FIG. 42 ATELIER COR UNUM, 'S-HERTOGENBOSCH

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). 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.

Fig. 42 Atelier Cor Unum, 's-Hertogenbosch

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 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.

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 artist (Disquiet of an umbrella). At the Calouste Gulbenkian Foundation youngsters explored, among other initiatives, through movement the work of Helena Almeida.

Fig. 44 Atelier at Cooperative Nazarone, Carpi

Fig. 45 Mural painting at Pacinotti School, Turin

Fig. 46 Performance at Chapitõ, Lisbon Fig. 47 Workshop at Maat Museum, Lisbon

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 Fig. 48 giving freedom and support to fellow workers to innovate and 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.

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

Fig. 50 Chapitô, Lisbon

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 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: outside in inside out; communicability; luminosity, flexibility/functionality, so on.

Fig. 49 Piazza Dei Mestieri, Turin

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 Fig. 52 Cooperative Nazareno, Carpi to improve and to be proactive.

“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)