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Transcript
The analysis
Musicpreneur in a diagram!
Act I: Metacognition
Sharing Best Practices and Capacity Building
VERSION FRANCAISE
Genesis and Methodology
A project on the resilience of artists
Preamble
Act II: Becoming Knowledgeable
The marimba of Bongani Sotshononda (Artscape) and the pianist Andrés Pereira (A Bunda)
Individual and Collective Mobilization of Internal and External Resources
Participants
Action Plan Local/Regional Europe International
Organizations
Musicpreneur in one diagram!
Ishikawa Diagram.
Objective 2
Objective 1
Objective 1
Competence Becoming Knowledgeable
Metacognitive dimension
Etude-action
Labos artistiques
Effects and changes for participants, partner organizations, and at different territorial levels, during and after the project
Impacts
Learning from others to better understand oneself
Producing together to project into the Hub
Common vision
Objective 2
Strategic objectives
Key skills, missions, and values
Operational environments
SStepping out of one's comfort zone to cooperate
Visual artist Maëva Longvert (Samba Résille) collaborates on the production of contemporary dance piece "Freedom" during the Musicpreneur mobility in Brussels
The SWOT
L'artiste plasticienne Maëva Longvert (Samba Résille) tisse ses formes partout dans l'espace public, y interroge la place des femmes (Nyctalope), celle du vivant (Kill me)... Ici le début du tissage qui reliera tous les artistes sur la scène de Bird on a cube, la production finale de Musicpreneur à Cape Town.
The selection of participants responded to a requirement for diversity of profiles to promote a holistic approach and encourage collaboration across disciplines, fostering solidarity among arts professions, creativity, and the ability to understand a global context.
Participants
The framework of thought
The definition of an action framework has allowed for the planning of activities, workshops, and seminars relevant to our objectives, organizing them into two acts: (I) the "Knowing How to Act," encompassing knowledge-sharing and best practice activities, and (II) the "Becoming Knowledgeable," comprising activities aimed at mobilizing participants and organizations in planning a common strategy and implementing projects that can combine artistic innovation and social transformation, cultural entrepreneurship, and commitment to collective values.
The action framework
We envisioned Musicpreneur as a study-action space that should be simultaneously a space for reflection, experimentation, and planning from the individual to the collective level.
Based on a prior analytical SWOT analysis supported by testimonials from cultural operators and artists, as well as syntheses of various articles and studies on the resilience of artists and cultural entrepreneurship during the ongoing health crisis, the Musicpreneur project has emerged with the aim of contributing to the support of arts workers traumatized by the abrupt halt of all their activities. Artists, in particular, have been significantly affected by the crisis, given their specialization, which makes it more challenging to transition in a context of health and economic shock.
Defining a framework of thought has allowed us to identify key concepts to structure our vision and ultimate goals, as well as to enrich training and reflection sessions with participants. Rooted in Amartya Sen's capability approach, our methodology aims at enhancing individuals' capabilities by better addressing needs/skills and aligning them more effectively with access modes to environmental resources/opportunities.
Genesis and methodology
The Covid-19 pandemic has tested the cultural and creative sector, resulting in a sudden halt to all professional activities. This stoppage has been perceived by artists as a trauma more intensely than professionals in other sectors. The extreme specialization of artistic techniques acquired after years of training and repetition sets most artists apart from conventional paths that could facilitate their transition after such a health and economic shock. However, resilience is needed to revive an artistically invested practice, turning this "misfortune" into a tremendous energy to undertake anew. It's not about considering a new life but continuing one by modifying the trajectory, sometimes even striving for excellence.
How can they develop, in this context, a new understanding of their practice to overcome challenges and regain their "know-how to act"?
How can musicians and cultural operators be enabled to "bounce back" in a context that, for the majority, tests, jeopardizes, traumatizes them, and gives them the feeling of having lost their "power to act"?
Providing responses that enable musicians, both professionals and amateurs, the target audience of the project, who, after being urgently supported by exceptional measures, to rediscover the path of cultural entrepreneurship—an arena for resilience, transforming practices, and fostering creative visions for a better future.
Challenge
The SWOT
Common needs
This increase in capabilities, at the intersection of an individual's capacities and the possibilities within their environment, seemed to us to be the key for artists to reconnect, emerging from the health crisis, with a "Becoming Knowledgeable" that Professor M. Le Brun, in educational technology, describes as the "individual's capacity to project, that is, to conceive the representation of their future through the identification of their path, openness to opportunities, and the mobilization of planning skills.
Texte de référence
The central concept of capability
Metacognition refers to the knowledge one has about their own cognitive processes and their outcomes. Analyzing the procedures, methods, and processes employed in learning enhances knowledge acquisition and transfer of learning. Musicpreneur has been specifically designed to stimulate this reflective process in project participants, facilitating self-reflection that allows individuals to become aware of the full range of resources they have to bounce back from resilience.Identifying and mobilizing resources are also at the core of the concept of competence, defined by psychologist J. Tardif as "a know-how based on the effective mobilization and combination of a variety of internal (IR) and external (ER) resources in a given context, which can be summarized as follows: Knowing how to act = IR x ER."
- This formula highlights two crucial areas of investigation in the methodological approach of our project:
- the ability to understand one's environment to identify resources and opportunities,
- and the ability to combine diverse and complementary resources based on the context, which falls under psychosocial and transversal skills.
Synthèse 4 thèmes
Capabilities and becoming knowledgeable
Cooperation and internationalization
Metacognition and knowing how to act
In many respects, these methodological axes align with Amartya Sen's capabilities approach, which considers access to resources (entitlements) and the ability to choose from a plurality of functionings as the basis for the exercise of freedom and a condition for development.
The methodology also relies on the following tools:
- Intercultural cooperation and interdisciplinary cooperation (between artistic disciplines and various arts professions), enabling participants to access a diverse range of environments and modes of operation.
- Trans-sectoral cooperation between creative and educational domains.
- Internationalization of careers, increasing business opportunities, and the internationalization of organizations within a sustainable and coherent hub in terms of strategy and values.
The framework of thought
Becoming Knowledgeable
External resources: The operational environment in which my daily activities are anchored
Internal resources: My key skills, the missions I pursue, and the values I uphold
The strategic objectives that I am supposed to pursue to address the first three chapters
My action plan for the coming years to embed these efforts in sustainability
The vision of my role in the perspective of social transformation as an artist, as a cultural operator, as an organization
Metacognition
The internationalization of paths and careers, a major challenge for artists and cultural organizations, has been a focal point for conducting analysis at multiple levels and engaging participants in the project. The objective was to provide a methodological framework on the added value of international intercultural cooperation in terms of business opportunities and quality development. A collective strategic reflection leading to an action plan that capitalizes on all resources (Metacognition) to transform them into real dynamics and opportunities for participants and organizations (Becoming Knowledgeable):
The framework of action
Show or music producer, capable of seeking a venue for performances and an audience (promoter, tour manager, festival organizer) or managing a performance venue (accounting administration, communication, human resources), or even a board member.
As a cultural mediator working in contact with various audiences: learners, emerging artists, etc. Mediation profiles have been quite diverse, including roles such as development officer, programmer, press attaché, and social mediator within cultural organizations.
As a technician working before, during, or after performances: lighting designer, set designer, decorator, costume designer, stage manager (light, sound, or overall production), as well as stagehand and worker (painter, carpenter, electrician...).
As a singer, actor, musician, visual artist, or dancer taking center stage and in direct contact with audiences, with the potential to also have roles in teaching and/or raising awareness of art among different audiences.
Jemery Vorster(Artscape)
Managerial profile
Callum Macdonald(Artscape)
Jalel Vangoethem(MetX)
Mediation profile
La diversité des profils des participants a été une richesse que nous avons souhaité exploiter pour favoriser une approche holistique et faire travailler dans une transdisciplinarité favorable à la hauteur de vue.Cette diversité se retrouve dans les profils professionnels, mais aussi dans les origines géographiques comme présentées par la carte ci-contre.
Andres Pereira (A Bunda)
Technical profile
The participants
Artistic profile
Build a common foundation of expertise and affinities to later support a common artistic production and projects aligned with the capacities and values of the organizations and the Consortium (preparation for Act II: Becoming Knowledgeable)
Work on the methodologies and content involved in the laboratories of artistic and intercultural cooperation
Artistic and TechnicalTeam
Design and transmit to participants all content related to project management and operational environments (national contexts, public policies, opportunities, etc.)
Identify with the participants the skills, values, and missions of organizations with a view to subsequently defining the strategy of the Consortium (preparation for Act II: Becoming Knowledgeable)
Capacity Building Team
The cross-cutting activities and results of the teams are presented in the following two chapters:
The first challenge of the project was to share a methodology that engages participants through a consistent and stimulating activity program, fostering the acquisition and mobilization of a wide range of complementary resources. To achieve this, we formed two working groups collaborating on the completion of the following four missions:
Artscape's Director, Marlene Le Roux, conducts a seminar for the participants during the mobility in Cape Town, South Africa.
1. (IR) Identification and development of key competencies, missions, and values
2. (ER) Identification and broadening of the operational environment
Sharing best practices and capacity building
ACT I : Metacognition
Discover the 4 IR activities by clicking on them!
The activities that feed into the other pole
The activities that feed into the other pole
Common foundation
Musician and mediator Veronica Campos (MetX) teaches body percussion to the artistic team of the project during the mobility in Brussels
Artistic and intercultural cooperation labs
Project management toolkit
Study-action and metacognition
Capabilities and values of organizations
Capacity building pole
Artistic and technical pole
1. (IR) Identification and development of key competencies, missions, and values
MarleneLe Roux(Artscape)
Presence of Marlene Le Roux, director of Artscape, who took the opportunity to deliver a powerful speech on the project's values and the artist's commitment to the community.
Presentation of the project
Powerpoint Project presentation
Powerpoint Metacognition
Powerpoint Study action
The project presentation and the two seminars on Action Research and Metacognition constituted the propaedeutic stage aimed at preparing the participants to understand and appropriate the proposed methodology, correctly identify the objectives, and the specific areas we wanted to collectively investigate throughout the project.
In a second step, we introduced the concept of metacognition, starting from its original context in educational sciences, to then explain the specific meaning we want to give it in the context of our project, namely as a reflection on:
- the set of internal and external resources available to artists,
- the individual and collective processes for identifying, exploiting, and developing them within the framework of an active network (Hub), in dialogue with decision-makers and institutions.
The objective of this seminar was to introduce participants to the concept of action research, a method used in social sciences and social action that aims to:
- identify the needs of a target group,
- experiment with devices that can meet these needs,
- and evaluate the results and impacts (expected and unexpected, positive and negative) of implemented actions.
Metacognition
Study action
Methodology transmission: presentation of the project, study-action, and metacognition
The analysis of key competencies, missions, and values of the organizations was initiated after the mobility in Toulouse and enriched at each stage with formal presentation time at the beginning of each mobility and exploration of the environments of each organization. This crucial work, carried out jointly by the two leaders of each national team, was also enriched by the exchanges and feedback from the participants, resulting in the creation of a Consortium Strategy document.
Is Musicpreneur a catalyst for transformation towards knowledge aligned with the challenges of the 21st century?
The Musicpreneur Consortium shares a set of core values that guide its collective action and commitment to the community. These shared values define the essence of the Consortium and enhance its overall impact.
The partners share fundamental values centered around artistic fulfillment, knowledge transmission, creative collaboration, and social inclusion. However, each one has specific missions that reflect their expertise and distinct commitments.
The Musicpreneur Consortium represents an integrated project team, benefiting from a set of unique and complementary key competencies to achieve its ambitious goals.
Values of the Consortium
Valeurs de chaque organisation
Missions of the Consortium
Missions de chaque organisation
Key competencies of the Consortium
Key competencies of each organization
Key competencies, missions, and values of organizations
The aim of the artistic project: art for art's sake, or art in the service of social transformation?
Powerpoint Management Kit
The concept of a project applied to culture: a tool for social regulation, or a tool for liberal competition?
Hamza Medkouri (Samba Résille)
The transmission workshop opened a space for discussion around the very concept of a project, enriched by participants from various professions and cultures who were able to confront and, in turn, mutually enrich their ideas. The discussions focused on two main themes:
Toberin Meyer (Artscape)
The logical framework of Musicpreneur presented to the participants.
The second part of the kit introduces project facilitation tools that enable the analysis and emergence of ideas both individually and collectively.
The concept of a project under discussion
Developing Ideas Individually or Collectively
The project management kit was designed by two project development experts, Toberin Meyer (Artscape) and Hamza Medkouri (Samba Résille), who shared it with the participants during the mobility in Gothenburg, Sweden.
From Idea to Structured Project
The first part of the transmitted kit gathers fundamental tools for project design:
- SWOT analysis, a tool for analyzing and rationally determining needs and objectives based on internal and external resources.
- Logical framework to formulate and organize key elements of a project (objectives, activities, results, changes) and their evaluation (indicators).
Project Management Kit
5.Self-determination and artistic choice
4.Managing emotions and creative stress
3.Learning critical thinking
2.Co-creation as a social mirror
...And an interdisciplinary approach
1.Self-exploration through artistic practice
Aiming to:
Through an intercultural approach...
Producing together to project oneself into the Hub.
Learning from others to better learn about oneself.
