 Good morning to everyone. We are very glad to have you among us today, still inspired by yesterday's words from Professor Marian Hirsch and Geraldine Swartz. We continue this second session of the Taking Stock Conference. This is the third year that we are celebrating this annual meeting with the help of the European Commission and together with Jean Monnet Hauss and the European Parliament. This second panel is devoted to the best practices of different projects and organizations that have been funded by the European Commission and it will be a more practical session today and we kindly ask to... Real, we can hear you. Sorry. Did you hear me? Can you hear me now? Yes? Well, I was saying that we asked Mr. Gilles Pelaio, the head of UNITE of the EURO4 Citizens Program at the EACEA Agency, the Education, Other Visual and Cultural Executive Agency, to chair this panel. Thank you Gilles and he will be presenting this selection of different projects. We tried to select a broad geographical representation and also thematic of projects that have been funded by the European Commission in the field of remembrance. Gilles, thank you for accepting this chairing this panel and the floor is yours now. Thanks to you, Oriel, thanks to Aram for making this event possible. We've got only one, let's say, good hour to go through the nice sample of projects that you have been selected. So, you said it, Oriel. My introduction will be short. I'm the head of UNITE in charge of the EURO4 Citizens Programme at the European Commission and we are the proud sponsors of the projects that will be presented here this morning. So, we have a wide selection of projects starting with the European Network Remembrance Center and Solidarity in Warsaw, Poland, that will present us two projects making memory alive and in between, Joanna Oloś will be presenting that to us first. Then we'll have a presentation by Smashing Times by Mary Moynihan of the exhibition on 1979, A People's Parliament, a very nice project that resonated with the European elections last year. Then we'll move to the project on active telling, active learning by UNITE from Italy. Lorenzo and Nadja will present us this project focused on commemoration of one of the core events in modern European history, that is, World War II. But they will present to us their angle, their very particular viewpoint on how to pass the memory of this event. We'll have also today a project called Migrate by UNITE, that will be presented by Luisa and Laura. A project that's very fun to me personally focusing on the memory of the exiles and of migration because we have all a family that was a subject of migration and exile in Europe. We'll move afterwards to the project Observing Wall that was let's say steered and coordinated by the Museum in Slovenia and Kaja Sirok will present us to us this project. After that we'll talk of course about the fourth issue of the Euromagazine, which is the periodical produced by the network that has been organizing this event. Without further ado, let's start with you, Johanna. Could you tell us a bit more about your two projects making memory alive and in between? The first one, as I understand it, is networking, let's say projects. You focus on showcasing some of the projects of your network. What can you tell us about it? Hello everyone, I'm very happy to be here today. I represent European Network Remembrance and Solidarity, an institution that is run to take care of the dialogue, especially in South and Central Europe. The projects that I have mentioned, so of course I'll elaborate on them in a moment. Please let me share my presentation with you and maybe that will help me to organize my speech today. I decided to focus a bit also on the reality that we found ourselves in at the beginning of 2020 because probably all of you had to answer the question how we can work, how we can organize the projects that we are conducting, especially in February, in March, when we already knew that the pandemic is approaching. We had to adopt our projects and activities. These are the questions that we have asked ourselves in the institutions with the whole plan of things that were already starting. We had some conferences planned. We had some exhibition tours planned. We have been running two big exhibitions for now, for like three years almost. And probably you face the same problem in your institutions that the institutions before 2020 looked completely different. There were gatherings of young people for educational projects such as in between that I will elaborate on in a moment. There were conferences, one that I'm sure you will recognize is European Remembrance Symposium and the exhibitions as I mentioned. We had the tour and study visits for the in between projects prepared and then we had to decide what to do, whether we can change in between into a project that can be still run online, that can still be online and how. In between is based on study visits to different borderland regions where groups of young people collect stories, record films, talk to the witnesses of the past and then produce material available throughout many platforms. In fact, because we have now developed a network of our partners. We decided that we can still engage in in the borderland or border subject with something very different with a different tool, which is photography. We had some experience from the previous year, from 2019. Also with an in between version via photography and we organized call for applications saying, look, we cannot go anywhere now, but maybe you can take your camera or take your telephone, go somewhere close to where you live and think about this areas and places in the sense that you may find something interesting in reference to borders there, whether there will be the borders, the former historical borders, whether there will be borders that now, let's say, make it impossible to travel or move or any other borders, internal borders that you can find. When we came up with this idea, we made the call for applications and then 11 participants were finally chosen for the