Final report ESF project MOVE

Report of ESF project Move 2017-2019

Foreword I extend a warm “thank you” to my Italian, Portuguese and Dutch project members.

Thanks to their dedication, contribution and support, we made this project a success.

Together we went on a cultural voyage of discovery, searching and sharing alternative instruments, methodologies and best practices in the world of Art and Sport with the aim of investigating how we can apply these to motivate and stimulate vulnerable young people.

But not only have we shared experiences with each other. We have also been able to enjoy the culture in the 3 countries and get to know each other more personally.

I want to express my thanks to our financial advisor, Astrid Hooghuis for providing, monitoring and managing the financial accountability during the whole project.

In particular, my gratitude goes to Valentina Lamonica (Piazza dei Mestieri, Turin, Italy), Ana Nogueira (José Saramago, Poceirão, Portugal) and Bram van der Veer ( Weener XL, ‘s-Hertogenbosch, The Netherlands) for their tireless work and unwavering commitment in the making of this report. I couldn’t have done this without their help and support.

I also want to thank our filmmaker, Anne-Marie van Oosteren (Mooi Werk Media,’sHertogenbosch, The Netherlands) ), for making a beautiful movie, reflecting what this project Move was all about.

And last but not least, I want to thank all the people of the best practices in Italy, Portugal and the Netherlands who have welcomed us with open arms and showed us with what a tremendous passion and energy, they take care of and support young people.

Carl De Meester Project leader 20-7-2019

Final report – project MOVE 2017-2019 Table of contents 1.

Introduction ........................................................................................................................................... 3 1.1 1.2 1.3 1.4 1.5 1.6

2.

3 4 6 6 7 8

Description of the partners in the project .............................................................................................. 9 2.1.

2.2.

2.3.

2.4.

3.

Why this project?

Why transnational?

Focus of the project Target group The goal of ESF SITS project "MOVE”.

Execution of the project

Piazza Dei Mestieri (Turin- Italy) Cooperative Nazareno (Carpi- Italy) José Saramago ( Poceirão – Portugal) Weener XL, Work & Income ( ‘s-Hertogenbosch-Netherlands)

9 9 10 11

Theoretical framework ........................................................................................................................ 12 3.1 The Agora model 12 3.2 Education in Art and Sport as a contribution to the analysis of Move best practices 15 3.2.1 Art-education domain ............................................................................................................... 15 3.2.2 Sport-education domain ........................................................................................................... 18 3.3. Social cognition and order of intentionality 19 3.4 Big Picture Learning 21 3.5 21 century skills 23

4.

Innovation Session.............................................................................................................................. 24

5.

Process and the main activities in the project .................................................................................... 25 5.1 Orientation visits by the project leader before the actual start of the project 5.2. Start meeting Netherlands ( 5.3. Extra visit to Portugal by the project leader 5.4. Work visit in the Netherlands 5.5. Work visit in Portugal 5.6. Visit to Portugal by the project leader 5.7. Visit to Italy by the project leader 5.8. Visit to Portugal by the project leader concerning the website 5.9. Work visit in Italy 5.10. Visit to Portugal by the project leader concerning the website 5.11. Brainstorming meeting about the end report at the Netherlands 5.12. Final Meeting in the Netherlands 5.13. preparation

25 25 26 26 26 27 27 27 27 28 28 28 29

Final report – project MOVE 2017-2019 6.

Description of the best practices ......................................................................................................... 29 6.1 T.O.M.: Tailor Made Trajectory (‘s-Hertogenbosch-Netherlands) 29 6.2 Cor Unum (‘s-Hertogenbosch-Netherlands) 29 6.3 Dukebox (‘s-Hertogenbosch - Netherlands) 30 6.4 MET School (Waalwijk - Netherlands) 30 6.5 Chapitô (Lisbon - Portugal) 31 6.6 Jose Saramago: a collabouration with Gulbenkian and Maat museum and the cultural Center of Poceirao) 31 6.6.1 Blimunda Sete Luas ................................................................................................................. 32 6.6.2 A Museum for the Future ......................................................................................................... 32 6.6.3 Disquiet of an Umbrella ........................................................................................................... 33 6.7 Bela Vista ( Setúbal – Portugal) 33 6.8 Piazza Dei Mestieri (Rolling Pots, Poetry Contest and Cultural Events) and the Pacinotti School (murals)) 34 6.8.1 Rolling Pots .............................................................................................................................. 34 6.8.2 Poetry contest .......................................................................................................................... 34 6.8.3 Cultural events ......................................................................................................................... 34 6.9 Pacinotti School- murals 35 6.10 Timothy’s association 35 6.11 Cooperativa Nazareno 36

7.

From good practices to best practice .................................................................................................. 36 7.1 7.2 7.3 7.4

8.

Brainstorming for the analysis of all the good practices Organization of the common elements in four quadrants Sharing the results with all project partners and integrations Final brainstorming: the triangle model

36 37 37 37

Findings .............................................................................................................................................. 38 8.1 Guidance 38 8.1.1 Formal education, non-formal education and informal education ........................................... 38 8.1.2 Artistic practices ....................................................................................................................... 39 8.1.3 Competence profile of the trainer/teacher/coach..................................................................... 41 8.2 Organization 41 8.3 Location 42

9.

Evaluation of the process ................................................................................................................... 43 9.1 9.2 9.3 9.4

Initial expectations Communication and cooperation Dissemination of the project results Findings

43 45 49 50

10.

Conclusions ........................................................................................................................................ 51

11.

References .......................................................................................................................................... 53

Final report – project MOVE 2017-2019 list of figures FIG. 1 ......................................................................................................................................................................................... 3 FIG. 2 ......................................................................................................................................................................................... 4 FIG. 3 ......................................................................................................................................................................................... 7 FIG. 4 COURTYARD PIAZZA DEI MESTIERI ....................................................................................................................................... 9 FIG. 5 DRUMBAND THE ROLLING POTS ........................................................................................................................................... 9 FIG. 6 ATELIER AT COOPERATIVE NAZARONE ................................................................................................................................ 10 FIG. 7 COOPERATIVE NAZARONE ................................................................................................................................................. 10 FIG. 8 JOSÉ SARAMAGO SCHOOL ................................................................................................................................................. 10 FIG. 9 W ORK AREAS AT W EENER XL, W ORK & INCOME ................................................................................................................. 11 FIG. 10 W EENER XL W ORK & INCOME ......................................................................................................................................... 11 FIG. 11 GREEK AGORA ............................................................................................................................................................... 12 FIG. 12 AGORA MODEL ............................................................................................................................................................... 13 FIG. 13 WORKSHOP AT MAAT MUSEUM ( LISBON) .......................................................................................................................... 14 FIG. 14 ..................................................................................................................................................................................... 15 FIG. 15 ..................................................................................................................................................................................... 18 FIG. 16 PRESENTATION ABOUT SOCIAL COGNITION BY R. HUNNEMAN ............................................................................................. 19 FIG. 17 ..................................................................................................................................................................................... 20 FIG. 18 PRESENTATION ABOUT THE BIG PICTURE LEARNING BIJ W IEBE BROEKEMA .......................................................................... 21 FIG. 19 21ST CENTURY SKILLS ................................................................................................................................................... 23 FIG. 20 IDEE DUMP ..................................................................................................................................................................... 24 FIG. 21 FLOWER ASSOCIATION .................................................................................................................................................... 24 FIG. 22 COCD BOX ................................................................................................................................................................... 24 FIG. 23 W ORKSHOP AT CERAMIC ATELIER ARGILE (TILBURG) .......................................................................................................... 28 FIG. 24 T.O.M.'S YOUNGSTERS STARTING A BIKE RIDE ................................................................................................................... 29 FIG. 25 CERAMIC ATELIER AT COR UNUM ..................................................................................................................................... 29 FIG. 26 DUKEBOX, PRODUCTION HOUSE FOR URBAN& HIPHOP ....................................................................................................... 30 FIG. 27 MET SCHOOL, W AALWIJK ............................................................................................................................................... 30 FIG. 28 YOUNGSTERS PERFORMING AT CHAPITÔ ........................................................................................................................... 31 FIG. 29 EDUCATIONAL PROJECT AT MAAT MUSEUM ....................................................................................................................... 32 FIG. 30 EDUCATIONAL PROJECT AT GULBENKIAN MUSEUM .............................................................................................................. 32 FIG. 31 ARTISTIC INSTALLATION "DISQUIET OF AN UMBRELLA", POCEIRÃ ......................................................................................... 33 FIG. 32 ORDEM DE SANTIAGO, SETÚBAL ...................................................................................................................................... 33 FIG. 33 DRUM PERFORMANCE OF THE ROLLING POTS .................................................................................................................... 34 FIG. 34 PRESENTATION ABOUT THE POETRY CONTEST .................................................................................................................. 34 FIG. 35 CULTURAL EVENTS ......................................................................................................................................................... 34 FIG. 36 MURAL PAINTINGS AT PACINOTTI SCHOOL, TURIN ............................................................................................................... 35 FIG. 37 NESSUNO FUORIGIOCO, TURIN ........................................................................................................................................ 35 FIG. 38 NESSUNO FUORIGIOCO, TURIN ........................................................................................................................................ 35 FIG. 39 ART ATELIER AT COOPERATIVE NAZARONE, CARPI ............................................................................................................. 36 FIG. 40 BRAINSTORM SESSION .................................................................................................................................................... 37 FIG. 41 THE TRIANGLE ................................................................................................................................................................ 38 FIG. 42 ATELIER COR UNUM, 'S-HERTOGENBOSCH ....................................................................................................................... 39 FIG. 43 ..................................................................................................................................................................................... 46 FIG. 44 POSITIVE EXPERIENCES DURING THE COOPERATION IN PROJECT MOVE............................................................................... 46 FIG. 45 NEGATIVE EXPERIENCES DURING THE COOPERATION IN PROJECT MOVE ............................................................................. 47 FIG. 46 THE PROJECT IMPACT ON PARTNERSHIP ............................................................................................................................ 48 FIG. 47 THE FOLLOW -UP ............................................................................................................................................................. 52

Final report - project MOVE 2017-2018

list of tables

TABLE 1 YOUTH UNEMPLOYMENT IN EUROPE, HISTORICAL SERIES (2000 – 2016). PERCENTAGE VALUES (SOURCE: EUROSTAT, 2017) .. 5 TABEL 2 THE QUADRANT ............................................................................................................................................................. 37 TABLE 3 RECALLING YOUR INITIAL EXPECTATION AT THE START OF THE PROJECT, LIST THE THREE MAIN EXPECTATIONS, CONNECTED TO THE EXCHANGE OF GOOD PRACTICES. 1.° ............................................................................................................................. 44 TABLE 4 INDICATION TO WHAT EXTENT THE PROJECT GROUP MEMBERS AGREED OR DISAGREED WITH THE FOLLOWING STATEMENTS, REGARDING THE INTERNAL COMMUNICATION AND COOPERATION AMONG THE PARTNERS. % VALUES ........................................... 45 TABLE 5 INDICATION OF THE SKILLS LEVEL OF THE PROJECT LEADER DURING THE PROJECT. % VALUES ............................................... 47

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Final report - project MOVE 2017-2018 Partners and their representatives in ESF project MOVE Escola José Saramago- Poceirão ( Portugal) • • • •

Faisal Aboobakar: teacher physical education Ana Nogueira: artist, visual art teacher/ training teacher Sandra Santos: psychologist Marco Antunes: Professor/Formador/Administrador de Redes na AEJS

Piazza dei Mestieri –Turin ( Italy) • • • •

Mauro Battuello: Project manager Valentina Lamonica: CNR- IRCrES Marco Santalessa: teacher Cristina Bernardi: Educator

Nazareno Cooperative Sociali – Carpi ( Italy) •

Carlotta Sabbatini ( Carpi): Assistant to President//EU project manager

Tirantes - ‘s-Hertogenbosch ( the Netherlands) •

Theo van de Veerdonk: project management/ counselor/coach

Weener XL- ‘s-Hertogenbosch ( the Netherlands) • • •

Bram van der Veer: program manager Carl De Meester: program manager Astrid Hooghuis: coordinator

Mooi Werk Media ‘s-Hertogenbosch ( the Netherlands) •

Anne-Marie van Oosteren: filmmaker

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Final report - project MOVE 2017-2018 1.

Introduction

1.1

Why this project?

The reason to start project MOVE is that since 2016 municipalities in the Netherlands, such as Weener XL, Work and Income ‘s-Hertogenbosch, are increasingly confronted with vulnerable young adults due to changing legislation. The goals (primarily) of Weener XL are to prevent inflow into welfare benefits of young people and to realise outflow to work or school as much as possible. In addition, due to changing legislation, municipalities have taken over tasks and services for vulnerable young adults from Secondary Special Education and Practical Education. This group consists also of young people who are not entitled to any benefit, for example due to the fact that they are not yet 18 years old.

Behavioural problems often play a major role in the life of this vulnerable young people who stranded in previous school or work situations. Many of these young people do not have any future prospects, due to negative experiences. They often develop a negative attitude to a traditional school or employment setting.

Unfortunately we also have to note that the current services of Weener XL do not always support adequately these vulnerable young people. Therefore, we looked for alternative forms of service that we could deploy. Services to create positive self-awareness in Fig. 1 an alternative and creative way. Engaging young people and giving them the opportunity to share their own thoughts and feelings in a safe environment, helping them to tackle their problems.

Our regular reintegration instruments for young people include (among other tools) training in work and social skills, offering work experience places, giving job training, providing life coaching, job coaching, job hunting and sharing employment vacancies. In addition, there are also alternative instruments such as sheltered employment and daytime activities for the vulnerable young adults.

Experience tells us that sheltered work experience and daytime activities are often demotivating for these young people because the activities do not provide any challenge or stimulation for them. In other words, it does not enhance their own sense of self-worth and independence and does not provide them with a useful way of spending their days. This makes it hard to motivate and prepare them properly for the labour market. A possible consequence is that we might create a "lost generation" that can no longer participate in our society.

On regional level In the labour market region of Noord-Oost Brabant, the agrifood sector is the main engine of the regional economy with around 7,000 companies that create food and food systems for current and future generations. These firms represent more than 52,000 jobs. Governments, knowledge institutions and industry work in our region joined forces in a foundation called AgriFood Capital.

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Final report - project MOVE 2017-2018 Related sectors such as logistics, health, manufacturing and construction are also part of Agrifood Capital. It seeks equal opportunities for all young people. Their ambition is to ensure that young people, after leaving secondary school, move on to higher education, to the labour market, to an appropriate day care or to a reintegration program.

