Untitled - Narodowe Centrum Kultury

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tytuł artykułu 71 Listen to the local community: they are the best experts in their town or village. Encourage people to speak up their minds – it is sometimes a challenge, especially in rural communities. Opinions can be expressed without words, e.g. by displaying a craftsman’s work. But do not be afraid to have your own “outsider” vision and stick to it. The trickiest part is to strike a balance between your understanding of the project goals and the voice of local residents. challenges Projects of this type must be developed locally – you need to spend a lot of time with local organisers. The effort is not foreseeable, measurable and automatic. You need to be flexible with time, innovative, open, versatile and tolerant. You need to like people. Another difficult part is planning a multi-year project – you need to fill out endless grant applications and constantly seek funding. funding The project in Rodaki was twice part-funded by the Human Capital Programme. Open Homesteads are co-financed by local residents who generously open their homesteads and dedicate their time to organising the festival, often offering snacks and refreshments. In 2010 the Żeszczynka local government part-funded a poster for the project. Rural Development Foundation supported the publication of a guide to Rodaki heritage. a considerable portion of the costs was covered from our own resources. Open Homesteads were undertaken under the honorary auspices of INTBAU, UNESCO, European Heritage Days, the European Year for Combating Poverty and Social Exclusion, the Marshal of Lesser Poland Province and in partnership with local, regional and national media. Photo: Magdalena Prosińska (3) Magdalena Prosińska received an M.A. in ethnology from the University of Warsaw and an M.A. in UNESCO World Heritage Preservation from the Department of Architecture in Cottbus. She has gained work experience in Poland, Georgia, Vietnam, the US and Germany. She founded the website miastaogrody.pl (The Land of Garden Cities). Her awards include the Marshal of Mazovia Province Award and the Foundation in Support of Local Democracy Award (under the auspices of UNESCO and the Minister of Culture). Magdalena has been developing Open Homesteads since 2008. She divides her time between Podkowa and Berlin, working on Polish-German projects. In 2011, in her gallery, she mounted an exhibition entitled Exotic Poland, Paper Cutouts from Mazovia, which promoted traditional Mazovian cutouts. Heritage for the Future Foundation (Fundacja Dziedzictwo dla Przyszłości) Mazovia Province ul. Bukowa 19, 05-807 Podkowa Leśna mprosinska@wp.pl www.otwartezagrody.org
72 Rap Workshop for Beginners Rap Workshop for Beginners is a series of workshops run by the Culture Practitioners Association and funded by the Cultural Centre+ Programme. f or several years now, as part of culture animation projects run at the youth correctional facility in Falenica, we have used rap music. We developed a “rap method” in our workshops, which puts emphasis on words and stories. In our first project, which involved a group of girls from the Falenica facility, we added new lines to existing songs and changed lyrics of rap songs. Then the girls, under our guidance, wrote their own lyrics on a freely chosen or assigned topic. We found this to be a universal method of culture animation, combining individual work with teamwork, and rhythmbased work with creative expression through writing and rapping lyrics. We decided to adapt it to a different context. the project We arrive, set up the equipment, invite the group in. We begin by talking about rap music – discussing its sources, explaining what it is all about. We stress that rap originated as socially committed music that called for equal rights and social change, that it expressed discontent. Rap is above all a deliberate statement – this is key for us. Then comes a rhythmic warm-up: we count to four, clapping our hands, stamping our feet. The first assignment is to come up with several rhyming lines starting with “One, two, three, four”. Participants work in small groups, jotting down lines excitedly. Some rhymes come naturally, others need to be worked on. We help. After about 15 minutes we reform the circle. It’s time to present