project. They participate in workshops. They had master classes. Each of them got really an individual feedback from their work. The outcome is very interesting. Well, this is how they worked, but that's probably nothing new in in these times and I'll shortly introduce you to two ideas that our participants had. One was connected with the Anglos-Kotis border and the photography of this area. As you can see, three pictures and the descriptions, because the project had to contain pictures or a film and a text that would present the the author's idea. It's quite interesting because when we think of a borderland, we sometimes think of something very different, that just pure nature. That's why we found this project very interesting. The other one was a bit different because it was a border between past and maybe more present times. The author took a picture that he transformed. This is the original picture from 1991. This is the picture that was then edited to show a typical shop before the revolution of the year 89. I think we will continue with this idea. Maybe not in a totally online version, but we think that photography is a great tool to help the students, the participants, to see certain things close to where we live. We think that it's got a huge potential and we hope to develop this project parallel to the in-between traditional version. The next project I would like to tell you about is Making Memory Alive Together. This is the project that we developed purely because of the situation we found ourselves in at the beginning of 2020 because one of the main goals of the NRS is to help the organizations that deal with history or memory from Europe to find out about each other, to meet, to talk, to discuss the project's best practices, etc. We decided to present regularly on a weekly basis one of these institutions or get closer to the projects that it's running. Over the years we have cooperated with more than 400 institutions within the European Network for Remembrance and Solidarity. We had really a huge database of institutions and people to contact so far. In 2020 we have presented 26 institutions from 15 countries on Facebook, on Twitter and again the project will be continued. Here you've got the examples of the posts that we posted on our Facebook. We find it a very good networking possibility, not only in terms that we post it and people can see it. It's also very good for the institutions that get involved in preparing the posts because we can talk to them, we can contact them, we can decide what we want to focus on and then also I hope it will be a good start for other cooperation when we can finally conduct our projects in the traditional way. I know that I was supposed to talk only about those two projects but I decided to use very briefly the opportunity and tell you about our high story lessons portal because as I said at the beginning we had these questions to us ourselves and we were looking for a project that we may have in our portfolio already but it's got now a biggest development potential in the pandemic times and online lives and we decided that the high story lesson platform for students for teachers is this kind of project and we decided to really work on it during 2020. I highly recommend you to have a look at it especially when you deal with students or teachers. It's got lots of knowledge on it already infographics, text, animations, short films that help the students to learn about 20th century Europe. Last but not least very briefly one slide about a project that we have been now doing for some time with Eroclio events foundation and EOS screen and it's again based on in between it's educational project but based on the films that we have recorded during all the editions of the in between project the pilotage version is focusing on the 2017 edition that was conducted in the former Yugoslavia and I again strongly recommend you to have a look at it. Thank you very much. I could go on for ages about our activity and what we have tried to achieve and to do in 2020 this difficult year. Maybe there will be some questions to me afterwards. Thank you very much. Thank you very much Johanna. Taking stock of memory policies in 2020 is unfortunately I would say taking stock of how many organizations have been able to adapt to the confinement situations and so forth and so on. Of course in opposition we've seen many many organizations having to do this adaptation but somehow you know out of this difficult and in some cases tragic experience some good will probably linger in the sense that you know that one of the aspects of our program is to reach out to citizens and of course with this pandemic we've discovered we have invented as you have described Johanna new ways and new innovative ways to reach out to citizens through new techniques, through new tools. So thank you very much for your presentation of this small sample of the NRS activities. I don't see any question reported to me by Johanna in the chat. Mary it's your turn to present to us the project by Smashing Times. Smashing Times has always been strong on the role of women in history and throughout the years we've been supporting several of your projects that had this focus but could you now tell us about one of your last projects still focusing on this topic and in relations with the role of women in the European purely let's say European like in EU history. Mike. Can you hear me? Yep. Okay brilliant. Good morning everybody and it gives me great pleasure to be here today to talk about the work of Smashing Times and a special thanks for inviting us to attend. My name is Mary Moynihan and I'm a writer, theatre and filmmaker and artistic director of the Smashing Times International Centre for the Arts and Equality and I want to give a little background before I talk about the EU 1979 digital art exhibition which tells the stories of the 67 women MEPs elected to the first European Parliament elected by Universal Suffrage. Going back to the beginning as an artist my job is to tell stories and I believe storytelling is worthwhile when it shares values