Culture for empowerment

Provide short introduction here

General introduction to approach

The cluster is about the empowerment of young / disadvantaged people through different culture-based solutions. It consists of three different approaches:

Co-designing hip hop and rap compositions:

The project called ‘Educational Demos’ is focused on the elaboration of rap and hip hop compositions related to the defense of human rights. The approach helps to facilitate empowerment and build trust between young people and society and is a way to deal with their daily concerns. The project is supervised by different social workers.

Theathre of the Oppressed:

The theatre is providing young people from deprived neighbourhoods who are facing problems with tools that help them to talk about them and analyse them. It is a participatory theatre that becomes an alternative way of learning values, and a medium which allows for the exchange of experiences and the dissemination of ideas, facilitate contact between young people in an environment different from school and family. It enables young people to express their needs and concerns, the nourishment of critical thinking, encouragement of active political participation and citizenship.

Upcycling refugee initiative:

The initiative is part of the Refugee ScArt project and consists of a laboratory where recycling, social inclusion and economic support for refugees are tightly connected. Refugees gather plastic/garbage from the streets and create art/useful products with it. The approach/project is not funded by any EU project.

Shapes, sizes and applications

The Theatre of the Oppressed and Co-designing hip-hop and rap music approaches have been existing since over ten years. The Refugee ScArt project exists since 2011. The approaches are a way to express themselves (or earn a bit of money in the refugee case) but will not completely solve problems that youngsters face in school/in their family/economic problems. Youth workers also always have to be clear about the projects being an educational experience (as in Theatre of the Oppressed and hip-hop) and not about fame. To cite a hip-hop approach youth worker: “What this project gives is expressivity, culture, knowledge about what is happening in your environment. This is the most important thing it must be highlighted, it is a resource, a tool to build a critical society, to create critical young people and they make it through music, but they could be doing it through video, theatre, etc” (p.15)

All projects seem to be widely transferable to marginalized communities in other cities (as long as the respective forms or art (theatre/ hip-hop) are appreciated there.