Untitled - Maison de l'Europe des Yvelines

THE PROJECT’S PARTNERSBalık Arts in LondonBalık Arts’ mission is to work with children,young people and adults from disadvantagedbackgrounds and provide them with access to artsand culture, which we have been doing since 1999.We are strongly committed to providing enrichingand engaging projects for children, young peopleand adults specifically from Turkish and Kurdishcommunities regardless of whether they are first orsecond generation settlers, and, as an extensionof this, to all people who may come from adisadvantaged background.Balık Arts: www.balikarts.org.ukIntegrationswerk Respekt e.V. in BerlinIntegrationswerk Respekt is a non-profit associationfounded in 2001 by russian-speaking migrants.It works mainly on the field of education andsocio-culture. Respekt teachs, coachs und advisesmigrants and non-migrants in self-empowermentparticularly for social-work-sector. Respekt offersintercultural trainings, Non-violent Communicationworkshops for young people, parents and teachers/educators and also courses for unemployedpersons in intercultural education that arepromoted by the Employment Agency, LocalGovernment or the European Social Fonds.Integrationswerk Respekt e.V.:Fechnerstraße 26, 10717 Berlin AllemagneDatça municipality in TurkeyThe history of the Datça Peninsula goes back to2000 B.C. Hundreds of different societies andcultures ruled and passed from the area, namelyThe Carians, Dorians, Persians, Athenians,Romans, Byzantines, Mentesogullari, OttomanEmpire, have left traces of a world of paradise.The Municipality of Datça supports most visual andmusical arts and also provides adult educationcourses to improve personal skills in the town.Datça Municipality: www.datca.bel.trMission Locale Intercommunale desMureaux in FranceThis French organisation has a public serviceobjective: work for professional and social inclusionof young people (16 to 25 years old), fight againstexclusion, create a link between young people andeconomic or social world. The “Mission Locale” isa body which welcomes, informs and leads youngpeople in order to allow them to get a job and tokeep it. The “Mission Locale” contributes to a betterlife for these youngsters by helping them to faceproblems in their daily life.Mission Locale Intercommunale desMureaux: 38, avenue Paul Raoult, 78130Les Mureaux FranceMaison de l’Europe des Yvelines in FranceThe Maison de l’Europe des Yvelines (MdEY) wascreated in 2001 as a non-profit organisationin order to raise people’s interest in Europeancitizenship. Through the European Youth inAction Program the MdEY has been able to builda wide European network through the last tenyears. MdEY’s main activity on a local basisis to raise awareness on European subjects, topromote European citizenship, to foster Europeanintegration and to promote European values. Onthese subjects the MdEY is working with schools,youth centres, youth councils and institutions foryoungsters with fewer opportunities. Since 2009,the MdEY also hosts an Europe Direct InformationCentre to deliver documentation from the EuropeanCommission. The MdEY also is either initiator orpartner of European projects through programssuch as the Youth in Action, Leonardo, Grundtvigand citizenship program. The MdEY is affiliatedto the national network of French Europe Houses(FFME) and the European network EUNET.Maison de l’Europe des Yvelines:www.maisoneurope78.eu

BACK TO THE ROOTS, EUROPE FOR EVERYBODY! GOOD PRACTICE GUIDEHISTORYIDENTIFICATION OF THE NEEDSWhat about the family status in France,England, Germany and Turkey?Within each country, many changes haveoccurred within society and general overallpoverty has created differing individual lifestyles.The status of the family in England has changedconsiderably since the 1960’s. In the post-warperiod most families were nuclear families, now,particularly amongst working-class families, thereare a diverse range of family units and a largenumber of one parent families. Within some ethnicgroups there are strong family units, and nowyounger people, particularly those from middleclassbackgrounds are veering more towards theestablishment of nuclear families.France from the fifties was quite different fromcontemporary France. After the baby-boom duringthe fifties, changes to the social and benefitsstructure in May 68 and French legislation changedthe divorce laws, women have become moreindependent. Consequently, French society hasbeen transformed: single-parent families, andnuclear families mix in traditional family life witha mixture of sexes and generational separation.Immigrants’ family life has had the same evolution.These breaks inside the family appear to haveweakened French society.Germans perceive families mostly as a lifepartnership that includes children. Despite newtypes of partnership, a majority of 97% stick tothe ideal of a married woman and man withchildren. But there is a rising trend towards singleparent families and small families. The number ofhouseholds with more than three or four membersis declining. Forecasters expect a reduction inpopulation of one quarter by 2030.In cities the number of single parent families isas high as 29%. There are differences betweenage groups. In the age group of 18 to 34, singlehouseholds consist mostly of individuals who canafford this lifestyle. But singles are not alwaysyoung, they are often more mature. There aredifferences between men and women. One reasonfor this is the higher life expectancy of women.Single households are more threatened by poverty.10% receive social benefit and this number isrising. Alongside the classical married couple newkinds of partnerships exist. About a third of familieswith children below the age of 18 belong to thegroup of single parent families (and in Berlin itgrew by 9% with the reunification in 1990), 15%belong to various types of partnership and 53% tothe classical married couple families. Almost 60%of the families have at least one child.In Turkey, during the sixties young generations wereaffected by the world social movements and theywere much politicized until 1980. But two militarycoups in 1971 and especially 1980 which areclosely related with economic crises also createdan autocratic constitution which is still in force.Parliaments have been working on this in order tobe accepted to EU membership since the 1990’s.The situation in 1980 changed working and dailylives in Turkey. This period produced a new younggeneration which is mostly apolitical, unemployedand disorganised. But after the 1990s women andworkers started to get organised and have beenstruggling for their rights and made some smallchanges towards equal rights and democracy.What about the employment situation in thesecountries in 2011?In France, after years of economic growth itwas relatively easy to find jobs (from the fiftiesto 1974), but from the end of the 1970s,unemployment became a normal part of Frenchsociety. Unemployment reached a historic level inFrance at the end of 2012 which has affected thewhole of France.The Ile-de-France region has not escaped, butin the Yvelines Department, the increase is lessnoticeable thanks to the efforts of those who play3