and beliefs and it tells what we stand for and Smashing Times was set up in 1991 as a professional organisation using the arts to promote human rights and from the beginning storytelling was important. We began working in Northern Ireland before the ceasefires in a conflict environment and we were using the arts to promote peace building and reconciliation and a key part of that process of bringing diverse communities or communities in conflict together was storytelling. How do we use the creative processes to enable the people in conflict and in post-conflict environments to have their stories told particularly stories and narratives that were being hidden or denied and through these peace building skills we were invited by a number of organisations across Europe to share those skills and to adapt those skills particularly in relation to the refugee or displacement of people that was happening across Europe and we partnered with a number of European organisations using theatre and film and theatre workshops and storytelling workshops and then discussions using stories to enable dialogue on issues of equality and human rights and diversity and we found those processes we were using continued to be used by the European partners after the projects we had set up ended and at that same time around 2016 Ireland was going through what's called a decade of commemorations and there was the hundredth anniversary of the 1916 rising in Ireland which was an insurrection of activists but also of men and women poets and writers who stood up against British rule in Ireland and in 2016 it was the hundredth anniversary but there was a popular belief that very few women were involved in the Irish uprising of 1916 and we were invited to look at those to see what stories there were of women involved in 1916 and we were amazed to discover that over 300 women were involved in the Irish uprising so basically these were women's stories that had been effectively hidden in what is a masculinised version of history and because of this then we got together with our European partners and submitted an application to Europe for Citizens to look at women's stories from World War Two now again I thought Ireland was neutral during World War Two so there was no we would find very few stories of women involved in Europe during the war and again we were wrong on this because we were delighted to discover an array of stories of Irish people who in many different ways from humanitarian actions to involvement in active combat joined together went to countries across Europe Irish people in Belgium in Germany in France and in Poland joined the resistance and joined with people from Europe in solidarity to stand up against totalitarianism and fascism and what particularly struck me is that the same with the stories of women in Ireland and the stories of women across Europe is that the women weren't just fighting for freedom they're also fighting for equality and social justice so this is really important so there was this idea of people coming together in solidarity and I found those stories very important why aren't we telling these stories of people who stand up against fascism and totalitarianism and making these stories role models for young people today and then arising out of that we we heard about the story of Simone Vale who became the first president of the European Parliament and we decided to create the EU 1979 People's Parliament exhibition which happened online and the idea was to tell the stories of the 67 women who were involved actively in politics in the first European Parliament which was elected by universal suffrage and the exhibition has four galleries so the galleries are to do with historical remembrance where we tell about the founding of the EU and particularly telling about the EU being founded to stand up against totalitarianism to stop wars from happening and to create solidarity in Europe and particularly to look at the values that people like Simone Vale stand for which are about freedom and are about democracy and are about equality so we wanted to tell that side of the EU because sometimes I feel people think the EU is to do with economic integration and to do with politics where we need to tell this other side very clearly through these stories and in the exhibition we tell that the biographies of the 67 amazing women are there and their photographs we also interview MEPs from today and that was very interesting in the exhibition because for example we have a young MEP who talks about Kim van Sparentijk Dutch politician who speaks in a very inspiring way about the work she's doing in the EU around LGBTQI rights around gender equality around rights for minorities and she mentions Simone Vale as a role model and said it was very important that this feminist was standing up for women's rights but unfortunately has that continued has the EU continued I believe they have continued to support gender equality but more needs to be done to bring women and to bring people from diverse communities into the political structures if you like of the European Union and this exhibition is available online we have found that when we go into schools and communities they don't know about these stories and our experience is that the stories themselves the stories of people are what engage the young people sometimes the stories are dark because they're coming out of war and oppression but we find there's a joy that comes when people hear these stories they connect to the stories because of the humanity in the stories and this idea of values and what we believe in and there's a joy we have always found when we show the performances or tell the stories and we think that we need to continue telling these stories in a way to pass on the values of what we stand for and I would like to finish by saying that in war there are no hierarchies and we need to find a way to tell the stories of all the people who've been affected by conflict in Europe you know up to 16 million people died in World War II and there are many stories that still have to be told and I