In the historic moment of the last few years when we have witnessed a drastic global stop (Global Stop), artists and entertainers have been forced to interrupt their activities, and many have not been able to find a space to practice, create and perform their art. Of these groups, street artists have been among the most vulnerable. At the same time, host communities have continued their work, taking on an increasingly active role due to the social and health emergency. This is why the need to create networks of collaboration and reflection has been identified as a way of using art as a tool for intervention in the world of the socially sporadic. By transforming host communities into spaces of Active Hosting, professionals, users and artists have been brought together in an interactive and educational environment, providing the tools to transform communities into creative residences capable of managing, producing and disseminating events. Our overall goal has been the creation of a network that encourages inclusion and creative education accessible to social projects and artists, in addition to. 1. Experimenting new models of ACTIVE HOSTING within the communities, which have provided continuing education for adults through creative residencies and art exhibitions inside and outside the host communities. 2. Generate a digital web platform that brings together these social projects capable of offering training and beneficial services for artists. 3. Provide users with the necessary digital skills to manage artistic events, transforming social projects into places of Active Reception, promoting art and themselves. 4. To train adult immigrants and low-skilled users of the social projects in the technical production of artistic performances to bring them closer to the art world and offer greater job opportunities. 5. Visibilize the migrant condition through art and educate citizens to change their perspective towards migrants. 6. To offer adult migrants and users a different perspective of the host communities where the user is the protagonist and active engine of their community together with the technical team. 7. Promote the inclusion of art as a form of informal education through the consolidation of its presence and support in social projects. 8. To sustain the vision of the communities as a project of social entrepreneurship in favor of the principle of Generative Well-being. The target groups of the educational action have been divided into two main groups as the contents of the courses have been different and specific for each need and specific objective. Course 1 was aimed at 12 professionals from the third sector who collaborate in the host communities such as: social educators, psychologists, social workers, social integrators, occupational therapists, people working in social and health care, etc.These people were highly qualified academically, with knowledge of the problems faced by people in situations of vulnerability, risk or social exclusion. Course 2 was aimed at 24 migrants, inmates and peoples coming from a vulnerables situations who live in host centers or communities. This group is usually quite heterogeneous, but generally they tend to have low academic qualifications, emotional management problems, behavioural problems, feelings of apathy and low self-esteem. DESCRIPTION OF PLANNED and IMPLEMENTED ACTIVITIES: - Creation of a digital platform to connect the world of host communities with the world of artists in the European Union. - A guide for social project managers, educators and, in general, all staff working in host projects has been created, written and disseminated with the aim of turning host communities into artistic hosts and managers, promoting social entrepreneurship. - A training course has been organized and promoted for social educators, psychologists, social workers, etc., using the previously prepared guide, in order to train them as artistic managers. - A training course was held for migrants and other vulnerable people from the host communities, during which they received training on the technical aspects of the production of artistic performances. An unexpected but very significant result for the objectives proposed with the project has been the creation and formalization of an international group of technicians of the spectacle formed by the participants of the Course 2. This group is actively working as technical support in different Erasmus+ projects related to social art under the name "Art.No.Stop".
The project was intended to achieve the following objectives: 1. To experiment with new models of ACTIVE HOSTING in host communities by promoting permanent education projects for adults through the organization of art residencies and performances. 2. Create a web platform that brings together social projects willing to train and offer benefits and services in favor of artists. 3. To provide social operators with the means to develop digital skills for the management of artistic services or events in their host project. 4. Train users of social projects with low qualifications in services/technical production of events to provide them with more job opportunities. 5. Visibilize the migrant's condition through art and sensitize citizens about the migrants' condition. 6. To offer adult migrants a different perspective of hosting where the user is the protagonist and engine of their community together with the technical team. 7. Promote the inclusion of art in non-formal education through the consolidation of its presence and support in social projects. 8. To sustain the vision of communities as a project of social entrepreneurship in favor of the principle of Generative Welfare.
The idea of the project was consolidated in a historical momento pierced by a global crisis where artists and entertainment professionals were forced to stop their artistic and performative activities. This lasted, for many of them months and even years, a period where they had no physician place where to practice, rehearse and create. On the other hand, the social sector, which offers attention to the more vulnerable society, such as host communities and emergency centers, continued with their work during this global crisis. They had to even intensify their work during this period because of the socio-sanitary emergency. It was then, when we immediately associated the social intervention sector, the related pedagogy, and the artistic field, from a perspective where we identified that they should experiment new forms of relating with the objective that the social sector, its services, staff and users, would be able to represent a support network for the artists. At the same time, we needed to create a new collaboration frame for art in the social field, to represent a structural intervention and educational method to create more job opportunities for artists, professionals and users of hosted communities in vulnerable situations.