BACK TO THE ROOTS, EUROPE FOR EVERYBODY! GOOD PRACTICE GUIDEa part in the local economy. In this region, men aremore affected by unemployment than women. Thereis an increase in unemployment for those over 50,and for young people it also remains high.In 2011 about 3 million people were registeredunemployed in Germany (7.1%), whereas thisfigure was about 12% in 1998. Since then, thenumber of unemployed among the group of 15-17 year olds has dropped the most. Since thereform of the employment market in the past tenyears many people have been pushed into low paidand precarious jobs. More than 2.5 million peopleearn less than 6 Euros per hour.About 2.5 million people are self-employed. Themajority of them still depend on social benefit. InFebruary 2012 the percentage of unemployed inBerlin reached 13.2% and 15% of the populationis considered to be living in poverty. 25% of Berlinresidents have an immigration background, but 27% of all residents are affected by poverty.After World War II, during the Fordist EconomicPeriod, Turkey did not have an unemploymentproblem like other parts of the world. Economicgrowth alleviated unemployment. But after the late1970’s, with global economic crisis, unemploymentincreased gradually. With the military coup in the1980’s the laws were adjusted for capital growthand this reduced labour rights, and lessenedthe income for the working classes in Turkey.After 1980 with other global economic trendsand factors, such as neoliberal rules, fluctuatingfinancial markets etc. unemployment became a bigproblem especially for the younger generation andwomen in Turkey.The employment situation has changed since2008 in the UK in that there is high unemploymentespecially amongst young people. There are alsofewer opportunities for development of skills oropportunities for people to change careers. Thereis high unemployment amongst older womenin the UK especially amongst those who haveworked in the public sector where there have beengovernment cuts.What is a European Year?A European year is a year defined by the EU inwhich a specific topic or idea is explored by themember states such as The European Year ofVolunteering (2011) or The Year for Active Ageingand Solidarity between Generations (2012).What is the European Year for Active Ageing andSolidarity between Generations?The year of 2012 was intended to raise awarenessof the contribution that older people make in societyand to encourage policyholders and stakeholdersto take action to create better opportunities foractive ageing and strengthen solidarity withingenerations. This is related to giving older workersbetter chances on the labour market, and to creatinggreater participation in society for older people andencourage independent living by empowering us,and encouraging older people to remain in chargeof their lives for as long as possible.The European Year 2012 aims to change ideasand attitudes, increase solidarity, social cohesionand mutual learning. Focusing on elderly peoplein society and the labour market, good practicescan be encouraged through cooperation betweenEU member States and neighbouring countries. Allthese activities aim to increase their independence.4

BACK TO THE ROOTS, EUROPE FOR EVERYBODY! GOOD PRACTICE GUIDERECYCLING MOVIE WORKSHOPContact with the French movie-makerWhat is a “recycling movie workshop?”The French movie-maker Julien Lahmi suggestedan original way of recycling movies from the past.The French organisation Maison de l’Europedes Yvelines has encouraged this concept at aEuropean level. These family movies from fourdifferent countries are the basis of a new kind ofmovie made with old family films (Super 8 or 9.5mm) and photographs. Various footage is used tocreate a new European memory.Julien Lahmi has shown effective ways of using“home movies” from history and has been applyingcurrent stories and ideas to them in an imaginativeway. The movie makers on the project made thedecision to use only this kind of family footage forthe work and asked us to seek out this footage inour various countries and to run workshops basedon this footage.How we built the project for the participatingpartners from the UK, France, Germany andTurkeyMaison de l’Europe des Yvelines in France led theproject.There was a lead organisation based in eachcountry with a specific leader from each country.In Germany the organisation was IntegrationswerkRespekt e.V., in the UK, Balık Arts, in Turkeythe Municipality of Datça, then in France itwas Maison de l’Europe Yvelines and theMission Locale Intercommunale des Mureaux.Each country had a leader who held the mostresponsibility for fundraising, organisation andcoordination. There was also a filmmaker fromeach country, except Germany, who was part ofthe team (two men were in charge in two periods).There were workshop participants (trainees) ineach of the participating countries. In the UKthese trainees should be over 25 whereas in othercountries the learners should be at least 18. Thecriteria was that it would be an introduction toworking on film techniques either as screenwriters,editors, musicians or technically.How did we get the money for the project?All partners (from the four countries) received agrant from the European Commission’s GrundtvigProgramme. Each partner-organisation is linkedto a minimum number of mobilities to be carriedout during the grant agreement period – theseminmum numbers have to be respected for thenumbers of planned learner/trainee and staffmobility into the table.The grant amounts for each Partnership type aredefined at national level and they can vary fromone country to another.According to the Application Form, each leader ofFrance, Turkey, Germany, and the UK decided totake part in the project with the figures in the graphon page 4.In the four countries, partners were free to decide ifthey needed additional funds to achieve the goalsof the project. The main part of the expenses arelinked to:• the transport costs• the accommodation costs• the programme costs• the organisation’s functioning costs.Concerning the expenses linked to the programme,in France it deals with the movie-maker’s salary,the required material for the movie workshops andof course the renting of rooms if necessary.The coordinator of the project, Maison de l’Europedes Yvelines decided to make one of its employeesresponsible for the coordination of the wholeproject. Some other financial contributions wereraised by the French organisation such as:5