think that the arts are a very innovative way to tell these stories and I'm going to finish hopefully with a short clip from it is it is from one of our projects called Artists Against Fascism and it's to do with the German artist Kate the Colvitz who was a visual artist who became very successful but was she she refused to agree with Nazi with the Nazis and what they stood for and they threatened her life and they took away her art and she lost her young son in the first world war but Kate the Colvitz used her work to express her resistance to oppression of working class people but also her resistance to war and out of her experiences she talks about her growing commitment to pacifism so we just have a short clip to finish which shows the story of this particular artist from Germany who for me was a pacifist and I think telling these stories are important so hopefully people can get a chance to come and visit our website and share these stories and thank you very much for listening they bleed to death in their most beautiful youth I live in darkness or is wrong I commit to pacifism 100 drawings of a mother letting her dead son slide into her arms yet I do not find him shattered and trained by tears I have no energy to create what I have lived yet I must go on in the hope he will be there shall have a purpose outside of itself I complete the war series and to some extent it expresses what I want to say to my art to travel the world to be seen to say this is how we have suffered oh many thanks Mary for for sharing your experience and this and this video with us I think your your project illustrates quite well how art and culture and storytelling can be a powerful tool for you know transmission of stories for the creation of of role models in particular among less represented parts of the of the society even if I would argue that nowadays women are better represented at the EU institutional level what could I say with having a woman a president of the european commission of course in a way so thanks thanks a lot and congrats to to smashing times with the next project in a way I mean they will tell us but I would argue we continue with the with the same issue of of transmission in particular to the to the young generation um Lorenzo and Nadia are going to talk about the active telling active learning project from a unit Italy and and this this project has this concept of human library that I'm sure they will elaborate on onto you Lorenzo and Nadia okay can you hear me yes with the mask okay uh so first of all thank you for the invitation to this event and please forgive us if we are a bit emotion to speak to this event because it's our first time and it's also very difficult to speak after such a beautiful and interesting presentation like the one of Mary and the one before but we will try as well um so we will help us with a little power point presentation that we hope will make it clear so try with desktop okay just a second so okay can you see the screen perfectly okay so as also Gilles was telling this project is called active telling active learning and it's a project that aims at actively sensitizing younger generation to this very important event for the european history the word word two and uh sorry okay um so the aim of the project uh like the target of the project were uh first of all younger generation uh why do we choose to address younger generation because uh are the ones who hadn't experienced who didn't experience uh directly or even indirectly maybe through tales of their parents because they're too young uh these events of european word word two and uh we wanted to show to younger generation how this event has affected all the countries of europe and in a certain ways uh unite united us and through this narration the aim was to increase the sense of belonging to european union which in a certain sense we can say was born uh out of world war two uh with the like main aim of not repeating this this tragic event um okay where was the project carried out the countries involved were five with one organizations per country so the countries were Croatia Italy Poland Romania and Slovenia uh unit the italian partner was also the the project leader uh was in charge to like coordinates all the activities and uh in charge of the dissemination apart most of the dissemination activities and so uh the idea of involving such many countries was uh to uh look at this uh event as world war two uh from different angles different perspectives and to show how uh he affected uh people uh in different ways uh we can go on uh as also gils was anticipating uh the key method uh was this human library human library is a very effective method to involve people and spread testimonies through the direct narrations uh because uh how human library works basically we have two subjects we have people uh who are living books on one side these people can be for example direct witnesses of the the tragic events of world war two or can be direct witnesses for example sons and daughters of these these people and in our project readers of this book were uh students from schools mostly from upper secondary schools so in those events the witnesses or indirect witnesses were turned into living books and students could choose between those books that were standing in those spaces and read the book uh they chose from the catalogue uh uh these reading that was a very uh interactive action because uh readers didn't simply tell uh their story to uh to students who gathered with this book in a small group uh but it was more a peer-to-peer uh conversation so there was a an interaction and that interaction uh we think helped uh students to live uh more deeply the events told by the book and and not for example reading them on uh like an actual book about on a human book and we thought that with this dialogue uh the sense of what happened in world war two was uh strengthened and also uh the sense of belonging to uh european union human library is one of the main example of non-formal education techniques so all those techniques uh we try to uh uh like teach