On a national level Jet Bussemaker, the Dutch Government Minister for Education, announced In her letter (2016) to the parliament of Culture and Science, that although the focus is on preventing failure, particular attention to young people who have previously dropped out (so-called 'old-dropouts) remains of great importance. Therefore, she asked municipalities to keep this group into sharp focus in the coming years. She also called for creation of a consistent regional safety net in which education and communities work closely together.

In the context of transnational cooperation, the goal of this project was to search and acquire alternative forms and methods, which we could apply as additional reintegration instruments for vulnerable young unemployed people in the City of ‘s-Hertogenbosch. These instruments include tools that provide structure and security with more guidance and more in line with the experiences of young people, focused on intrinsic motivation and the 21-century skills.

1.2

Why transnational?

In 2016, the city of Den Bosch was participating with Portugal and Italy (among other countries) in an international Erasmus project "2young2fail". A project focused on the prevention of early school leavers and dropouts. Some best practices from this project were very applicable for our project.

Youth Unemployment is a transnational problem. Whatever cultural and economic differences exist between the three countries participating in the project, issues such as Fig. 2 social exclusion and youth unemployment are similar. We could learn a lot from one another through the best experiences of knowledge transfer. All this in the context of the less fortunate position of vulnerable youth with different kind of problems and issues.

Moreover, the EU is working on creating equal opportunities for all young people (European Union Youth Report, 2015). They aim to do this by creating jobs and battling unemployment. Beside this, the EU focusses on battling extremism and radicalization by stimulating and promoting social coherence and youth participation in society. Central in all of this is to reach and involve young people of all backgrounds in many different activities. The EU Member States work together in handling these challenges by using a cross sectoral approach, for example between Education and Social Services departments. Due to current financial cutbacks from EU budgets a risk was formed for young disenfranchised (unemployed) people, because less money is available to reach out to this vulnerable group of people. Based on this risk, the EU has set three priorities for the coming years: 1. Social inclusion for all young people, especially vulnerable young people 4

Final report - project MOVE 2017-2018 2. Young people to become more involved in society, especially those young people that risk becoming marginalized 3. Easier access to the labour market for all young people that would otherwise run the risk of becoming long-term unemployed, and helping with the transition from school to work To attain these goals there has to be more collaboration between government officials, teachers and employers. Together they need to find innovative, workable solutions to decrease exclusion and marginalization.

Looking at Europe, we noticed that various European countries have higher youth unemployment rates than the Netherlands and Germany. This includes Italy and Portugal. Youth unemployment in Portugal in November 2016 reached 29% and in Italy 40%. The Netherlands had a relatively low unemployment rate (10%). But despite our low unemployment rate, permanent focusing on vulnerable young people is of the essence. Otherwise, the risk lurks of long-term unemployment and dependence on welfare benefits.

Table 1 Youth unemployment in Europe, historical series (2000 – 2016). Percentage values (Source: Eurostat, 2017)

Through project MOVE, we could share knowledge and best practices with foreign partners by using and exchanging our local and regional networks. The project was a development project in order to achieve practicable, alternative and socially innovative tools with the aim of supporting young people where regular programs fall short.

The aim in particular was to learn from each other's expertise and experiences not only from local or regional initiatives.

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Final report - project MOVE 2017-2018 To discover personal qualities, skills and interests, these kinds of pathways towards employment or school may provide a good alternative. The way in which we intend to realize this can be diverse. By means of daytime activities to put young adults in an active mode or as an alternative guidance in finding work or going back to school.

The benefit of international collaboration is that foreign partners use sometimes specific own methodologies, different from other countries, to help vulnerable young adults taking steps towards work or school.

1.3

Focus of the project

Social and cultural exclusion A reintegration trajectory for vulnerable young people can only be successful if there is special attention to health, both physical and mental. This project focuses on three aspects of social and cultural exclusion: 1. Inadequate social participation, such as insufficient participation in formal and informal social networks (including leisure activities), insufficient social support, social isolation, lack of social involvement and for immigrants lack of contact with natives.

2. Insufficient cultural/normative integration, such as insufficient compliance with core values and standards: low work ethic, low readiness to undertake training, abuse of social security, delinquent behaviour, different views on rights and duties of women/men.

3. Lack of access to fundamental social rights, such as education, housing, social services, debt counselling, job placement and social security.

From “Must”-ivation to “Mo”-tivation To achieve this transition, we have to consider three important pillars of motivation: 1. Sense of autonomy: Having the feeling that what you focus on, makes sense and fits you. To be convinced of its importance. To expect that the goal to be achieved is indeed the fulfilment / solution for your desire / problem (being meaningfulness).

2. Sense of relationship, social solidarity: Feeling that what you do is in accordance with (the view, the ideals, the mores of) those with whom you feel connected (involving social environment).

3. Sense of competence: The expectation that what you aim for is also going to succeed (setting realistic goals).

1.4

Target group

We focused on young adults of 16 to 27 who need extra care, time and guidance: 1. young people from secondary vocational education and special education. They have an increased risk to drop out 2. young people from the basic vocational program, which prepares pupils solely for basic vocational education in senior secondary vocational education;

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Final report - project MOVE 2017-2018 3. young people from secondary education. An appropriate minimum qualification is possible but not without extra support; 4. young people with special needs or a disability that prevent them from participating in the labour market; 5. specific groups, such as young people coming out of detention, youth care, young people within the street-culture and migrant groups; 6. young people with a reward value, considered less than 40% and for whom steps through regular reintegration or daytime activities are insufficient; 7. young people with a reward value, considered between 40% and 50% and for whom additional activities to regular reintegration are needed.

1.5

The goal of ESF SITS project "MOVE”.

The goal of ESF SITS project "MOVE” was to find applicable, alternative and socially innovative methodologies to complete the regular reintegration and educational programs. Programs with the aim to support especially vulnerable young unemployed adults (16 – 27).

To contribute to a better social inclusion of a target group that otherwise can be at risk to be left out of social and economic development.

We wanted to achieve this by searching both nationally and internationally for appropriate alternative methods through best practices. How can we diagnose young people in a personalized manner, explore their possibilities and Fig. 3 challenges, get their interests sharp, motivate them so that they can, based on their individual talent, look for a realistic perspective?

Whether it is regular work or social participation. In the Center of all this we focused also on the 21 century skills, which play a very important role in one’s personality and further development.

We also realized that 100% prevention of social exclusion is not realistic and attainable. We just focused on investigating methodologies as a challenging framework to empower social inclusion of these vulnerable young people. It is all about to get young people “moving”. No matter how small the steps are. A process of reinforcement in which young people get a grip on their local situation and their environment by acquiring self-control, critical awareness and by encouraging them to participate actively.

The reinforcement process is the main objective and for this purpose, active participation is a powerful tool. On an individual level, this means there is "power from within" which implies: discovering and developing one’s own qualities, increasing self-awareness and building self-confidence. Believing in their potential, even if this is not immediately visible, or if they no longer believe in it themselves. It is about the way to deal with problems and failures, as well as how to cope with negative imaging, stigma and premeditation.

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Final report - project MOVE 2017-2018 1.6

Execution of the project

At the start, the design of the project was to explore motivational techniques through culture (art, urban dance, music, etc.) and (urban) sports by visiting best practices in Italy, Portugal and the Netherlands. All of this related to the 21-century skills, which are a continuous thread through the whole project. The intention was to cooperate with both Education and Reintegration institutions/organizations in the Netherlands as well as abroad, who work with young people.

For the simple reason that there is an overlap in the target group that we focused on in this project.

The use of finding alternative and innovative methodologies might contribute to a decrease in school dropout, more employment, social participation and lead to active inclusion of young, disenfranchised people, aged 16 to 27 years.

Initially, each participating country should provide five best practices / methodologies for work visits and evaluation by the 3 partners (in the project). At last, we wanted to provide two in-depth analyses from the 15 best practices. We discussed the in-depth analysis in order to arrive at the most suitable framework to evaluate the different best practices.

Enhanced insights between the starting meeting and the preparation of the first working visit in the Netherlands, taught us that it was important to define the frame of reference of the project. A necessity in order to evaluate the best practices in an effective way.

Therefore, we patterned a frame of reference, based on three basic principles and on which we wanted to evaluate the best practices.

1. The Agora model with its four spheres (private, public, business and political) and four training programs (sports, art, religion and philosophy). Young people often experience and live within 1 sphere (the private sphere) In this project we focused on Art and Sports, supplemented by philosophy (= education) to give the young adults also insight into the other spheres they have to deal with to a greater or lesser extent in life. (https://www.kb.nl/het-agoramodel-en-bildung-0) 2. Communication: how do we communicate with young people so that they understand us?

Considering that the brain is developing until a person reaches 25 year, we cannot simply assume that we can ask or demand everything from them, for the simple reason that they are not able to meet our expectations. (https://www.ronaldhunneman.com/pijnlijke-contacten) 3. The Big Picture learning (One kid at the time) The starting point is to pay attention to every young person, to look for what motivates him / her, to try to cash in on this and to look together with the young person to see what his or her possibilities are. In short, personal attention and approach. (https://www.bigpicture.org/) During the project, we organized a mix of different activities: • Orientation visits, before the start of the project, to Italy and Portugal by the project leader to discuss with the partners the design and purpose of the project and to align their expectations, readiness, involvement and contribution; • Creating a framework form with the project group to analyse the best practices.

• Several meetings with the project members to reflect, discuss and analyse the findings during the project and to adjust and tune original agreements and objectives: most important changes were less good practices, prolongation of the project and redefining the intended goal of the project; • Skype meetings with each other;

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Final report - project MOVE 2017-2018 • • • •

Working visits at different organizations in the three countries to see and to be informed about their best practices; Several lectures by professionals concerning Agora, Social Cognition, Big Picture Method, etc; Several workshops, among them 2 Innovation sessions, workshop at Maat museum and Gulbenkian museum, workshop Urban Dancing and workshops at TOM’s place; Two brainstorm meetings with four representatives of the three participating countries to prepare and write the end report, based on the findings and the evaluations during the project.

2.

Description of the partners in the project

2.1. Piazza Dei Mestieri (Turin- Italy) Piazza dei Mestieri, a foundation born in 2004 in Torino, pursues education purposes and incentive development of local entrepreneurship. They achieve this through innovating and improving educational services and paying particular attention to social inclusion policies and the prevention of various forms of youth problems and early school leavers. The primary purpose of this innovative model of social enterprise education is to help young people in risk of social exclusion between 14 and 18 years old, to an active Fig. 4 Courtyard Piazza Dei Mestieri and positive sense of self across through educational courses, focused on the esteem of professional craftwork.

Piazza dei Mestieri, situated in the city Center, is a building of 7.000 meters square with a big central courtyard, like a medieval ancient square. Here professionals make available their knowledge and their skills, from the idea that their profession is not something to be jealous off but something to share and communicate for the purpose of their and other people’s fulfilment. One of their key principles is the awareness of the impossibility to keep professional training and the labour market separated: from the start, Piazza dei Mestieri created real business units, open to the neighbourhood.

Their intention is to include students in a direct and real working situation (a restaurant, a pub, a typography, a chocolate lab), to spread the importance of the dual vocational system, focusing on continuity and sustainability.

Nowadays, Piazza dei Mestieri receives every day more than 550 students. They are recognised as a local and Fig. 5 Drumband the Rolling Pots

national qualifying institution.

Website: http://www.piazzadeimestieri.it/en/

2.2.

Cooperative Nazareno (Carpi- Italy)

Nazareno is a social cooperative that deals with the professional insertion of people with disabilities into the labour market. They work in different sectors: Nazarene Work, Artigiano Bank of Arts and 9

Final report - project MOVE 2017-2018 Crafts, Il Villino and Casa Mantovani. Since 2009 they are part of SCF, a National Association of training institutions and organizations. SCF promotes projects and research activities in collaboration with its associates and in partnership with national and international organizations. SCF's operational objectives are to facilitate the sharing and exchange of experiences among its associates and at the European level, qualify trainers and operators of its network, experiment and promote pilot actions within identified areas of interest, offer services responding to the specific needs of the different target/users groups referring to its associates. Nazareno cooperative sociali Fig. 6 Atelier at Cooperative Nazarone has five residences, two daytime social residence centers, two daytime social employment center, five Job placement’s centers, two childcare institutions, four-apartment group, a Bed and breakfast and a restaurant.

This institution has also a Professional training center offering training courses for youngsters and adults. The cooperative develops activities in the cultural sphere, such as the Art’s Atelier (International exhibitions); Scià Orchestra and Banco Artigiano delle Arti e dei Mestieri (shops in Bologna, Carpi and Pavullo). Website: http://nazareno-coopsociale.it/

2.3.

Fig. 7 Cooperative Nazarone

José Saramago ( Poceirão – Portugal) José Saramago is a public school for compulsory education, situated in Poceirão, municipality of Palmela Setúbal district, 50 km from Lisbon. The school is covered by the priority intervention for educational territories program (TEIP), because of its geographical

isolated location and undeveloped community. It consists of five schools with 727 students, 82 teachers, 27 technical and 1 operational employee.

It has also kindergarten and primary school. TEIP stands for a public program from the ministry of Education to address specific social problems in urban and rural areas. Through these programs financial and human resources can be allocated for improvement plans. Central goal of the program is to: - Combat indiscipline (create conditions for a qualified educational guidance and transition from school to working life); - Prevent drop out and absenteeism (promote articulation between school, social partners and training institutions present in the educational area).

Fig. 8 José Saramago school

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Final report - project MOVE 2017-2018 The school is set in a rural and low socio-cultural environment, mainly linked to the primary sector, (agriculture and viticulture). A community set in isolation. That affects decisively the participation of the population in various cultural and artistic events. A multidisciplinary team that consists among others of a psychologist and teachers has been developing different activities to involve students and their families. One of their activities is the collaboration with several museums providing streamlined workshops in the museums with the aim of producing positive consequences in the lives of students and in the school community.

Website: http://www.aejs.pt/home/

2.4.

Weener XL, Work & Income ( ‘s-Hertogenbosch-Netherlands)

WeenerXL is a Work Development Organization of the municipality of ‘sHertogenbosch and is a merger between the social workplace and the public social service that provides financial support (welfare payments) and helps people (ages 18 to 65 years) in finding work, solving their financial, social and personal issues and motivating them through social activation and social participation. WeenerXL also has in-house employment opportunities for disadvantaged and handicapped people. Its mission is Work or Participate to the best of Fig. 9 Work areas at Weener XL, Work & Income someone’s capacity. There are about 2000 persons within the organization, among them S(ocial) W(orkshop) colleagues, persons working with wage subsidy in work-experience places and in Sheltered Employment. In addition, 550 persons participate as volunteer, informal care or as a way of daily activity. Further, we have 4000 persons depending on Social Welfare. For young unemployed people (aged 16 to 27 years) we have formed a team of dedicated, specialized work consultants/coaches. They help these unemployed youth clients finding work, getting back to school or coordinating other issues (health, family, financial and/or personal circumstances).

