http://theatretsvete.eu/?page_id=1059erasmus-logo-high-resolution0,3eupinlogo

European Partnership for actions involving people at risk of marginalization

Project Nr: 2015-1-PL01-KA204-017074

The project focuses on the main issues contained in the guidelines of the “Europe 2020” – inclusive growth in the economy, which is characterized by a high level of employment and ensuring economic, social and territorial cohesion; combating poverty and social exclusion
The project includes the following objectives:
• Development of cooperation and exchange of experience between professionals working with people at risk of social exclusion: senior citizens, people with disabilities and drug addicts;
• Improving the professional qualification;
• Acquisition of new skills and improving existing psychological, interpersonal and methodological ones required for working with mentees;
• Dissemination of modern art therapeutic methods of work among staff working with people at risk of marginalization and people working for these communities;
• Create more opportunities for personal development of teachers involved in the project,
• Increased self-esteem and reduce the risk of burnout will
Target groups:
• educators working with people at risk of marginalization;
• people related to those educators who will join the project and
• people who work on behalf of communities at risk of marginalization.
These groups will participate in the training, which will be shown effective working methods. Participants will be both trainers and trainees; distributors of information about the project locally and internationally. Teachers are taught differently in the partner countries, and working with persons with various conditions that put them at risk of social exclusion.
Connecting factor is the common aspiration of the European Union to enable many people to return to an active life in society.
International cooperation gives each partner a great opportunity to become familiar with the programs and methods that will ensure the acquisition of a fuller and richer knowledge.
Around 1,500 people will be involved in the project.

Kick–off meeting – 19.10.2015 – 21.10.2015, Sofia, Bulgaria

Event host organizations: BASD, Tsvete Theatre, Bulgariа

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PARTNERS’ MEETING IN SOFIA, 23-29 NOVEMBER, 2015

Event host organizations: BASD, Tsvete Theatre

Place: 61, Vitosha blvd

24 of Nov., Tuesday0:00 – 12:00 – free Sofia tour

14:00 – 18:00 – Jadwiga Konopacka workshop: how to work using fairy tells with people, who are victims of domestic violence; Feedback, discussion about the methods and tools, exchange experiences connected to this field    

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25 of Nov.,Wednesday

10.00 – 13.00 – forum-masks theatre show in Sofia-school. Performance of Theatre Tsvete. Discussion and Feedback

14:00 – 18:00 – Hanna Jastrzębska-Gzella – drama workshop – theatre with people blind or sand blind people. Introduction in to the world of darkness. Feedback, discussion about the methods and tools, exchange experiences connected to this field

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26 of Nov., Thursday  

10.00-13.00 – forum – puppet theatre in Sofia-school

14.00 -18.00 – Anna Dąbrowicz workshop: handcraft in vocational therapy for seniors.

Feedback, discussion about the methods and tools, exchange experiences connected to this field

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27 of Nov., Friday.

11.00-13.00 –   Bulgarian workshop “Paper Puppets  and Possible Applications “. Feedback discussion.

14:00 – 18:00 – Bulgarian workshop “Aliving the Inanimate Matter”. Feedback discussion.

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28 of Nov., Saturday

10:00 -12:00 – Bulgarian workshop “Documentary theatre”

14:00 – 16:00 – Theatre Tsvete presentation of results of theatre work with minorities

14:00 – 18:00   – EVOLUATION – BASD

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Second Transnational Project Meeting – 21.02.2016 – 23.02.2016, Skopje, Macedonia   Host Organization: Sozm/Skopje                                                                                                    Meeting place: GEM

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Second Partners’ Meeting – 29.03.2016 – 04.04.2016, Skopje, Macedonia                             Host Organization: Sozm/Skopje                                                                                                    Meeting place: GEM

  • To get know methods and tools of  the daily work of Sozm on gender equality and prevention of domestic violence, the elimination of all forms of discrimination against women and the situation of women in the labor market in Macedonia.
  • How to motivate girls and women to join political parties as one of the ways to access decision-making and thus counteracting the marginalization of women and protection of  violence based on gender; reintegration of women.
  • To get know some of social assistance state programs in Slovakia and condition in woman shelters in Austria
  • To get know a successful project “Hidden Stories”

PARTNERSHIP MEETING – 06.06.2016 – 10.06.2016, Lodz, Poland
Host organization: Poleski Ośrodek Sztuki

Theatre “Tsvete” was invited to participate in the XII International Biennial “Therapy and Theatre” – 06:06 to 8:06, 2016, Lodz, Poland, to present their experiences of working with children with special educational needs and to export two forum theater performances for prevention school violence “And what would you do?”