Stepping out of one's comfort zone to cooperate.
Musicpreneur's creative labs have been powerful catalysts for raising awareness about individual skills. Beyond the variety of artistic fields explored, the method of collective creation in an intercultural context applied in these spaces has allowed participants to strengthen their technical, intercultural, and psychosocial skills to better shape their professional path. From the initial meeting to the stage performances, this continuous sharing has created a foundation of affinities and solidarities among participants, enabling them to project themselves with much more ease and creativity within the framework of the sustainable international cooperation offered by our Hub.
Labs of Artistic and Intercultural Cooperation
Learning from others to better learn about oneself.
Séance de percussions pendantla mobilité Bruxelles
Répétition de chant choral pendantla mobilité Göteborg
Specific acquired skills
Afro-Swing Body Percussions
Africa
Gumboots of Cape Town: The Mine Dance
The Origin and Dissemination of African Claves
The partners and participants have developed a range of thirteen workshops in artistic practice, reflecting the history of African cultures and their circulation worldwide, with particular attention to contextualizing these practices. Due to the expertise of the partners, the workshop series focused on the repertoires of Africa and South and Central America, as experienced and shared in their original culture and elsewhere in the world, notably in the three European partner countries. Click on each workshop to discover the content!
The Afro-Uruguayan Candombe
From Mexican Son Jarocho to Brass Band
The Wolof Blues Rock of Momar Kane
Africa
Jazz in South Africa: Music of Resistance
Another Brazil: R. Miranda's Choral Music
The Brazilian Enredo in Sweden
Between France and Brazil: E. Lopez's Mestizo Samba
Americas
The renewal of Afro-Brazilian dances
Samba: From the Diva to the Malandro
Americas
Além do samba :Reinvest the meaning of a dance
Music Department
Dance Department
LEARNING
Self-Writing
Acquired specific skills
The partners and participants have designed a series of eight workshops focusing on cooperation and artistic creation, complementing the twelve practice workshops. These aim at developing communication, cooperation, and collective creation skills, enabling them to fully integrate into the Musicpreneur collective. Click on the workshops to discover their content!
Of Threads and Bonds
Flow et improvisation
Technique Alexander
Sound painting
Impromptus publics
Interdisciplinary Jam
Rhythmic Solfege Method : Konnakol
To let goand improvise
Knowing how to communicate and cooperate
Arrangement session during mobility in Gothenburg
Composition session during the Brussels mobility
Stepping out of one's comfort zone to cooperate
COOPERATE
Brussels: A concert at the Repères space
Göteborg: Jazz session and musical buffet
Cape Town: Samba in the studio
Cape Town: A grand finale
Toulouse: A Rio Loco Concert
Bird ona Cube
Wolof me :Jazz blues in Africa
A Prayer for Freedom
Odd and Waltz: From the Balkans to Occitania
It was the time when Brussels sang..
Samba... In all its states!
Guitarist Mathieu Cayla recording in Cape Town..
The pianist and choir conductor Stéphane Delincak during the performance in Cape Town.
Production:Performances and recordings
The construction of a repertoire in six themes
The practice and cooperation workshops laid the foundation for a repertoire, complemented by intense sessions of composition and arrangement throughout the project, aiming to blend all the aesthetics and practices present in the artistic team. The productions were organized into six themes designed and refined throughout the mobilities and performances. Discover the six themes and concerts by clicking on them!
Specific skills acquired
Producing together to project into the Hub
PRODUcE
The Minister of Culture of the Western Cape meets with the project team in Cape Town
The Consul General of France in Cape Town meets with the project team at the Alliance Française in Mitchell's Plain
Tools for agile activism
The exploration of external resources was structured into three themes, constituting a logical progression: national contexts, public policies, training, and business opportunities. These three fields of study are conducive to developing 'agile activism' among participants:
- Anchored in a foundation of values that advocate for the social utility of arts and artists (knowledge of cultural policies).
- Informed about the diversity of possible approaches and the complexity of environments (exploration of national contexts).
- Curious about programs and networks that facilitate the emergence of new professional opportunities (knowledge of programs and opportunities)
Identifying opportunities
Understanding public policies
Exploring national contexts
2. (ER) The identification and broadening of the operational environment
La directrice d'Artscape Marlene Le Roux présente un séminaire aux participants pendant la mobilité Cape Town en Afrique du Sud.
Click on the options [...] of each document to browse it in full screen!
Standardized presentations were designed by the Capacity Building team and delivered to participants during the mobilities. Following a brief historical introduction, these presentations provide an updated overview of each national context in terms of cultural policy, the music market, support for creation, and the artist protection regime.
Exploring national contexts
La directrice d'Artscape Marlene Le Roux présente un séminaire aux participants pendant la mobilité Cape Town en Afrique du Sud.
Cultural policu of the EU
The African Union's Agenda 2063
Textes essentiels
2018 New European Agenda for Culture
Key Texts
2001 UNESCO Universal Declaration on Cultural Diversity
1980 Recommendation on the Status of the Artist
In this context, with the emergence of the welfare state in Western countries after the war, the first cultural policies appeared, involving the creation of institutions (ministries, councils, national institutes, etc.) tasked with coordinating two complementary policies:
- a sectoral support policy (artist protection and production support)
- and a cultural democratization policy (access to culture and cultural practices)
While political intervention in the cultural domain is ancient, it was only in the post-war period that cultural policies became a distinct field of public action. The impact of the Second World War was crucial in internationally recognizing the need for a cultural and humanistic construction of citizens, based on a policy reconciling the universality of human rights and the protection of cultural diversity. The establishment of UNESCO in 1945, the cultural arm of the UN, responded to this objective and provided a framework for intense supranational debate on the notion of cultural policy. Since then, UNESCO has 194 member states and has produced an impressive normative apparatus (declarations, conventions, recommendations) and conceptual framework (rights and cultural diversity, intercultural competencies) that has been decisive for the evolution of conceptions of culture and intercultural relations, even if its very limited enforcement power is regularly criticized.
The national translation of cultural policies: The role of the welfare state and popular education
Cultural policies: An overview
The seminar 'Cultural Policies: An Overview' aimed to provide participants with an overview of the concept of cultural policy to better assess the progress in supporting the cultural sector and the status of artists.
The Birth of Cultural Policies in the Post-War Era: The Role of UNESCO
Understanding public policies
La directrice d'Artscape Marlene Le Roux présente un séminaire aux participants pendant la mobilité Cape Town en Afrique du Sud.
Culture Moves Europe
Project Calls: Trend Analysis
The analysis of cultural policies, as well as project calls, reveals a shift in the role assigned by institutions and funding organizations. Their focus is now less on funding the creation itself and more on assessing, above all, the social, economic, and environmental benefits of artistic and cultural projects. This evolution emphasizes the importance for artists to adjust their role with a perspective on social transformation. It also underscores the significance of utilizing tools like those presented in the Project Management Kit to effectively plan the various impacts of their projects.
Séminar by S. Gies (Culture Action Europe) on european culture programmsBrussels
Focus : Music moves Europe
Music Moves Europe
Focus : On The Moove
On The Move Africa Guide
"On the move" is a remarkable international database on all existing financing mechanisms. The site compiles permanent funding organizations in the form of
- national and regional guides,
- as well as occasional opportunities (calls for projects).
Funding programs in Africa
Support for the cultural sector is primarily concentrated in the flagship program Creative Europe. Recently, Europe has defined a specific program for music, Music Moves Europe, which regularly issues calls for projects on various topics related to training, production, and music distribution in Europe, along with a program supporting artist mobility, Culture Moves Europe. Other European programs are perfectly compatible with the artistic theme: Erasmus+, European Solidarity Corps, Horizon Europe, etc.
On The Move
The range of funding opportunities is extensive and can be easily accessed on the following portal:
CulturEU Funding Guide
There are numerous opportunities to fund an artist's mobility and their work. However, some are easily identifiable. We have chosen to present some that seemed most relevant given the needs expressed by the participants.
European Union Funding Programs
Identifying opportunities
La directrice d'Artscape Marlene Le Roux présente un séminaire aux participants pendant la mobilité Cape Town en Afrique du Sud.
Individual and Collective Mobilization of Internal and External Resources
Constructing a multi-year, forward-looking action plan that embodies this vision and addresses strategic objectives, leveraging the impacts on participants and organizations, and including collaborations initiated from the local to the international level
Internationalization Strategy
Identifying the benefits reaped by participants and organizations, capital to reinvest in a "Becoming Knowledgeable" dimension through a longitudinal, appreciative evaluation
Effects, Changes, and Impacts
The cross-cutting activities and results of the teams are presented here
The second challenge of the project was to engage participants in the design of a strategy for internationalizing careers and organizations. This strategy materializes through concrete actions developed within the project and actions related to the sustainability of collaborations between individuals and organizations. These actions, documented in an operational plan, align with a shared vision and address jointly defined strategic objectives. They document the effects and changes collected throughout the project, as well as its impacts at its conclusion.
Intervention by Jalel Vangoethem from METX during the mobility in Brussels
Achieving this vision by defining strategic objectives that address the challenges of the cultural sector and enhance the quality of organizations as Cultural Hubs
Act II: Becoming Knowledgeable
Developing a shared vision that inspires and aligns organizations with a perspective of social transformation in support of education and creativity
The Participants
Common Vision
Action plan
The musician and dancer Judith Léonardon (MetX) takes flight during the final production of Musicpreneur, "Bird on a Cube." Mobility Musicpreneur, Cape Town, South Africa.
Strategic Objectives
The Cultural Hub
Act II: Becoming Knowledgeable
Discover the 5 summaries by clicking on them!
La musicienne et médiatrice Veronica Campos, (MetX), enseigne les percussions corporelles à l'équipe artistique du projet pendant la mobilité de Bruxelles.
Effects, Changes, and Impacts
Internationalization Strategy
In a globalized environment requiring intercultural ethics...
Artists and cultural organizations, agents of change...
Culture and Art in Everyday Life
Artistic Education, Creativity, and Skill Development
Cultural Hub and New Challenges in the Cultural Sector
Social Role of Artists and Cultural Organizations
The five pillars of the common vision:
The Musicpreneur Consortium embodies a shared vision for the future, embracing fundamental principles related to the social role of artists and cultural organizations. This vision transcends geographical and cultural boundaries, fitting into the dynamics of a Cultural Hub where creativity and non-formal education intertwine to play a central role in social and economic development.
North-South Relations and European Union-Africa Relations
Common Vision and Sustainable Perspectives
Becoming Knowledgeable
...And the Sustainability of the Hub
Implementation of Evaluation and Impact Assessment Mechanisms
Creation of a Sustainable Cultural Hub
Strengthening Governance and Internal Cooperation
Broadening Cultural and Educational Practices
Strengthening North-South Relations and International Cooperations
Enhancing Skills and Creativity through Artistic Education
Integration of Arts into Daily Life and Community Living
Sustainability of Actions
Communication and Awareness
Promotion of Cultural Rights and Inclusion
Establishment of Strategic Partnerships
Strategic objectives, rooted in non-formal education and training, as well as in art and culture, have been defined to seamlessly contribute to the common vision of the Musicpreneur Consortium. They are designed to guide the partners towards sustainable cooperation where art, creativity, and education play a central role in social, educational, and cultural transformation.
The ten objectives of the Cultural Hub:
Strategic Objectives for the Sustainability of the Musicpreneur Consortium
Becoming Knowledgeable
5.Self-determination and artistic choice
4.Managing emotions and creative stress
3.Learning critical thinking
2.Co-creation as a social mirror
1.Self-exploration through artistic practice
Les cinq compétences psychociales liées à la musique
Skill enhancement: Excerpts from individual reports
Managerial skills
Soft skills
Key skills
Participants
Beyond enriching the individual skills of participants, Musicpreneur has generated significant impacts at the level of partner organizations, strengthening their role as Cultural Hubs.This capacity consolidation has materialized through an increase in their ability to:
- provide opportunities for the development of creative and managerial skills
- create a positive environment conducive to learning and personal development
- foster a culture of resilience and social transformation
Internationalization and Quality of the Cultural Hub: Excerpts from Individual Reports
Originally envisioned impacts
- Development of non-formal and informal learning dimensions,
- integration into European and international educational and cultural networks, and sustainable
- utilization at the local level of the project's skills, tools, resources, and outputs
Transversal skills
Catalysts for transformation towards a knowledge base aligned with the challenges of the 21st century and equipped to:
- provide skill development opportunities,
- foster a culture of resilience and social transformation,
- create a positive environment conducive to learning and personal development.
Cultural hub
Organizations
The action plan comprises three main axes:
- The development of our European educational network (A Bunda, MetX, Samba Résille),
- the design of a cooperation partnership (MetX, Samba Résille, Mexico),
- and cooperation among UNESCO Creative Cities (Cape Town, Toulouse).