BACK TO THE ROOTS, EUROPE FOR EVERYBODY! GOOD PRACTICE GUIDE• The “Conseil régional Ile-de-France”• The “Préfecture de Versailles” linked to Frenchsocial policy institution• Arcadi within the French film education initiativeof “Passeurs d’images”• The towns of Les Mureaux, Les Ulis, Chatou,Saint-Germain-en-Laye• Fédération Française des Maisons de l’Europe• Mission Locale Intercommunale des MureauxSome other organisations helped in theimplementation of the project (for the interculturaland linguistic activities in some trilateral meetings):• Mission Locale de TavernyIn Germany, Integrationswerk Respekt gotmoney from the European Commission(Grundtvig Programme), and from DFJW for theimplementation of trilateral meetings.For the Turkish partner, the Municipality of Datçareceives the support of Turkey Ministry for EUAffairs and also of the Centre for EU Education andYouth Programmes.In the UK, Balık Arts was not able to secure anyextra funding for the project.At each step of the project, partners looked aftervolunteers and worked with the help of their ownstaff, trainees and members of their organisations.Each partner organised their preparatory meetingsin their own premises and provided the requiredmaterials for these workshops.• Office Franco-Allemand pour la jeunesse (OFAJ)French-German Youth Office (FGYO)The European Commission’s application form6

BACK TO THE ROOTS, EUROPE FOR EVERYBODY! GOOD PRACTICE GUIDE2) What did you dislike?3) What did you discover during this workshop?The Berlin group consisted of participants whobelonged to different generations (from 16 until 69years old). This age diversity and the wide rangeof countries of origin (Germany, Ukraine, Austria,Russia, Latvia and Georgia) have enriched theirexperience within the workshops. After watchingthe footage from Dropbox, they observed thatone and the same video recording was perceivedby the representatives of the various age groupsin different ways. For example, the march ofthe British cavalry aroused, amongst the elderlyparticipants, war memories, while the youngestcolleagues were thinking only of London andits sightseeing attractions. They also spoke a lotabout East and West and how life in the Westcan change a person. Another subject within theirdiscussion was prejudices in different countries.After having watched the footage step by step eachone expressed his/her impressions from differentscenes. They all came to the conclusion that theirmovie would tell about three different life stagesof a fictitious person (childhood, adolescenceand mature years) and the search for identity ingeneral. They also talked a lot about youth andmaturity, and about the midlife crisis. Anothertheme was giving birth to children and how stronglyit changes one’s own feelings and attitudes towardsone’s parents. All these previous discussions andactive participation within the movie workshop gavethe participants the direction of the general ideaand appropriate videos for their own short film.The Berlin group, including pupils, unemployed,disabled, professionals, people without professionalqualification as well as people with an universitydegree up to PhD, faced an additional difficultybecause the movie maker Rais Khalilov joinedthem only by the end of October. This delayed theirwork for a couple of weeks and the workshop wascompleted only in December 2011.In Datça, starting from October 2011, a groupof 8 to 10 people, some learners, moviemakerOsman Akın and also Project Leader Özlem Caner,worked together to make the national movie overseveral workshops. First we watched the footagetogether several times and talked about stories forthe script. We realised that almost all footage wasmale dominated, conversely we decided to make awoman’s story out of them. Then we watched themagain to make the story of our woman. We wrotethe script step by step, sometimes making changes.Everybody put something into it. Then we decidedon the sound effects and put voice-over andsubtitles into it to finalise the movie. Since all ofus are amateurs in this sector, after we completedour draft product at the end of December 2011,we asked for some help from our cinemagoerfriends to get their ideas and we made some smalladjustments to it. Then we shared our product withour partners.THE INTERNATIONAL RECYCLING MOVIEWORKSHOPThis took place in London in May 2012 at BalıkArts. After viewing the footage from each country arough skeleton of the plot was constructed throughlively discussions. Determining the title, characterdevelopment and the writing of the dialogueallowed the participants to engage with their ownheritage and that of the other participants which attimes led to emotional moments as well as drawingforth celebratory feelings and pride. Text was9