The actors joined with interests also in:

Monday, June 6
Academic center of artistic initiatives (AOIA)
Conference THEATRE NON / AVAILABLE

09:00 -11: 00 pm – Panel 1: Theatre of Disabled People in Slovakia, Bulgaria and Ireland
Irena Jajte-Lewkowicz at the University of Lodz, Ph.D Maria Chaloupkova from Bratislava, Tsvete Yaneva Sofia and Katarzyna Ojrzyńska University of Lodz

11:15 pm – 13:00 – Panel 2: Theatre behind bars
Dr. Magdalena Hasiuk of the Polish Academy of Sciences, V iolina Janiszewska (cooperation with Penal institution in Nowogard) and Agnieszka Piasecka (cooperation with Penal Institution in Grudziądz)

Exhibition of paintings by Monika Kuriata – portraits of actors with disabilities

Poster exhibition – Superheroes by Dr. Michal Bałdyga

Nowy Theatre, big stage
A review of creative activity of people with disabilities

Nowy lobby of the theater, 1st floor
Lesson One. Subject: Recognition by touching exhibition of graphics by touch Katarzyna Jagodzińska Academy of Fine Arts in Lodz

16: 30-18: 30 Nowy Theatre, big stage
Theater and dance workshops conducted by Jeroen Baeyens, ZET6 theater, Belgium

Tuesday, June 7

12:00 15:00 Academic Center of Artistic Initiatives
‘And what would you do? – Theatre “Tsvete”, Bulgaria

19:30 Nowy Theatre, big stage
Unicorn, dir. Jeroen Baeyens, Zet6 theater, Belgium

Wednesday, June 8
Short performances without text or very little text field for people with disabilities

16 -18.30 Meeting of the partners in the office of hosts Poleski Ośrodek Sztuki, Krzemieniecka 2a

Тhursday, 9th June Poleski Ośrodek Sztuki;Krzemieniecka 2a

10:00 . -11:00   Anna Lalkovska situation of the single mother in Bulgaria social assistant programs

11.00-12.00  participation at the computer workshop for seniors

12 -13 SOZM – integrational cocking workshop Macedonian beans

13-14,30 Lunch (tasting of the dishes)

14:30 – 17 handicraft workshops 17-18 Evaluation of the day, organizational matters

Friday, 10 th June

Visit at 10:00-12.30 Textile Museum  ((Entrance 10 PLN)

12.30 – 14:00 Lunch at the Museum price20 PLN)

15 00 Meeting at Poleski Art Center

16:00 – 17.00 p.m.  Dance workshop of Senior Centre at Karolew (branch institution)

17-18 Summarizing discussions, evaluation, of the Meeting

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In connection with the strong interest in the Forum theatre show, presented by us at the XII th International Biennial “Therapy and Theatre” – 6:06 to 8:06, 2016, Lodz, Poland, published the following article on Violina Vassileva-Alexandrova

Forum theater as an aspect of non-formal education

Violina Vassileva-Aleksandrova
Summary: The author presents the characteristics and priorities of non-formal education, which match the current priorities of Forum Theater. In this report are pointed the basic principles, goals and tasks of Forum Theater as an aspect of non-formal education. It includes the advantages of ForumTheater as a good practice in the field of non-formal education for working with adolescents and youngsters.

Keywords: non-formal education, Image theater, Invisible theater, Forum theater.

Non-formal education develops rapidly during the last years in the EU and hence in the new  member states. The evolution at such great speed of this kind of education is caused by the new social and economic conditions, which appear also in our country and by the phenomenon of the civil society.