Weener XL provide next to internal services, trainings and trajectories also external and individual customized pathways for youngsters. They also work very close with special and vocational education to guide these youngsters to the labour market after finishing school. For these more vulnerable youngsters Weener XL uses not only job coaching and life coaching but also gives the entrepreneurs financial compensation in the form of wage subsidy. That is when the value of the wages for the employee’s own and adapted work is less than 100%. And in addition, a no-risk polis, that is to say a compensation, in case there is an absence or sickness of the employee. Website: Fig. 10 Weener XL Work & Income

https://www.weenerxl.nl

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Final report - project MOVE 2017-2018 3.

Theoretical framework

3.1

The Agora model

Where is humankind?

The Agora model is a Bildungsmodel, used to “prepare youngsters for a world that is not yet there“1.

The Dutch philosopher Rene Gude in collaboration with the Dutch sociologist Gerard van Stralen, the German philosopher Peter Sloterdijk and the Dutch philosopher Erno Eskens developed it. It takes a practical stand on the fundamental question “were is humankind”? Which was also the main question of Peter Sloterdijk’s Magnum Opus ‘Spheres’ wherein he studied the way people live and interact with each other concluding that people are sphere builders, from a micro scale to a macro scale. Gude built further on this main work of Sloterdijk, developed it into a practical model looking at the buildings in our world, and learned that there are only eight of them. The same buildings come back in any place at any time and gives us a perfect starting point to develop our youngsters into all-round, engaged citizens.

Understanding the Agora model: a thought experiment Imagine you are in old Greece and you are standing in the middle of the old marketplace, the agora. It can also be the central square in Turin, Lisbon, or Den Bosch or any other city. It is busy in the square. Around you, there are walking businessmen, clergy, tradesmen, people who are shopping, and also you see a whole lot of different kinds of buildings. You don’t know anybody and have no idea where to go. You feel like a little child in the big city. How can you find your way quickly in this new city? How do you prevent yourself from doing stupid things and how do you build enough character and personality to manage yourself on this square?

Fig. 11 Greek Agora

The art is to reduce the amount of buildings around you.

Then maybe the world around you looks less complex. Try to reduce the buildings around you to their primary function. Then you will see there are only four kinds of buildings where you can live in: these are private houses (where you live in with your family or the private sphere), companies and shops (commercial buildings or commercial sphere), public buildings (libraries and hospitals for example or public sphere) and political buildings (town hall, parliament or political sphere). Within these four spheres, you can play four different kind of roles. You can be the family man, the entrepreneur/employee, an engaged citizen or a political role.

1

G. Stralen, R. Gude: En denken: Bildung voor leraren, (2012 Leusden).

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Final report - project MOVE 2017-2018 Surrounding the agora there are four more types of buildings in which we usually spend less time and where we train ourselves to be successful in the four spheres mentioned above: in schools we train ourselves to take on a critical view by using science and philosophy, within religious buildings we search for the meaning of life and universal values, within the theatres and museums we train our imagination and empathy and in the sport arena’s we train our perseverance, competition and sportsmanship. All this takes place within the ecosphere, which is nature.2 Why we chose the agora model?

The agora model gives us a starting point from which we can look at the roles we (can) play in life and the places where we train ourselves to adapt and become successful within those roles. As mentioned above there are four training spheres; the religious sphere, the philosophical (school) sphere, the arts sphere and the sports sphere.

Playing different roles

Fig. 12 Agora model

In our lives we take on different roles and most of the times, we play parts in different spheres within the Agora model. For example, we are a family man, a loyal worker within our company, we play sports or volunteer in the local community home. However, not for all people it is as self-explanatory as it is for some. Most of us have strong bindings with one or two spheres and we stick to them and this can be problematic. We are so caught up in our work that we try to manage everything according to the project management tools we use in our job and we transfer them to our family lives. The two spheres, private sphere and work sphere are too different. There are different rules, norms and values that reside within them.

Inventio When you engage in different spheres, you are doing what the Romans called Inventio. This derives from the word envenire, which literally means ‘to enter’. You enter a sphere and therefore discover how it works in this particular place. As you enter, you become aware that you will need to adjust a little bit to fit in, but not as much as you would expect to. This way you will lose your rough edges, you become erudite and civilized. You build character because you practice how to engage in this different sphere and learn how to play a different role. If you stay in one place, one sphere, and see the world, only through this perspective, there is the risk you become alienated from the world and will become narrow-minded. This can take on the shape of reductionism. It can make you persistent but

2

R. Gude, Het Agoramodel: de wereld is eenvoudiger dan je denkt, (Leusden 2014).

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Final report - project MOVE 2017-2018 also immobile. You become stuck; you have lost your flexibility. You cannot get out anymore and discover the world.3 Target group and the Agora model For our target group this is especially the case. Though for somewhat different reasons. A lot of the time, these experiences within the training spheres are negative. They could not keep up at school, they were not interested in sports, their parents did not have much interest in arts, politics or books etc. They did not get the chance to develop themselves within different spheres.

They did not get to develop a broad character or personality. Often they are stuck in the private sphere of their homes and families and only have the values and morals (life skills) that their parents taught them. They are not prepared properly for the outside world. They are not flexible enough to play the different roles society expects from them.

Fig. 13 workshop at Maat Museum ( Lisbon) Consequently this withholds them from successfully get or hold a job and become (economically) independent. Because of their negative experiences within the classic sphere of school, we should not try to engage and motivate the youngsters using the same principles that did not work for them the first time. To reintegrate youngsters we have to look at other training programmes (training spheres) to push their boundaries and bringing them out of their comfort zone, taking into account their interests. Places they are not familiar with or where there is a chance to discover new talents and ambitions and thus experience successes. With these successes we can teach them new skills, give them new insights and prepare them to reintegrate successfully into society and the labour market Sports and Arts For this project, we chose to focus on the two training spheres that are often overlooked or are given less attention to: sports and arts. Although often these spheres are looked at as being places you go to in your free time, meant for fun and relaxation, they are brilliant ‘schools’ for competences we have to develop to successfully engage within society. More and over arts and sports focus on entirely different competences. In the classical school sphere, we train our brains and learning skills by using traditional schooling methods.

Arts and sports are more flexible and have a lot of different training methods and practices. They rely on different skills. In addition, success, winning, doing the right thing, are being taught and measured by different standards. Somebody who is terrible at learning maths or reading can be a brilliant artist or a talented athlete. This project therefore looks at these Agora-spheres for inspiration and wants to copy the training programmes used in sports and arts to try to motivate and engage youngsters from a different perspective.

3

R. Gude, E. Eskens, Het Agoramodel: Over Ausbildung, bildung, sferen en agorafobie, (Leusden 2012).

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Final report - project MOVE 2017-2018 3.2 Education in Art and Sport as a contribution to the analysis of Move best practices Art and Sport, as we could see in the earlier topic, are the chosen spheres wherein the best practices of the Project Move belong. Therefore, we want to explicit why we had selected those spheres as the main domains in order to face the disadvantages of young people. Concerning the philosophical Agora Model, Art and Sport are spheres from the training domain (training spheres), bounded by creativity in case of Art and by rules in case of Sport. Artistic and sporting practices are part of human activities as an expression of individuality and social communication (J. Habermas, 1929)4 3.2.1

Art-education domain

As we had explained before, creativity is the main capacity developed in the field of Art. "Creativity is a key factor guiding civilizations and a basic need of Organizations" (Colaço dos Santos, 2014 p. 1 trad.).5 It is a powerful contribution for the human development and the community in the sense that being creative means having the ability to innovative and to find alternative solutions for a problem by using a divergent way to produce (divergent versus convergent).

In order to deal with current challenges such as globalization, drop out, school failure, unemployment, social isolation or juvenile crime, the development of creativity in young people provides intellectual tools to find successful, sometimes unexpected outcomes.

Very near to creativity is also problem-solving capacity (as one of the XXI skills), using convergent production.6 Creativity requires the use of higher levels of complex cognition such as project planning, applying Fig. 14

4

mathematical models, analyzing and synthesizing multiple information, finding transversality between subjects and so on.7

Jurgen Habermas theory (1929-).

Free translation from Colaço dos Santos; 2014: p.1 6 Guilford, 1975 7 According to Webb (2005) it is possible to categorize the actions that result from cognitive thinking at levels of complexity, from the first level that mobilizes simple actions to the fourth level that requires the mobilization of an articulated set of cognitive actions. For example, we can find level one actions of complexity such as recognition, description of something, ordering, repeating ... level two actions of cognitive complexity may be the demonstration of something, comparison or simple association, etc. Level three actions of cognitive complexity may be to critique, evaluate, conceive hypotheses, solve problems. Level four actions of cognitive complexity may be to analyze, elaborate syntheses, apply concepts, create. Creativity presents itself as a level four capability of cognitive complexity whose development is permanently realized within the scope of the Arts. But this does not mean that it is more difficult to develop, it means that for its development is essential the reflexive practice of the artistic exercise, that is, the holistic mobilization of knowledge (articulation of knowledge, knowing to be, knowing to be and to know how to do through the work of art).

15 5

Final report - project MOVE 2017-2018 The development of creativity is considered one of the central capacities for the mobilization of competences for the XXI century in which Arts plays an essential role. However, Art as a sphere of learning is also an activity that firstly awakens the senses physically, providing pleasure, energy, and motivation. These inputs are positive reinforcements that help people, particularly vulnerable young people, to find constructive perspectives in their social live.

The artistic manifestations are privileged products to stimulate the sense of beauty, encouraging the poetic way to see the world, mainly by the perception of harmony. The concept of beauty, in the classical sense of the term – from Greek Antiquity - offers a perception of static equilibrium, stability and centrality, a perception of symmetry.

Nevertheless, when we look at the idea of beauty in a social context, this can be seen as a “wellbeing bourgeois”. This means to overestimate the stereotype , poor and non-genuine “taste”7. This idea of the beauty can degenerate into an unscientific and non-aesthetic classification of society, for example, the perfection and the excellence in the “human race”. The Move team rejects these perspectives. We want to clarify that the perception of the beauty can be part of an aesthetic experience and when promoted by artistic productions, provides a conscious, critical and attentive pleasure. On the other hand, the modern art (mostly against the classic idea of beauty) teach us to see the world in a functional, asymmetrical and dynamic way. These qualities are important to know how to be in society pro-actively. The notion making sense (referring to Erno Eskens8 and the Agora Model) connects with this idea of constructing the world through our critical interpretation of the message and our reflection when we are dealing with artistic objects.

It is not obvious that art-education is absolutely a privileged way of developing the most complex levels of creativity, of the aesthetic sense of the world, or of building knowledge. The use of artistic expression and the enjoyment of cultural work in the field of learning has undergone significant changes over time, as the aesthetic-artistic movements have been assumed in society. These artistic currents influenced different approaches in teaching learning, with respect to Art-Education, according to the theory of Arthur Efland (1995).

The four artistic currents in art education are differentiated by the stylistic principles that sustain them, the type of teaching learning and the profile of the educator.

Mimetic approach The oldest and most traditional approach is the "Mimetic current, dating back at least to the Middle Ages. This current in education values the imitation of Nature, based on the observation and copying of classic models. Artistic production is restricted and controlled, requiring above all respect for rules, technical virtuosity, and excellence of result. From the young learner's point of view, this approach strongly limits creativity and critical sense, but provides a robust, though limited, technical knowledge.

Expressionist approach The expressionist current that emerged in force in the Twentieth Century, brought to education in art, freedom of expression, and the assumption of individuality. The expression of feelings and

8

During a presentation about “The Agora model” at International School Voor Wijsbegeerte (ISVW), Netherlands 16

Final report - project MOVE 2017-2018 emotions became a determining factor for learning, contrary to the mimetic current. The starting point is no longer technical control, but an invitation to exteriorize one's own personality without being without being judged by value or manipulation. The process is more important than the results.

"In this way of conceiving Art (as expression), artistic expression practices corresponded to an Expressionist movement: non-directed, free expression exercises, which, in opposition to the previous model, sought to promote originality through the transfer of freedom. However, this freedom, coupled with the fear of influencing the individuality of each student, often ended up translating into "nonteaching."9 In other words, the role of the teacher is to let the student totally free.

Social Reconstructionist approach The social Reconstructionist current is the third approach in art education, according to Efland. Artistic production was at the service of society's needs, that is, Art had a social role of intervention and could contribute to improving people's quality of life. Everyone had the ability to create. The experience of creation was itself a learning process with others. Project work is the most explored methodology in the teaching-learning process. Teamwork is valued, giving importance to the consensual construction of an artistic team proposal. Creativity, critical sense and team spirit are strongly encouraged.