BACK TO THE ROOTS, EUROPE FOR EVERYBODY! GOOD PRACTICE GUIDEconstructed and proofread, whilst a different subgroupworked closely on music and sound effects.The rough copy of the film was finalised with theaddition of music and voice-overs. This was thengiven to Julien Lahmi, the filmmaker from theFrench group for final editing.Julien Lahmi spent 10 days with the English moviemaker,Mustafa Boğa and the participants fromTurkey, Germany and of course France and theUK. The Turkish and German participants stayedonly 4 days whereas the French and British groupsstayed for 10 days. Because the global budget ofthe European project could not be increased, somegroups could not stay in London until the end ofthe movie-workshop. Julien and Mustafa suggestedsharing the workshops as follows:Writing: Mustafa Boğa (England) Pictures, subtitles andediting: Julien Lahmi (France) Sounds and voice-overs:Rais Khalilov (Germany) and Osman Akın (Turkey)Titles of all the short-films are:Hereafter the synopsis:L’AUTRE CÔTÉ DES CHOSES: movie-maker: JulienLahmi Maison de l’Europe des Yvelines – MissionLocale Intercommunale des Mureaux & Arcadiwithin the French film education initiative « Passeursd’images en Ile-de-France » – 18’27’’- 2012This movie is the result of a collective of inhabitantsof the city of Les Mureaux. It shows a young German,Dieter, who begins a journey in Europe to find hisplace in the world. He films the intimacy of a familyfrom this French town, and delivers us his feelingsthrough surprising, funny and moving scenes.THE WAY: Rais Khalilov – IntegrationswerkRespekt e.V Berlin - 15’26’’- 2011Realised by Berliners of Russian and Ukrainianorigin, this movie shows us people who, althoughliving in Germany, draw from the relationshipsand friendships that they have developed inGermany, Britain and France but also in theirpride in their roots and their cultures of origin.A LONG WAY OFF: Datça municipality – 11’17’’– 2012Realised by the inhabitants of Datça, town in theprovince of Bodrum in Turkey, this movie showeda strong link to personal history. The participantsdiscovered their pride in being Turkish, theirmigratory route within their country and in Europeand finally their return home to their roots.THE SEARCH: movie-maker: Mustafa Boğa – BalıkArts – 12’40’’- 2012Realised by local residents of Hackney in London,this movie is the fruit of the creativity of people ofTurkish, Kurdish, Eastern European, Algerian andother origins, who reveal a single story from fourdifferent viewpoints, those of a child, his motherand his father, and as a teenager. It also coversthemes of war and displacement and how theseaffect different members of one family.RED HAPPINESS: movie-makers: Mustafa Boğa/Julien Lahmi – all partners & Arcadi withinthe French film education initiative « Passeursd’images en Ile-de-France » – 9’32’’- 2012Realised by a group of Berliners, Londoners,inhabitants of the Ile-de-France and Turkey, thislast movie illustrates the European motto “Unitedin diversity “. In spite of the linguistic, interculturaland social differences, the participants created thissingular story around the idea that the people arealways confronted with their roots, even if they tryto hide them.10

BACK TO THE ROOTS, EUROPE FOR EVERYBODY! GOOD PRACTICE GUIDEINTERCULTURAL MEETINGSThe first one took place in Berlin in September2011The first meeting took place in September 2011 inBerlin, the original place of the bilateral partnershipwhere the Application Form was completed, atRespekt’s offices from September 25th to 28th,2011. This was the first time all the partners meteach other (especially the leaders and their staff,and some learners). This meeting aimed to bringtogether all the participants around the Europeanproject. It was hoped that ice-breaking games couldhave been played to create a less formal atmosphere,but because time was short, it was not possible.Nevertheless, two days were spent discussing threemain topics:• European formalities with the EuropeanCommission (a mandatory task for every groupleader)• Communication of the project (creation of acommon logo for the project and a social networkpage on Facebook)• Movie workshop sessions© MAISON DE L’EUROPE DES YVELINESMeetings and workshops...At the first meeting in September 2011 in Berlin,about 70 people came. Some of them wereworking in student movements or representativesof NGOs dealing with migration and initiativesfrom the Pangea House. Moreover, a visit tothe town hall of Charlottenburg was organisedthanks to Mrs. Monika Thimen (the Mayor ofthis Berlin district), Mr. Çakmakoğlu (in chargeof migration affairs) and different immigrationorganisations. The visit of the group was alsohonoured through reports/articles by the Berlinlocal press. There were visits to the Anne FrankMuseum, the Kreuzberg Museum, which owns animpressive collection of local immigration history,the Pergamon Museum, the Memorial to theMurdered Jews of Europe, Kreuzberg Museum ofLocal History and Society and an excursion aroundBerlin was organised at night.The second one in London in March 2012This step was decided upon after the ApplicationForm was sent to the EU Commission. All partnersrealised that organising the European movieworkshop in London seemed to be an especiallydifficult step, mainly because of the mixture ofdifferent people speaking different languages andhaving different backgrounds. So an additionalEuropean meeting took place from March 5thto 9th, 2012. The objectives were to watch allnational short films made in each country and then11

BACK TO THE ROOTS, EUROPE FOR EVERYBODY! GOOD PRACTICE GUIDEto organise the European workshop scheduled forMay 2012. Unfortunately, due to budget problems,the Turkish partner could not join this meetingbut Datça Municipality was informed about thetopics and decisions. This additional meeting wasfinancially supported by the French-German YouthOffice (FGYO) and the Region of Ile-de-France.The third one in Paris in November 2012During this step, all partners joined the meetingfor 5 days. The project members showed thefilms at a national Movie Festival in Ile-de-Franceregion. Moreover workshops were organised forthe beginning of the writing of the Good PracticeGuide. This book is not only useful for peoplewho took part in the European project but alsofor citizens from Turkey, the UK, Germany andFrance, who would like to learn from this exampleof European partnership.This meeting also gave the opportunity to allparticipants to be welcomed in the city of LesMureaux and the French partner Mission LocaleIntercommunale des Mureaux organised a meetingwithin its offices to present the objectives of thiskind of Job Centre, dealing with youngsters from16 to 25 years old and their work for professionaland social inclusion of young people. Then theMayor in charge of the relationship with the NGOsinvited the groups in the city hall of Les Mureaux.The fourth one in Berlin in March 2013Thanks to the French-German Youth Office(FGYO) and the Region of Ile-de-France theEuropean leaders and participants were able tomeet one more time. In Berlin, we discussed thetopics of family and diversity. We experiencedthat we had different ideas about what familyactually was and what it meant to each of us.Some considered family as an environment ofhappiness. Others had a larger understandingof the family and also included friends into theirdefinition. Family was also associated with thenotion of respect by a number of the participants.Continuing our discussion on diversity in Paris,The screening ofthe five films onNovember 25,2012 in Saint-OuenFestival du Filmde Famillewe summarized different features of diversity intomajor groups. In Berlin, we recalled the relevanceof history and memory in our lives. We visitedthe exhibition “Diversity Destroyed Berlin 1933– 1938 – 1945”. This exhibition highlighted thetakeover of power by the German Nazis 80 yearsago, in 1933. Since we had identified diversityas a mainstay in our project, this exhibitionreminded us of the significance of upholding thissocial value. Afterwards, we visited the SephardicWomen’s Club and experienced the re-emergenceor rather continuance of Jewish life in Berlin inthe Passover celebration of this club. Participantstook further interest in the cold war period inthis city by a walk to the remaining parts of theformer wall between East and West Berlin. Wealso spoke about the documentation of our work.12

