E-magazine Volume 2
To explore the intersection of art and inclusion, we conducted research to map artistic and creative methods that foster the inclusion of young people with fewer opportunities (YPWFO) in our project partners’ countries.
Our research included:
- desk research,
- a questionnaire completed by 132 youth workers and educators,
- and five focus groups with a total of 29 participants.
We aimed to identify artistic approaches used to promote social inclusion while also examining the common challenges youth workers face in fostering inclusion and assessing the needs of their target groups. Take a look at our main research questions.
THE MAIN RESEARCH QUESTIONS:
- What are the main challenges in fostering inclusion when working with YPWFO in non-formal contexts in Austria, Croatia, Denmark, Romania, and Spain?
2. What are the most common strategies and methods used to overcome these challenges in partner countries?
3. What are the existing practices to foster inclusion of YPWFO through artistic and creative methods in partner countries and on the EU level?
All research findings have been compiled into a State-of-the-Art Report, serving as both a repository of good practices for fostering social inclusion and a guide on how to select and apply them effectively. This report will provide youth workers and other professionals with valuable insights and practical skills to enhance their work with YPWFO through creative and artistic methods.
The report will be available soon. In the meantime, we are sharing some key insights from our findings. Stay tuned for valuable takeaways on fostering social inclusion through artistic and creative methods! According to the questionnaire respondents, the most important outcomes that a creative method should aim to achieve for the target group are:
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Raise self-confidence and gain a positive self-image (88.6%)
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Develop self-expression (82.6%)
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Build a feeling of belonging to a group (67.4%)
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Foster visibility among the local community (43.2%)
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Develop patience toward the artistic process (40.2%)
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Gain artistic skills for professional development (25.8%)
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Produce quality artworks/performances (22%)
Here are some of the methods gathered from the focus groups:
Traditional dances
A participant working with refugees uses music and dance as key engagement methods. Though not a dancer himself, he invites refugees to share their traditional dances, fostering communication and cultural pride. This openness extends to broader discussions as he connects them with European youth in international settings.
Collage
The youngsters create a collage on a topic, which sparks their creativity as they search for images and discuss the theme in groups. Initially doubtful, they feel proud of the final result. The creative process makes it easier to discuss the topic afterward, using the collage as a conversation starter.
Drama workshops with people with different disabilities
Inspired by forum theatre, participants create short performances on social issues, reflecting real-life experiences of discrimination. They also perform poetry recitals, each memorizing a part of a meaningful contemporary poem. The work culminates in a public presentation, despite pre-performance nerves. Another activity involves a performance with improvised instruments, using relaxation techniques to enhance focus and sensory connection. These activities foster attention, presence, and group cohesion, promoting artistic creation and personal growth.
Key recommendation for youth workers
The most common challenges encountered by youth workers in promoting inclusion when working with YPWFO in non-formal contexts were grouped in eight categories, each with a corresponding (negative) impact and proposed solution to overcome them:
Challenge |
Impact |
Proposed Solution |
| Insufficient financial, material, and human resources | Limited ability to run sustainable activities and long-term projects. | Secure financial stability through funding models (e.g., local government, Erasmus+, donations) and using cost-effective materials. |
| Unsystematic approaches and small initiatives | Activities remain small-scale and fragmented, with limited impact. | Invest in systematic approaches and long-term planning to enhance impact.
Work on visibility and public recognition of the work, as well as on advocacy for proactive policies that promote inclusion and offer concrete opportunities. |
| Lack of support for youth workers | Youth workers feel overwhelmed and unsupported, leading to burnout. | Provide continuous training, educational tools, and resources to support youth workers. |
| Lack of support from the local community | Limited community engagement and lack of collaboration in inclusion efforts. | Collaborate and network with local institutions, experts, and organizations to build community support.
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| Difficulty in reaching, involving, and assessing the needs of the target group | Programs may not meet the actual needs of the youth, reducing effectiveness. | Conduct thorough needs assessments and involve youth in the planning process. |
| Extreme diversity within the group | Difficulty in creating cohesive group dynamics and mutual understanding. | Use customized methods and flexible approaches to accommodate diverse groups. |
| Challenges with integration into the educational system | Limited access for disadvantaged youth to formal education and development opportunities. | Promote collaboration between formal education systems and non-formal initiatives. |
| Difficulties in managing and motivating volunteers | Volunteer turnover reduces consistency and sustainability in projects. | Invest in volunteer training, motivation, and engagement to ensure sustainability. |
The first Learning, Training, and Teaching Activity (LTTA) was hosted by Delta in Rijeka, Croatia, from January 20th to 24th, 2025. Titled “Needs Assessment and Non-Formal Music and Movement Methods for Inclusion,” the LTTA brought together 15 participants for an immersive training experience.