Formalist approach The formalist current valued the formal aspects of the visual composition, identified as being the Formal Period. Initially constructed by the Bauhaus School (1919-1933), which carried out the first studies on visual perception (Gestalt), later developed by Cognitive Psychology. The Formalist artistic education was an application of the knowledge about the functioning of the brain, fruit of investigations on the characteristics of the left and right hemispheres thought, produced by the neurobiologist and Nobel Prize, Roger Sperry. Alongside these discoveries, other studies on human learning by Jerome Bruner in the nineteen sixties reinforced the idea that learning is an interactive process, and students are not mere deposits of knowledge.10 Which one is best suited to the intentions of the MOVE project? What good practices can we select, in the field of Arts, according to the objectives we intended to achieve, in order to develop the necessary 21st century competences (will be explained later) The different approaches do not in themselves provide sufficient support for best practices, together they are complementary. We can say that none is substitutable, but the combination of the social Reconstructionist and Formalist (Visual culture) approaches is a fundamental base in the good practices. On the other hand, we should adapt the best strategy to face a problem or specific need of the young person and can mean the acquisition of techniques of artistic representation (Mimetic) or the urgency to exteriorize emotions (Expressionist). "(...) the plurality of postmodern art suggests an eclectic Art Education curriculum, which does not dispense with modernist or pre-modernist practices and theories, in which different aesthetics take place, rather than contributing to the understanding of art, as they help to clarify the meanings and values to which different artistic genres have corresponded throughout history.11 9

Lima de Sousa, Ana, O Perfil do Professor de Artes Visuais em Portugal (1860- actualidade): ilações para o futuro, 2010, p.5 10 Monteiro Nogueira, Ana Isabel, Representações gráficas da dinâmica do corpo: Desenho, Master degree dissertation, 2013, p.12-13 11 Lima de Sousa, Ana Tudela, O Perfil do Professor de Artes Visuais em Portugal (1860- actualidade): ilações para o futuro , 2010, p.9 17

Final report - project MOVE 2017-2018 3.2.2

Sport-education domain

The sphere of sport, as in Arts, is an area of learning that is concerned with establishing group rules as the main starting point for social integration. While respecting the rules of the game it is possible for the individual to cooperate in a team to achieve common goals. In the educational perspective of sport, we can identify four approaches: Psychomotor approach Boulch, a French teacher had an important contribution in Gymnastic Education during the 1970s and nineteen eighties. His main activity was teaching about psychomotricity. Boulch’s studies helped to build knowledge of human movement; considering his importance in people’s development and a critic to a mechanical point of view of the body and movement, integrating the psychological perspective. The human body is an entity that exists for itself in the world and contact with the world starts from human movement. “The central objective of education by the movement is to contribute to the psychomotor development of the child, who depends Fig. 15 on the evolution of his personality and school success.” 12 Constructivist-interactionist approach Another approach is the constructivist-interactionist, which seeks the integral formation of the youngster, including the affective and cognitive dimensions of the human movement. This approach has influences from psychology, mostly from the works of Jean Piaget, Le Boulch, and Vygotsky. In this theory, the main important aspects are the respect for singular characteristics, experiences and culture of youngsters, under a constructivist proposal. In addition to proposing alternative and directive methods, it allows the person to build knowledge through interaction with the environment, giving them opportunities for solving problems and create their own model of movement.

Developmental Approach Developmental theory is based on associative approaches to developmental and learning psychology, proposing a taxonomy (categorization) for motor development, which is a hierarchical classification of human movements. In this approach is defended the idea that the movement is the meaning, the start and end of sport, and not a function to develop of capacities, although this may occur as a consequence of motor practice.

Systemic approach In the systemic approach, physical education is understood as an open but hierarchical system, as it undergoes influences from society at the same time as it influences society. It tries to guarantee 12

LE BOULCH, Educação psicomotora, a psicocinética na idade escolar, 2a ed. Porto Alegre: Artemed, 1988., p.15 18

Final report - project MOVE 2017-2018 specificity - considering the binomial body and movement as the main goal of the training, through the delimitation of the purpose of physical education in the school that according to Betti (1992), quoted

by Darido is "to integrate and introduce the youngster (…) in the world of physical culture, forming the citizen who will enjoy, share, produce, reproduce and transform the cultural forms of physical activity (game, sport, dance, gymnastics ...)" 13 This approach is influenced by studies in the sociology, philosophy, and rather, psychology field.

There are two fundamental principles arising from this approach, the principle of non-exclusion, where the proposed activities cannot exclude anyone. It is an attempt to reverse "the historical picture of the selection area between individuals fit and unfit for bodily practices, resulting from the exacerbated appreciation of performance and efficiency" 14 Diversity aims to validate the different learning possibilities, establishing them with consideration of the different dimensions: affective, cognitive, motor and sociocultural of the youngsters.

To consider psychomotor, constructivist-interactionist, develop-mentalist and systemic criticism approaches as all necessary, excluding none, allows answering the different problems of the youth, concerning the relation between the physical activity and the development of soft skills. This integrative perspective being an interactive way to develop social competences, such as: team building, discipline, leadership, commitment or coping with stress. Therefore, it can contribute to the empowerment of youngsters and lead towards inclusive education.

3.3.

Social cognition and order of intentionality15

“Painful Contact: What happens if we don’t understand others (but think we do)?”

Social cognitive insight The mental jump in which we move in the mind of another is difficult, very difficult. However, that is not how it feels for most of us. We constantly watch with effortless ease the minds of the people around us. We have a reasonable picture of the feelings and thoughts of our partners, our children, family, friends and colleagues. Moreover, when we come across someone who lives a very different life, we manage in most cases to put ourselves in her or his position.

It is about understanding yourself and the world around you. How do you think, what do you understand about yourself and others? Can you Fig. 16 Presentation about Social Cognition by R. Hunneman empathize and anticipate what happens? How agile 13

Rodrigues de Sousa, Ana Patrícia da Silva Fabiana, Ferreira dos Santos, Júlio Maia, Abordagens pedagógicas da educação física escolar (Master degree dissertation), p.63 http://repositorio.ufrn.br/handle/123456789/20519 14 Rodrigues de Sousa, Ana Patrícia da Silva Fabiana, Ferreira dos Santos, Júlio Maia, Abordagens pedagógicas da educação física escolar (Master degree dissertation), p.19 http://repositorio.ufrn.br/handle/123456789/20519 15 Pijnlijke contacten – Ronald Hunneman, Liaturches, 2016 19

Final report - project MOVE 2017-2018 you are in this or not (socially inconvenient), how you influence your selection (information that you pick out) and interpretation and how you use that information to make decisions. This happens separated from your IQ. Still it is not always easy to empathize with others. Sarcasm for instance is tricky, just like words that have multiple meanings. For some people it is even more difficult, hardly even possible. They do not have that fully automatic view of the mind of the other, or at least to a lesser extent. As a result, they do not see thoughts, feelings and motives that are clear to some of us. You could speak of social poor vision. In addition, some are socially blind, and others need reading glasses.

Order of intentionality The way you are able to think about yourself and about others (and their thoughts) is not the same for everyone. You can subdivide this difference in order of intentionality.

Order 1: This is about the focus on an object, goal or event. Something you perceive. So think: alarm > run. Babies and also animals are in order 1.

Order 2: As you grow up you can understand that someone expects / wants something from you (parents / teacher). Therefore, you can grant intentionality to others. There is an awareness that the other is also focusing on something. You can empathize with the other and think about thoughts. Children in primary school are in this order, just like chimpanzees.

Order 3: Being able to see yourself through the eyes of someone else and realizing that they also have a thought and / or focus on something. "I know that you know that I ...”. Thinking about the thoughts of others thinking about others.

Order 4: We call these complex social thoughts. I see/ I want/ I see that you see/ I see that you want/ I want that you want/ I want you to see that I see you/ I want you to want that I want you/ I see that you want that I want you to want. This goes up to probably order seven.

The transition from order 2 to order 3 takes place when you are in high school. This depends on your (social) environment and aptitude.

Not everyone makes this step. We speak of a lower order at 1 and 2 and a higher order at 3. But never judge people by their level of communication. The point is that our society is geared towards a high order. This is already the case from primary school. Consider, for example, working in groups, which is normal these days: what do they want from you or say to you, but is that what they actually mean?

Fig. 17

Terms such as: where do you expect to be in 5 years? What do you hope for? What are you longing for? Do you see that...? Do you realize that...? Cannot be filled in for people of a low order. People of a high order can think of what the person, asking that question, hopes for and for what purpose the best answer can be given. It can be therefore misleading and manipulating. Lying for the better.

People of a low order can lie. Only their lies are so obvious that they become unbelievable. They react rather in a fighting or fleeing way, if they do not like it and do not know how to deal with it. Those people can even become aggressive. Their ignorance is often perceived as unwillingness by the outside world.

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Final report - project MOVE 2017-2018 You can communicate in a positive way, if you can imagine the thoughts of another and how they might react. Instead, if you don’t have that gift, things will turn out less well for you. The lesson from this is that you don’t always have to assume that people are not willing or just fooling around. Maybe they just can’t. So ask closed questions and not those difficult open variants as mentioned earlier.

Moreover, realize that there is a difference between unwillingness and ignorance. First listen carefully, repeat what you hear and then judge.

3.4

Big Picture Learning Big Picture Learning was established in 1995 with the sole mission of putting students directly at the center of their own learning. BPL co-founders Dennis Littky and Elliot Washor merged their 30 years of experience as teachers and principals and their distinct national reputations to launch this innovation in education. With an intention to demonstrate that schooling and education can and should be radically changed. Big Picture Learning was born!

In the schools that Big Picture Learning envisioned, students are at the center of their own education. They spend considerable time in the community under the tutelage of mentors and are not evaluated solely based on standardized tests. Instead, students are assessed on exhibitions and demonstrations of achievement, on motivation, and on the habits of mind, hand, and heart, reflecting the real world evaluations and assessments that all of us face in our everyday lives.

Today, there over 65 Big Picture network schools in the United States and many more around the world, with schools in Australia, the Netherlands, Italy and Canada, utilizing the Big Picture Learning design. Each individual school embodies the fundamental philosophy of Big Picture Learning. That is putting students at the center of their Fig. 18 Presentation about the own learning. Each student at a Big Picture Learning school is part of Big Picture Learning bij Wiebe a small learning community of 15 students called an advisory.

Broekema Each advisory is supported and led by an advisor, a teacher that works closely with the group of students and forms personalized relationships with each student advisee.

Putting the student in the center of learning truly engages and challenges the student and makes learning authentic and relevant. Each student has an internship where he or she works closely with a mentor, learning in a real world setting. Parents and families are actively involved in the learning process, helping to shape the student’s learning plan and are enrolled as resources to the school community.

The result is a student-centered learning design (“One kid at the time”), where students are actively involved in their own learning and are challenged to pursue their interests by a supportive community of educators, professionals and family members.

Ten Distinguishers Big Picture Learning schools exist throughout several countries, both in rural environments and urban environments. They work with large and small populations of students. Each school in its own unique 21

Final report - project MOVE 2017-2018 environment where students can flourish as individuals within a community of educators. The learning design is uncommon and distinct and distinguish them from most other schools.

ONE STUDENT AT A TIME - The entire learning experience is personalized to each student’s interests, talents and needs. Personalization expands beyond mere academic work and involves looking at each student holistically.

ADVISORY STRUCTURE - Advisory is the core organizational and relational structure of a Big Picture Learning school, its heart and soul, often described as a “second family” by students.

Students stay with an advisor and a group of fellow classmates for four years, building close personal relationships that last a lifetime.

LEARNING THROUGH INTERESTS AND INTERNSHIPS (LTIs) - Real world learning is best accomplished in the real world. With experts in their field of interest, Big Picture students (twice a week for an entire school day) complete authentic projects and gain experience and exposure to how their interests intersect with the real world.

PARENT AND FAMILY ENGAGEMENT - Parents are welcome and valued members of the school community and play a proactive role in their children’s learning, collaborating in the planning and assessment of student work. They use their assets to support the work of the school, and often play an integral role in building relationships with potential LTI mentors.

SCHOOL CULTURE - In Big Picture schools, there is palpable trust, respect and equality between and among students and adults. Students take leadership roles in the school, and teamwork defines the adult culture. Student voice is valued in the school decision-making process and visitors are struck by the ease with which students interact with adults.

AUTHENTIC ASSESSMENT - Students are assessed not by tests, but by public displays of learning that track growth and progress in the student’s area of interest. Assessment criteria are individualized to the student and the real world standards of a project. Students present multiple exhibitions each year and discuss their learning growth with staff, parents, peers, and mentors.

SCHOOL ORGANIZATION - Schools are organized around a culture of collaboration and communication. They are not bound by the structures of buildings, schedules, bells, or calendars.

There is an interdependence between school and community.

LEADERSHIP - Leadership is shared and spread between a strong, visionary principal; a dedicated, responsible team of advisors and other staff; and students. The community functions as a democracy.

A pervasive sense of shared ownership drives a positive culture dedicated to ongoing improvement.

POST-SECONDARY PLANNING - Students develop plans that contribute to their future success (be it through college, trades, schools, travel, the military, or the workforce).

PROFESSIONAL DEVELOPMENT - Regular advisor PD is conducted at each school by principals, other school staff, and BPL staff and coaches. A Big Picture School is a community of lifelong learners who embrace continuous improvement.

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Final report - project MOVE 2017-2018 Although the Big Picture method is educational oriented, it is also applicable on re-integration because the core of the methodology is personal and goal oriented, focusing not only on empirical, quantitative and social reasoning, but also on personal qualities and communication. It is connected with the 21 century skills and the Agora model because youngsters learn the most when they are concerned with topics that are relevant to them, in the here and now, because it concerns them or because it is a hobby or interest. A topic only becomes relevant if it is experienced directly in the real world and if projects are real and not made up by a teacher or trainer or taken from a book.

3.5

21 century skills

Arts could become more important for young people than math’s in the future, according to Andreas Schleicher16, widely regarded as one of the world’s leading educational thinkers.

The fourth industrial revolution – the influence of technologies such as robotics and artificial intelligence on society, will most probably ask for soft skills rather than hard skills. “We talk about ‘soft skills’ often as social and emotional skills and hard skills as about science and math’s. However, it might be the opposite,” he said, suggesting that science and math’s may become ‘softer’ in future when the need for them decreases due to technology, and the ‘hard skills’ will be “curiosity, leadership, persistence and resilience”.In order to succeed in the rapid changes in our world, we must focus on 21st century skills as a set of necessary abilities that youngsters need to develop, to prepare them for the future for jobs that sometimes do not exist yet.

With the two spheres from the Agora model, we focus in the field of Art and Sport on eight “21 century skills: Learning Skills • Critical Thinking and problem solving; • Creativity and innovation; • Collaboration; • Communication.

Life Skills 1. Flexibility; 2. Initiative; 3. Social Skills; 4. Leadership.

Fig. 19 21st Century Skills

A helpful instrument to discover both learning and life skills is to organize teambuilding activities using a mix of artistic and sportive activities. The purpose of these activities is also to create social bonding, trust, group dynamics and efficiency within a group of people. Nevertheless, teambuilding can also be used as an effective instrument in the field of Art.

16

Andreas Schleicher is Director for Education and Skills, and Special Advisor on Education Policy to the SecretaryGeneral at the Organisation for Economic Co-operation and Development (OECD) in Paris.

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Final report - project MOVE 2017-2018 4.

Innovation Session The Move project group participated in an Innovation session17. This session was intended to introduce the project group with the Ynnovate Method, an approach that enables to think and act “out of the box” when facing challenges, difficult assignments or tough problems who need to be solved. This session was not intended to find a practical solution to a specific problem but an introduction to the methodology of diverging and converging. Therefore, we defined just as a starting point, a problem, to be used as example for this session. An innovation session follows four steps:

Fig. 20 Idee dump

1. ( Re)defining the problem: We define the problem as follows: how can we use the Agora model to help vulnerable youngsters in a practical way?