In the most popular publications, non-formal education is defined as a complex of processes, means and institutions, especially and specifically developed to cover the needs of education, which processes don’t aim directly the acquiring of master degree. Some of the characteristic features of non-formal education are:

  1. It is an innovation, called to give a solution to social problems.
  2. It is deliberate and targeted, but not to a certain certifying procedure.
  3. It covers rather the contemporary efforts of the participants to solve specific problems, than the learning and the adoption of certain academic disciplines and educational subjects.
  4. It can support the initiation of a program or a project after a certain experimental stage.
  5. It is flexible and centered into the learning person.
  6. It is more practical than theoretical.
  7. The programs for non-formal education are independent and less susceptible to external control.
  8. It is economical because it uses all kinds of spaces and means for educational purposes.
  9. It is a continuous life-long process, accompanying the gathering of personal experience.
  10. Non-formal education is based on mutual trust and respect while encouraging questioning and reflection. (Innovation in Literacy and Non-Formal Education. –In; Literacy Watch BULLETIN, January 2001-N17)

Non-formal education at its core is an approach, which can be used to adolescents, youngsters and children, in the classroom or outside it. This kind of education is focused on the needs of the learning person. It uses the resources of the learning person, based on its experience, with respect to its personality, dignity, honor and belonging to a certain society.

The studies about the human being as personality and as a part of the society progressed recently. When we speak about quantitative changes, even when they are in correlation with other changes like physical, intellectual and personal ones, we have in mind  those changes concerning the attitude, structure and personal organization. The wider is the spectrum of the information, educational and alternative services for all groups of the population, the more ascending proceeds the personal and social development.

In this context, on the European level, the interactive arts became valuable alternative methods for life-long education and personal development. They are already  impartable also from the non-formal education in our country. The interactive arts include a number of co-active methods like Forum theater, which roots are both in  education and in the theater. The interactive arts and the Forum theater  particularly, work with the emotional intelligence and create a safe space, where the professionals: pedagogues, psychologists, social workers and artists meet people on the basis of equality, in order to work together. Because of their flexibility, these methods can be successfully applied to the work with groups in different social and economic conditions and educational levels: from young people confronted with violence or risk to groups of people with special needs, facing up to educational, adaptation and behavioral problems.A big contribution to the development of the interactive arts belongs to the Brazilian art director Augusto Boal, the founder of the “Theater of the oppressed”. Augusto Boal is influenced by the Brazilian pedagogue Paulo Freire  and his social view towards non-formal education. The two of them meet together while working on a project for literacy education in Peru.

The name of Paulo Freire and his “Pedagogy of the oppressed” is connected to the ideas and practice of the progressive pedagogy. According to Freire, both the informal and public education obey the principlеs of dialogue. Education is a joint work based on  respect, it is not one-sided influence. He names the traditional education a “banking” one because it seems that it makes already processed, prepared in advance deposits in the pupils and thus it does not support their full development and development by themselves. According to him, practice is an informed action, connected to certain values,  which values enable everybody to participate in the creation of life and the world. Thus the alternative education is narrowly connected to the society. He insists that educational activities are naturally included in the life experience of people and that they are based on conscious choices and decisions (Nikolaeva, 2008).

Education is a product and reconstruction of knowledge. It is conscious, not imaginative accumulation. Augusto Boal assembles the didactic structure of Freire together with the artistic structures of the conventional theater and in that way gets a triple result: an  aesthetic project with an educational and a social effect.

There are three basic kinds of the “Theater of the oppressed” of Augusto Boal, which could overlap and interact with each other and the choice of each of the three kinds depends on the situation, in which the work is done and on the goal of the theater and educational process. These three kinds are:

  1. Image theater
  2. Invisible theater
  3. Forum theater

The central principle for all three kinds of theater is the participation of people with and without  theatrical experience, without any limits to age, gender, race, social and cultural belonging.  The exclusive democracy, accessibility and the wide spectrum of expressive means makes out of „The theater of the oppressed“ a powerful tool for making discussions, polemizing and as a result, a trial for solving of personal, social and universal problems, in one word: everything, which worries and excites human beings in their life.

Image theater is a number of exercises and games, which place the participants face to face to truths about society, family and the interpersonal relations, without using, at least at the beginning human speech.

The participants make immovable images on a certain theme, concerning events, feelings, experiences from their life or attitude towards something, most commonly cases of oppression from one or another kind. The group suggests a title or theme, which are then represented in the form of sculptures with the same names by using their own or other participants‘ bodies as “clay”. Besides, the image doesn’t remain static, but like in the other forms of  the “Theater of the oppressed”, the frozen picture is a vital factor in this kind of work. The group of participants sees all different kinds of pictures with different meanings, in most cases with a surprising connection between them, often things, of which the sculptors themselves weren’t aware. Images are independent of the language and cultural barriers and as Boal shows they often disclose unexpectedly universal truths. Besides, the work with images is more democratic and doesn’t set priorities to people with better language culture.