BACK TO THE ROOTS, EUROPE FOR EVERYBODY! GOOD PRACTICE GUIDEIn this context, we formed discussion groups alongthe spoken languages in our project (German,English, French). We decided to continue our workon the Good Practice Guide through emails andFacebook and Skype.The fifth one in Datça in May 2013In Datça a final European meeting was held inbetween 11th to 16th of May 2013. Five short filmswere screened and the Good Practice Guide waspresented to the public in Datça.During the previous meeting (Berlin), all partnersagreed that they could make a “family film” ofthe project participants in the style of the originalarchive footage from the 60’s and 70’s.GOALS OF THE PROJECTInvolve people from different backgroundsIn all movie-workshops (and for the interculturalmeetings) were involved people from differentcultural backgrounds and across a range of ages.In the UK this included participants from Kurdish,Turkish, North African and Eastern Europeanheritages.The French partners (Maison de l’Europe desYvelines and Mission Locale Intercommunaledes Mureaux) paid attention to the diversity ofthe groups taking part during each step of theproject. Before the first movie-workshop, peopleliving in the town of Les Mureaux were asked fortheir opinions on the subject of family memories,sharing them with their families and particularlywith their children. In many towns around Parisyou can see many migrants, which is the main© MAISON DE L’EUROPE DES YVELINES13

BACK TO THE ROOTS, EUROPE FOR EVERYBODY! GOOD PRACTICE GUIDEMANAGEMENT OF THE PROJECTPREPARATORY VISIT FOR THE PROJECT ANDAPPLICATION FORM FOR THE EUROPEANCOMMISSIONPresentation of the concept of this EuropeanprojectBalık Arts and Datça Municipality were notinvolved at this stage. The French coordinatormade a preparatory visit to the German partnerIntegrationswerk Respekt e.V. in December 2010.The two organisations have taken part to thesame French-German network for integration andequivalent chances, which has been created by thebilateral organisation OFAJ/DFJW. This networkencourages the exchanges between France andGermany and focused at youngsters, who aretrying to get jobs through the Job centers. Duringthis first step, both of them tried to write the conceptof the project. They were helped by the Frenchmovie-maker Julien Lahmi and the German one(which was at that time Levent Arslan).Coming back to France, the Maison de l’Europedes Yvelines contacted some other partners (whichwere from the network of Levent Arslan).Writing the Application Form in the name of thefive partnersBalık Arts was invited to take part in the project,and having had several communications withMaison de l’Europe des Yvelines, we have decidedto take part; filled in our section and sent it. Thecontent of the Application Form has been proposedto all partners including the other French one,which is Mission Locale Intercommunale desMureaux (where the youngsters came from). Beforethe deadline of February 21st, 2011 all partnersinvolved in the project entitled “Back to the roots,back to our origins, Europe for everybody!” sent itsfile to the European Commission.Approval of the European CommissionBeginning of July for most of the partners but mid-July for the French coordinator Maison de l’Europedes Yvelines, the project’s leaders were informedabout the approval of the European Commission.Beginning of August, they could begin to organisethe first steps for 2011: Berlin meeting end ofSeptember and first movie workshops in eachcountry. For Integrationswerk Respekt e.V it wasdifficult to organise the Berlin meeting in such ashort notice.TIME SCALE FOR THE PROJECTAUGUST 2011 – JULY 2013How to collect the footage?Balık Arts team tried to find family footage butalmost none of the participants had home videosthat old. Some of them did not even have photosas they are migrants/refugees. The film-makerwas able to find some through personal contacts,and they bought some from second hand marketsin London.In France, we put some announcements in thetown of Les Mureaux, asking people for old familymovies. On the other hand, we contacted theautomobile factory RENAULT in Flins, next to LesMureaux, and got from the company films from thefifties when the factory was built in this area. Manyfamilies from these towns worked for RENAULT.Those movies inside the firm were put inside thenew short film made by the French team.In Berlin/Germany, the collection of the footageturned out to be really challenging. Most of theparticipants of Integrationswerk Respekt hadmigrated from the territories of the former SovietUnion to Germany in the 1990s. The makingof home videos, however, was not commonor widespread in the states of the former East.Therefore, the Berlin group was not able tocontribute to the work with own-made footage.Therefore, its members went back to their owncollections of photographs in the beginning. Due21