2. Diversing: Diversification means trying to come up with as much ideas as possible how to use the Agora model.

This by thinking out of the box and avoiding the common paths of thinking. This can be achieved by different exercises. In this session, we used three exercises that helped us to associate differently: a) Idea-dump: writing down as much ideas as we can, concerning the use of the Agora model to help vulnerable youngsters. b) Flower association: (writing down the most striking / essential word from the main problem as a starting point for associating. Important is to continue the association as long as needed to get away as far as possible from the chosen word. This makes it possible to enable the mind to think from a total different point of view). c) Super companies: wondering what super companies would do using the Agora model to help vulnerable youngsters? What would Google, Fig. 21 Flower association Microsoft, etc. do?

3.

Converging: After the diversification phase, the best ideas are selected. This phase is the converging phase and consists of two steps: 1. Marking the best ideas in three categories: - Yellow: ideas for tomorrow, technology not yet there, too costly, too hard to implement but very innovative (HOW-ideas); - Blue: quick wins, easy to be implemented right away, low costs, low risk, just do them now (NOW-ideas); - Red innovative ideas, that can be implemented at a later stage, with low risk, and giving energy (WOW-ideas).

Fig. 22 COCD box

17

Ynnovate: https://ynnovate.it/ 24

Final report - project MOVE 2017-2018 2. COCD18 Box: the ideas are placed in the so-called COCD box. This allow to see how many ideas are marked yellow, blue and red, and what ideas get the most marks by the group members. The most striking ones are chosen and reduced into the two best ideas. Then these two selected ideas must be worked out in more concrete details.

3. Describe ideas: In order to describe more concrete the chosen best ideas/solutions, we used the methodology of the five W’s (what, why, wherefore, where and when) and the two H’s questions (how and how many).

We organized also an innovation session for teachers/trainers from the José Saramago school during our work visit in Portugal, to show them that this method proves to be very useful in finding creative solutions for seemingly difficult problems

5.

Process and the main activities in the project

5.1

Orientation visits by the project leader before the actual start of the project

•

Visit to Portugal (18 - 23 May 2017) to discuss the design and purpose of the project and to align the expectations, readiness, involvement and contribution of the participating partner, the school of José Saramago; Visit to Portugal (18 - 24 July 2017) to participate at the ISEI level 1 certification workshop during the international congress on Emotional Intelligence (ICEI) at Porto; Visit to Italy (20 - 27 Aug 2016) to discuss the design and purpose of the project and to align their expectations, readiness, involvement and contribution of the participating partner, Piazza dei Mestieri and Cooperative Nazareno.

• •

5.2.

Start meeting Netherlands (08 - 11 October 2017) at Weener XL ‘s-Hertogenbosch

Main activities: • Practical agreements regarding planning / deadlines / communication / finances/ evaluation form / etc; • Visiting various best practices with the aim of giving our partners insight concerning best practices that could be suitable for this project: Cor Unum, T.O.M. and the MET school in Waalwijk, one of the 20 Big Picture learning schools in the Netherlands; • Presentations of the Agora model by Erno Eskens, affiliated with the International School of Philosophy and Youth organization Duke Box (about Urban Culture).

Evaluation of the starting meeting: • The Agora model required more explanation. Too much information and too little feeling how to use this within the project and the evaluation of best practices; • Consensus about making a short film of the project. In particular to film several best practices and conduct short interviews with young people, trainers and a representative of each participating partner about his or her expectations and the reason why they participated in the project. The filmmaker filmed also during the working visits in Italy and Portugal. The film will be made public at the end of the project; 18

COCD= This matrix, created by The Center for Development of Creative Thinking, can help to identify novel solutions that are also possible to implement. The matrix has two axes: originality and ease of implementation 25

Final report - project MOVE 2017-2018 • •

The first concept of the evaluation form (to analyse the best practices) will be adjusted by two members of the project group and will be discussed again during the working visit in the Netherlands in January; Project manager will visit Italy and Portugal before the working visits to be sure that the best practices are suitable for the project.

5.3. Extra visit to Portugal by the project leader (29 November - 04 December 2017) The goal of this extra visit was to meet several organizations (Maat, Chapitô, Gulbenkian, SOU association and Poceirão Cultural Center) chosen by the Portuguese partner as possible best practices, in order to inform them more in detail about the Project MOVE and to check in advance if these organizations would fit in the project MOVE. 5.4. Work visit in the Netherlands (07 - 12 January 2018) Main activities: • Deepening of the Agora model by Erno Eskens followed by an Innovation session led by one of the Dutch members in the project; • Wiebe Broekema, associated with the Big Picture learning, informed us about the starting points and 10 distinguishers of personalized learning and made a translation of how they could be used within the project.

• Because Ronald Hunneman was mistaken about the date, we decided to delay his presentation until the next day. Instead we asked Charlotte De Meester (teacher, behavioural specialist and solution-oriented coach), to organize a presentation about solution-oriented work and learning; • Presentation of Ronald Hunneman about Social cognition and specially in how to communicate with young people (“painful contacts”).

Evaluation of the starting meeting: • Advanced insight between the starting meeting and the preparation of this working visit, taught us that it was important to pay a lot of attention to the frame of reference for the project. This frame is based on three assumptions: The Agora model, Social Cognition and the Big Picture Learning.

Because we needed to elaborate this, we decided to visit not five best practices but only one (T.O.M.) and assigned the program mostly to the framework through various presentations by several experts, concerning the Agora model, Big Picture Learning and Social Cognition; • We also determined the definitive frame work to analyse the best practices.

5.5. Work visit in Portugal (11 - 16 March 2018) Main activities: • Visiting 5 best practices approaches in the field of Art Education, Art Therapy, Vocational training, Social intervention and reintegration through Art. Therefore we visited the museums Gulbenkian and MAAT in Lisbon, the Group of schools Ordem de Santiago in Setúbal the circus school Chapitô in Lisbon and the Cultural Center in Poceirão; • An Innovate Session with the project group and teachers/technicians of the José Saramago School, led by 2 members of the Dutch delegation.

Evaluation: • Very interesting and varied program with inspiring examples of best practices; 26

Final report - project MOVE 2017-2018 • • •

Good insight into the discrepancy between the socio-cultural and economic living conditions in the big cities, the countryside, and the educational problems that schools have to face; Visiting five best practices took a lot of energy and left little room for evaluation and discussion.

Therefore, the project group decided to limit the number of best practices in Italy to a maximum of four; Planning of the project was too tight and put pressure on the implementation. Therefore, we requested a new deadline for the project and this was approved by the agency. As part of the prolongation of the project, a new timetable was made for the rest of the project.

5.6. Visit to Portugal by the project leader (11 - 14 May 2018) • • •

Visit to other cultural institutions such as the Cultural Center of Belem and Casa da Avenida; Meeting about a concept plan for a blog and a website; Meeting with a trainer of Gulbenkian museum concerning more information about the methodology used by that organization and the possibilities to give training/workshop for teachers, case managers, coaches and educators.

5.7. Visit to Italy by the project leader (08 - 16 July 2018) The goal of this visit was to have meetings with several organizations chosen by the Italian partner as possible best practices, in order to inform them more in detail about the Project MOVE and to check in advance if these organizations would fit in the project MOVE: • Visit to Cooperative Nazareno in Carpi, a social cooperative that deals with the professional insertion of people with disabilities. Included was a guided tour by Carlotta Sabatini; • Visit to Cura e Riabilitazione in Milan to have a meeting with Jonathan Zeolla. The Cooperative Cura e Riabilitazione provides services for people experiencing mental distress and psychophysical territory of Milan and Rho. One of their methods is making theatre; • Visit to Piazza dei Mestieri, a foundation to support vocational training for young people in Turin, to see several best practices: music, cultural activities and projects with public schools; • Meeting with Mr. Timoty from Coop Centrocampo, giving vulnerable youngsters the opportunity to play football in Turin) .

5.8. Visit to Portugal by the project leader concerning the website (05 - 11 Aug 2018) Web/Blog: brainstorming about organization of the content, the selection of the images, the videos, the format, etc.

5.9. Work visit in Italy (16 - 21 Sept 2018) Main activities: • Detailed information of the Piazza dei Mestieri Model, a guided tour, information about the Poetry contest for students and interview with a poetry contest winner; • Information of their cultural events: “le chiavi della musica”; • Visit to the Pacinotti school nearby Piazza dei Mestieri and a meeting with the artist who made the drawings on the walls of the school with the youngsters • Interview with teachers of Piazza dei Mestieri; • Visit to Timothy place (football with immigrants and gipsy youngsters); 27

Final report - project MOVE 2017-2018 • •

Interview with Gerry Campanella, creator and inspirator of the “Rolling pots”; Visiting Coop Nazareno, guided tour and interview with Sergio Zini, the director.

Evaluation In the organizations we visited, young people are encouraged to participate in cultural events organized within the organizations. The idea is to break down the barriers that separate the highest artistic expressions (theater, jazz concerts, meetings and visual art exhibitions) and youngsters.

The range of cultural events on the school stimulates their curiosity and gives them the opportunity to experience something they would not otherwise have access to. Piazza dei Mestieri is an interesting example in this respect, because it has the necessary facilities and staff to organize this type of event.

5.10. Visit to Portugal by the project leader concerning the website (05 – 09 Oct 2018) Further brainstorming concerning the Web/Blog, about organization of the content, the selection of the images, the videos, the format, etc.

5.11. Brainstorming meeting about the end report at the Netherlands (19– 21 Oct 2018) • •

Brainstorming for the analysis of all the good practices with 4 members of the project group; Organization of the common characteristics in four quadrants.

(For more information we refer to chapter 7)

5.12. Final Meeting in the Netherlands (04 – 07 Nov 2018) • • • • • •

•

Review of all the best practices and opportunity to ask questions about things that are not clear or need more explanation; Explanation about the quadrant with the four fields: guidance, organisation, location and domain; Discussion with the whole group about the four quadrants; Explanation about the concept report of MOVE; Individually questionnaire about personal evaluation of the whole project; Discussing about further dissemination (not only the website but also how each partner will disseminate the results of the project in their own region or country; Presentation of movie Bossche Spheres: https://www.youtube.com/watch?v=WtmJfHOpciU

•

Visit to the Museum de Pont at Tilburg followed by a practical workshop at the ceramist, Carl De Meester (Argile Ceramic Atelier) in Tilburg, where all group Fig. 23 Workshop at ceramic atelier Argile members made a personal adaptation of a work of (Tilburg) art that appealed to them in the museum.

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Final report - project MOVE 2017-2018 5.13. Preparation of the final report at the Netherlands (20 – 22 Dec 2018) Final brainstorming and tuning with 4 members of the project group about the definition of the guidelines emerged, the logical triangle mode and the final report.

(For more information we refer to chapter 7)

6.

Description of the best practices

6.1

T.O.M.: Tailor Made Trajectory (‘s-Hertogenbosch-Netherlands)

T.O.M. is part of the Social Development Sector of the municipality of 's-Hertogenbosch.

It is a place where young adults (16-23) with different problems such as drug addiction, social and family problems, dropouts, can come for help and support.

Thanks to their non-formal approach, Tom and his colleagues succeed in creating a strong bond with the youngsters. That is the starting point to support youngsters to go back to school or to find a job. TOM use more Fig. 24 T.O.M.'s youngsters starting a bike ride experimental methods for this.

The activities carried out are aimed at developing motivation and increasing self-esteem. Beyond that, youngsters have the opportunity to discover their talents in a new and alternative way.

There are all kinds of group activities such as training, sports, performances and interactive group discussions. They also organise computer lessons and assessments for youngsters concerning study and career choices.

Website: https://www.tomdenbosch.nl/tomsplace

6.2

Cor Unum (‘s-Hertogenbosch-Netherlands)

Cor Unum Contemporary Ceramics produces ceramics, designed by leading international designers, architects and visual artists. Cor Unum takes social and cultural responsibility for the legacy of the ceramic crafts. Their mission is brought to the market through a team consisting of professionals, students, volunteers, people with distance from the labour market and designers. They all share one common passion: everyone deserves a place, everyone has a talent and everyone can contribute to make the world some nicer. The two most important target groups who learn to participate in the labour process at Cor Unum can roughly be distinguished into: Fig. 25 Ceramic atelier at Cor Unum • Young people looking for a work experience place: This group consists of young people up 29

to

Final report - project MOVE 2017-2018 27 years. Cor Unum's role is to develop their skills, teach them how to deal with colleagues and rules, learning them to use a working structure and achieve a good working attitude. This youngsters take the very first step on the labour market and make follow-up steps after some months into the labour market; • People who dropped out of the labour process for a long time due to different circumstances.

When people have not participated in the labour process for a long period, it is often an almost impossible step for them to regain a grip on their life and get back to work. This can arise from nasty experiences in the past and accumulated uncertainty. In addition, many people who end up in this company have a long history of assistance. The first step is activation: no longer talking, but acting!

Social skills such as being on time, cooperation, reliability, personal hygiene and the separation between work and private life are topics that are extensively addressed. Work supervisors and coaches guide the whole process. Website: http://www.corunum-ceramics.nl/nl

6.3

Dukebox (‘s-Hertogenbosch - Netherlands)

A creative platform for young talent. Their mission is to stimulate, facilitate and promote urban talent development and social & cultural participation of youngsters. They do this through their 3P approach: Platform: DUKEBOX connects the urban scene initiatives. This creates a strong and broad network that leads to more cooperation and cross-fertilization.

Projects: realization of projects with partners from or outside the urban scene Place: creating an inviting and stimulating place, as a basis for the platform and the projects, to facilitate meetings, experimentation and events.

Website: http://www.dukebox.nl/ Fig. 26 Dukebox, production house for Urban& Hiphop

6.4

MET School (Waalwijk Netherlands) MET is a school for vocational education. MET conducts a special education concept: The Big Picture Learning, which is most easily explained by the personal coaching that each student receives. The personal coach of the pupil forms the pivot of supervision to pupil, parents and internship supervisors during the entire substructure or superstructure period. A school where you can learn in a practical way to further develop yourself in a technical or service profession.

Fig. 27 MET school, Waalwijk

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Final report - project MOVE 2017-2018 The student's own interest and passion are the starting point. Although education is given to disadvantaged youngsters, the strength of the pupil is leading. MET would like to give its students the prospect of a suitable workplace and a full place in society. They do this tailor-made and with the students. Students consist of youngsters who have benefited to a limited extent from (special) primary education. This is often visible in barriers in the areas of arithmetic, reading, language and socialemotional development. They preferably learn by experience and benefit from customized support.