or pass uh context skills to other people uh not in a formal context so for example with the peer-to-peer conversation uh with interactive activities and stuff like that uh in the next slide you can see uh some pictures from the various events held through europe you can see the small groups of course the older people are the living books and the other are the students who interacts with uh with living books uh the second technique we can say uh human library was the main technique used in this project the second technique we use uh was this urban tracking so urban tracking was uh a public event open to all the citizens uh while uh human library was only open to to schools this helped to gave the project greater uh visibility uh the idea uh was to visit symbolic places uh related to world war two but under a different lens because sometimes we walk through our cities and we are like full of monuments and old buildings which maybe we don't know the story of them and so the idea was to show how these uh monuments buildings our our cities are deeply connected to uh this event and for example uh in italy here in bologna where a unit is based we organize the urban tracking uh to uh discover or rediscover places uh like partisans monuments uh or for example places where uh fights between partisans and fascists or nazists took part here nadia is showing the the booklet the leaflet we we used to like spread the the information about these uh this urban tracking and uh yeah so that's the the idea of of urban tracking to uh see our cities uh under a new lens uh more connected to world war two here you can see uh different um pictures from urban tracking uh unfortunately uh in romania i think they had to uh have um an an online urban tracking because they had some problems so they couldn't have an actual city tour but they had a virtual city tour but they managed anyway to do the event and here uh like we just gave you a timeline of the project that uh basically lasted one year it started in january 2019 with the the training of trainers so it was uh like a workshop held in croatia where we talk about non-formal education techniques and also about gamification techniques so all those techniques aim at like building and organizing different activities as if they were games so to make them more effective and we will see that these techniques was used to uh in urban tracking then the main event were the human library events uh held in uh in every all the five countries after this event there was the production of video books because besides uh beyond living books we also recorded some testimonies of these video books speaking in front of the camera and we uploaded them on our youtube channel we will show it we will show you later uh there was the production of a digital end book uh on these human library events because we wanted to share the the best and the good and bad practices that emerged from this uh like the deployment of this event uh then we have the urban tracking events and the final meeting in bologna to close let's say the project uh and with this also the dissemination events held in every country uh now uh since today the focus is on dissemination we wanted to spend a couple of minutes on dissemination we will focus on our dissemination part we will not see today the events organized in the other countries so the first event uh a very important event was the final meeting uh held in bologna which as we said closed the project and all the partners were invited and uh basically we present the results of the project and also we had some uh final and more interactive activities where uh people who attended the the meeting the conference could speak again with the living books who came to the the meeting uh then another dissemination activity as we said was the the creation of these video books uh which are available on our youtube channel uh you can also go the our channel is uh this unit NGO and inside of it you can find the playlist active telling active learning and you have all the testimonies from the living book not only from italy but also from all the other all the other countries uh then of course as part of the project uh disseminate dissemination activities involve the the creation of a facebook page which i can show you uh again the facebook page is called active telling active learning uh while the project was running we posted photos from the event and and then we kept keeping the the page active posting contents related to uh world war two and european unit activities uh related to this uh to this topic uh then of course you can find also our our website dedicated to the the project which you can find information about the project articles from the the partners uh and also like the list and all the the list and all the contents from the event that uh organized then we also talked about this digital language uh sorry who was uh like focused on good and bad practices of the human library how to organize this human library uh this human library we will show you it's available you can have a look at it and so we were also asked to serve to share some good practices about dissemination activities so like we chose three of them and sorry okay so three good practices of dissemination the first one is related to uh gamification so uh as we said gamification is a way to organize activities such that you are games so to make them more involving uh interesting and to like raise the participation uh we have the proof uh we have the proof of it uh in poland where mode association organized urbal tracking as it was an hunting treasure treasure hunting uh and this project was registered a very a very high number of participants uh another good dissemination practice was uh uh like the involvement or in the final meeting of local institutions such our region emilia romagna and the uh europe director of the region who which helped to give a greater visibility uh to this to this event also the fact that how it was organized so a mixture of uh frontal activities and more uh informal activities such interaction between people