Image theater can be used as a training for Invisible theater or Forum theater and is founding for some forms of therapeutic work, reflected in Boal’s book (1995).           Invisible theater includes the audience as participants, without even making them aware of it. They are both spectators and participants in a drama scene, but while it happens (and usually even after that) they don’t know that this is only  a theater.

This is theater, which doesn’t happen in a theater room or some other theater space, but at social places, which we wouldn’t connect with a play or a performance – at a subway station, in a restaurant, in a store.  Several actors create a scene, which then they play at a public place, usually, there is included an unusual “out of the norm” behavior in a certain social background. The eyewitnesses are involved in an argument, usually supported by actors – provocatеurs mixed with the public and expressing two controversy reactions of the event.

The Invisible theater is a way of stimulating of discussions, of involving people in problems in the form of a social forum. He can be compared to the “agitated” street theater, because the audience is free to take any position and to suggest any solution to the current situation, without becoming the feeling that they are taught. This is another  principle in the “Theater of the oppressed” –  never to be didactic with its audience and to insist on the process of mutual learning.

Forum theater is an effective mean of intervention on the personal, social, political and educational level. The method is based on the usage of the theater language and the aesthetic space with the goal to stimulate the active intervention of the public and to make easier the interactive reactions between the actors and the audience. The last turns into spectators-actors, united in their efforts to analyze and give a new meaning to the problems, which confronts the group they belong to.

Forum theater is a theater game, in which the problem is showed in an not solved form. The audience (active “observers”) is encouraged to focus on a certain problem or theme, to get acquainted with it, to understand it better and to try different possible solutions. The problem is always a certain symptom of oppression and usually, it includes a visible form of such oppression and a protagonist (the main character), who is its victim. In its purest form, both the spectators and the participants are victims of such oppression. That’s why they are able to suggest different solutions because they are personally acquainted with such kind of oppression. After a playing on the scene, called “a model”, it is played again at a greater speed, while following the same sequence of events, until a member of the audience says :”Stop!”. He/She then takes the place of the protagonist and tries to overcome the oppression, tries to induce a positive change in the victim’s situation by changing its behavior in an appropriate way according to his/her opinion.

This is an interactive form of competition between the spectators-participants, who try to lead the scene (or the play) to different end, in which the closed circle of oppression is broken and the actors, who obviously endeavour to lead the play to the original end, in which the protagonist is defeated and the oppressor triumphs.

(victim) → character →actor → audience ← society

At the place where the actor meets the audience, in the theater space, the society stands face to face with the scapegoat at double degree of elimination. The individuals of which the audience consists, „leave“ the society and „stay“ in the theater, where they play the role of the society and react more as a group than as separate individuals. The actor plays the character of the victim.

The leader of this game is called “a joker” and his function is to provide the main process of the game and to train and guide the audience, keeping the rules, that is to look for real solutions to real problems. He/she helps the spectators to find out a different way of thinking and to be critical to what they hear, see or sense. The role of the “joker” reminds the role of the educator – he/she doesn’t enforce, doesn’t criticise, respects the suggestions of the participants, without choosing the direction. “The joker” clarifies the messages, promotes the participation of everybody, gives a free space for reflection and action. He is a trainer, somebody who accompanies the trained in the world of their knowledge to the place where all the participants change and learn that they can change the world.

By Forum theater we steer the attention towards different possible ways of reacting to the same situation. The finding of a solution as an exit point out of the Forum theater is not mandatory. It is of greater importance one to provoke a good debate, in which one can hear a maximum number of meanings. The discussion, the conflict among different ideas, the arguments and the counterarguments must provoke, stimulate and make better the training of the spectators to find  solutions in real life. Forum theater stimulates the participants towards taking an active position by their choice of behavior,  increasing their abilities to  deal with unexpected situations, creating an atmosphere of sincerity and trust and making the group interaction better.

The Brasilian director Augusto Boal develops and widely practices this theater technique whose goal is to train and stimulate people to “play” an active role in their society. In this way, they can actively participate in making decisions on social, economic, political and personal problems. Accepted from the United Nations by UNESCO as an official “mean for social change”, Forum theater is exceptionally beneficial and useful for creating an influence upon the legislation and for creating of engaged and enlightened civic society, which respects human rights and responsibilities.

Current priorities of non-formal education, which concur into the priorities of Forum theater are:

  • Preventive education – AIDS and HIV, aggression and violence, dealing with intercultural environment, etc.;
  • Learning for whole life;
  • Development of the creative abilities and potential of people from all ages and groups;
  • Civic education.