- (green) Promotion actions (radio, print media)
- (blue) Meetings with institutions and sponsors
- (pink) Prospecting in music markets
- (orange) On-site development activities
On-site development Brussels 2030
Institutions Ministry of Culture
Media Article Luie V
Musical contacts Ladysmith Black Mambazo
Institutions Embassy of Sweden
Media Radio Easy
Patronage Heineken - JC Le Roux
On-site development Womex in Toulouse
On-site development Musikenhus
Global music market Womex
Institutions Consulate of Belgium
AXIS 3 Cooperation among UNESCO Creative Cities
AXIS 1 Development of a European Educational Network
ACTION PLAN
AXIS 2 Designing a Cooperation Partnership
Brussels
Toulouse
Göteborg
Cape Town
Maeva Longvert is currently working on the environmental theme of the sixth mass extinction, and it is quite natural that her animal forms have permeated the project, eventually giving the title to the last concert at Artscape, 'Bird on a Cube.' The performance indeed responds to the graphic work with the original choreographic proposal by Judith Léonardon, a musician and dancer from MetX, who stages a creature that is part-human, part-bird—both strange and burlesque, serving as a symbol of nature struggling to find its place in a human-altered environment.
Maëva Longvert adorns the Artscape lobby with a bird for the final performance of Musicpreneur.
Bird on a cube
Patronage: Heinken - JC Le Roux
JC Le Roux is a renowned South African wine group and a partner of Artscape. The meeting discussed potential financial support for certain aspects of the cooperation between Toulouse and Cape Town, particularly on the theme of sharing specific traditional cultures of Cape Town, such as the Minstrels' art and the Cape Malay culture.
Hugues Mélet is project manager and music trainer at Samba Résille, and project manager of Musicpreneur. He proposed a "chain reaction" jam to establish fair cooperation between the three artistic practices represented in the project (music, dance, poetry). During the workshop, 4 groups were formed with the task of carrying out the following instructions: 1) music reacts to dance [16 bars], then dance to music [16 bars] 2) poetry reacts to music [16 bars], then music to poetry [16 bars] 3) music reacts to poetry [16 bars] which reacts to dance [16 bars], then the reverse chain: dance reacts to poetry [16 bars] which reacts to music [16 bars]. A practical and accessible guide was also provided to the participants.
Trageted skills:
- Developing a sense of listening and proposing ideas,
- Internalizing musical phrases and the rhythmic cycle of music
Toulouse mobilityFacilitator: Hugues Mélet
Interdisciplinary jam
Jazz and gumboot choreography
The Musicpreneur team meets Ladysmith Black Mambazo during the final concert.
The performance at Artscape synthesizes the achievements of the three previous stages in a prestigious setting and within a context of strong appreciation for the values and methods of the project among decision-makers and institutions. The Cape Town stage comes just after the announcement of Toulouse's integration into the UNESCO Creative City network, of which Cape Town is already a member. The Musicpreneur project was one of the flagships of Toulouse's candidacy for the label. The performance was a moment of great emotion when the team realized that the legendary Ladysmith Black Mambazo, a Zulu vocal group that shared the anti-apartheid tour 'Homeless' with Paul Simon in 1987, was in the audience. This concert also provided an opportunity for new explorations, particularly the intersection of Occitan music with the aesthetics already present in the project.
Cape Town: A grand finale.
Social Role of Artists and Cultural Organizations
The Musicpreneur Consortium is committed to making artists and cultural organizations key players in social change. Cultural diversity, inclusion, and solidarity are at the core of this vision, projecting art and culture as catalysts for social cohesion. The partners strive to create artistic spaces where diversity is celebrated, inclusion is the norm, and solidarity becomes an active principle. This vision encompasses the promotion of cultural rights, recognizing that every individual has the right to participate in cultural life, enjoy the arts, and partake in scientific progress and the benefits thereof.
Le WOMEX à Toulouse en 2027 ?
Site du WOMEX
Du fait de la reconnaissance croisssante de son expertise et de ses relations avec ses relations partenariale avec l'organisateur Pirnaha Arts, Samba Résille a activement particpé à la rédaction de la candidature de la ville Toulouse pour l’accueil du WOMEX en 2027, salon mondial des musiques du monde.
Veronica Campos is a MetX musician specializing in body percussion. Her research areas are diverse, ranging from the odd rhythms of the Balkans to the rich polyrhythms of Benin, where she has extensively collaborated with masters of claves and cross-rhythms. The workshop aimed at transmitting two sequences of body percussion based on a swing rhythm on one hand, and a Beninese rhythm on the other. The workshop highlighted the essential concept of ternarization of these binary rhythms in the context of Afro-descendant music (e.g., the swing's chabada in American music). This reflects the legacy of African polyrhythms that disregard the binary/ternary distinction, which forms the basis of European and Western rhythmic concepts.
Targeted skills:
- learning two sequences of body percussion,
- understanding the cultural context of Beninese polyrhythms and American swing,
- grasping the concept of ternarization and cross-rhythm.
Brussels MobilityFacilitator: Veronica Campos (MetX)
Afro-Swing Body Percussion
Elaine Lopes is a Brazilian singer who has been living in Toulouse for about twenty years. She regularly gives classes and masterclasses at Samba Résille, where she also performs numerous concerts. Her research focuses on the fusion of Brazilian music with the art of French lyrics, which she explores particularly with her Duo Leve (guitar and vocals) and her Sarava project (piano/vocals duo). The theoretical and practical workshop led by Elaine and her guitarist, Mathieu Cayla, focused on the fundamental musical styles and techniques of popular Brazilian music, especially baiao, and the possible adaptations to French texts (rhythm and prosody). It also covered the techniques of harmonizing popular melodies with two/three voices.
Targeted skills:
- understanding the playing techniques of popular Brazilian styles (baião, coco, ciranda),
- adapting the prosody of another language to Brazilian music,
- harmonizing popular melodies.
Toulouse mobilityFacilitator: Elaine Lopes et Mathieu Cayla
Between France and Brazil: Elaine Lopes' Mixed Samba
Inclusive Governance: The organization is led by a 15-member Board of Directors supported by numerous thematic commissions composed of volunteers, ensuring inclusive governance in line with its internationalization strategy. Volunteer Engagement: Around a hundred project leaders, facilitators, and volunteer trainers contribute their linguistic expertise, skills, best practices, and experiences of European and international mobility. Human Resources Management: Nine employees with expertise in management, facilitation, training, communication, and project evaluation mobilize their skills and experiences to secure all phases of international projects. Evaluation Capacity: The organization is committed to evaluating the effects and impacts of projects, as well as achieving the internationalization objectives of its associative and cultural project.
Strategic Internationalization: Samba Résille has developed an internationalization strategy, leveraging Erasmus+ opportunities to strengthen the skills of its employees and volunteers, targeting efficiency at the European level, and interacting with new European, African, and Latin American territories. Coordination of International Projects: The organization has coordinated international projects, realizing over 1000 individual mobilities internationally. These projects have included the dissemination of works, the valorization of local and international artists, the creation of cross-residency spaces, structured artistic courses, training seminars, and have addressed major issues related to the security of cultural events in urban spaces. Knowledge of Regulatory Frameworks: Samba Résille has deepened its understanding of regulatory frameworks related to the security of cultural events in urban spaces, demonstrating expertise in navigating debates between cultural actors and local/national authorities. Expertise in the Field of Contemporary and World Music: The organization operates in the European field of contemporary and world music, advocating for the diversity of this often underfunded sector. It aims to support professional and amateur musicians in the field of world music. Advocacy for Popular Education: As an association for popular education, Samba Résille has consistently advocated for the right of every individual to access artistic practice, including as an amateur. It claims a place as an OCNI (Unidentified Cultural Organization) in the cultural and creative landscape. Diversity Management: Samba Résille works with a diverse range of members, including individuals experiencing social exclusion and/or precarity. It implements enhanced support to promote the consolidation of personal and professional paths.
- Excellence: Artscape strives for artistic excellence in all its activities, from performances to technical services.
- Inclusion: Artscape promotes inclusion by establishing inclusive partnerships and providing career opportunities to artists and technicians from all communities.
- Social Responsibility: The institution has social responsibility by contributing to nation-building and implementing educational and development programs.
- Sustainability: Artscape emphasizes sustainability, both in theatrical practice and in the management of its artistic and cultural activities.
- Access to Art: Artscape promotes access to art by expanding its influence in urban, peri-urban, and rural communities, particularly through educational programs, festivals, and artistic events.
- Creative Quality: The institution highlights its incredible creative quality, whether in costume creation, set fabrication, or show production.
- Cultural Diversity: Artscape celebrates cultural diversity by offering a variety of artistic services and showcasing communities through events such as the Cape Town Carnival and various festivals.
The mission answers the question: "Why are we here?" It justifies the existence of an organization and plays a crucial role in guiding its operations. Values express what is important in an organization and underlie its operations. Values guide the actions of individuals and organizations. Values can include, for example, tolerance or equality. Key competencies refer to the knowledge and skills that no one else possesses, an organization's expertise. An organization's key competencies are a unique combination of knowledge, skills, and technologies that are difficult to replicate or replace. Key competencies help the organization achieve a competitive advantage and add particular value to its beneficiaries and users.
Mission, core skills, values
The Musicpreneur Consortium places artistic education at the heart of its vision, recognizing its essential role in the development of cultural awareness. Artistic education becomes a powerful tool to awaken curiosity, stimulate creativity, and promote a profound understanding of cultural diversity. The partners are committed to addressing the needs for cross-cutting, social, and entrepreneurial skill development. They view artistic education as a lever to empower individuals to become critical and active contributors to society, thereby fostering more engaged civic participation.
Artistic Education, Creativity, and Skill Development
Kopanitza: An introduction to the Balkans
The concert held at Repères space in Anderlecht offered a beautiful synthesis of the creative approaches of the mobility, featuring the performance 'Freedom' around the poetry of Black Pearl, a reinterpretation of Brel's 'Bruxelles' through the project's explored aesthetics, and the introduction of the Balkan theme with 'Kopanitza.' The dialogue around African musical heritages also enriched with the hip-hop of Catherine Pretorius (Artscape).
The hip-hop of Catherine Pretorius
Brussels: A concert at the Repères space
Targeted skills:
- samba dance technique,
- letting go and improvisation,
- questioning gender stereotypes.
Toulouse mobility Facilitator : Lisa Biscarro Balle (Samba Résille)
Lisa Biscarro-Balle is a Franco-Brazilian professional dancer who is involved in various activities at Samba Résille. Intensively trained in contemporary dance, she is gradually returning to the roots of her native country, samba, exploring its stereotypical aspects, especially regarding the representation and objectification of women. Her research focuses on the connection between dance and emotions, opening up improvisation to break away from expected gestures and postures. The workshop "Beyond Samba" aimed to go beyond the technical aspects of samba, focusing more on the flow of present emotions, connecting them to movements, and thus successfully conveying the dancer's identity and personality.
Além do samba :reinvest the meaning of a dance
Cadre référenciel des compétences psychosociales visées par le projet
Ce module visait le développement des compétences psychosociales, ensemble de compétences cognitives, émotionnelles et sociales axées sur la connaissance et la maîtrise de soi, et le développement d'un savoir faire relationnel.
Les ateliers de coopération, d'improvisation et de création collective ont permis le développment de la capacité d'écoute, de la régulation de la parole au profit du collectif, de la fluidité des postures pour savoir suivre ou prendre le leadership quand cela s'avère pertinent.
De meilleurs compétences sociales
De meilleures compétences cognitives et émotionnelles
Les ateliers centrés sur l'écoute de soi et de son corps comme les ateliers d'improvisation et de création ont permis le développement de la connaissance et la maîtrise de soi, l'exploration de ses émotions et la gestion de son stress créatif.
Module COOPÉRER : Compétences spécifiques acquises
Rehearsal of Freedom in Bruxelles
The prayer in Cape Town
The South African dancer Marlin Zoutman dressed for the performance of 'Freedom' in Brussels.
A beautiful musical and choreographic sequence was constructed around the poetry 'Freedom' by Jeanine van Rooy-Overmeyer, aka Black Pearl, by the visual artist Maëva Longvert and South African dancers Yaseen Manuel and Marlin Zoutman. The text narrates the daily life of the disadvantaged neighborhoods of Mitchell's Plain near Cape Town, intertwined with 'The Prayer' sung by tenor Mziwamadoda Nodlayiya and pop singer Charné Hugo.
A Prayer for Freedom
- Self-exploration through Artistic Practice: Developing one's artistic identity and an in-depth self-awareness: recognizing strengths, becoming aware of limits, and defining aspirations.
- Co-creation as a Social Mirror: Co-creation as a social experience, a mirror reflecting relational skills, the ability to collaborate, and communicate effectively - essential social skills for their artistic and entrepreneurial journey.
- Learning Critical Thinking: Developing critical thinking through the exploration of different contexts and modes of operation that allow for the development of an ethno-relative perspective, adjusting artistic choices, discussing various musical perspectives, and making informed decisions.
- Managing Emotions and Creative Stress: Exploring emotions and stress related to the creative process. Participants learned to identify, regulate, and express their emotions positively. This emotional exploration contributed to strengthening metacognitive competence by fostering increased awareness of emotional factors influencing their artistic and entrepreneurial practice.
- Self-determination and Artistic Choice: Making responsible artistic choices, defining musical goals, and planning contributions to the collaborative project. Being able to guide one's artistic and entrepreneurial journey autonomously.
Jazz has been an essential component of the artistic substance of the project due to its crucial role as a global catalyst for connecting and blending diverse aesthetics.Jazz artists were numerous in the project, particularly in the South African and Belgian teams, both countries with strong jazz traditions (see Context section). These musicians were able to collaborate successfully with the Wolof blues rock of Momar Kane.