Both at (ortho) pedagogical and (ortho) didactic level. Website: http://www.met-pro.nl/

6.5

Chapitô (Lisbon - Portugal)

This unique European project includes an important component of social inclusion. Chapitô has a staff of over 100 people, including over 30 teachers, and a full staff in administrative, pedagogic, production, social and performing areas.

Founded in 1991, the professional school for performing arts and techniques (EPAOE) is one of the Chapitô’s project based main activities and consists of three pillars: culture, social inclusion and training. Each year it welcomes around 120 students who, at the end of their second year of study, go on placements in various organisations (companies, circus schools in other countries, theatres, etc.) an experience which gives them extensive knowledge of the world of work. The circus arts training also includes a full programme of vocational training for scenery design, costuming, make Fig. 28 Youngsters performing at Chapitô up, masks, puppets and stage technicians.

Their circus arts training programme is unique in Portugal, and equates to the Level 3 Professional Certificate, in accordance with European regulations. Over more than 20 years of existence, dozens of graduates from Chapitô have successfully entered the labour market (behind the scenes, on the stage or in own productions). This contributes to the contact with professionals throughout trips and performances, as well as activities held in prestigious cultural venues (among others Calouste Gulbenkian Foundation, Centro Cultural de Belém, Lisbon Forum, Atlantic Pavilion, Center for Judicial Studies, Taborda Theatre, Pavilion of Knowledge, Sphere Theatre) and the participation in International Fairs and Festivals (EXPO ’98, Cordoba (1998), Hannover (2000), Katerini – Greece (2003), EYE- European Youth Event in Strasbourg (2014).

Website: http://www.fedec.eu/en/members/97-chapito--epaoe?fbclid=IwAR3Bu5pEcTqYWS7kY6V4BA2eMKo8nxWy-OmHMaaQ9fj9KszK7pWdq38HmpA

6.6 José Saramago: a collaboration with Gulbenkian and Maat museums and the cultural Center of Poceirão) The José Saramago School is set in a rural and low socio-cultural environment mainly linked to the primary sectors agriculture and viticulture. The community is set in isolation which affects decisively the participation of the population in various educational, cultural and artistic events.

Therefore the Group of Schools José Saramago is integrated in a Priority Intervention Educational Territories Program (TEIP) since 2009. This is a national

31

Final report - project MOVE 2017-2018 project, supported by the Portuguese government for schools in a problematic socio- cultural context, with the aim of reducing school failure, early dropout and indiscipline. A multidisciplinary school team offers a permanent program to involve students, parents and families into the school. Among the members of this team are a psychologist, teachers and different technicians. The partners of the school are MMP (Municipal Museum Palmela), FCG (The Calouste Gulbenkian Foundation-Center for Modern art) and MAAT (Museum of Art Architecture and technology).

Fig. 29 Educational project at Maat Museum

The goals through these school activities and streamlined workshops at the different museums are: -Improving the educational achievement of students involved in the project; -Improving the socio-emotional skills of students involved in the project; -Reducing disruptive behaviours.

6.6.1

Blimunda Sete Luas

Blimunda Sete Luas is an art educational project that aims to develop socio-emotional skills. The character Blimunda (one of the protagonist from Memorial do Convento, a novel by the Nobel Prizewinning Portuguese author José Saramago) is the meditative and inspiring element of this project.

The choice for Blimunda is based on the fact that it is a strong psychological character. The project was designed in order to create preventive actions and promoting educational and inclusive environments. Positive parenting sessions with a strong family-school approach and a collaborative work between psychologist, teachers and parents. The diagnosis of socio-emotional skills links research and practice, reflecting an integrated system that intensify the bond between school learning and life experiences and demonstrates the importance of their interconnection.

Website: https://www.maat.pt/en 6.6.2

A Museum for the Future

A Museum for the Future is an art educational project that aims to develop socio-emotional skills through a rapprochement between school and heritage. It was created in September 2013, focusing on a cyclical movement of internal- and externalization of the Portuguese heritage, assuming that creativity has a relationship with mental health. This project allies art education and activities of scientific nature. It is based on specialized methodologies (among them the use of Gestalt-methodology) aimed at improving students’ personal and socio-emotional skills contributing to Fig. 30 Educational project at Gulbenkian museum the improvement of educational success.

Assuming that creativity has a considerable adaptive role in the students challenging and complex daily experiences, they welcome students who have learning difficulties, associated with significant emotional disorders.

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Final report - project MOVE 2017-2018 The target group consists of students who have experienced some kind of problem in their household: loss by death of a parent, separation, the imprisonment of a family member, substance abuse, parental neglecting, abandonment or reduced economic and cultural resources.

By crossing personal, national and local valuables, they want to broaden and strengthen the socialemotional skills of the student. Based on the existing dialectic between the identity of belonging to a community and a country, modern art is the raw material, meditative and inspiring element.

Website: https://gulbenkian.pt/museu/en/ 6.6.3

Disquiet of an Umbrella

Disquiet of an umbrella is the title of an artistic installation that was created by 28 youngsters and Ana Nogueira, a visual artist, using 15 of her drawings as a starting point for a tri-dimensional intervention at the Cultural Center of Poceirão. This activity belonged to the projects: A Museum for the Future and Blimunda 7 Luas. During 3 sessions, youngsters could deal with artistic problems through the exploration of activities who gave them freedom to create with trust with their peers, using a conceptual lattice of disquiet, conflicts and metamorphosis. After the results one youngster said: “It’s amazing how the human mind thinks, we are so different and we were capable to do this artistic work” Fig. 31 Artistic installation "Disquiet of an Umbrella", Poceirã (Alexandre Miranda) Website: https://nogueira004.wixsite.com/website/exhibitionscopy?fbclid=IwAR1ScDjV9pyyi3yjMtBDSdD9YKw5qNZ0j2Fj aOT-hsjpLstCsPijB62dZZ0

6.7

Bela Vista ( Setúbal – Portugal)

Ordem De Santiago cluster school was constituted in 2003 and includes several educational establishments, located in poor and economically disadvantaged neighborhoods. We visited one of the establishments in Setúbal, in the parish of S. Sebastião. In this part of the city, populations from Portuguese-speaking African countries, Brazilian immigrants and Eastern European countries coexist, along with a large number of Gypsy communities.

This cultural and ethnic multiplicity does not always have a peaceful coexistence that frequently leads to racial feuds and conflicts. Both children and parents do not care about school.

The school tries to connect with the children with music, sports, arts and theatre. Especially the sports area is very strong. There is also a great cooperation with the ministry of Education. Bela Vista school takes part in local, regional, national sports events and championships. The older students help the younger students as part of their Fig. 32 Ordem de Santiago, Setúbal own learning process. It is focused less on theoretical learning and more on practical learning: helping others improves your own skills. The older students become a role model and as such motivate the younger students, triggering them to go a 33

Final report - project MOVE 2017-2018 step further. The main objective is to engage students in empirical learning and to increase their motivation for school activities.

Website: http://www.aveordemsantiago.pt/

6.8 Piazza Dei Mestieri (Rolling Pots, Poetry Contest and Cultural Events) and the Pacinotti School (murals)) 6.8.1

Rolling Pots

A band formed by 30 young people, including two agents from the municipal police and directed by Gerry Campanella, a cooking teacher at Piazza Dei Mestieri. The idea for this initiative arose from the need to offer students an alternative to their street hanging after school. All of this on a voluntary basis.Besides the fact that they learn to play an instrument, they have the opportunity to share a passion with other schoolmates, having the feeling to belong to a group, discovering skills and talents through music and experience concepts like Fig. 33 Drum performance of the Rolling Pots multiculturalism and teamwork.

6.8.2

Poetry contest

The “Piazza dei Mestieri” National Literary Award was born in 2005 on the initiative of two teachers who wanted to show how students from vocational training schools and from technical school could achieve significant literary skill on the same level of traditional high schools. During the years the Award underwent several adjustments and changes, such as the introduction of a Poetry and a Narrative Section. Also many famous journalists, writers, poets took part in the poetry selection committee. The Award is nowadays one of the most important literary school competitions all over Italy.

Fig. 34 Presentation about the Poetry Contest

6.8.3

Cultural events

Young people are encouraged to participate in cultural events, organized within the structure of Piazza Dei Mestieri.

The idea is to break down the barriers that separate the highest artistic expressions (theatre, jazz concerts, meetings, art and photography exhibitions) and youngsters. The accessibility to the cultural events stimulates the student’s curiosity, gives them the opportunity to experience something, they would otherwise not have access to. Piazza dei Mestieri is an interesting example in this regard, because it has offices and staff specially dedicated to the organization of these kind of events.

Fig. 35 Cultural events 34

Final report - project MOVE 2017-2018 6.9

Pacinotti School- murals

Pacinotti is a comprehensive school (primary school, lower secondary school and secondary school) which is located in a multi-ethnic neighbourhood. The high percentage of students with foreign origins has greatly stimulated the school to deal with the issue of inclusion. Among the various projects started by the school, there are also a series of collaborations with artists from Turin, in order to involve students in the creation of murals. They use art to involve students in “not ordinary school activities”. Art as a tool to help them to externalize their feelings and showing their expressive abilities. Furthermore, students, under the guidance of an artist, reproduce and reinterpret famous Fig. 36 Mural paintings at Pacinotti school, Turin artwork on the walls, according to their feelings.

Through this kind of activities, they experience cooperative working, different kind of communication and by doing this they reinforce their selfesteem. Website: http://www.comprensivopacinotti.gov.it/

6.10 Timothy’s association Timothy’s association likes to say that Nessuno Fuorigioco is a “social cohesion laboratory with a ball between the feet”. It is an educational project of integration through the game of football, aiming at children and young people who live in marginal conditions such as unauthorized areas in the North of Turin.) This sport practice is aimed at young men and women who present a risk profile, characterized by school failure, difficulties in social integration, difficulties in the process of acculturation and socialization and instability or fragility in the constitution of the family nuclei. Furthermore, they also support the parents of the boys and girls involved in this process of change. The association has built a free football team with gipsy youngsters arriving from unauthorized Roma camps.

They give them the possibility to experience social inclusion through group sport. They developed a process of individual and collective growth that is able to keep together a heterogeneous group, collaborating for the same purposes. The football team was used to engage children and families working together on rules, respect, self-care and education in the whole sense. The “new team” was able to guide minors through a successful process of inclusion in the peer group and in the local society. From the experience of gipsy children, Timothy and his association continue to work with disadvantaged youngest, mostly with migration background engaging in many social battles, including Fig. 37 Nessuno Fuorigioco, Turin right to health, housing and social inclusion.

Fig. 38 Nessuno Fuorigioco, Turin

Website: https://nessunofuorigioco.org/

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Final report - project MOVE 2017-2018 6.11 Cooperative Nazareno Here, we could observe activities such as the artistic ateliers and the arts and crafts for youngsters/adults with disabilities. Cooperative Nazarone uses within these activities different strategies: • Handcraft: o serial work (a product created by several young people who contributes as a group in the process of production); o individualized work (a product started and finished by each young person who shows better autonomy of execution); • Artistic products; • Development of a personal artistic style, the young artists also receive support in the implementation, dissemination and commercialization; • Product marketing spaces; Fig. 39 Art atelier at • Art galleries and participation in national and international Cooperative Nazarone, Carpi exhibitions; • International Festival of Different Abilities: theatrical, musical and dance performances; art exhibitions; open Festival; workshops; seminars; lab-days; book launches; movie projections; conference about Corporate Social Responsibility, etc.

7.

From good practices to best practice

During the MOVE project, we had the possibility to learn and deepen many good practices. Initially the idea was to identify the best practices to be used as a model to address the issue of including young people through Art and Sport. Nevertheless, the first learning of the project MOVE was related to the awareness of the impossibility of proceeding in this sense, without a significant loss of information. For this reason, rather than analysing only the best practices, it was considered appropriate to carry out a complete analysis of all good practices, aimed at identifying the strengths of each one. During this process, we realized that every good practice had relevant aspects that need to be taken into account. So, we decided to create a guideline able to include the most important elements of each practice. The process that led to the definition of the logical model and the guideline can be summarized in four steps: 1. Brainstorming for the analysis of all the good practices; 2. Organization of the common elements in four quadrants; 3. Sharing the results with all project partners and integrations; 4. Final brainstorming for the definition of the guidelines emerged and the logical triangle model.

7.1

Brainstorming for the analysis of all the good practices

The first activity was the most complex because it required an in-depth analysis of all the good practices observed, in order to detect their specificities and strengths. The brainstorming was moderated by the project leader and the working group was composed of three other professionals from The Netherlands, Portugal and Italy. The multidisciplinary group created a preliminary draft containing the strengths of the nine good practices visited: Tom, Cor Unum, MET, Chapitô, Ordem de Santiago, Museum for the Future, Piazza dei Mestieri, Coop. Nazareno, Timothy.

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Final report - project MOVE 2017-2018 7.2

Organization of the common elements in four quadrants

After the analysis, aimed at identifying the strengths of the practices observed, the four professionals involved in the brainstorming, organized these practices into four quadrants. In fact, the features that make the analysed practices successful refer to four macro areas (guidance, organisation, domain and location).

The areas identified are those on which intervention is necessary to increase the possibility of inclusion of disadvantaged youngest. Concerning the concept of guidance, we refer to the ability that each organisation Tabel 2 the quadrant may have, in order to solve problems and help youngest to find their path in society (i.e.: development of autonomy, personalised learning). The organisation area includes the “internal” features (i.e.: vision, passion and charism). The location refers to the educational/ working spaces (i.e.: inviting, permeability, safety). Finally, the domain concerns tools, used in order to involve youngest in the society through Art and Sport

7.3

Sharing the results with all project partners The third step required for the construction of the logical model and the guideline, was the sharing of the first draft with all partners, in order to integrate it. Sharing the process with all the project partners was very useful to create a detailed guideline, picked up from the individual experiences in the practices observed.

Fig. 40 Brainstorm session

7.4

Final brainstorming: the triangle model

During the final brainstorming, we concluded that creating a theoretical high-quality training in the domain of Art and Sport is no guarantee for success without being inextricably linked with 3 important aspects: the location (permeability, functionality, etc.), the organisation (support, sharing a vision, teacher skills improvement, etc.) and the guidance (relation and collaboration between teacher/ students/youngsters, etc…).

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Final report - project MOVE 2017-2018

Fig. 41 The triangle

8.