BACK TO THE ROOTS, EUROPE FOR EVERYBODY! GOOD PRACTICE GUIDEto technical difficulties, however, the Berlin groupdecided to make use of the footage contributed bythe other groups in the project.In Datça we got some very old family photographsfrom Datça Local History Association. We boughtone family film from flea market in İzmir andborrowed a documentary film from a friend.How to organise the groups for the movieworkshops and for the intercultural meetings?Balık Arts wanted to involve a wide variety ofpeople from different backgrounds. However theyhave reached mainly Turkish/Kurdish people,with some from other backgrounds. They werealso aware of the fact that it would be verydifficult to impose a set timetable for the potentialparticipants. So, once they gathered everyonefor the first meeting, they organised the scheduleaccording to times/days that fitted everyone.These schedules were at times rearrangeddue to learners’ situations. The French partnerorganisations decided about the composition ofthe group for the movie workshop according tothe motivation of participants. They also haveto be available for the duration of the movieworkshop. They could bring their own footage ifthey had.Integrationswerk Respekt of Berlin counselsand advises people and is engaged in furtherprofessional training. It also hosts a youth club.It spoke about this project and invited peopleof organisations in Berlin to its meetings. In thiscontext, personal contacts of members of Respektwere also important in the recruitment of otherinterested people.In Datça we first chose people from filmmakers for2011 Berlin meeting. But for next meetings we hadintroduced and announced the project to the publicand selected the individuals among team playersfrom the questionnaire we made in 9th November2012. Afterwards we checked the available dates foreveryone for London and Paris meetings.VISUALS OF THE DIFFERENT POSTERS, FLYERS…22

BACK TO THE ROOTS, EUROPE FOR EVERYBODY! GOOD PRACTICE GUIDEHow to facilitate the understanding of allpartners (different languages)?We have used English as the common languagehowever at every step of the project, we also usedinterpretation either to the whole group or bynominated interpreters, often whispering to thosewhose command of English was not very good.How to communicate the details of the mainsteps of the project?The main steps were already identified in theproject proposal. We decided the details, such asexact dates and context, through transnationalmeetings, emails and phone conversations.Sometimes only via group leaders and/orfilmmakers, sometimes via all the participants.Facebook network could also contribute tocommunications during the project. Sharingmaterials such as footage and documents wasfacilitated through Dropbox, where we uploadedour material.What kind of dissemination did the partnersplan?Online tools such as website, social networkingsites, twitter; printed press such as local andnational newspapers; radio; tv; word of mouth;reports to a variety of stakeholdersEVALUATION OF THE PROJECTFOR THE EUROPEAN COMMISSIONBalık Arts has, during the period of the project,created ongoing reports and conducted phoneinterviews. All the National Agencies of theEuropean Commission did not do this in the sameway. All partners of the Grundtvig partnership senta mid-term report to the European Commissionby the end of May 2012. At the end of the projectthey will send their final report (before end ofSeptember 2013).FOR ALL FINANCIAL GRANTS WITHIN THEPARTNERSHIPBalık Arts has run the project with the Grundtviggrant only.In France, especially for the coordinator, there havebeen different levels of financial support for theproject, because the EU grant was not sufficient forthe whole project during two years. For each grant,the Maison de l’Europe des Yvelines made requestof a grant to an institution or foundation and then,after each period of step of the project, sent a finalreport with a financial report to its own accountingdepartment.The financial support agencies received a detailednote with the results of this project linked to thefixed objectives.Respekt received grants from theEuropean Commission (Grundtvig partnership) andfrom the FGYO (French-German Youth Office) toimplement the project.In Datça, there weren’t any additional financialgrants other than the EU grant.23

BACK TO THE ROOTS, EUROPE FOR EVERYBODY! GOOD PRACTICE GUIDEFOR THE LEARNERSBehind the footage (what kind of feelingslearners have got during and after theworkshops?)OYA ÖZGÜVEN: Most footage is reminded ofmy young ages, I mean they were nostalgic butat the same time male- dominated. This was thereason why I decided to make a female’s story.MICHAEL SCHIED: Surprised and curious, I triedto link the footage to my personal memory ofthat period, 1970s.PIERRE FEUNTEUN: As a historian, I was reallyinterested by the significance of those movies astestimonies of the family lives in the 40’s – 70’speriod, with maybe a bit of nostalgia of moreprosperous times. For me, the main theme inmaking the movie was, of course, Europe andtransnationalism.PRISCA PÉTREQUIN: It was a great challenge forme to accompany people who have importantdisturbances of memory and who didn’t imagineall this technology. But the other participantsof the workshop were really kind and nice andthe older people felt really welcome. They willremember this event.ERNESTINE CISSÉ: It’s an intergenerationalproject. I could create link with the otherpeople, find my roots and a film with a differentgenre, a new and original genre. So, it wasgreat and special.24© DATÇA MUNICIPALITYOngoing evaluation, through one-to-one talks;group discussions; surveys. All the questionnairesand testimonies have been studied very carefullyin order to include the feedback of the learners.Facebook pages were also a useful network toget some details about learners’ feelings andunderstandings during the movie workshops.The workshops of the Berlin team were veryintense and everyone participated actively. Theparticipants were impressed by the fact thatthrough cooperation we have discovered manythings which were previously unknown. The Berlinteam shared impressions and expressed theirviews about all movies at the different stages ofthe project. The movies immediately captured theirhearts. The participants noticed the cultural andgender differences between the characters in themovies on the one hand and were touched by theuniversal nature of the stories on the other hand.The Berlin participants found it very interestingand remarkable that all four movies coveredthe aspect of migration. They used the sameor rather similar images of travelling, moving,flying from Dropbox. Also, the Berlin participantswere surprised by the fact that the title of theirmovie was almost identical with the Turkish one.The production process of the movie was seenas being successful especially as the team wasinitially afraid that they would not be able toproduce its movie to a high quality in time.In Datça, almost all of the learners were happyWelcoming people in Datça cultural centre© MAISON DE L’EUROPE DES YVELINES & DATÇA MUNICIPALITY