Momar Kane in rehearsal in Brussels
Wolof me : jazz and rock in Africa
Goals
Actions following the organization's mission must have set objectives. Strategic objectives are set so that the organization progresses towards the desired state (vision).
The Musicpreneur Consortium represents an integrated project team, benefiting from a set of unique and complementary key competencies to achieve its ambitious objectives. As a collective force, the Consortium possesses the following skills:
Cultural Innovation and Openness to Diversity: The Consortium excels in cultural innovation by having the ability to create new musical cultures through the fusion of various genres and traditions. It distinguishes itself through its openness to cultural diversity, creating a harmonious environment where different musical traditions coexist. Strategic Communication and Transparent Collaboration: The Consortium emphasizes open and transparent communication, a key element of its success. It promotes effective collaboration among its members, ensuring a shared understanding of goals and decisions. Community Engagement and Social Integration: As a catalyst for community engagement, the Consortium organizes local and international workshops, contributing to social integration through the arts. It actively engages in social programs aimed at supporting communities and promoting inclusion. Artistic and Social Leadership: The Consortium benefits from strong artistic and social leadership embodied by influential figures within each organization. These leaders contribute to guiding the Consortium towards artistic excellence and social impact. Inclusive Management and Work Ethic: The inclusive management of the Consortium is reflected in the diversity of its members, both staff and audience. It maintains a work ethic based on sincerity, honesty, reliability, and mutual respect, creating a trusting environment.
Strategic Internationalization and Project Coordination: The Consortium excels in developing internationalization strategies, leveraging Erasmus+ opportunities to strengthen the skills of its members. It also demonstrates proven expertise in coordinating international projects, successfully implementing individual mobilities and partnership collaborations on both European and international scales. Artistic Expertise and Knowledge Transfer: With a strong artistic expertise, the Consortium covers various domains such as Brazilian music, jazz, carnival arts, world music, dance, and collaborative music production. It distinguishes itself through its ability to transmit this knowledge, fostering the artistic development of individuals. Artistic Project Management and Cultural Fusion: The Consortium shows proven competence in managing artistic projects, coordinating creative production by bringing together amateurs and professionals. Its strength lies in creating original musical repertoires through successful cultural fusion. Training and Skills Development: As a promoter of lifelong education and training, the Consortium has a significant ability to design training programs aimed at developing artistic and entrepreneurial skills for both young people and adults. It promotes personal and professional development through diverse initiatives.
Non-Formal Education: The association provides structured courses and learning sessions for several hundred musicians and dancers, both beginners and experienced. It encourages knowledge sharing and the taking of responsibility within the organization.Openness to Cultural Diversity: A Bunda welcomes members from different nationalities and invites musicians and dancers from around the world during specific learning sessions, fostering cultural diversity within the association.Recognized Artistic Excellence: Some members of A Bunda have the required level to join the samba group "Bloco X" in Rio de Janeiro during the annual Carnival, attesting to the excellence of their creative and artistic talents.
Artistic Expertise: A Bunda boasts a strong artistic expertise, particularly in the fields of Brazilian music, percussion, Brazilian dance, street theater, circus arts, harmony, and Brazilian singing.Knowledge Transfer: Key members, including founder Pedro de Sousa e Brito, have extensive experience as musicians, trainers, and leaders in international collaborations. They have a proven ability to transmit their artistic and methodological knowledge.Artistic Leadership: Key members, such as Leon de Sousa e Brito and Nadine Gneiser de Sousa e Brito, play a leadership role in percussion and dance groups, demonstrating artistic leadership and a deep understanding of carnival arts.Administrative and Financial Management: A Bunda is led by competent volunteers, each bringing skills in management, accounting, communication, and planning.Community Engagement: The association organizes its workshops within the community, showcasing its commitment to the well-being and personal development of its members. It also encourages knowledge transmission within the community.International Exchange: A Bunda has successfully established international collaborations with other samba schools in Sweden, Europe, and Brazil. It promotes the exchange of ideas, knowledge, and skills with similar organizations.
Clave Handbook Samba Résille
Hugues Mélet is a project manager and music trainer at Samba Résille. He focuses on Brazilian music and has an interest in ethnomusicology, particularly in the genealogy of rhythms and their patterns of diffusion. The workshop, both theoretical and practical, delved into the dissemination of specific rhythms called "claves" – rhythmic patterns that determine and regulate the entire execution of a musical piece (including vocals, dance, percussion, and harmony) in Brazilian, Cuban, and a significant part of sub-Saharan African music. Regardless of their role, musicians must be masters of the clave. After an introduction to the concept of cross-rhythm, a polyrhythmic technique and the matrix of claves, participants traced the dissemination of the main clave pattern, known as the "standard pattern," and its transformations in Latin America.
Targeted skills:
- understanding cross-rhythm, familiarity with the standard pattern model,
- knowledge of the dissemination of claves.
Göteborg MobilityFacilitator : Hugues Mélet (Samba Résille)
The Origin and Dissemination of African Claves
This theme was conceived by the duo Guillaume Lopez/Clément Rousse (Samba Résille) and a team from MetX led by Veronica Campos, a specialist in Balkan rhythms.The teams merged to interpret 'Volver' by the Argentine Toulouse composer Carlos Gardel, several works by the great Occitan musician Christian Vieussens, as well as traditional pieces in odd rhythms from the Balkans, such as Kopanitza.
Guillaume Lopez performs 'Lo bon vin,' an Occitan bourrée, with musicians from MetX and Artscape
Oddand Waltz: From the Balkans to Occitania
Swedish Embassy in South Africa
The Ambassador of Sweden in South Africa and Marlene Le Roux discussed cultural exchanges between their two countries, with Musicpreneur being mentioned first.
- Develop and implement strategies to establish the Musicpreneur Consortium as a sustainable Cultural Hub.
- Integrate principles of sustainability, inclusion, and aesthetics aligned with the European New Bauhaus into all Consortium activities and initiatives.
Creation of a Sustainable Cultural Hub
Andrés Pereira is a Uruguayan pianist very involved in the A Bunda samba school. Trained by his father in the main pianistic styles of Latin America (notably Uruguayan tango), he is today very interested in traditional Afro-descendant music from Uruguay, often marginalized in the very Eurocentric national culture. He works in particular on musical fusion projects with Candombe music, Afro-Uruguayan culture and religion which he shared with the Musicpreneur collective during the mobility in Gothenburg. He campaigns for an open but informed approach to world cultures.
Andrés Pereira
An individual in a wheelchair who applies for a job with all the required qualifications in a company with non-adapted premises has the same capacities as other applicants but not the same capabilities: their access to employment is restricted by the environment.
Capabilities and the cultural sector
The concept of capability is a powerful analytical tool for the social sciences, but also a highly effective tool for organizing the methodology of cultural organizations. Through their role as mediators, cultural organizations contribute to the construction of effective access to cultural, artistic, and educational resources. Access is strengthened through targeting specific audiences, tailored information and guidance for target groups, the creation of individualized support paths, and efforts to ensure equity in selection processes, among other strategies.
Definition
Capability refers to the real freedom of an individual to choose a lifestyle they value. This freedom depends on the quantity of entitlements (variable 1) that an individual can have to a certain range of functionings (variable 2). Capability differs from capacity because, according to Sen's demonstration, individuals with equivalent capacities do not have the same access to resources.
An illustrative example
The concept of capability
The concept of capability is the central idea in the theory of Amartya Sen, a renowned Indian economist and philosopher, and the creator of the Human Development Index (HDI) used by the United Nations to measure development. A. Sen stands out for his theoretical effort to go beyond quantitative approaches to social justice and development. Instead, he focuses on measuring individuals' actual capacities to benefit from fundamental goods such as freedoms, rights, health, education, income, etc.
Jeremy Vorster is a manager at Artscape. He oversees the human resources department and is also involved in several international projects within the organization, alongside his colleague Toberin Meyer. Jeremy has actively participated in all international collaborations between Artscape and Samba Résille since 2018, bringing a wealth of expertise to the project management aspect of Musicpreneur. He is also one of the main contributors to the project's managerial content, including the management kit and content related to South Africa. A talented singer, he also contributes to artistic workshops.
Jeremy Vorster
MetX and Brussels 2030
Structuring the hosting of initiatives by artists from recent or past immigration around a professional consolidation framework within MUSIKEN HUS, bringing together several cultural organizations, including A Bunda.
- Develop projects aimed at integrating the arts into daily life, thereby reinforcing the role of arts and culture in constructing a flourishing society.
- Create cultural events accessible to all, contributing to social cohesion and strengthening community ties.
Integration of Arts into Daily Life and Community Living
The Consortium Musicpreneur, formed by partner organizations Samba Résille, A Bunda, Artscape, and METX, shares a set of fundamental values that guide its collective action and commitment to the community. These common values define the essence of the Consortium and strengthen its overall impact:
- Diversity and Inclusion: The Consortium embraces diversity in all its forms, fostering the inclusion of individuals from various backgrounds, without distinction of nationality, age, or social status. It is committed to creating an artistic community where everyone is valued.
- Personal and Social Well-being: The promotion of personal and social well-being is a key value of the Consortium. Carnival arts, music, and other forms of expression such as dance or poetry are used as means of learning and mediation to promote individual well-being and socialization.
- Social Responsibility and Solidarity: The Consortium acknowledges its social responsibility by actively contributing to society's development. It demonstrates solidarity by dedicating a portion of its financial resources to charitable and social causes, showcasing its commitment to the common good.
- Transmission of Know-How and Artistic Education: The transmission of know-how in various artistic domains is a central value of the Consortium. It encourages artistic education and lifelong learning through structured courses, masterclasses, and national and international educational partnerships.
- Dialogue, Exchange, and Creative Collaboration: The Consortium promotes constant dialogue and exchange among its members and with the community. Creative collaboration is valued as an essential means to develop innovative and enriching projects.
- Access to Art and Broadening of Cultural Practices: Access to art is a defended value by the Consortium, which strives to broaden cultural practices by promoting the acquisition and development of artistic knowledge. It aspires to make art accessible to all.
- Cultural Diversity and Pluralism: The celebration of cultural diversity and the rejection of compartmentalization are key principles of the Consortium. It is committed to overcoming cultural boundaries, fostering pluralism in content and audiences.
- Cultural Innovation and Artistic Excellence: Cultural innovation and the aspiration for artistic excellence define the artistic vision of the Consortium. It seeks to create original musical repertoires and achieve the highest level of excellence in all its activities.
- Community Engagement and Valuing Authenticity: The Consortium actively engages within its community, using the arts as a catalyst to strengthen social bonds. It values cultural authenticity by creating a new musical culture while respecting traditions.
The Musicpreneur Consortium is committed to establishing a dynamic "Cultural Hub," a space for growth where ideas, skills, and creativity converge. In alignment with the European New Bauhaus, partners aspire to integrate principles of sustainability, inclusion, and aesthetics into their practices, contributing to a profound transformation of the European cultural landscape. Partners also acknowledge the need to combine internal and external resources for knowledge and agency that projects towards a "knowing how to become." Lifelong artistic education becomes the guiding thread for the development of cross-cutting and social skills, bridging the gaps between formal and non-formal training.
Cultural Hub and New Challenges in the Cultural Sector
- Design programs promoting the broadening of cultural and educational practices, including hybrid training that integrates formal and non-formal approaches.
- Explore new lifelong learning formats tailored to participants' needs and responsive to the ever-evolving demands of the cultural sector.
Broadening Cultural and Educational Practices
Karen van Schaik is a saxophonist, well-versed in jazz and Eastern European music. She also works in the fields of composition and ensemble direction, preferably with innovative and enjoyable methods! Sound painting is part of this category of tools. Like konnakol, it has experienced resounding success in recent years because it allows for collective improvisation sessions using a vast but accessible library of signs and instructions. Karen taught the fundamentals of this discipline and then handed over the reins of direction to the participants. These tools will be reused in the production of the Brussels show.
Targeted skills:
- Understanding the basics of sound painting
- Directing an ensemble based on these basics
Brussels mobility Facilitator: Karen Van Shaick
Sound painting
WOMEX 2023 Participants presentation
WOMEX Website
Womex 2023
https://www.womex.com/virtual/metx_moving_music
https://www.womex.com/virtual/samba_resille
Samba Résille maintains strong partnership relations with the WOMEX organizer, Piranha Arts (Berlin). The 2023 edition in A Coruña saw the participation of MetX and Samba Résille for international networking on three themes:
- sharing best practices within the educational network,
- creating a Carnival platform between the three organizations,
- and engaging in the design of a cooperation partnership on the theme of Dia de Muertos
Conference on Mandela and the 1995 Rugby World Cup - Toulouse (2023).
Marlene Le Roux and Mayor of Toulouse J.L. Moudenc at the Rio Loco Festival (2022).
She closely followed the Muscipreneur project, being present from the first stage in Toulouse and subsequently playing a decisive role in the institutional communication between the cities of Cape Town and Toulouse, especially in the context of the latter's candidacy for the UNESCO Creative City network. In November 2023, she actively participated as a speaker in the event "Mandela and the 1995 Rugby World Cup: overcoming apartheid" organized by Samba Résille and the municipality of Toulouse.