In our country, forum theater is applied in work with children and adolescents in projects in some schools in Sofia and the country, which concern themes mainly connected with the aggression and violence at school, domestic violence, sexual and reproductive health, in the work for prevention from people trafficking and drugs addiction, etc.

Forum theater enables young people to:

-Create a supporting, motivating and stimulating to development environment, in which the participants share freely the things they go through in this contradictory age;

-Ensure long-lasting and stable space with a possibility for the participants to accumulate knowledge about themselves and the others;

-Ensure a protected environment for testing of different meanings and suggestions according to a particular problem, for sharing of experience, for learning and entertainment;

-Discover the positive qualities and talents in each participant and to stimulate their expression in the world through activities and projects;

-Enrich the participants by giving them an experience of working in a group, group dynamic and feeling of personal responsibility and position in the group;

-Connect with young people from different social groups with a focus on a sharing of experience and mutual enrichment;

-Inspire young people for participation in different social important projects, initiated by themselves and their friends;

-Create a space for a crosspoint between the experience of the adults and the energy of the young people;

-Help the participants by entering the world of the adults with clarity and self-confidence;

-To suggest an alternative education and training on themes, which are not widely referred to in the educational program like AIDS and HIV, aggression and violence, dealing with intercultural environment and etc.

To work with young people is an inspiration and challenge. Inspiration because of the great speed with which they can develop and because of the wisdom, which they carry – unburdened with the experience and marked by the genius of the new and different generation. And the challenge, because of the thrill caused by the possibility to draw their attention, to succeed to satisfy their needs and expectations, to have an answer to their questions.

Forum theater is an aspect of the non-formal education because:

  • It gives a possibility for solving of certain, specific social problems;
  • It is directed towards the education of concrete social groups without aiming their certification;
  • It goes through an experimental stage and is more practicable than theoretical;
  • It gives the possibility for initiating of programs and projects, which are important for the particular society;
  • It gives a possibility for its flexible appliance and is directed towards a concrete group with a concrete problem;
  • It is independent and uses all kinds of spaces and means for educational purposes;
  • It accompanies the learning for the whole;
  • It encourages the questioning and the reflexion by being based on mutual trust and respect.

The education today is neither only a model of continuity between generations in learning and developing the experience, nor only an instrument for personal and creative development or professional training. It is more and more also a model of entertaining behaviuor and activity, a compensatory development, kind of information system, a creative laboratory, a version of social integration and identification, an environment of self-perfection, self-affirmation and competition.

Citted literature:

Николаева,С.(2008) Неформално образование. Философии. Теории. Практики. ЕКС-ПРЕС

Boal, A.(2005)  The Aesthetics of the Oppressed

Innovation in Literacy and Non Formal Education. –In; Literacy Watch BULLETIN, January 2001-N17

Violina Markova Assileva – Aleksandrova, PhD „Special Pedagogy”, Faculty of Preschool and Primary School Pedagogy SU „St.Kliment Ohridski“; tel. 0898644971; e-mail: vilan_7@yahoo.com

In; Literacy Watch BULLETIN, January 2001-N17

PROJECY MANAGEMENT MEETING in Vienna, 15th – 16th January 2017
Event host organization: ARGE grenzen erzaehlen

Meeting place: IFF Fakultät für interdisziplinäre Forschung und Fortbildung, Universität Klagenfurt,                           Schottenfeldgasse 29, 1070 Vienna

14th January, Saturday – arrival day

15th January, Sunday

10:30                                     Registration

11:00 – 13:00                      EURO-PASS questions by partners,  e-brochure / methodologies, discussion

15:00 – 17:00                     Welcome; Interim report accepted (feedback) – discussion

19:00                                     Dinner at Alt Wiener Gastwirtschaft Schilling, Burggasse 103 http://www.schilling-wirt.at/

16th January, Monday

9:45                                        Registration

10:00 – 13:00                      What we still have to achieve. Planning the training in Vienna

13:00 – 14:00                      Lunch

14:00 – 18:00                      Sustainability (website, facebook), quality assurance and measures for improvement for EUPIN results

19:00                                     Dinner at Gasthaus zur Stadt Krems, Zieglergasse 37 http://stadtkrems.steman.at/

17th January, Tuesday – departure day

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WORKSHOP in Vienna, 18th – 24th February 2017