BACK TO THE ROOTS, EUROPE FOR EVERYBODY! GOOD PRACTICE GUIDEfor attending in such an interesting project. Theidea, making recycling movies out of family films,using the same footage for different stories was abrilliant idea itself and it was a new idea for all ofus. Also meeting with people from various nationsand working together with younger or oldergenerations was a good experience. Also visitingnice cities of the world was a good opportunity foreverybody. This project became a milestone forsome young people who could go abroad for thefirst time in their life.Developed skills and final thoughtsANNIK LE BRIAND: After the workshops Ilearned the basic knowledge concerning theprocess of trimming and editing a video.SUE FRUMIN: I had a much clearer idea of howto use images to tell a story rather than textand how this could make an interesting film. Ialso felt that I had developed a much betterunderstanding as to the recycling process of thefilm, how every image can be made meaningfuland how the initial ideas and purpose of thefilm can be changed by using opposing ideasrather than linear ones.PIERRE FEUNTEUN: Skills in noise recording, filmediting and writing.FOR THE LEADERS AND TRAINERSDuring the two years, all leaders from thefour countries did ongoing evaluation throughdiscussions, group discussions and surveys as wellas informal discussions during the workshops andmeetings.Concerning the practices inside the movieworkshops,the movie-makers Julien Lahmi andMustafa Boğa, exchanged information with theircolleagues from Berlin and Datça.Our aim has been to encourage participants totalk about their memories, past, stories of theirfamilies, backgrounds and origins. Various agesbrought different perspectives, a positive inputand comparison. It was great to work with them.Participants from different origins, backgroundsand skills gave a lot of variety towards workshops.Developed skills and final thoughtsYEŞIM GÜZELPINAR: Enhanced team skills –one realizes how different team dynamics canbe and the need to balance/manage themappropriately; learned about different filmtypes like Super 8. I was being able to watchunrelated films with the intention of findingcommonalities in order to create a story;little bit more insight to the technical side offilmmaking such as different editing software.MUSTAFA BOĞA: As a filmmaker it haschallenged me to create a film, which hasalready had a story in itself. Footage werereal events and belonged to somebody else.Watching, comparing, combining and puttingthem together was a challenge and writing ascript was the only solution in the first place.FOR THE ORGANISATIONS OF THE PARTNERSIn this Grundtvig Programme, the five partnersBalık Arts, Integrationswerk Respekt e.V., DatçaMunicipality, Mission Locale Intercommunale desMureaux and Maison de l’Europe des Yvelinesdid not have the same management of theproject. Some of them had to pay a filmmaker,whereas others worked with volunteers. Leaders’and filmmakers’ discussions, emails, phoneconversations and surveys took place regularlyduring the period of the project.For the French organisations Maison de l’Europedes Yvelines and Mission Locale Intercommunaledes Mureaux, this European partnership was agreat challenge. All along this project leaders andstaff have to adapt regularly to the environmentalconditions and prepare their learners to be ableto adapt themselves. Through this project, bothorganisations could have a high visibility on alocal, regional and European level.25

BACK TO THE ROOTS, EUROPE FOR EVERYBODY! GOOD PRACTICE GUIDEEven though we had many problems, the successof the films showed that there was a greatconnection between cultures, families and differentgenerations. In film world there can be bad orgood work but not right or wrong. In the end we alllearned that it is all different perspective.For the German organisation it was challengedespecially at the beginning of the project. We hadto organize the first meeting within one month.We had very little skills in the technical area ofmovie making. Even more important we felt thatinitial exchange and discussions about ideas andpolitical goals of the project was granted toolittle time, which was our actual motivation toparticipate. In subsequent meetings we learnedto assert our needs which resulted in much moreconstructive discussions. The leaders and moviemakers of German and French organisationsimproved their language skills. They became morefluent and articulated, so we could communicatemore easily. This contributed to a better overallunderstanding. This ultimately was for us one mostimportant thing, which allowed us to achieve thegoals of the project.This project has been funded with support from the European Commission.This publication reflects the views only of the author, and the Commission cannot be heldresponsible for any use which may be made of the information contained therein.26

TESTIMONIESWhat was your involvement?I was involved in writing with the othersthe story and to decide about the chiefcharacter. But above all, I made one ofthe “voice-over” and wrote some dialoguesfor the chief characters.How did the project affect you and whatwas your most satisfying experience?To work with different people from differentcountries, it gave me the experience of seeingthe same subject from a different pointof view to other people.Margot DjakissCc !!!!! Ça sent la fin :( Dernière lignedroite dernière modification, happyd’avoir participé o projet back to theroots Européens !!!! D’échanger, de donnermes avis… G beaucoup aimé les jeuxd’animation organisés par Julien (présentationde chacun d’entre nous par uneautre personne du groupe, petits jeux…)How could you describe family films?The family films allow to have a different access tothe memory (of a family) and to go deeper in thereflexion of the history in a much more personaland emotional way. This access via the family filmsleads nowadays to a better understanding and abetter knowledge about the past.What was the greatest challenge for youin doing this work?It was a great challenge for me to accompanypeople who have important disturbances ofmemory and who didn’t imagine all this technology.But the other participants of the workshopwere really kind and nice and theolder persons felt really welcome.They will remember this event.When you compare your childhoodwith ones depicted in the footage orfilms? How did you relate to them?Yes, there are links between the footagesand memories of my childhoodand school-time.Que pensez-vous en regardant les courtsmétragesfinalisés ? Est-ce que vous aviezanticipé le résultat ou est-ce qu’il y avaitdes surprises ?Il y a eu des surprises en voyant que desscènes identiques d’un pays à l’autre ont pudonner des interprétations toutes différentes.Bu proje ile birbirinden çokfarklı görünen kültürlerinbiraraya gelerekinsanlığın ortak kültürgeçmişinin yarattığı paydadarahatlıkla üretimdebulunabildiğini görmek,hepimiz için çok değerli birtecrübe oldu.Although there were some challenging timesduring the project it was also extremelyexciting to share this work with people I wouldnot normally mix with of so many differentbackgrounds and cultural experiences. I havegained confidence in my ability to work as partof a team through representing Balık Arts at theBerlin visit in March 2013. I also visited somewonderful places and made many new friends.I would not hesitate to do it all again if it wasoffered to me.