Marlene Le Roux is the director of Artscape. Close to Desmond Tutu, Marlene Le Roux is a recognized activist, actively involved in issues related to minorities and disabilities. She herself is one of the first black women with a disability to hold high-level responsibilities in post-apartheid South Africa. In her role, she works to strengthen the ties between Artscape and disadvantaged communities, emphasizing the social transformative role of art.
Marlene Le Roux
Enfin, les participants ont pu améliorer leur positionnement interculturel en expérimentant un cadre de coopération que nous avons souhaité respectueux des intérêts et des sensibiltés de chacun, par la création d'un espace de dialogue interculturel en acte et en présence, raison d'être de ces mobilités. Il est en effet difficile de définir théoriquement les limites précises de l'échange interculturel : elles se définissent dans le dialogue et la contractualisation entre individus et entre groupes, qui se chargent de préciser en autonomie les termes de l'échange équitable.
Les participants ont pu considérablement élargir leurs connaissances des contextes culturels liés aux pratiques musicales. Les intervenants dont été sélectionné pour leur vécu expérientiel et leur niveau d'expertise importants quant à la matière proposée. Cette connaissance des contextes est aujourd'hui indispensable dans le domaine de la pratique des musiques du monde, afin d'interagir positivement avec les cultures concernées.
Meilleur positionnement interculturel
Meilleures connaissances culturelles
Connaissance de nouvelles esthétiques, de nouveaux répertoires et de nouvelles techniques musicales
Les participants ont bénéficié d'une exploration musicale riche et variée qui leur a permis de perfectionner leur technique musicale, découvrir de nouveaux répertoires, de nouvelles esthétiques voir de nouvelles disciplines . Ces découvertes augmentent leurs champs de possibilités, qu'ils s'agisse de développer de nouveaux projets de scènes ou d'enrichir leurs gammes d'activités pédagogiques.
Module APPRENDRE : Compétences spécifiques acquises
Présentation of MetX
MetX and Brussels 2030
METX has strengthened its involvement in Brussels 2030, European Capital of Culture, by organizing an international seminar on public space festivities for the city.
Stéphane Delincak is a choir conductor developing projects at Samba Résille that intertwine classical and Brazilian music (Coro sambado). His research combines the comparative study of Brazilian classical works and their sources of popular inspiration with the creative experimentation of pieces arranged for choir and traditional rhythms. The workshop focused on the study of the four vocal pieces from the Suite nordestine by Brazilian classical composer R. Miranda. These pieces draw inspiration from Afro-Brazilian music in the northeastern region of Brazil. Participants engaged in a comparative analysis of the choral pieces and their source melodies, leading to the performance of the pieces in both their choral and popular versions.
Targeted skills:
- development of vocal skills,
- development of choral skills,
- exploration of Brazilian classical music,
- understanding the Brazilian cultural context.
Brussels mobility Facilitator: Stéphane Delincak
Another Brazil: Ronaldo Miranda's Choral Music
- Consolidate the governance mechanisms of the Consortium by promoting the active participation of all partners.
- Develop effective internal cooperation strategies to optimize resources and skills among the partners.
Strengthening Governance and Internal Cooperation
This first concert blended the jazzy tones of Artscape and MetX artists with the Brazilian sounds of e'A Bunda and Samba Résille, and prominently featured the Afro-rock of Momar Kane. As a bonus for Musicpreneur participants, the Toulouse City Hall provided passes to access the festival. An encounter between the Mayor of Toulouse J.L. Moudenc and Artscape's Director M. Le Roux was organized on this occasion, laying the foundation for cooperation between the cities of Toulouse and Cape Town, now effective within the framework of the UNESCO Creative City Label.
Rio Loco festival
The first performance in Toulouse was part of the official program of the 2022 edition of Rio Loco, one of the largest music festivals in the world in France.
The jazz singer Jodi Fredericks (Artscape) during the performance in Toulouse
Toulouse: A concert in the Rio Loco programming
Positive and Constructive Atmosphere: METX maintains a positive and constructive working atmosphere, fostering an environment where artists can express themselves freely, and where failure is perceived as a learning opportunity. Training and Empowerment of the Youth: Through UCB, METX demonstrates skills in designing and implementing training programs for young individuals, empowering them and integrating them into cultural and musical life. Diversity Management: METX manages diversity inclusively, whether at the level of artists, collaborators, or the audience, creating a space where everyone is respected and valued. Work Ethic and Integrity: Work ethic and integrity are key competences, emphasizing sincerity, honesty, reliability, and respect for the organization's fundamental values.
Collaborative Music Production: METX excels in collaborative music production by bringing together creators from diverse backgrounds to form hybrid ensembles and create original metropolitan events. Cultural and Musical Hybridization: The ability to blend elements of non-European cultures and improvisation defines METX's key competence in creating original musical repertoires. Participatory Methodologies: METX has developed effective participatory methodologies, involving diverse artists in the creative process, fostering an inclusive and collaborative approach. Artistic Project Management: The competence in artistic project management is evident in the promotion and production of musical groups, demonstrating the ability to coordinate creative initiatives. Knowledge Transmission: METX stands out for its ability to open and transmit repertoires and knowledge acquired by its composers, contributing to music and cultural education. Cultural Diversity and Inclusion: Valuing cultural diversity and inclusion are key competences, showcasing expertise in creating an environment where different musical traditions coexist harmoniously. Creation of New Musical Cultures: METX excels in creating new musical cultures by merging various genres and traditions while maintaining mutual respect for musical legacies. Open and Transparent Communication: Competence in communication is demonstrated through an open and transparent approach in decision-making, contributing to effective collaboration within the organization.
Two pieces by Elaine Lopes and Mathieu Cayla recorded in Cape Town.
Reviver MP3
Delicadeza MP3
Callum Macdonald is a sound engineer, musician, and composer. Trained in piano and jazz guitar, he has a dual career as a freelance composer and a sound engineer for Artscape. He fully utilized this dual expertise in Musicpreneur, bringing his knowledge of the South African music market and industry, contributing his skills as a musician and composer in music workshops, and making his sound engineering skills available for soundtracking project performances and recording sessions in Cape Town.
Callum Macdonald
Yaseen Manuel is a dancer in Cape Town, particularly collaborating with the dance company Unmute at Artscape. Through his choreographic productions, Yaseen explores the integration of the Muslim spiritual heritage, a historical community often neglected in the South African landscape. As part of the project, Yaseen aimed to transmit the fundamentals of the famous South African Gumboot dance, which originated among black miners during the apartheid era. Originally, this dance drew inspiration from a system of non-verbal communication among miners (using the clanking of boots, chains, and surrounding surfaces). It later took on a defiant and protest-oriented character, becoming one of the symbols of the anti-apartheid struggle.
Targeted skills:
- Gumboot dance technique,
- understanding the symbolism in choreographies,
- knowledge of the apartheid context in South Africa.
Cape Town mobilityFacilitator : Yaseen Manuel (Artscape)
South African Gumboot Dance: Dance in the Mines
Jam session by the Belgian team in a jazz club in Gothenburg.
Ipanema" performed by Jodi Fredericks and Elaine Lopes during the musical dinner in Gothenburg.
Charné Hugo performs 'Somewhere Over the Rainbow' during the musical dinner in Gothenburg
The mobility in Gothenburg was marked by various performances: an opening roda de samba, a jazz session in a club in Gothenburg, and finally a shared musical dinner with members of the A Bunda samba school. A synthesis of achievements and a deepening of cooperation before the final stage in Cape Town.
Göteborg: Jazz session and musical buffet.
La visée du projet artistique : l'art pour l'art, ou l'art au service de la transformation sociale ?
Une première approche, courante en France par exemple, défend l'idée d'un financement à la création qui ne doit pas courir le risque d'une dénaturation par d'autres considérations qu'artistiques. Elle implique une forte division une division du travail entre métiers organisation professionnelles assurer les conditions structurelle : ici terrain des politiques de soutien à la création. Approche
A cooperation partnership
DIA DE MUERTOS
Brussels
During the project, several exchanges took place between the leaders of METX and Samba Résille, including one at WOMEX 2023 in the presence of the organizers Piranha Arts (Berlin). The three organizations then realized their common, creative, and cultural investigations around DIA DE MUERTOS, the Mexican celebration of death. This led to the desire to explore the theme together with a fourth Mexican partner within the framework of a future cooperation partnership in adult education.
Toulouse
The vision describes where an organization wants to be in the future, based on its purpose and values. In the vision lies the future power of a strategy. It shows people what the goals of their organization are and where their efforts will be directed in the future. A good vision inspires and guides.
Vision
The Musicpreneur Consortium recognizes the importance of North-South relations, especially between the European Union and South Africa. These relations are seen as opportunities for fruitful cultural exchanges, sharing experiences, and jointly building a common artistic and cultural vision. The Consortium aspires to foster balanced collaborations, respectful of cultural diversities, and contributing to a deep mutual understanding between partners from the North and the South.
North-South Relations and European Union-Africa Relations
- Collaborative Artistic Production: METX defines itself as a production house created "by and for music creators." Its main mission is to collaborate with artists from diverse backgrounds to create hybrid ensembles and metropolitan events through participatory methodologies.
- Promotion of Musical Groups: METX engages in the production and promotion of various musical groups such as Sheikhs Shikhats & B’net Chaabi, BRUiTAL, Remork & Karkaba, and Fanfakids.
- Openness and Transmission of Repertoires and Knowledge: METX aims to open up and transmit the repertoires and knowledge acquired by its composers. This mission emphasizes the importance of sharing and disseminating musical diversity.
- Integration of Cultural Elements: METX's music integrates elements of Western improvisation culture and Urban Ethno, representing the cultural diversity present in a metropolis like Brussels.
- Mutual Respect for Traditions: METX's music creators work with mutual respect for each other's traditions, highlighting cultural diversity while creating something new and authentic.
- Consolidate the governance mechanisms of the Consortium by fostering active participation from all partners.
- Develop effective internal cooperation strategies to optimize resources and skills among the partners.
Communication and Awareness
- Artistic and Social Platform: Samba Résille positions itself as an "artistic and social platform" with a mission to foster personal development and/or professional qualification of individuals.
- Diversified Actions: The areas of action include artistic and cultural animation and mediation, musical programming and exhibitions, project support, teaching Brazilian music, the construction of mobile sets, and the organization of regional and international artistic events.
- Structured Expertise: Samba Résille's expertise is organized around three poles of artistic, pedagogical, and managerial skills, targeting a broad audience.
- Institutional Partnerships: Collaboration with local, regional, and national institutional partners is of a sustainable nature, involving local communities and state services.
- Non-Formal Education: Samba Résille is committed to non-formal education, deploying tools, practices, and skills to support the cultural and educational sector.
Analysis of the operational environment and its trends, the mission of my organization, the values it upholds and to which I adhere, and the key competencies it possesses through its human resources among its paid and volunteer staff.
Act 1: Metacognition.
- Chapter 1 (IR): My key skills, the missions I pursue, and the values I uphold.
- Chapter 2 (ER): The operational environment in which my daily activities are anchored.
- Develop initiatives to promote cultural rights by ensuring equitable access to participation in cultural life for all.
- Implement concrete actions to strengthen inclusion, diversity, and the representation of all voices within the Consortium.
Promotion of Cultural Rights and Inclusion
- Cultural Authenticity: METX prioritizes authenticity by creating a new musical culture while respecting traditions.
- Musical and Cultural Diversity: The production house incorporates elements from different musical traditions, highlighting cultural diversity.
- Artistic Excitement: METX aims to create consistently exciting, original, and emotional music, balancing strength and gentleness.
- Creative Collaboration: Creative collaboration is central, fostering collective work and diverse contributions to musical creation.
- Respect for Traditions: METX places fundamental importance on respecting cultural traditions in its creative process.
- Inclusive Work Environment: METX aspires to create a workplace where everyone can fully express themselves, promoting equality and individual expression.
- Openness & Transparency: METX values transparency, openly communicating decisions and fostering adaptability to changes.
Loris Liberale is a saxophonist and stage director. He produces youth shows for MetX that combine music and theater. The Alexander Technique, originally a method for postural re-education to address dysfunctions, discomfort, and injuries, is adapted for the theater by Loris Liberale. It allows for the development of kinesthetic awareness, integration of lightness, flexibility, calm, and the correct range of movements, making it a remarkable tool for stage performance. The workshop aimed to transmit the fundamental tools of the Alexander Technique: awareness of posture, mentalization of movement, efficiency search, and connection with breath. The workshop facilitated the continuation of this exploration on the scale of group movements and staging.