uh helped it to make it more uh participated uh the last one was that this digital handbook uh was published on this salto youth web platform which is a platform uh public platform uh where you can find a lot of resources on how to organize non-formal educational activities workshop and stuff like that and if you like go to salto i look for a human library practices and experience from efc project you can find this uh handbook and i will quickly show and lorenzo uh cut it short we're you're a bit beyond your 10 minutes yeah yeah we are we are finishing so that's just to show you this uh this human uh this uh digital handbook which is available and uh yeah our presentation is finished if you have question we are we are at your disposal thank you very much thanks a lot for for for showing uh the good dissemination practices uh your your presentation is also a vivid reminder that direct contact with the people and the places is irreplaceable of course which is uh which is a bit difficult uh nowadays but at the same time you're also shown that you know the with a comprehensive project you have a different dissemination techniques that that can adapt to the ongoing situation so so thank you uh on to uh luisa uh and laura uh to to talk to us about that project on the uh history of the humanitarian movement so to speak in in europe thank you very much good morning to everyone our and myself will present the migrate project the first one of european remembrance at the national distance education university in madrid so this project is our baptism by fire at european level laura will share the screen and i make uh i will make the presentation the migrate project aims to draw attention to the importance interest and need of humanitarian aid and to disseminate and encourage knowledge and debate about exile immigration but also about the activities of relief organization delegates and volunteers during some of the most turbulent periods in the european history in the 20th century this recent european past and in which the solidarity efforts of these organizations allowed for the rescue and survival of group of civilian populations in dark times especially the most vulnerable groups such as children women and old persons makes us to reflect on the present which is also marked by conflicts disasters violence hunger and persecutions that force population movements and their survival in very difficult context to all this we must add the pandemic caused by covid which is confronting us with new situations that once again have a greater impact on the most vulnerable and helpless people this project migrate was born within a group of researchers from the unit based on the experience and previous scientific knowledge acquired in large national projects so our main objective is to disseminate this knowledge to a wider audience but especially to younger generations to different activities in collaboration with our main partner and partners from different european countries this project is focused on several activities the kickoff meeting developed in Barcelona during the last year in november but one of the main of the activities of migrate is the international congress on humanitarian aid to the civilian population in europe at war from 1914 to 1949 through roundtables and thematic conferences the congress focuses on the different types of relief assistance provided to the civilian population during the first world war the interior period the spanish civil war and the second world war and also the post war period epochs characterized by human loss massive destruction hardship displacement famine internment deportation forced labor genocide and the extermination of populations also by the diversification and the development of humanitarian aid carried out on the ground by relief organizations and their volunteers another activity to improve the dissemination results of the project is the traveling and virtual exhibition in different languages about women and children in europe in war from 1940 to 1947 structured in three parts each one with five panels with texts and photographs as witnesses of that time and other illustration the first part reflects the childhood in the european wars the second one the woman commitment and the transnational humanitarian aid and the third one entitled from the history to the memory fact silence and rehabilitation with five illustrative and explanatory panels on different museums memorials and foundation actually the european partners of the migrate the project the exhibition is planned on a large scale scale from a thematic and chronological perspective it covers the major conflicts that devastated our europe in the first half of the 20th century such as the first world war the spanish civil war and the second world war as well as the respective post war periods although it is important it is an important tool for the dissemination of the past this activity has an inherent bias since it is impossible to cover in one exhibition all the realities of the time and all the categories of victims of war for this reason we have developed a new activity is the plan B of our project and the application of a catalog of exhibition that includes the extensive panels of the exhibition which will be complemented by scientific tests written by experts on different topics of the exhibition for a wider audience during the project we planned also some transnational workshops the main goal of these workshops is sharing knowledge about the main issues of the project migration and humanitarian aid but at the same time these meetings will set the development of an overview of politics of memory about these topics memorial memorials socials civil society initiatives education educational policy and so on the participation in these workshops involve all the partner institutions but just a few ctc will organize the three academic meetings so the fundazione for soli the memorial this year and journey capis museum will host these workshops the fourth activity of the project is the humanitarian aid and neutrality as part of the european