Over five days, participants explored creative methods for inclusion, focusing on young people with fewer opportunities. As the first of three planned trainings in the project, this LTTA covered needs assessment, music, dance, and movement. Through exercises, reflections, and discussions, participants were introduced to the transformative power of music and dance, equipping them with creative tools to enhance their work with youth. A segment of the program was also dedicated to assessing the needs of target groups, helping participants design and apply inclusive creative methods in various contexts.
The group included youth workers affiliated with the project partner organizations or connected to their work in various roles, such as educators, volunteers, project managers, coordinators, art mentors, and facilitators. They came from diverse backgrounds but shared a common focus on supporting young people, including high school and university students and youth with fewer opportunities. The mix of non-formal education experts and artists created a dynamic space for knowledge exchange and best practice sharing.
While some participants already incorporated artistic methods—mainly audiovisual arts and theatre—into their work, the training introduced them to new approaches. The participants emphasized that the content was highly applicable to their work within their organizations. In particular, the music and dance methods proved to be especially inspiring, sparking motivation to integrate these practices into their activities with their target groups.
To enhance their experience in Rijeka and provide insight into local organizations working on inclusion, we organized two study visits. At the Rijeka Children’s House, participants engaged in a dance workshop with the inclusive dance collective “Magija,” led by a long-time member of the collective and performing artist. We also visited the DiP Association, where we were welcomed by their members, young people facing various challenges. They engaged us in a craft workshop on making octopus-shaped dolls from recycled fabric filled with lavender. This creative activity fostered social interaction, and was followed by a joint drumming workshop led by a DiP volunteer.
At the final part of the training, participants began developing their own creative methods based on music and movement, testing them with their peers and gathering feedback for refinement. These methods will be piloted in local communities and integrated into the TOOLBOX, alongside other creative approaches developed throughout the project.
We are excited to share with you the progress of the Inclusionary Toolbox, a new resource that’s being designed to equip youth workers with innovative artistic methods for fostering inclusion.
Key Objectives:
- Equip youth workers with artistic skills and methods tailored for young people with fewer opportunities
- Develop new tools for assessing the needs of disadvantaged youth
- Foster the creation of artistic methods that can be applied in inclusive youth work
- Expand the reach of the project through digital materials
- Enhance digital and artistic competencies of youth workers and trainers
- Organize hands-on training events and facilitate networking opportunities for youth workers
The toolbox will provide non-formal approaches using arts as an inclusion tool, and will be structured into four specialized modules:
- M1 – Needs Analysis Module
- M2 – Music and Movement Methods
- M3 – Visual Arts Methods
- M4 – Theatre Methods
Each module will form the foundation for the LTTAs, hosted in different partner countries: Croatia, Spain, and Romania. At the moment, the Needs Analysis and Music and Movement Methods modules are being developed, based on the LTTA held in Croatia.
Each module will include:
- Theoretical Background on music, movement, visual arts, and theatre as inclusion tools
- Advantages & Benefits of using artistic methods for inclusion
- Activity Collection with 5-10 adaptable exercises per module, catering to different skill levels
- Introduction to Inclusion providing insights into working with youth from fewer opportunities groups
This comprehensive toolkit will serve as a practical guide for youth workers and educators, empowering them with creative methods to make a lasting impact on the lives of disadvantaged young people. Stay tuned for more updates and details on upcoming training events!
NATIONAL PILOTINGS
The National Piloting Activities will be conducted with 15 participants from each partner country, after each LTTA, to evaluate the effectiveness of the methods shared during the LTTA. The target groups for this activity are young people from rural areas, young people with disabilities, and young people with a migrant background.
This activity aims to identify whether any adjustments are needed before finalizing and including the methods in the project’s Toolbox. The following aspects of the method will be evaluated during the pilot:
- How the content was for the young participants
- Usefulness of the content
- Group dynamic
- Participant involvement during the activity
- Effectiveness of the learning methods used
Based on the participants’ feedback and observations, the youth workers conducting the piloting will form the final recommendations to include any overarching advice or suggestions to improve future iterations.
The first national pilotings will be held soon, based on the methods developed on the LTTA in Croatia.
MASSIVE OPEN ONLINE COURSE (MOOC)
The turn of the year marked the beginning of working on the MOOC. The purpose of this Massive Open Online Course is to provide youth workers with practical tools and resources to design and implement inclusive and accessible activities for young people. The course focuses on understanding young people’s needs, adapting materials, using universal design principles, and applying artistic methods to foster participation and inclusivity.
The course will be divided into 6 sections, including interactive learning methods such as videos, presentations, infographics, quizzes, and practical exercises to ensure active learning and engagement.
The MOOC will be available after the finalization of the project on an online learning platform.
The project is co-financed by the European Union through the Erasmus+ programme and will be conducted by the following organisations: A4ACTION (Romania) – coordinator, Udruga Delta (Croatia), InterAktion (Austria), Asociación Espacio Rojo (Spain) and GAIA Museum Outsider Art (Denmark).