Targeted skills:
- Understand the technical fundamentals of the Alexander Technique
- Learn derivative exercises for the collective
Brussels mobility Facilitator : Loris Liberale
Alexander technique
La responsabilité interculturelle dans le développement de projet artistique :
Cette thématique, interculturelle par définition, investigue la révolution musicale mondiale qui intervient à partir au milieu du XXe siècle avec l'avènement des cultures créolisées issues de l'ancien espace colonial : blues, jazz, musiques afrolatines, qui ont modelé les principales esthétiques contemporaines. Les artistes ont pu travailler autour de patrimoines musicaux variés issus d'Afrique et d'Amérique pour :
- développer une approche informée des cultures musicales ciblées par l'étude de concomitante de leurs origines communes et des spécificités acquises dans les contextes de dissémination
- construire ensemble un cadre d'échange artistique et de fusion musicale respectueux des sensibilités et des intérêts toutes les parties prenantes
La protection de la diversité est conditionnée au développement chez chacun de compétences interculturelles, qui compteront sans nul doute parmi les les plus importantes pour résoudre les défis qui se présentent au monde actuel. L'UNSCO a développé un important outillage conceptuel et méthodologique pour organiser la montée en compétence interculturelle :
- s'informer et informer sur les cultures sources qui sont en jeu dans l'échange (alphabétisation culturelle)
- dialoguer avec les personnes concernées pour déterminer ensemble ce qu'il est possible de partager (dialogue interculturel)
- co-construire sur ces bases les activités avec les personnes concernées (créativité interculturelle) en veillant à une juste répartition des bénéfices sociaux, économiques et symboliques de ces activités (responsabilité interculturelle)
La coopération artistique dans Musicpreneur : un dialogue autour des héritages de l'Afrique dans le monde
Glossaire interculturel - en anglais
Compétences interculturelles: cadre conceptuel et opérationnel
Déclaration universelle de l'UNESCO sur la diversité culturelle
La protection de la diversité culturelle est l'une des priorités de l'UNESCO qui en a précisé les modalités dans la Déclaration universelle sur la diversité culturelle (2001) :
Les labos créatifs s'incrivent dans une métholodologie de coopération interculturelle développée en amont du projet par les partenaires au cours de coopérations antérieures. Elle s'enracine dans le cadre référentiel proposé par l'UNESCO, pour aboutir à une éthique pratique qui se résume en trois points :
Le cadre référentiel de l'UNESCO
Coopération interculturelle
Based on the above (Act 1), a reflection took place on the vision of the future, the strategic objectives to be pursued to achieve this vision, and the practices to adopt to reach the objectives, in the medium and long term, within the framework of a multi-year action plan.
Act 1 : Métacognition
- Chapter 3 (Becoming Knowledgeable): My vision of my role in a perspective of social transformation as an artist, as a cultural operator, as an organization.
- Chapter 4 (Becoming Knowledgeable): The strategic objectives that I am supposed to pursue to address the first three chapters.
- Chapter 5 (Knowing/Being Able to Act): My action plan for the coming years to embed these efforts in sustainability.
Targeted skills:
- Afro-Brazilian dance technique,
- understanding the symbolism in choreographies,
- knowledge of the cultural context of Brazilian Candomblé.
Göteborg mobilityFacilitator : Lisa Christensson (A Bunda)
Lisa Christensson is a dancer at the A Bunda samba school and is equally interested in both samba carioca and Afro-Brazilian dances, which are experiencing a marked resurgence in Brazil. Long overshadowed by an elite and colonial power that sought to shape a unitary culture purged of its most African characteristics, Afro-Brazilian cultures do not completely coincide with the samba encountered at the Rio Carnival or in the music clubs of Lapa, even though they share common roots. Their gravitational center is the region of Bahia further north, extending to the state of Pernambuco. In this context, dance refers to a spiritual and religious context still closely tied to its African roots: Candomblé and its pantheon of gods, the orixás. The workshop aimed at acquiring choreographic techniques related to the gods Oxalá, the god of wisdom, and Iansã, the goddess of lightning and war.
The Renewal of Afro-Brazilian Dances
Résilience et éthique
- Mobilisation des RI : Le traumatisme profond vécu par les acteurs culturels lors du Covid nécessite une mobilisation interne considérable pour cultiver la résilience. Le projet a permis d’accompagner cette résilience en tant que ressource permettant de redonner vie à la pratique artistique dans les laboratoire créatifs.
- Encouragement du rôle social et posture éthique : Les activités telles que les séminaires et les tables rondes sur l'accompagnement des artistes favorisent le développement d'une culture de résistance, encourageant ainsi un rôle social et une posture éthique parmi les artistes.
- Mobilisation des RI : La vision du projet, s'inscrivant dans une logique de "savoir devenir", facilite la mobilisation les ressources internes des artistes et des opérateurs culturels pour s'adapter à un monde en constante évolution.
- Soutien à l'apprentissage et développement personnel : Les résultats directs du projet, tels que les présentations numériques et les rapports individuels, documentent les avancées dans le développement des compétences visées, soutenant ainsi l'apprentissage et le développement personnel.
Collaboration, Communication et Compétences liées aux TIC
- Mobilisation des ressources internes (RI) : Les artistes et les opérateurs culturels, en développant leurs compétences de collaboration et de communication, mobilisent des ressources internes cruciales, tous conscients que la maîtrise des technologies de l'information et des communications (TIC) devient une ressource incontournable, notamment dans le contexte numérique actuel dans le secteur musical.
- Renforcement des compétences existantes : Les activités du projet, telles que les résidences artistiques et les tables rondes, fournissent des opportunités d'amélioration des compétences relationnelles, de communication et de collaboration.
- Mobilisation des RI : La spécialisation extrême des artistes, bien que les éloignant des parcours classiques, est une ressource interne puissante lorsqu'elle est canalisée dans un processus créatif. Tout le monde s’est accordé à dire que la créativité et la pensée critique sont essentielles pour transformer le traumatisme en une énergie entrepreneuriale.
- Développement de nouvelles compétences : Les laboratoires d'expérimentation créative offrent des espaces propices au développement de nouvelles compétences créatives, renforçant ainsi les aptitudes des participants.
Belgium Consulate in Cape Town
Consulat de Belgique
The Consul General of Belgium in Cape Town, Mr. Mathias Bogaert, closely followed the project during the last mobility. He hosted a reception at his residence on "King's Day," a buffet for the participants during their concert at Artscape, and offered MetX the opportunity to suggest Belgian artists for programming.
- Develop innovative artistic education programs aimed at enhancing participants' cross-cutting, social, and entrepreneurial skills.
- Foster creativity as a driver of education, encouraging artistic exploration, critical thinking, and individual expression.
Enhancing Skills and Creativity through Artistic Education
Hamza Medkouri is the director of Samba Résille and one of the founding members of the organization in 1992. Trained in management, he quickly joined the staff of Samba Résille as a development officer, simultaneously working on training and the musical direction of the Samba Résille troupe. Over the years, Hamza has developed expertise in cultural projects and ecosystems, particularly in their European and international dimensions. He is a European developer and now provides training for cultural actors involved in European projects at the regional and national levels (DRAJES Occitanie and the Ministry of Culture). Hamza is one of the creators of Musicpreneur and has, of course, invested all his experience in the direction, management, and educational aspects of the project.
Hamza Medkouri
Les esthétiques en jeu dans le projet
Esthétiques africaines et afro-descendantes
Chanson francophone
Un dialogue autour des héritages africains dans le monde entre des esthétiques variées
L'axe artistique choisi étant celui d'un dialogue créatif autour des héritages africains capable de faire émerger de l'inattendu, les partenaires ont veillé à sélectionner des artistes d'horizons très divers, dans le but de croiser les esthétiques pour construire un véritable dialogue et non prolonger un commode entre-soi. L'une des grandes richesses du projet a été de vivre ces rencontres entre jazz, musique classique, musique et danse brésilienne, musique occitane... Et de voir ces artistes si différents trouver les points d'accroche, réduire les distances et trouver toutes les ressources pour créer des connexions artistiques, culturelles et émotionnelles.
Danse afro-rock
Danse sud-africaine
Danse Brésilienne
Danse contemporaine
Afro rock
Musique sud-africaine
Jazz
Musique mexicaine
Musique brésilienne
Musique balkanique
Hip-hop
Musique occitane
Musique classique
Les partenaires ont planifié la rencontre de quatre domaines artistiques : musique, danse, poésie et performance plastique. Pour travailler à la question du sens global de la rencontre artistique dans Musicpreneur, nous avons souhaité faire appel d'une part à une parole forte et poétique, celle de l'artiste Jeanine van Rooy-Overmeyer, et d'autre part à l'expertise de Maëva Longvert qui sait engager les collectifs dans une démarche de performance investiguant les interogations contemporaines.
Au même titre que la coopération interculturelle, la coopération artistique interdisciplinaire a été au coeur de notre méthodologie de projet, comme levier pour agir sur le "déblocage" des compétences de coopération et de créativité des participants.
Quatre domaines artistiques en interaction pour créer du sens
Coopération interdisciplinaire
The creative labs, coupled with the study-action activities focusing on the analysis of key skills, missions, and values of partner organizations and their operational environments, as well as the production of a prospective strategic action plan around a common vision, have been catalysts for enhancing metacognition and "knowing how to become." These are essential elements in a resilience perspective.
- Music, at the heart of creative labs, served as a language through which participants explored their artistic identity and developed a profound self-awareness. Co-creation activities provided a sonic mirror allowing individuals to recognize their strengths, become aware of their limits, and define their aspirations—a first step towards metacognitive competence.
- Furthermore, co-creation and collaborative production acted as a mirror facilitating an intercultural social experience. It reflected relational and collaborative skills where everyone learned to identify their interactions within the collective, developing psychosocial skills essential for an artistic and entrepreneurial journey.
- Music became a means to explore emotional skills and experience stress related to the creative process. Participants learned to identify, regulate, and express their emotions positively, contributing to an increased awareness of emotional factors influencing the contextualization of their artistic and entrepreneurial practice in diverse national, European, and international operational environments.
- Musical co-creation also provided a space for self-determination where participants were encouraged to make artistic choices, define their musical goals, and plan their contributions to the collaborative project. This autonomy reinforced the "Knowing How to Become" competence, emphasizing the ability to guide their artistic and entrepreneurial journey. It also unlocked their legitimacy and capacity to define strategic goals for their affiliated organizations by producing a prospective and sustainable action plan for collaborations.
- The discovery of new resources, skills, and environments allowed participants to develop critical thinking and foster a confident culture of social transformation as committed and engaged change agents. In this way, they are better equipped to evaluate and adjust their choices, discuss different musical and managerial perspectives, make informed decisions, and bring creative responses to their various professions.
the significant impact of projects using the arts as a means of social cohesion and the promotion of artists with disabilities. Cultural Management Training: Mr. Toberin Meyer, Project Manager for training programs, has developed programs aimed at qualifying young managers and cultural leaders. His contribution is essential to address the shortage of qualified cultural managers and promote the sustainability of artistic initiatives. Human Resources and Supervision: Artscape has permanent staff in various departments, as well as cultural animators and mediators mobilized for projects, under the supervision of the Director of Education, Ms. Thoko Ntshinga. This reflects competence in human resources management and supervision
Multilingualism: Artscape implements stage performances in all three official languages of South Africa (English, Afrikaans, and Xhosa), showcasing competence in linguistic diversity. Social Integration through the Arts: Artscape utilizes the arts as tools to empower, engage, encourage, and support artists and performers from communities at risk, contributing to social integration. Development Programs for the Disadvantaged: Artscape's programs are designed to assist disadvantaged individuals in the Western Cape by specifically developing the skills of artists in music, dance, theater, carnival arts, and entrepreneurial skills. International Mobility: Artists involved in the programs have the opportunity to benefit from international mobility experiences, demonstrating an openness to cultural and artistic exchange on a global level. Training and Skill Development: Artscape offers training programs aimed at developing the skills of young emerging cultural actors in administrative management, marketing, artistic project management, and skill management. Leadership and Social Engagement: Ms. Marlene le Roux, CEO, is a figure of leadership and social engagement. She works to support disadvantaged communities and groups, promoting the inclusion of young people with physical, sensory, or mental disabilities. International Recognition: Artscape, through the initiatives led by Ms. Marlene le Roux, has received international recognition through prestigious awards, highlighting
How has your attitude towards lifelong learning evolved through the project? The project has made significant contributions to participants' attitudes toward continuous learning, encouraging open-mindedness, creativity, and the sharing of knowledge and experiences.
- Strengthening of existing attitude
- Key to unlocking cooperation
- Enthusiasm for lifelong learning
- Open-mindedness and broadening of artistic horizons
- Project leadership and group learning
- Valuing the exchange and sharing of skills
- Encouragement of innovation and creativity
- Comfort with spontaneity
- Expansion of artistic vision
- More innovative and creative thinking
Have you identified new opportunities or ideas after participating in the project? Musicpreneur has sparked creativity, boosted confidence, inspired new collaborations, and opened perspectives on continuous learning and artistic exploration. Participants have identified concrete opportunities and expressed a commitment to long-term professional and artistic development.
- Proposal of new projects
- Strengthening existing collaborations
- Ideas for artistic crossovers to reach new audiences
- Cross-project centered around the theme of death
- Exploration of new artistic domains
- Potential future projects
- Lessons in patience and tolerance
- Renewed curiosity for cultural differences
- Attitude towards lifelong learning
- Openness to continuous learning
How do you think this experience will benefit you in the future? Les participants anticipent des bénéfices professionnels significatifs découlant de leur participation au projet Musicpreneur. Ces bénéfices incluent le développement de compétences, l'ouverture à de nouveaux projets et collaborations, l'élargissement du réseau professionnel, et une meilleure compréhension des dynamiques institutionnelles.
- Acquisition of diverse skills
- Development of managerial skills
- Openness to new projects
- Cultivation of new artistic connections and collaborations
- Understanding of institutional mechanisms
- Enhancement of analytical abilities
- Expansion of professional network
- Application of shared best practices
- Enrichment of understanding of cultural events
- Exploration of new professional avenues
Extract from the analysis of individual end-of-project reports
How do you envision leveraging the lessons learned in Musicpreneur within your organization?The participants plan to apply the project's teachings in various areas such as project management, partnerships, artistic creation, workshop organization, and personal and professional enrichment.