night of researchers activity that was developed during the last month it is based on a specific episode that happened during the second world war the visit of the delegation of international committee of the red cross to terracing ghetto in june 1944 the episode arose enough controversy to generate an enriching debate on the role of humanitarian aid in europe during the wars and during the european reconstruction this activity has taken place in two phases first through a training program for school children search for information knowledge of the historical context knowledge of the main objectives working programs and principles of the humanitarian aid second through the school debate competition on this subject our target group or was coolers from 15 to 17 years old from schools in madrid toledo alicante almeria about 70 people people divided into 60 teams this activity allowed these young people to research to reflect and to build their own solid on the principle of neutrality and the paper of the humanitarian aid organization played in wars and post-war reconstruction by saving children considered as the future and reserve of europe the fifth activity of the project is the development of a didactic educational pack on the one hand this educational tool takes reference the figure of helga joskova v'shova her drawings and her diary drown what you see were the words that helga heard from her father when she arrived at terezin ghetto where she was she was deported with her family in 1942 on the other hand another box of this deducted suitcase is the pedagogical work of fridel diecker brandes a female artist deported to terezin ghetto between 1943 and 1944 whether through the learning of different techniques or free drawings as a means of expression the art classes she gave to children in the ghetto allowed the conservation of an important collection of children's drawing that constitute a historical document of great value for the purpose of this activity right now the workshops are in development and finally migrate provide also a multilingual website with the results of the project and its activity in virtual format in order to make accessible it to everyone in europe the website also will reproduce a virtual map that plays different memorial spaces in connection with the humanitarian aid during the european wars in the first part of the 20th century given the actual difficulties and risk created by the sanitary situation in europe in europe we decided to carry out activities in virtual format online via zoom or teams and broadcast on youtube and also if possible in semi-presential way in the case of international groups and in the inauguration of the traveling exhibition the dissemination of all activities is made through the channels of the grade of uned through social networks and of course with the collaboration of all the partners and local and national institutions for a greater visibility of our project thank you very much thanks to you uh loiza for for showing to us the the variety of of the ways in which you you have conveyed and disseminated to the the wider uh let's say public um your your work on a on an issue that resonates so so strongly with one of the issues at the top of the the policy agenda in in europe today that is um migration and an assignment moving on to dukaya with a no less vivid political issues in in today's europe that is the walls the walls that have fallen and the walls some of the walls that are built again which is quite ironical to uh topic as we are all or many of us uh confined between uh between walls so sukaya please tell us about the uh your project uh observing the walls thank you so much uh i will just share my screen okay yes so uh i'm going to present uh a project that was going on uh in 2018 and it's finished uh this year so um it's a project about of course borders and walls uh it started with the idea that it's really very difficult okay till this year because of the covid situation but of course i think it's really very difficult to explain to the younger generations what life with borders was like uh we have become so used to travel without restrictions that's easy to forget what life was decades ago when you had to wait hours for border controls where people movements was restricted by regulations and also by physical obstacles and to perceive your own hometown i am from a border hometown so if you perceive your own hometown as a place of restriction a place of physical division where life uh on the other side flows completely differently when people just let's say two kilometers from uh your house perceive you as the other these are not trivial matters borders are places of differentiation of difference of seldom make for stories with happy endings but nonetheless stories about wars and divided cities are not uncommon and the heritage of division and the preservation of boundaries are part of our contemporary european experience right just to imagine cities like gorlitz and gorlezettes uh frankfort and slubice cosmos kamistrovitsa belphas sarajevo and berlin as the main border pound uh are not so uncommon and actually are really part of our history the observing quals project was born from the desire to present the experience of division of urban spaces in the 20th century on an international level in a very interdisciplinary way so trying to understand several different topics and several different ways of understanding boundaries wall physical obstacles it was treated by the realization that 30 years after the end of the fall of the berlin wall the processes of democratization of europe um failed in a certain way to accomplish its goals many wars were brought down but new ones were raised up instead and some of them very deeply impacting our society it's not that we don't have walls right now in europe we have them but they are completely different and sometimes we even don't see them try to imagine let's say uh the border between croatia and bosnia where several migrants are stuck even now in winter and they don't have a place to go and they are just there waiting