Thanks to the financial supporters and partnersThanks to all participantsFOR MAISON DE L’EUROPE DES YVELINESPROJECT STAFF / Christine Colleville, ClaudiaDombrowsky, Regina Lecointe, Julien Lahmi,Ouamar BénikèneLEARNERS / Stéphanie Gradstein-Serna, LuisSainz, Solen Aufrère, Jesus Aznar, Pierre Feunteun,Dominique Renaux, Prisca Pétrequin, AnnikLebriand, Malika Moussi, Liloye Chevallereau,Ernestine Cissé, Anthony de Sousa , NatachaBedjikian, Catherine Beaufils, Mauricette Malagré,Jean Guevel, Margot BergPARTNERS / Albert Bischerour, Roselyne deVillanova, Fabienne Barbey, Marie-FrançoiseSavigny, Marie Richard, Odile Daudet, CédricGuillemin, Dominik Scherer, Julie Dufraux, KamelRemache, Nicole Bourdin-Cabot, Patrick Bonnin,Léa Colin, Claudie LebissonnaisFOR MISSION LOCALE INTERCOMMUNALE DESMUREAUXPROJECT STAFF / Mauricette MalagréLEARNERS / Ndeye Diouldé Kane, VincentDauvergne, Kevin Bance, Carina Engenheiro,Hélène Montero, Marguerite Da Costa, EulalieVoisenet, Elisabeth Nkizluzitu, Alyssa Adjaoui,Sanaa El Houmiri, Lysiane Guégan, Joël Dieuzaide,Simone Brousse, Nadine Chauvin, Marie-FranceCusson, Marie-Rose Duquesnoy, Jacqueline HébertPARTNERS / Olivier Lefebvre, Armelle Bonnet, YvesFeunteun, Médiathèque des MureauxFOR DATÇA MUNICIPALITYPROJECT STAFF / Özlem Caner, Osman Akın,Mehmet Ali BeydatLEARNERS / Şebnem Işıldar, Ozan İnan, CerenAslan, Müge Zaimoğlu, Anıl Kaya, Gizem Elçi, OyaÖzgüven, Gülcan Açık Tunay, İlkay Ertekin,BelginEraydın, Çiğdem Canbey, Adalet Aydın Sözkesen,İsmail Deniz Nizam, Muazzez Eroktay, Nazlı H.Zorkun, Nilgün Tut, Yasemen GüreşçioğluFOR BALIK ARTSPROJECT STAFF / Yeşim Güzelpınar, Murat Kebir,Mustafa Boğa, Sue Frumin, Jeanne Heuveline,Carole Gillette, Pierre-Charles Bruchet, VincentBlayLEARNERS / Aynur Erdal, Mimi Sidhoum, HakanEğri, Sinan Yılmaz, Can Özsen, Hasan Bölücek,Filiz Emre, Hakan Ulusman, Murat Hebagaller,Deniz Erdoğan, Müge Bakırcıoğlu, Songül Demir,İrfan Şahin, Hüseyin Erdoğan, Ela Boğa-Migdal,Özlem Cansız, Tuğba Tırpan, Angela Kirk, FionaCrehanFOR INTEGRATIONSWERK RESPEKT E.V.PROJECT STAFF / Elvira Yevtushenko, AlexanderDimitrischin, Rais Khalilov, Manja Kasten, MichaelSchied, Wolfgang Daniel Engeldinger, JeanWeinfeld, Levent ArslanLEARNERS / Olena Perlich, Irina Hermann,Yulia Levina, Jekaterina Khalilova, AngelinaParaskevopulo, Nadezda Ilina, WladimirMussijenko, Doris Dziwas, Freya Voigt, SükranBulak, Ruxandra Sauer, Lothar Berg, SilvanaBerg, Karina Didyk, Mira Epremashvili, RoyMelhorn, Anna Singatulina, Anastasiya Bechinievon Lazan, Maria Alahmad, Vassiliki Alymara,Serap Devecioglu, Zeynep Kiltan, Torsten Meyer,Alexander Neufeld, Alina Menschikov, SabrinaLundt, Yasemin Polat, Swetlana Schäfer, Maria Bus,Pascale de Haan, Onur Gözüyilmaz, Julia Merian,Ljudmila Krause, Margarita Tavarez, MichaelMajorek, Karin Kroh, Ivan Lavrentev, WaldemarLeinweber, Gülsun BulutConception graphique - D. Wickham / 06 64 30 38 11