- Group management, organization, and open-mindedness
- Utilization of collected material for future reports and projects
- Awareness of observation and adaptation capabilities
- Expanded collaborations and positioning of the organization
- Intersection of artistic practices and citizenship roles
- Creation of projects with people met during the program
- Rethinking the role of visual arts in music
- Application of new knowledge in workshops
- Enhancement of team management
- Sharing experiences and organizing workshops
- Continuation of lasting partnerships
- Personal and professional enrichment
How has the project influenced your way of working within your organization? The project has had a significant impact on how participants perceive their work within their organization, influencing their artistic practices, their approach to collaboration, and stimulating new ideas and inspirations.
- Increased awareness of inclusion
- Fluidity in relationships within the organization
- Strengthened capacity for observation and adaptation
- Increased projection and legitimacy
- Awareness of citizenship and interculturality issues
- Improved internal communication
- Development of new artistic warm-ups
- Reinforcement of artistic identity
- Effect on structuring and rapid learning
- Stimulation of new ideas and inspiration
- Consideration of international projects
- Learning new languages and instruments
How have the skills and knowledge acquired through the project been put into practice within your organization? The skills acquired during the Musicpreneur project have started to be put into practice in various organizations, ranging from project structuring to improved communication and collaboration, as well as motivation for new initiatives aligned with the role of a Cultural Hub.
- Structuring the organization of KA2 projects
- Motivation for new cultural exchange projects
- International cooperation and UNESCO label
- Improved communication and joint project management
- Exploration of new artistic perspectives
- Revitalization of stalled processes
- Better communication and integration of musicians into a project
- Strengthening bonds within the Artscape team
- Improved attitude towards cultural differences
How has the project affected your organization's capacity for innovation? The project has had a positive impact on participants' ability to innovate and be creative in their respective fields, encouraging them to explore new ideas, collaborate in creative ways, and rethink their prospective and strategic approaches within their organizations.
- Willingness to undertake more ventures
- Ease in approaching institutions and private investors
- Ability to enrich oneself from each other's universe
- Increased creativity and innovation
- Ideas for cross-pollination of artistic practices
- Improved communication and concrete proposals
- Creation of artistic co-creations
- New artistic perspectives and initiatives
- Reflection on specific aspects of performance
- Strengthening bonds with colleagues and building trust
Excerpt from the analysis of individual project completion reports
Have you observed any positive changes in your organization related to the project? Musicpreneur has had various positive impacts, ranging from the deepening of institutional relationships to a renewed motivation for exploring new projects and collaborations.
- Curiosity, respect, and a desire to collaborate
- Deepening of dialogue with institutions
- Motivation for new cultural exchange projects
- Improved visibility and credibility
- Success of the project and enthusiasm
- Team cohesion and innovative narratives
- Dynamic involvement and motivation for continued efforts
- Future collaborations and new projects
- Representation and performances on different platforms
- Contacts and friendships
Konnakol is an Indian system of rhythmic solfège sung in Carnatic music from southern India. It has gained unique popularity internationally as a pedagogical tool because it adapts to all rhythms and, with practice, allows for the melodic interpretation of rhythms. Even young children can sing complex polyrhythms that jazz musicians can only dream of, demonstrating the effectiveness of the system. The workshop led by Lucia Mezernich Pires, a flutist from MetX, focused on studying the fundamentals of the method before applying them to complex odd rhythms (5/8, 7/8, 9/8, 11/8) to showcase its effectiveness. These tools were then reused in the production phase for concert preparation (see Balkan music: Kopanitza).
Skills targeted:
- Understand the fundamentals of Konnakol
- and apply them to odd rhythms.
Brussels mobility Facilitator: Lucia Mezernich Pires
Method of Konnakol Rhythmic Solfege
- Artistic Excellence: Artscape aims for the highest level of artistic excellence in all areas of performance and is committed to delivering high-quality shows.
- Catalyst for Growth and Transformation: Artscape is committed to being a catalyst for growth and transformation in the performing arts by contributing to nation-building. It establishes inclusive partnerships involving all stakeholders.
- Management of Cultural Center: As a cultural center, Artscape manages a complex with multiple spaces dedicated to performing arts, technical services, costume creation, set construction, and other activities related to the arts.
- Sustainable Theatre Practice: Artscape emphasizes sustainable theatre practice, focusing on education and development while operating on a semi-commercial basis.
- Education and Development: Artscape provides career opportunities for emerging artists and stage technicians in South Africa. The Artscape Foundation implements educational and development programs aimed at creating a rich cultural and artistic community.
Jeanine van Rooy-Overmeyer, also known as Blackpearl, is a poet and singer. She has been working closely with Artscape for many years, particularly in bridging the gap between her home in Mitchell's Plain, a historically segregated area for "colored" people, and the vibrant cultural life of downtown Cape Town. Among her various activities, Jeanine leads workshops on writing techniques, allowing people in her community to share their lived experiences. She wanted to share these techniques in a collective workshop in Mitchell's Plain. The storytelling session, lasting an hour and a half, involves
- an introspective phase exploring strengths, weaknesses, dreams, emotions, etc.
- Participants then choose a theme, tone, and diction to create a "Words Map," a mapping of words in four untitled boxes where they jot down words that come to mind spontaneously or search for them in a dictionary.
- Following this, participants write a text in 15 minutes based on the "Words Map," which they can recite after the allotted time.
Cape Town mobilityFacilitator: Jeanine van Rooy-Overmeyer
Self-writing
Skills targeted:
- Explore the conditions of existence in the former racially segregated areas of South Africa
- Learn a methodology of writing
Les temps de production musicale et l'expérience de la scène ont permis d'affermir les liens d'un collectif Musicpreneur désormais bien tangible, et d'autant plus solidaire qu'il est ancré sur un socle de valeurs et une méthodologie d'action qui a été discutée et définie tout au long du projet.
Compétences psychosociales : "membre du collectif"
Compétences techniques : composition, arrangement et édition musicale numérique
Les participants ont pu partager leurs méthodes de composition et d'arrangement au cours des séquences dédiées à la construction du répertoire. Les travaux se sont déroulés pendant les mobilités mais aussi entre chacune d'entre elles, permettant aux artistes de monter en compétences sur les outils d'édition musicale numérique.
Module PRODUIRE : Compétences spécifiques acquises
Momar D. Kane is a teacher in literature at both the secondary school and Toulouse Jean Jaurès University. He is also a painter and musician. A longtime member of Samba Résille, he is involved in various projects within the association, including storytelling evenings, philosophical banquets, and concerts with his group Momar Afrodream. Franco-Senegalese, he specializes in cultural relations between Europe and Africa, as evident in his work "Io l'Africaine," published by L'Harmattan. Momar practices a blues-rock style rooted in Wolof culture. The workshop offered by Momar and his group, Momar Afrodream, presented a framework of scales, rhythms, and harmonies from West Africa blended with blues and rock scales—a flexible framework to guide participants into the realm of improvisation.
Targeted skills:
- understanding the musical universe of West Africa,
- development of improvisation.
Toulouse mobilityFaciltator: Momar D. Kane (Samba Résille)
Momar D. Kane's Afro Rock
Olivia Karlsson is a dancer and singer in the "harmonia" section of A Bunda's samba school. "Enredo" is a very specific style of samba from the Rio de Janeiro Carnival. It must meet several requirements: a fast-paced piece performed by the bateria (percussion orchestra) and the harmonia (harmonic and melodic section) during the parade. It has a long and complex structure serving a text that illustrates the theme chosen by the school and generally reflects current issues. A Bunda constructs its own carnival enredos, similar to the practice in Brazil, often with the collaboration of Brazilian composers. This way, the school is immersed in a dynamic of cultural deepening, including knowledge of the language, composition and execution conditions, and connections with Brazilian musicians and authors. The workshop focused on the study of the enredo for the year, providing participants with context on the Swedish enthusiasm for Brazilian singing, rooted in the strong choral tradition found throughout Sweden.
Targeted skills:
- Understanding the cultural context of the Brazilian enredo and its adaptation in the Swedish context,
- mastering the musical fundamentals (rhythm, singing, harmony) of the enredo.
Göteborg mobilityFacilitator: Olivia Karlsson
The Swedish Enredo of A Bunda
Reviver MP3
Delicadeza MP3
The Cape Town mobility provided an opportunity to delve into the issue of recorded music and the digitization of the music industry in South Africa. Composer and sound technician Callum Macdonald shared his experience with the participants and offered a recording session to the duo Elaine Lopes/Mathieu Cayla.
Cape Town:Samba in the studio
Radio broadcast in Cape Town
The podcast of the radio show in which the Musicpreneur team managers participated in Cape Town.
Bongani Sotshononda is one of the top marimba players in South Africa. As the first black marimba player at Artscape, Bongani is currently involved in teaching missions alongside a prolific international career, particularly with the JAV group, which embraces the concept of Australian jazz, blending influences from South Africa, Mozambique, and Réunion Island. The workshop, both theoretical and practical, focused on the dissemination of jazz in South Africa's black communities and its evolving role as a culture of resistance. The discussion unfolded through three examples: Cape Malay culture, the Minstrels, and the role of brass bands in the Langa township near Cape Town. Two South African jazz standards were performed.
Targeted skills:
- understanding the historical role of jazz in South Africa,
- knowledge of Cape Malay culture and the Minstrels of Cape Town,
- ability to interpret two South African jazz standards.
Cape Town MobilityFacilitator: Bongani Sotshononda
Jazz in South Africa: Music of Resistance
Meeting with the Minister of Culture
Cape Town
The Mayor of Cape Town talks about Musicpreneur, Toulouse, and UNESCO!
Artscape and Samba Résille
An exceptional partnership!
Beyond Apartheid: Mandela and the 1995 Rugby World Cup. Announcement of the Cross-Perspective Conference by Sophie Dulucq and Marlene Le Roux.
Together, these two organizations have been working on projects since 2018! Successful collaborations in the fields of youth, adult education, and culture. Tireless advocates for cultural rights, both organizations have raised awareness and inspired their local institutional partners to the extent that an institutional cooperation between the municipalities of Cape Town and Toulouse is in the final stages of completion before official signing. This has drawn in numerous institutional and cultural actors, demonstrating that they have now become essential in their respective contexts.
Toulouse
Maëva Longvert is a visual artist who creates performances in public spaces to explore significant issues of our time, such as the role of women (Nyctalope) and ecocide (Kill me). She is also an expert in participatory approaches, employing various methods to engage individuals in artistic and civic endeavors. The workshop led by Maëva, titled "Cooperation in Public Spaces," offers a methodology for rapid artistic intervention in public spaces for groups of 10 people. The process involves:
- The suitcase: The group collectively gathers in a suitcase provided by the instructor all the intervention tools they would like to use.
- Creating the outline: The group selects the tools and assembles them into a coherent framework.
- Choosing the location: The group decides on one of the locations proposed by the instructor.
- The performance: The group executes the performance.
- Feedback
Targeted skills:
- mobilize and effectively share resources and make decisions collectively
- manage emotional stress, know how to follow and take on leadership roles in a fluid manner
Toulouse mobilityFacilitator: Maëva Longvert (Samba Résille)
Impromptus publics
- Promotion of Brazilian Culture: A Bunda's main mission is the promotion of Brazilian culture through various artistic, cultural, and social activities, including percussion, dance, street theater, circus arts, harmony, and Brazilian singing.
- Non-Formal Training: The association has developed significant expertise in non-formal training for both youth and adults, offering workshops in music and dance tailored to each individual's abilities.
- Event and Festival Organization: A Bunda participates in various festivals and events throughout the year, using the generated profits to fund its activities, including costume creation, travel for carnivals, master classes in Brazil, etc.
- International Collaborations: The association establishes collaborations with samba schools in Sweden, Europe, and Brazil, fostering cultural exchanges and the transmission of carnival arts on an international scale.
- Economic and Social Engagement: A Bunda is mindful of generating economic benefits in its activities while dedicating a portion of these profits to charitable or social causes, demonstrating a commitment to social responsibility.
Israel is a Mexican musician who has been active in Brussels for many years and is currently an artist-in-residence at MetX. A specialist in traditional Jarocho music from the state of Veracruz in Mexico, he promotes this culture, notably through the beautiful annual "Dia de Muertos aux Marolles" festival that takes place in November in the Brussels neighborhood, which he co-organizes with MetX. Israel is also actively involved in adapting this repertoire for brass instruments. The workshop, both theoretical and practical, focused on the cultural and musical fundamentals of Son Jarocho: the traditional fandango celebration, the gastronomy of tamales, the rasgueos technique for strings, the zapateos technique for dancers, and more. The second part of the workshop centered on the interpretation of the Jarocho repertoire adapted for brass band and the context of parades.
Targeted skills:
- Understanding the technical foundations of Son Jarocho,
- understanding the cultural context of Son Jarocho.