Event host organization: ARGE grenzen erzaehlen

18th February, Saturday – Arrival day

19th February, Sunday

13.00   Welcome and presentation of the agenda

13.30 – 16.00 Workshop „Learn to set limits“, Jadzia Konopacka (POS)

16.00 – 16.30 Coffee break

16.30 – 16.50 Dancing, Hania  (POS)

16.50 – 17.50 Shiatsu, Angelika Brechelmacher (ARGE)

17.50 – 18.00 Feedback

19:00   Dinner at Gastwirtschaft Schilling, Burggasse 103 http://www.schilling-wirt.at/

20th February, Monday

10.00   Meeting

11.00 – 13.00 Integration project IGOR, Brigitte Gadnik-Jiskra and Monika (ARGE/POS)

13 – 14.30       Lunch, Pizza, Invitation by ARGE

14.30 – 15.00 Dance (POS)

15.00 – 16.00 Workshop with paper, Maria Chaloupkova (SLOVAKIA)

16.00 – 16.30 Discussion / Feedback

21th February, Tuesday

13.00   Meeting

14.00 – 16.00 Music therapy, Hania (POS)

16.00 – 16.30 Coffee break

16.30 – 18.30 Workshop Producing Jewellery, Anja (SOZM)

22th February, Wednesday

10.00 – 11.30 Bread workshop (video), Anna Lalkovska (BASD)

11.30 – 12.30 Interview with Christa Polster (ARGE)

12.30 – 14.00 Lunch (Vietnamese kitchen)

14.00 – 16.00  Creative workshop, Violina (T-R TSVETE)

16.00 – 16.30 Coffee break

16.30 – 17.30 Taichi film and Workshop, Marcin (POS)

17.30 – 18.00 Discussion and Feedback

19:00   Dinner at Gasthaus zur Stadt Krems, Zieglergasse 37 http://stadtkrems.steman.at/

23th February, Thursday

10.00 – 13.00 Urban exploration and lunch

13.00 – 14.00 Evaluation and discussion

14.00 – 15.30 Lunch

15.30 – 17.00 Rehearsal of a dance group

24th February, Friday – Departure

 

THE MAP OF THE DREAMS   (Creative Workshop)

Facilitator: Violina Vasileva-Aleksandrova; 22.02.2017; Vienna

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WHO SHOULD USE IT?

Social workers with target group adults, mainly women

PARTICIPANTS NUMBER

any

NECESSARY PREREQUISITES:

tables and chairs for all participants

preliminary notification that in order to participate, they should bring a nice personal photo, small items with positive emotional value for them, natural materials (leaves, shelves, etc).

MATERIALS:

large sheets of cardboard A2

scissors

glue tape

glue

magazines, newspapers, advertisment brochures

crayons, paints, pens, markers;

pieces of fabric, ribbons, natural materials

DURATION:

120 min.

INSRUCTIONS:

On the background of quiet music the facilitator asks the participants to return mentally to their сhildhood, to remember what they loved to do, what they dreamed for.

Are those dreams related to specific persons and objects?
How have their dreams changed over the years?

Do they still have some of their childish dreams, that they want to make true?

Let the participants write on a sheet of paper their dreams, connected with at least 10 freely chosen by them, different spheres of their life: health, faith, family, relationship, education, prosperity, fame, career, future, etc.

Each participant creates her/his map of dreams, finds and decorates a special place for each of them.

It’ll be good to let all the participants create positive messages to the Universe together write them on their maps and keep them close to their eyes, hearts and minds.

URBAN EXPLORATION VIENNA guided by Felice Frank

Stephansdom (137 m) The dome was dedicated, right from the beginning of the romanesque construction period in 1147, to Saint Stephanus, the first protomartyr who got stoned to death 31 A.D, the time of persecution of Christians in Jerusalem.
During World War II, the cathedral was saved from intentional destruction when Captain Gerhard Klinkicht disregarded orders from the city commandant to “fire a hundred shells and leave it in just debris and ashes“. On 12 April 1945, civilian looters lit fires in nearby shops as
Soviet Army troops entered the city. The winds carried the fire to the cathedral where it severely damaged the roof, causing it to collapse. Fortunately, protective brick shells built around the pulpit, minimized damage to the most valuable artworks. Pummerin, the biggest bell of Austria, was broken also and many citizens of Austria donated to cast a new one or bought roof tiles. Rebuilding of this gothic jewel began immediately, with a limited reopening 1948 and a full
reopening 23 April 1952.
Left and right of the main entrance you can see two pillars, which carry the genitals of both sexes on top. It´s very unusual for a Roman Catholic church. Probably Freemasons built them as reference to their professional discipleship, at least that´s what some historians think. The
columns correspond with Boaz and Jachin, two copper, brass or bronze pillars which stood in the porch of Solomon’s Temple, the first Temple in Jerusalem.

