THE PROMISED LAND
Responding to the influx of refugees and migrants to Europe, and to the 2016 Voices of Culture Report on the role of Culture in this crisis, this project aims, through a Strategic Partnership of organisations working in education, culture and vocational and professional training:
– to share smart practice, innovative approaches and proven methodologies for working with new citizens and minority populations, so building the capacity of different organisations and sectors to respond to an immediate and pressing need.
– to adapt and apply innovative practices relating to learning and teaching methodologies in the context of migration.
– to adopt a cross-sectoral approach, so as to apply learning from educational and cultural providers to the business sector, and vice-versa, generating more modern, dynamic, committed and open professional environments; in which new citizens are able not only to develop as integrated citizens, but to which they are also able to contribute positively, precisely because of their specific experiences and identities.
Working with partners from the cultural, academic and business sectors in France, Germany, Italy and Turkey, THE PROMISED LAND project will produce a handbook for good practice in this area, together with a range of policy recommendations. The project will operate alongside Border Crossings’ theatre and community work in our SEASON OF MIGRATIONS.
Click here for the dedicated blog of THE PROMISED LAND.
Report: A wokshop in Bologna
It was Friday afternoon in Bologna’s Contemporary Art Museum, MAMbo. We were clustered around a pair of huge photographs – an artwork by the Albanian migrant artist Adrian Paci, who now lives in Italy. Francesca, the facilitator, was asking us to describe what we saw. Some people commented on the huge effort the artist (whose photographic artwork is a self-portrait) was making to carry the inverted roof on his back. Some mentioned the pain that must result from the rope that tied it around him. Others mentioned the strange coldness of the studio space which held him, and others again his near-nudity. “He’s wearing a diaper,” commented Ann Birot-Salsbury, with a characteristic combination of American directness and European irony. Slowly we began to reach towards more nuanced and informed, but also more subjective responses. Wasn’t Bologna full of images in which near naked, bearded men in “diapers” were shown as suffering? Was the shape of the inverted roof like the wings of an angel? Or of Icarus? If this was Icarus, in what sense might he be flying too near to the sun?
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