Göteborg mobilityFacilitator: Israel Abresu
From Son Jarocho to Brass Band: Israel Abresu's Brussels Project
Link to the article
Intervention by DRAC Occitanie - Musipreneur
The Regional Directorate of Cultural Affairs (DRAC) intervened in the Musicpreneur project in Toulouse, along with the Toulouse City Hall. Additionally, Hamza Medkouri, the director of Samba Résille, conducted two workshops for the Ministry of Culture within the framework of the Forum for Entrepreneurship in Culture. He facilitated the workshops with Mrs. Anabel Vuillier-Cools, technical advisor responsible for culture in the office of the director of the Erasmus+ National Agency for Education and Training in France.
Samba Résille and the Ministry of Culture
Workshop 2
Atelier 2
Workshop 1
Jalel Vangoethem is a musician, youth facilitator, and project manager at MetX. Trained in Afro-Latin percussion, he is particularly involved in MetX's Fanfakids project, a youth orchestra that regularly undertakes international tours and projects. Jalel has been able to apply his skills as a musician, mediator, and manager in Musicpreneur, particularly in bridging the gap between the educational and creative sectors. He is also the primary content writer for Belgium and has handled a significant portion of the administrative and logistical tasks of the project, including organizing mobility in Brussels.
Jalel Vangoethem
Press article
Promotion of Luie V
Luie V's participation in the Musicpreneur project led to an article in the South African press
- Establish robust evaluation mechanisms to measure the social, educational, and cultural impacts of Consortium initiatives.
- Use the results of evaluations to continuously adjust and improve the Consortium's programs and actions.
Implementation of Evaluation and Impact Assessment Mechanisms
Targeted skills:
- samba dance technique and its variations,
- understanding the cultural context and representations.
Göteborg mobilityFacilitator : Amanda Seguel (A Bunda)
Amanda Seguel is a dancer at the A Bunda samba school. Like her peers, she has achieved a level of technical excellence comparable to the dancers in the Rio Carnival. Samba dancing in Brazil involves different cultural and social representations depending on the context in which it takes place. In the Carnival parade, dancers must combine phenomenal execution speed (with the "bateria" playing around 180 bpm) with flexibility and a sensual grace, reminiscent of the diva, the "reinha do Carnaval."In another context, that of the favelas and "botecos," it's the samba of the "malandro" that dominates, slower and unpredictable, like a challenge to gravity, reflecting the very posture of the malandro, one who sways but does not fall ("que balança mas não cai"). Regardless of the context, the technical beauty of samba lies in the very specific articulation between a pronounced grounded stance ("pushing from the bottom towards the heels" while dancing) and a dynamic, aerial quality linked to movements of the hips and arms. Control of the hips, the center of gravity, is essential.
Carioca Samba: From the Diva to the Malandro
Andrés Pereira is a highly active Uruguayan pianist at A Bunda. Introduced from a young age to the sounds and rhythms of the national tango, he gradually became interested in Afro-Uruguayan music, particularly that derived from Candombe—a culture and Afro-descendant religion that shares similarities with Brazilian Candomblé, especially in its marginalization by a predominantly Eurocentric national culture. Andrés is actively involved in artistic projects that bridge traditional music with electronic genres, based on a culturally informed approach aimed at fostering broad exchanges between Sweden and Uruguay. The workshop offered by Andrés and his Candombe music group focused on learning two polyrhythms played by three drums and the basic principles of improvisation on the bass drum.
Targeted skills:
- understanding the technical foundations of candombe polyrhythms,
- understanding the cultural context of candombe.
Göteborg mobilityFacilitator: Andres Pereira
Afro-Uruguayan Candombe
Choro and samba in Cape Twon
Rehearsal of 'Una furtiva lagrima' in Brussels
This theme aligns with the workshops dedicated to Brazilian choral music by R. Miranda, bringing together Brazilian popular music with classical aesthetics, including opera. The opera aria 'Una furtiva lagrima' was juxtaposed with Miranda's 'Suite nordestine,' which was mirrored with its popular inspirations (Bumba Chora). The exploration of Brazil continued with pieces of choro, a type of Brazilian instrumental jazz.
Samba... in all its states!
Improvisations autour du flow poétique de Blackpearl
Stijn Claysier is a professional drummer and offers rhythm and improvisation workshops at MetX. The workshop proposed by Stijn includes 7 exercises that allow building an improvisation approach:
- 1-minute meditation
- Yes, and... vs No, but
- Synergy
- Marionette on a string
- Impro parameters
- Less is more
- Without judgment
Targeted skills:
- Appropriate a method to initiate improvisation
- and create an improvisation space with others.
Brussels mobility Facilitator: Stijn Clayiser
Flow and improvisation
Toberin Meyer is a manager at Artscape. He heads the marketing department and is also involved in several international projects within the organization, working closely with his colleague Jeremy Vorster. Together with Jeremy, Toberin has been actively engaged in all international collaborations between Artscape and Samba Résille since 2018. He has contributed to the development of various managerial contents of the project, including the management kit alongside Jeremy Vorster and Hamza Medkouri. Additionally, he collaborated with Hamza and Nelika Karimi D'A Bunda in structuring content related to the Consortium's skills, values, and missions.
Toberin Meyer
- Establish balanced and sustainable partnerships between Consortium organizations and other partners, with a focus on North-South relations.
- Explore international collaborations to promote cultural, artistic, and educational exchanges, contributing to a shared common vision on a global scale.
Strengthening North-South Relations and International Cooperations
Le standard Bruxelles de Jacques Brel a été revisité pendant la mobilité de Bruxelles pour fédérer tous les artistes dans une production originale dirigée par Karen van Schaik, musicienne de MetX. Les séances collectives d'arrangement réalisées par Karen ont intégré les sensibilités musicales présentes dans le projet (samba, jazz etc.) et les techniques explorées pendant la mobilité comme le sound painting. feu d'artifice qui mêle samba jazz sound painting
Répétition d'orchestre pour Bruxelles de Jacques Brel
C'était le temps où Bruxelles chantait...
Nos équipes et les Ladysmith Black Mambazo à l'issue du concert Musicpreneur
La rencontre de Ladysmith Black Mambazo
Les équipes de Musicpreneur ont pu rencontrer le mythique groupe vocal zulu qui a partagé la tournée anti apartheid Graceland avec Paul Simon (1987). Les membres du groupe ont écouté et apprécié le concert final de Musicpreneur, et toutes nos équipes ont été invitées au concert des Lady Smith Black Mambazo le lendemain à Artscape. Le contact est noué pour d'évenutelles collaborations !
Marlene Le Roux, directrice d'Artscape, sur scène avec les Lady Smith Black Mambazo
Andres Pereira (A Bunda)
Göteborg
Brussels
Toulouse
Consortium Erasmus+ Education des Adultes
A European educational network
For the cultural sector
The European partners of Musicpreneur have established a strategy for sustainable cooperation that involves organizing learning mobility within the framework of Erasmus+. This includes hosting and/or sending structured courses and observation internships for their staff and learners in the adult education sector, using the accreditation provided by Erasmus+.
Maëva Longvert is a visual artist who creates performances in public spaces to address major issues of our time, such as the role of women (Nyctalope) and ecocide (Kill me). She is also an expert in participatory approaches, employing various methods to engage people in artistic and civic endeavors. The workshop offered by Maëva, "Of Threads and Bonds," opened the first mobility in Toulouse, aiming to create a secure space for meeting and exchange and form the initial working groups. The technique used to build four groups of ten people follows the following procedure:
- Four international groups are formed by choosing four types of colored bracelets.
- The groups gather in a circle where each person has two minutes to answer the following questions: What have I brought with me? What are my expectations? What are my fears? What is my superpower? What takes it away from me?
- each group collectively chooses a sound and a movement that represents its identity.
- The groups gather in public space, mingle, and self-regulate to reconstitute themselves as many times as they wish, ensuring respect for the other groups.
Skills targeted:
- Meeting and breaking the ice
- Introducing oneself individually while creating the initial group dynamics
- Having fun and letting go!!
Toulouse mobilityFacilitator: Maëva Longvert (Samba Résille)
Of Threads and Bonds
- Inclusion and Openness: A Bunda promotes inclusion by welcoming a diverse audience without distinction of nationality or age, offering workshops tailored to everyone.
- Personal and Social Well-being: The association uses carnival arts as a means of learning and mediation, aiming at the personal fulfillment and socialization of its members.
- Financial Solidarity: A Bunda allocates 10% of its profits to charitable or social causes, illustrating its commitment to solidarity and support for others.
- Transmission of Expertise: The association values the transmission of expertise in carnival arts and samba, organizing meetings, classes, masterclasses, and establishing partnerships with other samba schools in Sweden, Europe, and Brazil.
- Celebration of Cultural Diversity: A Bunda celebrates cultural diversity through carnival arts, encouraging the participation of individuals from various backgrounds.
- Community Engagement: The association actively engages within its community, using the arts as a catalyst to strengthen social bonds.
- Identify and develop strategic partnerships with institutions, NGOs, and key players in the cultural and educational sectors.
- Expand the Consortium by integrating new partners who share the common vision of the Musicpreneur Consortium.
Establishment of Strategic Partnerships
Culture and Art in Everyday Life
The vision of the Musicpreneur Consortium embraces the essential role of culture and art in people's everyday lives. Art and culture are not merely forms of entertainment but pillars of individual fulfillment and the construction of a dynamic society. The partners are committed to promoting cultural rights, ensuring that everyone has the opportunity to participate in cultural life, enjoy the arts, and contribute to cultural diversity. They acknowledge that culture is a transformative force that can build bridges between individuals and foster mutual understanding.
Action plan
A action plan is a written document crafted to implement an organization's strategy and improve quality. It covers performance goals, procedures, timelines, and resources for the defined actions. The action plan outlines the steps to be taken to achieve the set objectives. An action plan is drafted annually, including a schedule of activities and taking into account available financial and human resources. The implementation of action plans is assessed annually, and the plans are modified accordingly. A longer-term action plan is developed every 3 to 5 years.
- Diversity and Inclusion: The organization emerges from the desire to share in complete diversity, fostering civic construction through creative practices. Members of Samba Résille come from diverse backgrounds, including individuals facing social exclusion and/or precarious situations.
- Flexible Support: The relationship with audiences is defined as flexible support in pace and time, exploring different modes of knowledge transmission.
- Cultural Pluralism: Samba Résille is committed to a process of pluralism in content and audiences, surpassing the invisible boundaries of ghettoization linked to differences.
- Artistic Initiative and Cultural Entrepreneurship: Values include encouraging artistic initiative and cultural entrepreneurship, contributing to the professional qualification of individuals.
- Dialogue and Exchange: Dialogue, exchange, and mutualization are considered essential for the consolidation of individual paths.
- Expansion of Cultural Practices: Samba Résille aims to expand cultural practices by promoting the acquisition and development of knowledge.
- Breaking Down Barriers: The dynamics of Samba Résille create bridges between systems (formal/non-formal education) and between audiences (amateur/professional artists), breaking down barriers and proposing an associative project focused on expanding the field of sensitivities.
Similarities in Missions: Non-Formal Education: Samba Résille, A Bunda, and METX actively engage in non-formal education, offering workshops and courses tailored to diverse audiences. They share the conviction that artistic education throughout life can be a powerful vector for personal and social development. Cooperations and Partnerships: A Bunda, Artscape, Samba Résille, and METX emphasize collaborations and partnerships, whether with samba schools (A Bunda), local institutions (Samba Résille), inclusive stakeholders (Artscape), or artists from diverse backgrounds (METX). These collaborations underscore the importance of working together to enrich the artistic and cultural scene.
Unique Missions: Personal Fulfillment and Professional Qualification: Samba Résille explicitly positions itself as an "artistic and social platform" with a focus on personal fulfillment and/or professional qualification of individuals, facilitated through structured expertise. Promotion of Brazilian Culture: A Bunda, as a specialized association, has the primary mission of promoting Brazilian culture through various artistic and social activities, with a strong commitment to economic and social impact. Artistic Excellence and Sustainable Practice: Artscape distinguishes itself through its commitment to artistic excellence, the management of a comprehensive cultural center, and a sustainable theater practice. Emphasizing its role as a vector for growth and transformation underscores its crucial contribution to the development of the performing arts. Collaborative Artistic Production and Cultural Openness: METX stands out for its commitment to collaborative artistic production, the promotion of diverse musical groups, and openness to various musical repertoires and knowledge, integrating cultural elements into its music.
La notion de projet appliquée à la culture : outil de régulation sociale, ou outil de compétition libérale ?
autre débat sur la nature politique libérale de la notion de projet, outil de sélection dans un environnement compétitif. Très intéressant contrepoint par SA que les projets culturels doivent comprendre tous les outils de conception et d'évaluation qui permettent de construire et vérifier son utilité sociale L'occasion du soutien à la création à l'utilité : new bauhaus priorités horizontales qui prennent en compte soutenabilité environnementale (décarbonation et usages numériques) , lien entre création, éducation engagement démocratique, lien avec son territoire : artiste ne peut plus penser son action hors de la cité , de la transformation sociale relier avec politiques
L'environnement opérationnel fait référence à tout ce qui affecte les opérations d'une organisation en interne et en externe. Le point de départ du travail de développement dans une organisation est d'analyser l'environnement opérationnel et les changements qui l'affectent. Elle est affectée, par exemple, par les politiques d'éducation et de formation, les changements démographiques, l'immigration, le marché du travail et ses changements ainsi que les changements au sein de l'organisation.
Environnement opérationnel