your work. Some participants are still shy, others rhyme with ease, trying to get the feel of the beat. We repeat the lyrics many times. Then we add the mike. In the meantime everyone has the chance to add new lines. At first they are allowed to write anything they like as long as the lines rhyme. Then we encourage them to strive for meaning. In the process we ask questions like: What is this song about Is this what you really want to say We hone the beat, flow, intonation, stage presence. Finally, we record the songs in a portable recording studio set up in the adjacent room or in a car. target groups / methods The method we have been developing for a few years during our workshop involves the creation of short narrative forms – typically songs, but also fairy tales, short stories and recorded tales. For all their differences, these forms have one thing in common: they can be used to convey an important message. The work can also serve as the jumping-off point to provoke thinking, reflection, questions like: What is important to me What do I want to speak up about What are the things I don’t accept What do I like/dislike Workshops are aimed at young people aged 7 and over. There is not upper age limit as long as participants come from the same age group. We have experience leading workshops with both 7-year-olds and people
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4 1 Note from the Editor Cultural e
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6 Photo: Karina Krajczy
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8 Are there any specific skills a c
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10 In our Laboratory we call this a
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12 Photo: Karina Krajczy
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16 Construction Site, Iza Rutkowska
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18 What makes culture animators dif
Page 21 and 22: 20 4 What Are Local Communities agn
Page 23 and 24: 22 Over the past 10 years, we have
Page 25 and 26: 24 The organisers get awards and re
Page 27 and 28: 26 5 From Partnership to Network ma
Page 29 and 30: 28 and Social Initiatives, Chamber
Page 31 and 32: 30 Photo: Piotr Haweman
Page 33 and 34: 32 bodies (provincial governors, he
Page 35 and 36: 34 their cooperation in carrying ou
Page 37 and 38: 36 for this priority as all availab
Page 39 and 40: 38 Photo: Krzysztof Prałat
Page 41 and 42: 40 Cultural Leaders Academy Do youn
Page 43 and 44: 42 Children for Integration: Interc
Page 45 and 46: 44 Soundwalks Soundwalks is an inte
Page 47 and 48: 46 Glassmaker Factory Glassmaker Fa
Page 49 and 50: 48 Festival of Wandering Photo: Pro
Page 51 and 52: 50 Where is Pinocchio towns with no
Page 53 and 54: 52 Film Rolls and Pixels. Visual Ed
Page 55 and 56: 54 The Roots of Siekierki Born in 2
Page 57 and 58: 56 Flying Culture Animators Everywh
Page 59 and 60: 58 The Lublin School for Supergrand
Page 61 and 62: 60 Mobile Creativity and Art Studio
Page 63 and 64: 62 Takeaway Museum The objective of
Page 65 and 66: 64 We, the Women of Muranów We, th
Page 67 and 68: 66 Small Railway of Great Ideas Sma
Page 69 and 70: 68 Temporary Gardens through tempor
Page 71: 70 Open Homesteads Open Homesteads
Page 75 and 76: 74 Courtyard Re:Creation you need t
Page 77 and 78: 76 Robots in Culture Many cultural
Page 79 and 80: 78 Legacy Each animator should carv
Page 81 and 82: 80 ShortCut: Prologue The Unknown D
Page 83 and 84: 82 Travel Plan: Armenians in Poland
Page 85 and 86: 84 Splot Szewska Splot Szewska has
Page 87 and 88: 86 Art on Wheels Art on Wheels is a
Page 89 and 90: 88 GROUNDed GROUNDed is a performan
Page 91 and 92: 90 Video! Girl VJs’ Initiative to
Page 93 and 94: 92 persuaded a group of her closest
Page 95 and 96: 94 Great Architecture and the Colou
Page 97 and 98: 96 Women’s Wola Women’s Wola (t
Page 99 and 100: 98 Partnerships with Rural Communit
Page 101 and 102: 100 Courtyard Memories Come Out of
Page 103 and 104: 102 Captured Moments The Communal C
Page 105 and 106: 104 Outside Inside Outside Inside i
Page 107 and 108: 106 I Change Therefore I Stay I Cha
Page 109 and 110: 108 Żabno - My Memory The Communal
Page 111 and 112: 110 Notes .........................
Page 113: team of editors: Karolina Dziełak
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