This transnational cooperation between Artscape, Tartaruga Distinta, A Bunda and Samba Résille was born out of a shared diagnosis that showed that: - The health and economic crisis linked to COVID-19 is challenging the cultural and creative sector with the consequence of a stopping all professional activity; a stop felt by artists as a trauma more strongly than professionals in other sectors, because the extreme specialization of artistic techniques acquired after long years of training and rehearsal separate most of them from classical careers likely to facilitate their vocational retraining after such a health and economic shock; - Resilience is needed to rebuild an artistic practice that is psychologically over-invested and to convert this "misfortune" into a formidable energy to create again. It is not a new life to be considered, but to continue one's own by changing the trajectory and sometimes even reaching excellence. - From self-production to self-dissemination, the musician tends to become the main leader of his professional project and the main contributor of its realization thanks to the transition to digital technology and the generalized rise in power of the figure of the self-entrepreneur. This is why the "Musicpreneur" project wishes to provide answers that allow musicians and cultural operators, the project's target audience, supported by exceptional measures, to find their way back to cultural entrepreneurship, a space for resilience, transformation of practices and creative imaginations for a better tomorrow, by accompanying them in the development of their power and know-how. The idea is to enable them to "bounce back" in a context which, for the most part, challenges them, makes them precarious, traumatizes them and gives them the feeling of having lost their "power to act" and to develop in this context a new understanding of their practice in order to surpass themselves and regain their "ability to act". However, an individual is more or less resilient, and in order to "be able to act" must know “how to act" according to his or her own capacities to mobilize and effectively combine a variety of internal and external resources within a given situation in order to organize, adapt, empower, socialize, communicate, take initiatives and participate. This is why the project pursues the overall objective of "developing the know-how of musicians and cultural operators in the health and economic context of COVID-19" and plans joint staff training events around two specific objectives (SO): - SO 1: Know how to mobilize and combine effectively a variety of internal resources (IR) - SO 2: Know how to mobilize and effectively combine a variety of external resources (ER) The program of activities is based on a pedagogical approach adapted to the needs of the participants and plans 20 days of learning activities for 8 participants per organization in addition to the 3 transnational meetings for the management and follow-up of the project activities. The profiles of skills and social and creative expertise are favorable to the circulation of multiple knowledge and skills on the issue of cultural entrepreneurship as spaces of resilience in crisis situations. The implementation to achieve the objectives and results of the project is carried out under the supervision of a transnational steering committee which aims at giving an impulse to disseminate the visibility of the project beyond its limits, towards external stakeholders and target audiences by encouraging all actors to engage in an active process of dissemination and valorization of the productions and results of the project, allowing them to measure the quality of their work and the value created at all levels. In this way, the evaluation of the work program is part of a longitudinal, appreciative and participatory approach so that it can reflect a "mirror" perception that will allow participants to continue to question themselves outside of the specific evaluation actions. Impact measurement will be based on quantitative and qualitative data relating to the dissemination of project results, the documentation constituted by the participants, the evaluation activities of the products and results of the actions, the evaluation of the formal and non-formal skills developed by each of the beneficiaries, the transmission of new learning outcomes, the narration of the experiences lived by the participants, the time for face-to-face interviews and analysis, both individual and collective, the time for observation and application of acquired technical, managerial and citizenship skills.
Musicpreneur has set itself the challenge not to undergo a complete reinvention but rather an evolutionary trajectory. This approach is guided by the metacognitive development of artistic and managerial capacities synthesized under the key competence "Knowing How to Become." Aligned with the reference framework of key competences defined by the Council of Europe in 2006, the project has adopted a holistic approach encompassing knowledge, skills, and attitudes adapted to each context. It has also drawn upon the vision of Jacques Tardif, an educational psychologist, conceptualizing competence as "knowing how to act," resulting from the effective mobilization of internal and external resources in a given context. Thus, the logical framework of the project has structured actions and outcomes according to two key specific objectives. • The first specific objective (OS1) aimed to develop participants' ability to mobilize and effectively combine a variety of internal resources around key psychosocial and transversal competences. • The second specific objective (OS2) focused on the effective mobilization and combination of external resources around the means of their operational environments.
Musicpreneur emerged in the midst of the pandemic crisis with the ambition of contributing to the resilience of artists and cultural operators who were severely affected by the abrupt halt of their activities, experienced as a profound trauma. Faced with this context, the partner organizations undertook a SWOT analysis, rooted in the narratives of cultural operators and musicians, both professionals and amateurs. This approach was also informed by summaries drawn from articles and studies on artistic resilience and cultural entrepreneurship in times of crisis. The extreme specialization of artists, the result of years of effort and rehearsal, often distances them from conventional paths that would facilitate their transition. For many creative individuals, the trauma proved to be more pronounced than their counterparts in other sectors. For these artists, resilience becomes imperative to breathe life back into an artistic practice psychologically imbued by this ordeal, thus transforming trauma into a powerful energy conducive to entrepreneurial recovery.