Jorge Anselmo – participant of GAIAC for projects in Portugal and Austria
Bringing arts to the street like we did in vienna is one of the easiest ways of including and interact with the audience, the normal way of presenting a dance or theatre show have always some barriers beetween the public and the artists, wich does not exist in the streets mostly because the artists are mixed with the public, so there is no clear separation and the public can also interact and join to the performance.
In my opinion the purpose of this kinds of action can be political, social or just for joy, it depends of the objective that we want to achieve, in the case of what we did in vienna i think it had a social caracter because we didn’t change anything in a political way, for example the case of “invalid street” we only awared the public for that, the name still the same there was no concrete political change.
Jean-Guy Solnon – cultural manager, street-artsit and sociologist
ICE Colectivo Project – www.ice-colectivo.com France
The overall horizon of the MPJ project being to reflect and act on the means to create a social action through art in public space really fits to my experience: for years i’ve been investigating sociologically on the forms of cultural resistance in the public space. Then, as a graffiti artist, i’m automacally in touch with these stakes and problematics.
Through the means of workshops or participative murals, i had the opportunity to work wtih so called « marginalised » people (in jails, psychiatric hospitals, peripheric neighboorhoods), in spaces where the handicaps are concentrated, be they social geographical, economical and so on (favelos, barrios, townships, banlieues). I guess one side of the concrete commitment of an artist can be found in this process of involvement of a population, whom access to arts and culture is not that obvious.
Connecting an etnological approach (by the collect of discourses of inhabitants for instance) to a cultural project (by the set up of a work of art – play of theatre, mural, canvas, book) has been another way for me to give a mean of expression to « disadvantaged people. »
In this kind of work with « specific » population, the value and importance is as much to be found in the process itself as in the final artistic result. In general, whatever the content of the artistic proposal may be (message, form..), the simple act of performing in the public space must be seen as social and political by itself. The artistical intervention is often ephemerial and modest –even if some us like to think that they can change the world: we can nevertheless hardly imagine what the « multiplying effects » of such a modest task can be for the individuals and civil society in general. Enabling smoothness, surprise and poetry to emerge in the routine or tragedy of daily life, here is the humble but essential function of arts.
The intercultural dimension of the project, namely it s european scale, is obviously another strong motivation : sharing different cultural and social realities, and confronting our individual and professional methodologies. By essence the Grundvig programme is made to foster encounters between professionals and sharing of good practices : the welsh, portuguese, austrian and french members of this network showed me several ways of working in this field, at the boarder of artistic and social work. The collective frame of action of such a dispositive can foster new collaborations in the future.
Aneta Derzynska, TdU-Wien
I decided to participate in this project because at this moment I am doing my European Volunteer Service with TdU-Wien and this is a great opportunitybecause I can see what people do in other countries, how they work, what are their approach. Are mainly interested in the social and educational project.
In this project there are very good artists, and people who working in the social ambit for a long time and I am very interested to see how they work.
I’m also curious to see how to organize events in the streets (or pubblic place) and what impact this has on people who watch the performance.
Because I have seen in Italy a Thetre performance in a park in a neighborhood and it was exciting for me to see the inetrest people who usually do not have the money to go to the theater.
Iwan Brioc, Artistic Director, Cynefin
I was interested in this project because there is not so much knowledge available on how to do a good social action or even what is a good social action. Personally, I would like to know better how to do something in a public space which engages the public (so not ramming something down their throats) and which gives them a new way of thinking about things and which will make them feel something too, so that they feel more connected afterwards than they did before to those around them and their place and power to change things in that public space.
On an aesthetic level I am also interested how to use the aesthetics of the oppressed in a public space to really bring attention to the issue but in a colourful and creative way. I would also like to explore how social actions can not just increase people’s political awareness but to sensitize and humanize them to the beauty of the built and natural environment and their fellow citizens.
I would like to learn on an organizational level how to make a public event, with the least fuss and without getting arrested (but what to do if I am, too).