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On the left side of the main entrance you can see two iron bars, which were Viennese standard measures for linen and tapestry. It allowed visiting merchants to comply with local regulations.

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To the right of the dome one can see the outlines of Magdalene Chapel on the ground, it was built on top of Virgil Chapel (13th century, rediscovered in the 1970s, when constructing the subway).

3St. Stephens Cathedral is reflected in the modern windows of Haas Haus (1990, by architectHans Hollein). Fun Fact: The shops inside didn´t make any business, a Feng Shui Master wasconsulted, who explained, that the building looks like a crooked painting of Picasso, and the entrance overhung by the first floor wouldn´t be too inviting to enter. So, all the small shops were closed and an international fashion company took over, rebuilt the entire interior and customers use the side-entrance now.

Stock im Eisen (Staff in Iron) is the midsection of a tree-trunk from the Middle Ages, a socalled nail-tree, into which hundreds of nails have been pounded for good luck over centuries. The original spruce started to grow around 1400 and cut around 1440. In the 18th century, a custom developed that travelling smiths and apprentices would hammer a nail into the tree trunk.
Pestsäule 1697 after a Plaque epidemic, a Memorial Column was assembled over a period of around 20 years by different sculptors. The Trinity Column is considered High Baroque and was copied all over Austria.

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Judenplatz Holocaust Memorial was an initiative of Simon Wiesenthal and designed by the British artist Rachel Whiteread. The memorial for 65,000 murdered Austrian Jews during the Holocaust was unveiled on 25 October 2000. “This monument shouldn’t be beautiful, It must hurt.“
Passing the narrow street of Haarhof, walking through Naglergasse towards the very posh aerea of Kohlmarkt, we visit the famous confectionery Demel, where Sacher Torte was invented and watch the pastry chefs at work.

The Hofburg is the former imperial palace, residence of the Habsburg monarchs, today the localities are used as exhibition halls for a large number of museums (e.g. the Sisi Museum), as event locations (e.g. for large balls) or as the Office of the Federal President. The ensemble is unitized in: Swiss Wing , Stallburg (Lipizaner), Leopoldine Wing, Imperial Chancellery Wing, Court Library, Joseph Square, Augustinian Wing, St. Michael´s Wing, Redoute Wing, Montoyer Wing, Heroes Square, Neue Burg
Heldenplatz The fate of sculptor Anton Dominik Fernkorn mirrors the opportunities, but also the pressure, for „Ringstraßen“-artists. With the concept of archduke Karl´s Equestrian statue, Fernkorn mastered static performance – for the very first time a monumental bronze figure was propped with only two support points.

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Due to the enormous success Fernkorn was ennobled. For the second sculpture of Prinz Eugen he had to use the horse’s tail for balance. He couldn´t endure the physical and psychological burden of the assignment: Before completion of the statue he was put under medical supervision, ultimately spending the rest of his life in a mental asylum.
Maria Theresienplatz (born1717) She was the sovereign of Austria, Hungary, Croatia, Bohemia, Transylvania, Mantua, Milan, Lodomeria and Galicia, the Austrian Netherlands and Parma for forty years. By marriage, she was Duchess of Lorraine, Grand Duchess of Tuscany and Holy Roman Empress. Franz Stefan was her husband co-ruler. Despite her love for him and his position, Maria Theresa never allowed her husband to decide matters of state and often dismissed him from council meetings when they disagreed.

Maria Theresa gave birth to sixteen children, thirteen of whom survived infancy.
She was as conservative in manners of state as in those of religion, but implemented
significant reforms to strengthen Austria’s military and bureaucratic efficiency, introduced compulsory school attendance, abolished torture, et al. Also, Maria Theresa doubled the state revenue.

7Maria Theresias´s Monument is encircled by the Natural History Museum, Art History Museum and Museums Quartier.
But we had other plans! We hopped on the tramway, changed to the subway and finally bus to enjoy the beautiful view from the top of Kahlenberg.

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