Findings

8.1

Guidance

As we have briefly explained above especially on the theoretical framework, Art and Sport learning spheres are areas that favor the development of transversal competences, those that are necessary for excluded youth to cope with problems, associated with school failure, school dropout, unemployment or delinquency. We have verified that the artistic practice develops transversal competences that mobilize capacities of higher level of cognitive complexity, allowing young people to self-knowledge, personal fulfillment and the singular understanding of the world19. These aspects are decisive for their positive affirmation in society.

Throughout the Move project, we have been able to verify the potentiality of Arts and Sport in order to fight against youth exclusion by observing good practices in the three partner countries. From the analysis of the various activities and based on the results, we have identified common principles, responsible for the reintegration of young people in school or in the world of work. We used the theoretical framework of the Agora Model, taking into account several approaches in the field of arteducation or sports-education combined with a critical look at the practices observed in the three countries. Therefore, we can present a set of guidelines.

8.1.1

Formal education, non-formal education and informal education

We found a variety of types of practices, from formal education to non-formal education activities. As we all know, formal education activities relate to a predetermined curriculum, conducted at a certified educational institution. We can find practices of this nature in the Chapitô Circus School, 19

Efland says that Art contributes to the understanding of the social and cultural landscape that each individual inhabits. The arts can contribute to this understanding, since the work of art mirrors this world through metaphoric elaboration. The ability to interpret this world is learned through the interpretation of the arts, providing a foundation for intelligent, morally responsive actions. The arts are places where the constructions of metaphor can and should become the principal object of study, where it is necessary to understand that the visual images or verbal expressions are not literal facts, but are embodiments of meanings that can be taken in some other light.

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Final report - project MOVE 2017-2018 at Lisbon in relation to artistic practices or in the Ordem de Santiago Cluster (Bela Vista) at Setúbal, in relation to the sports practice. Concerning informal activities, we have found football practice at Thimoty association for gypsies and refugee communities at Turin, as an effective approach to attract illegal young people, protecting them from the risk of repatriation, giving health care and sense of community once before lost.

The majority of practices we visited were in the non-formal education field. Considering the nonformal education offered by a variety of organizations such as museums (Calouste Gulbenkian Fondation and Architecture, Art Museum – Maat, both connected with projects from José Saramago School Clusters), ceramic atelier (Cor Unum), cultural centers or cultural associations (Duke box, Tom’s place at Netherlands). We also find activities of this nature in schools such as Piazza Dei Mestieri (Pacinotti School- murals-, rolling pots, poetry contest, cultural events) or José Saramago Schools Cluster (Museum for the future or Blimunda 7 Luas projects). The fact that we find alternative activities, mostly in the non-formal field of education, leads us to say that because of their nonmandatory nature, they can respond more easily to the interests of young people. The training activities are developed with bigger flexibility, giving freedom for discovery and innovation, without being corseted and conditioned, like formal education.

There are important conditions to consider in order to make a good practice successful both in the field of the arts or sport. Activities are not isolated or circumstantial; they are developed because of an impressive effort on the part of the organizers (teachers, educators) and organizations.

8.1.2

Artistic practices

Among several practices that we saw in the three participating countries, we highlighted the artistic practices, considered as main contributions to the definition of the trilogy found in the Move project (Guidance, Location and Organization). In this sense, we identify six practices, on which it is possible to analyze the role of the teacher / educator according to the approaches in art education explained in chapter 3. Theoretical framework.It is possible to conjoin artistic activities according to various theories of art education.

All of the activities observed fall under one or another art education approach. Some activities are influenced by more than one approach, if this happens one of these approaches is more predominant. The Move’s artistic activities were six: Nazareno Atelier, Hall Mural (Italy), Cor Unum, Tom’s atelier (at Netherlands), Chapitô Circus School and Museum for the Future/Blimunda 7 Luas (Portugal).

Fig. 42 Atelier Cor Unum, 's-Hertogenbosch Two Mimetic approach, both from Netherlands. For example, Cor Unum is a ceramic atelier. For this reason, it requires the domain of specialized technique. The practice of this craft requires the knowledge of sequential tasks. A young adult can adapt better to one task or another, but he/she has to learn the correct technical performance of this craft.

39

Final report - project MOVE 2017-2018

Fig. 43 Atelier at T.O.M. , 'sHertogenbosch

At Tom’s atelier, there is an artist in charge of the studio. In the workshop that the Move team had participated, the artist arranged materials and tools with which people could develop practical work. In this case, no strict instructions were given on how to use, but it is clear in practice that the emphasis is on manual labour (arts and crafts).

Later, in an interview with the artist in charge we realized that, sometimes, he provided young people with artwork from Pop Art or the Cobra movement.

One Expressionist approach at Nazareno Atelier. There, we could observe the way of developing the “signature” of artistic youngsters, through artistic individual training, respecting his/her needs and specificities. It was very interesting to observe how educators were committed to enhancing the artistic vocation of some Fig. 44 Atelier at Cooperative Nazarone, Carpi young people, creating specific events or projects in order to promote and sell their work in art gallery or shops.

Three Social Reconstructionist and Formalist approaches at Italy and Portugal. In Turin (Italy), the murals were created by an artist with a group of young students.

The panels were inspired by works from modern artists, but with a critical intervention by the young, recreating and transforming the original work.

Fig. 45 Mural painting at Pacinotti School, Turin

In the circus school (Chapitô) at Portugal, the circus art expression is developed through social projects of intervention in school, in the community and in the city. The concept of this school is to use the arts as a way of integration, full-time occupation of young people as a diversion against the danger of delinquency. The projects Museum of the Future and Blimunda 7 Luas, (both psychology projects in collaboration with José Saramago School), resort to the work of art to trigger selfknowledge, critical sense, divergent thinking among others capacities. At the Cultural Center of Poceirão, youngsters built an artistic exhibition, through the drawings of an Fig. 46 Performance artist (Disquiet of an umbrella). At the at Chapitõ, Lisbon Calouste Gulbenkian Foundation youngsters explored, among other Fig. 47 Workshop at Maat Museum, initiatives, through movement the work of Helena Almeida.

Lisbon

40

Final report - project MOVE 2017-2018 No practice is better than an other, but taking into account the development of skills for the twenty-first century, we must highlight the activities from Social Reconstructionist, Formalist and Expressionist approaches. However, the knowledge that the Mimetic perspective offers, can be very effective for young people who discover their motivation in a specific, specialized craft.

8.1.3

Competence profile of the trainer/teacher/coach

The point is not that trainers are skilled or experienced in the field of Art or Sport. Methodological approaches as discussed above, serve only as a tool to motivate young people in an alternative way, to give them self-confidence and self-esteem. It is not about education IN Art and Sport but education THROUGH Art and Sport.

The role of the trainer is to reach, guide, trigger, stimulate and support youngsters. So which key competencies and skills must a trainer have? What makes him or her a competent trainer?

At least he has to have good communication skill, such as to be able to hear, to generate new information from previous information, to be able to identify communicational distortions, to negotiate, keeping the coherence. Therefore, it is important that he can apply techniques from the theory of “Social cognition” (Ronald Hunneman, 2016) and the methodology concerning “Solution-focused coaching”. Also to have methodical and pedagogical competencies: differentiation between what to learn and most important how to learn? To plan, organize and execute training processes and optimally implement training subjects and competence goals in a pedagogical way.

Furthermore, the role of a trainer has to be a training companion, a learning counsellor, coach tutor and presenter. Walking through a painting with the young people, touching a sculpture or making an artistic constellation can lead to unexpected deep conversations, exchange of emotions and thoughts, discovering hidden talents, etc. And that could be the starting or turning point of a youngster to take further steps.

8.2

Organization

The organization is an important element to have a successful training. Management cannot simply tell people that the goal is to be innovative, without changing the “structure or the people’s tasks to allow that to happen.” Studies have shown that 20 to 67 percent of the variance on measures of the climate for creativity in organizations is directly attributable to leadership behavior. What this means is that leaders must act in ways that promote and support organizational innovation.”

Performance management fundamentally is about giving people ownership over their own product. So charismatic leadership, support and freedom for innovation and alternative paths to achieve certain goals and sharing the vision are essential conditions. In fact, the advice for an organization is “try not to be an organization”. It is about giving freedom and support to fellow workers to innovate and Fig. 48 to invest in alternative and innovative ways of working.

It is about the will and about charismatic leadership to share the same vision and to concentrate on effective delegation. To create innovation requires that people engage in exploring new topics, understanding, diagnosing, analyzing, modeling, creating, inventing, solving, communicating, and implementing concepts, ideas, insights, and projects.

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Final report - project MOVE 2017-2018 What kinds of policies and procedures are necessary to maximize growth, harmony, progress and innovation in our organization?

• Resist the urge, when an employee comes with an idea, to come up with all kind of reasons why the idea will not work. Instead, come up with ways to help the employee identify barriers and solutions, encourage the employee to test the idea, or look for things about the idea that will work; • Give employees the possibility to experiment, work on projects that are outside of their jobs and to read and reflect; • Cherish people that think otherwise because they bring often different perspective and fresh ideas; • Do not let employees get frustrated about rejections – instead, reward the effort and encourage them to come back with new ideas; • Provide training and skills improvement, train the trainers and/or hire external trainers; • Ensure permanent monitoring and evaluation ; • Create interdisciplinary teams of professionals; • Stimulate networking (to make things happen) and looking for sustainable collaboration (between the different collaborating institutions); • Create a safe environment to innovate; • Fun and work don’t have to be separate entities.

8.3

Location

The physical environment has tremendous influence on our behavior. When we start analyzing the good practices observed during the working visits in Portugal, Italy and The Netherlands, we realized the importance of the space quality as a fil rouge that unites the various paths of inclusion through Art and Sport. Location characteristics are essential to think on education, motivation and tackling early school leaving. In education, there are many studies addressing the topic of learning and educational spaces and nowadays the educational community agrees concerning the Fig. 49 Piazza Dei Mestieri, Turin importance of putting the youngest at the center of the educational process (De Vitis, 2018; Biondi et al., 2016; Bonwell and Eison, 1991). In order to do that, it is fundamental to transform and adapt spaces around youngsters to encourage learning processes as much as possible. Space communities where the physical space favors exploration, collaboration and reflection. The three centers have many similitudes in terms of localization: the founders wanted to create a welcoming space, far from traditional school buildings, capable of being attractive to less motivated students.

The educational areas with permeability quality: Fig. 50 Chapitô, Lisbon outside in inside out; communicability; luminosity, flexibility/functionality, so on.

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Final report - project MOVE 2017-2018 Architectural aspects such as the transferable luminosity between spaces merge with human aspects (social and psychological), such as the sense of security and comfort (see for example, the Nazareno’s place). These aspects concerning physical space can reveal qualities of beauty in the aesthetic sense, providing pleasant experiences that favor communication and sharing between young Fig. 51 T.O.M., 's-Hertogenbosch people and educators.

However, according to Rod Judkins20, there is also the need to have an unorganized space with potential for improvement (hence imperfect) in order to develop creativity and the ability to improve and to be proactive.

Fig. 52 Cooperative Nazareno, Carpi “The purpose of teaching is not so much to produce learning, but to produce favorable conditions for learning. The first favorable condition is the environment, recognized as the third educator (after teachers and peers), which plays a decisive role in determining the quality of learning” (Malaguzzi, 1993)

9.

Evaluation of the process

The following chapter presents the results of the evaluation questionnaires administered to the project partners during the final meeting of the MOVE project. The sample consisted of all professionals involved in the project from The Netherland, Italy and Portugal. The 10 partners involved came mainly from four type of organizations: school, vocational training institution, work and development company part of the municipality and a cooperative, committed to the socio-economic inclusion of young people with physical and mental disabilities.

The main scope of the evaluation is to understand strengths and weaknesses, emerged from the implementation of the MOVE project, in order to define the relevance and the features of the objectives achieved. Due to the heterogeneity of the nationalities involved in the project, the questionnaire was administered in English and in the following pages, we will describe the emerging results.

The questionnaire is semi-structured, therefore consisting of closed and open-ended questions aimed at exploring three main topics: 1. Initial expectations 2. Communication and cooperation between partners 3. Attended results 4. Dissemination of the results

9.1

Initial expectations

The initial expectations of the partners mainly concern the ability to share knowledge on methods and tools, in order to promote the social and economic inclusion of disadvantaged young people. Beyond 20

Rod Judkins - The Art of Creative Thinking (2015) 43

Final report - project MOVE 2017-2018 that, among the expectations emerges also the general desire of opening the debate, at international level, on early school leaving topic. Another important expectation concerns the possibility to replicate aspects of each good practices through workshop or training in the organizations involved. In general, partners expect to share practices, methodologies and tools proving openness and desire for mutual learning as well as innovative methodologies.

Table 3 Recalling your initial expectation at the start of the project, list the three main expectations, connected to the exchange of good practice.

1.° expectation Inspiration for implementing new practices for vulnerable youngster

2.° expectation

3.° expectation

Improve my experience knowing from others

Find out about the cultural differences per country in the approach of vulnerable youngsters Share and develop knowledge through these best practices

know good practices related to the combat to the drop out phenomenon that could be applied in Portugal

Joint and transnational reflection on the problem of school drop-out and reintegration into the labour market

Knowledge and analysis of innovative work methodologies Discover new and different approaches

Sharing the methodologies learned in the school group Meeting new people and therefore new cultures and way of thinking

Knowledge of the functioning of an international working group / team.

Find ideas and suggestion to improve our working methods

See good practices and participate in them (ex: workshop) Explore innovative approaches in the field of art and culture

Share experiences,

Be prepared to replicate training / workshop or replicate good practice Clear picture of different types of vulnerable youngsters

Sharing methods

Sharing tools

Create a good network to address the social exclusion of young people

To meet new education experiences with vulnerable young people

To enrich our activities

Disseminate our methodologies.

Find good best alternative practices to reach

Diagnose, motivate and stimulate (vulnerable) youngsters to take further steps in their life by watching forms of practices in the different Countries

Research on specific competences of teachers/guiders

Look for interventions that could be used on refugees/migrants within the Art and Sport-spheres.

Give value to artistic activities as an important solution for vulnerable youngsters Show some good Portuguese practices to the European partners

The second question concerning the expectations, asked whether the final results of the project were conform to each initial expectations. In general, the interviewees are satisfied, the project was able to explore Italian, Dutch and Portuguese good practices giving good examples of effective methodologies: “I think we have got lots of inspiration for different approaches and loads of best practices how to do that. Also, the different approaches of the three countries are striking to me.

Especially the clear differences between the use of art and education […]”; “All best practices gave me good insights about their specific approach”; “The practical visits and theoretical explanations about concept/context/way of working fitted to my expectations"; “Yes, the team, the people we met and the practices we saw met to my expectations”; “I could experience from Italian, Portuguese and Dutch good practices, in the artistic field, the variety of approaches and reinforce the capacity of arts to integrate and develop human being. In that sense it was more forward in my expectations”.

