, ELPIS aimed to foster transversal skills through artistic practices, from theater to visual arts. This approach not only promoted research and cutting-edge knowledge but also introduced innovative methods for educators to directly evaluate the effectiveness of recreational activities linked to non-formal learning.<< Objectives >>The overall objective of the ""ELPIS"" project was twofold: first, to foster sensitivity and transversal cultural skills in a broad target group of adult and young adult learners on the already mentioned, wide-ranging and complex themes of female migration and the European conflict. Secondly, to promote these themes and awareness-raising practices through the arts, while placing a strong emphasis on creative methodology, the value, and the possible practical applications of various artistic forms, with particular focus on theater. In doing so, it was possible not only to promote European values, history, and memory, but also to significantly engage adults and educators (who are not typically ""art-goers"") with the arts. This work was particularly impactful in peripheral and significantly disadvantaged areas, especially in Italy.<< Implementation >>Primarily three artistic and workshop cycles were implemented across various project Work Packages, involving a large number of learners, amateur artists, untrained adults, and civic groups of young adults. Two of these cycles, specifically those in Italy and Croatia, utilized theater, creative writing, and improvisation to raise awareness on the topics of female migration and the European conflict. The third cycle, based in Slovenia, focused more on methodology, directly involving educators and other training staff, and developing resources on how (and why) to use the arts to support and enhance their curricular work. Finally, these cycles culminated in an awareness campaign and a final performance, which also served a multiplying function.<< Results >>For WP2:A creative writing and workshop cycle, targeting adult learners, primarily women, including the elderly, on the topic of human trafficking.A feedback event.A final performance.A multilingual publication on social theater.For WP3:A broad cycle of thematic workshops, focusing on theatrical improvisation, centered on the Yugoslav conflict, peace, and European memory.A final performance.An educator’s toolkit on the role of the arts and theater.Multimedia products serving as curriculum materials.A feedback event.For WP4:A workshop cycle on arts, creativity, and educational methodology.Several multimedia products serving as awareness tools with an educational purpose.An additional methodological publication.An informal photography workshop with young adults in Italy.A methodological compendium for educators.For WP5:An awareness campaign in synergy with the final project performance (see WP2).A methodological compendium on how to evaluate the effectiveness of non-formal learning and recreational and artistic activities, with a focus on the relationship between public education and NGOs.Lastly, the project also resulted in four transnational mobility events: two in Italy, one in Croatia, and one in Slovenia"