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Final report - project MOVE 2017-2018 Among the elements that have not fully satisfied the expectations we detected: “we saw more about sharing of practices and methodologies, less about tools”; “the knowledge and analysis of the specific methodologies of work needs to be further deepened / clarified”. However, there is another crucial aspect concerning the possibility to replicate the best practices “It would be interesting to be able to replicate good practice in different countries”; “more problematic is the possibility to transfer the best practices to our organisation. The best practices are not stand-alone interventions, but are part of an integral approach and organisational set up. This means copying the best practice is much more difficult and needs more adjustments." The awareness concerning the limit of replicability has allowed to rethinking the initial objectives of the project “Instead of choosing the 2 best practices, we decided to choose a different outcome by using all elements from the best practices and order them”. That solution means that at the end, given the impossibility of completely replicating the good practices in very different organizational contexts it was decided to organize the elements characterizing each good practices, building a guideline able to collect all of them.

9.2

Communication and cooperation

The first question for the members of the project group was to indicate to what extent they agreed or disagreed with the following statements, regarding the internal communication and cooperation among the partners.

Table 4 Indication to what extent the project group members agreed or disagreed with the following statements, regarding the internal communication and cooperation among the partners. % values Strongly disagree

Disagree

Neither agree nor disagree

Agree

Strongly agree

TOTAL

Communicate with partners (e-email/phone/skype) was easy

.

.

9,1

54,5

36,4

100,0

Was easy to respect deadlines

.

.

18,2

72,7

9,1

100,0

Was easy to keep in touch with the project leader in order to organise working visits

.

.

.

45,5

54,5

100,0

The MOVE website will be a good instrument to inform stakeholder (headmasters/ teachers/ school leadership) about preventive/ intervention measures for disadvantaged youngest

.

.

18,2%

36,4

45,5

100,0

After analyzing the general objectives, it is interesting to observe, through the next tables, what emerged from the analysis of data related to the project management and the communication and cooperation between partners. In general, the distribution of the answers given in the following table is shifted towards the positive pole, in fact all the interviewees choose: neither agree or disagree, agree or strongly agree.

In particular, the 55% of interviewed agree with the statement: “communicate with partners was easy” and the 36,4% strongly agree. In order to facilitate the communication, the project leader stimulated the use of different IT tools (skype, WhatsApp, a private Facebook group, google Drive for documents sharing, messenger, e-mail and drop box).

45

Final report - project MOVE 2017-2018 The communicative ease is even more evident towards the project leader, the 54,5% of respondent strongly agree and the 45,5% agree with the sentence: “was easy to keep in touch with the project leader in order to organize working visits”.

At the time of the administration of the questionnaire, the MOVE website was under construction, but the 45,5% strongly agreed with the sentence: “the MOVE website will be a good instrument to inform stakeholder (headmasters/ teachers/ school leadership) about preventive/ intervention measures for disadvantaged youngsters of interviews”.

In order to assess the level of cooperation between the partners, the second question for the group members was about how many of the current partners they would like to re-engage in another European project. The majority of respondents (6) would involve all the partners, while two respondents would involve the 75% of partners. In general, these results show some obstacles in the cooperation between partners, which will be discussed in the following figure.

1

Anyone

1

50% of partners 6

2

75% of partners Everyone

Fig. 43

The third question was to give three positive and three negative adjectives to describe the personal cooperation experience in project MOVE. The following figure shows the positive and negative adjectives to describe the cooperation between partners. The tag cloud represents the frequency with which the adjectives were chosen by the interviewees. The font size of adjectives is directly proportional to their frequency. As we can see, there is a numerical difference in the adjectives identified, in favor of the positives.

The positive adjectives most frequently mentioned are: stimulating, reflective, passion and open, but also learning, empathetic, competent and responsible.

Fig. 44 Positive experiences during the cooperation in project MOVE

46

Final report - project MOVE 2017-2018 In general, the cooperation climate was positive and the only problem rising from the analysis of negative adjectives is the language barrier. This is a common topic in many European projects; the different levels of knowledge of the common language, in this case English, can make communication between partners difficult and sometimes can influence project outcomes.

Fig. 45 Negative experiences during the cooperation in project MOVE

With respect to the management, the following table explores the project leader skills for the coordination of the working group. The answers variability is shifted towards positive terms (strong and very strong) and through the strongest ability it emerges that the project leader is particularly strong in “enforcing deadlines, planning activities and motivating the team in order to reach common goals”.

Table 5 Indication of the skills level of the project leader during the project. % values

Communication skills (ability to communicate with the team and to share relevant information) Leader skills (ability to make decisions and negotiate if necessary) Organising skills (ability to enforce deadlines, to plan activities) Motivate the team (ability to motivate the team in order to reach common goals) Problem solving (ability to face and solve problems)

Low

Neither weak nor strong

Strong

Very strong

Total

.

.

9,1

45,5

45,5

100,0

.

.

18,2

36,4

45,5

100,0

.

.

9,1

54,5

36,4

100,0

.

.

9,1

54,5

36,4

100,0

.

.

9,1

45,5

45,5

100,0

Very weak

The evaluation report was a fundamental starting point in order to select the best practices through good ones and analyse in deep the contents. With the evaluation questionnaire, the partners were asked which were the most interesting elements of the observed practices in The Netherland, Portugal and Italy. From the analysis of the answers, it was possible to re-order the peculiarities of the observed practices, in order to focus on the most relevant ones, excluding the others from the indepth analysis.

Regarding the best practices in the Netherlands: o The pertinence of each organization's response to the characteristics of the target audience; o Leadership, ability to integrate disadvantaged people (disabilities) working on their autonomy; o Approach to disadvantaged youngest, there's always a possibility and we need to work on; o Passion, commitment and enthusiasm and a strong leadership; o The efficiency concerning results; rational functionalism giving power to the individual initiatives.

Regarding the best practices in Portugal: o The artistic education o The integration of fine arts (usually selective) with vulnerable youngsters and parents; 47

Final report - project MOVE 2017-2018 o o o o

The ability to use art in several contest (in-out), permeability of spaces (museum-school;) Passion of someone became an opportunity for others who have less opportunities; The cooperation between school and museums and the involvement of families in this path Variety of practices observed.

Regarding the best practices in Italy: o Desire to give opportunities for youngsters, refugees and people with disabilities, to express themselves and discover their uniqueness and importance; o Organic and holistic way to develop an institution with the concept of beauty; o Promotion of integration and entrepreneurship; o The ability to integrate beauty in different spheres of the society in order to give value to the youngest.

Finally, we decided to analyse the project impact on partnership and from the interviews it emerged that the project strongly favored “the sharing of innovative approaches to strengthen the effectiveness of practices in specific areas with disadvantage youngest”. This result is very important because it means that the project has achieved its main objective. Beyond that, 82% of respondents agree or strongly agree with the sentence: “has increased ability to work in a multidisciplinary and international environment” and 73% agree or strongly agree with the fact that the project “has improved language skills (English as communication language) and allowed a development of a more cohesive strategic thinking”.

Fig. 46 The project impact on partnership

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Final report - project MOVE 2017-2018 9.3

Dissemination of the project results

The last part of the evaluation concerns the dissemination of the main results. In particular, we were interested in investigating tools for dissemination to conducted stakeholders.

Concerning the way that partners will use to disseminate the main results, they will mainly share with the organisations involved (schools, vocational training Centers, employment services), trying to insert the main findings in their context. They will reach a very heterogeneous range of stakeholders: from the school board, to funders and donors, different kind of associations and decision makers.

Finally, talking about dissemination tools, partners will use their organization website, social media, but also the movie shot during the working visits and the final report. The common answers to the three following questions concerning the dissemination, were: How will you continue to disseminate the project results, inside and out-side your organisation? o o o o o o

Sharing the results in the local educational community Putting into practice some of the methodologies that were shared and making known the organisations shared in the move project Disseminating the results on congresses, seminars and for internal presentations. I will make links with other target groups such as refugees and will use the outcomes of the project for new to develop projects in the future Organising a dissemination event in order to share the most important results Trying to insert / apply in the organization I belong, some of the good practices methodologies that we visited in the other countries Articles in school newspaper

what kind of stakeholder will you involve for the dissemination? o o o o o o o o o o

Headmasters, School leadership (e.g. school and class boards) Teachers Decision makers: local public administrations (Education, Youth, Welfare) Practitioner Project managers from profit and non-profit organisations Foundations, donors, no profit funders Association Press and media Employment Centers, schools for special education, prisons Parents associations

Through which tools will you disseminate the results? o Website o Meetings and presentations/ Prezi/ flyers o Through MOVE’s video o Link at MOVE project in our organisation website o MOVE infographic spread at conferences o Through power point presentation /video / website/ sharing the final report o Social media

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Final report - project MOVE 2017-2018 9.4

Findings

The evaluation carried out showed that the initial expectations of partners mainly concerned the ability to share knowledge on methods and tools, in order to promote the social and economic inclusion of disadvantaged young people. In general, partners expect to share practices, methodologies and tools providing openness and desire for mutual learning as well as innovative methodologies. From the evaluation emerged that interviewees were satisfied. The project was able to explore Italian, Dutch and Portuguese good practices and give good examples of effective methodologies. All best practices gave a lot of inspiration, and good insight view, especially the variety of approaches reinforcing the capacity of arts / sports to integrate and develop human being.

Another crucial aspect that has emerged from the interviews concerned the possibility to replicate and transfer the best practices to each organization. The best practices are not stand-alone interventions, but are part of an integral approach and organisational set up. This means that copying the best practice to transfer them to another context is very difficult and needs more adjustments. The awareness of the limit of replicability of good practices within very different organizational contexts has led to a rethinking of one of the initial objectives of the project. Instead of choosing the two best practices, the project partners have decided to choose a different outcome by collecting and using all elements from the best practices, order them and build a guideline.

As for collaborating, the interviewees have a positive feeling. The only problem rising from the analysis of negative aspect, was the language barrier. This is a common topic in many European projects; the different levels of knowledge of the common language, in this case English, can make communication between partners difficult and sometimes influences project outcomes.

During the evaluation, the partners involved in the project have been encouraged to reflect on each best practices visited in The Netherlands, Portugal and Italy. This process was very useful because it has allowed the validation of each practice. Finally, from the evaluation emerged that the project strongly favoured the sharing of innovative approaches to strengthened the effectiveness of practices in specific areas with disadvantage youngest. This result is very important because it means that the project has achieved its main objective. Beyond that, the majority of partners agreed that the project has increased ability to work in a multidisciplinary and international environment and has improved language skills (English as communication language) and allowed a development of a more cohesive strategic thinking.

Through congresses, seminars and internal presentations, the partners will disseminate the content and findings among interested and involved organisations and also make links with other target groups such as refugees. Partners will reach a very heterogeneous range of stakeholders in the different countries (headmasters, school leadership, decision makers, practitioners, foundations, associations, press and media, Employment Centers, schools for special education, prisons, and parents associations). Partners will use different kind of tools in order to disseminate MOVE’s findings, in particular through the website, power point presentations, Social media and the final MOVE video https://www.youtube.com/watch?v=MxcbiK_BsqE&t=382s. The outcomes of the project will be used for new projects in the future.

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Final report - project MOVE 2017-2018 10.

Conclusions

Project MOVE showed that using methodologies and best practices from the field of Art and Sport, can support and motivate vulnerable youngsters. Not for their recreational or sporting function but for their social and educational function in the broadest sense of the word. Participation in culture or sports, whether it is to enjoy the range of cultural institutions or self-practicing art or sports, contributes to social participation. It has a personal element, because it affects you emotionally, because you can lose your passion into it, or because it increases someone’s skills, creativity, selfdevelopment, resilience and endurance.

Culture and Sport move us, make us think and invite us to discover new worlds. At the same time, they ensure cohesion between the various groups, encourage meetings, provide solidarity, and make issues or problems visible and debatable. Culture and sports are underused in our “education and reintegration culture." They are looked at as being places you go to in your free time, meant for fun and relaxation but we forget that they are brilliant ‘schools’ for 21 century skills competences.

Art and Sport focus on entirely different competences. We are used to train our brains and learning skills by using classical schooling and re-integration methods. Arts and sports are more flexible, have a lot of different training methods and practices and rely on different skills. In addition, success, winning, doing the right thing, are being taught and measured by different standards.

The findings of project MOVE show also that organizing a training (through Sport and Art) in order to educate and reintegrate successfully vulnerable youngsters, there has to be an inextricably link between: 1. The training: Art and Sport have a social role of intervention and have to contribute to improving people's quality of life. Artistic knowledge is not required to be a trainer. The main core of an Art training guideline should be to prepare educators with pedagogical strategies and tools from the field of art/sport-education to develop the XXI century skills, concerning Learning and Innovation skills (The 4 C’s): Critical thinking and problem solving; Creativity and innovation; Communication and Collaboration and the life skills: Flexibility, Initiative, Social Skills and Leadership.

2. The location: the impact of the chosen location for training purposes should not be underestimated. Especially for culture and sportive activities, the atmosphere and appearance of a building, as well as the facility to share and meet, are important.

3. The organization: is an important element to have a successful training. Management cannot simply tell people that the goal is to be innovative, without changing the “structure or the tasks that people do to allow that to happen.” Performance management fundamentally is about giving people ownership over their own product and what it is that they’re trying to do.” So charismatic leadership, support and freedom for innovation and alternative paths to achieve certain goals and sharing the vision are essential conditions.

4. The guidance: no matter how perfect the content of training program is, all depends on the guidance of the trainer, on the relation and interaction between trainer and the training participants. A part of his competences and skills, the trainer has to know certain techniques and how to use them in order to inspire, to motivate and to stimulate his participating young adult audience.

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Final report - project MOVE 2017-2018 As we already mentioned, the findings of project MOVE show that to give a successful training, there has to be a strong correlation between the training itself, the location, the organization and the guidance. Therefore we applied for a follow-up Erasmus+ project to develop a training frame work/guideline for trainers to educate, motivate and stimulate vulnerable youngsters through Art and Sport, taking into account the 3 other aspects/conditions ( location, organization and guidance) To create such a training, we will concentrate on 6 intellectual outputs ( see figure 47)

Fig. 47 The follow-up

Meanwhile our Erasmus+ application has been officially approved by the agency.. The project MOVE BEYOND will start in December 2019.

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Final report - project MOVE 2017-2018

11.

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