um for a happy end which is of course not coming the project helped shine light on this fact and build a sense of community among the citizens the project partners uh included the berlin moor foundation from berlin so the berlin wall foundation the history museum of bosnia and herzegovina in sarajevo the veletrina publishing house in slovenia the quarenta set zero institute in gorizia and the national museum of contemporary history in yugliana as the main coordinator um i work in the national museum of contemporary history and i'm one of the the writers of the project and actually i'm going now to show you what is about the project so the choice of the cities were driven by the unique and complementary experience of border and walls the once divided city of berlin was the easiest choice and even it was even more important last year because it marked the 13th anniversary of the four of the wall but nicknamed little berlin i don't know if you ever heard the name of the little berlin or epical of the lina de la casa nostra the city of gorizia which is on the border between italy and slovenia saw the suburbs cut off the city proper when the demarcation line between italy and yugoslavia was done in uh 47 so at the end of the second world war what happened then is that on the other side of the border a new city was made it was built nova gorizia so you have the new gorizia on the other side and when the new countries joined the european union in 2004 the square which was cut in two parts between italy and slovenia between the two towns was chosen as the stage for the symbolic celebration of the unification of the european union titles as such as the europe last war was has fallen proposed the narratives of the new europe pacified and unified i don't know how much you remember the titles of may 2004 but it was like now we have a new europe it's a europe of hope it's a europe without without border uh but at the same time we have to remember that in the period between between the fall of the brulean wall and the enlargement of the european union another war started in europe and the with the dissolution of yugoslavia and with the balkan wars invisible borders been traced through the multicultural city of sarajevo uh which was our third case study so from the the iton agreement in 95 and persisting to this very day invisible boundaries are shaping the citizens understanding of their freedom identity and democracy we aim to collect memories about the divided cities we started with the cities of brulean gorizia nova gritsa and sarajevo but our idea was even to start to discuss other cities which experience borders and boundaries and we were especially interested in individual memories and the preservation of family stories emphasizing the experience of borders in cities and their effects on interpersonal relations in these same cities today so the project focused on public debates, a collection of testimonies, workshops for youngers, then we published a book uh and we also did uh an exhibition in all cities and especially we also try to understand what is the heritage of the borders uh with doing workshops with the youngers when setting up the exhibition we also had the idea of discussing the nowadays concept of borders boundaries and place of division so the traveling exhibition which was set in liubljana uh nova gorizia sarajevo brulean had an interactive participatory part where visitors were invited to discuss the today's bordering of europe in the middle of the exhibition space there was a fence and there was a question on the fence do you need borders or do we need borders in europe and the yes or no answers were formed by bending a red ribbon on the fence on the right or on the left side and day after day the fence was filled with ribbons that mostly showed a desire for open european borders you can see here the site which was proposing the openness of the european borders but to our great surprise many ribbons were deliberately placed in the middle of the fence this is the first day of the opening exhibition try to imagine three months later it was full of ribbon but many ribbons were really exactly in the middle and of course this was a statement a very important one it was a message that borders should remain open but not completely there is walls or borders remain a part of our heritage as well as human efforts to overpass borders in their everyday existence and i will finish um saying that we believe that there is no path for a better future without critically thinking and a diverse remembrance of the past and we want to contribute to this understanding of freedom of democracy and division especially how it is pertain how it pertains in the urban areas that have experienced devastation and atrocities of the war we have to understand the pain caused by division particularly from the point of view of the other who experience the same pain but from a completely different angle and this is for us a key step towards a bright and future and a unifying borders europe doing project of remembrance and trying to understand the pain and the understanding of the past of the other is the key of having a better future and this is even more important in 2020 when borders were closed again and when we are all around europe experiencing again the right wing movement thank you thanks a lot kaya for presenting your your beautiful project on this topic of how you know physical borders linger in our minds and that that will facilitate the transition to the the next project that i forgot to introduce at the beginning my bad i'm very sorry about this which is the project um never again uh from finland about teaching transmission of trauma and remembrance through experiential learning and and nena mochnich will talk to us about this okay so i guess you can hear me right now right yep okay so just to finish because we are way over time and while i was listening to all your presentations i decided that i want to talk a little bit about the challenges with the dissemination because we are now one year after the project already so we started in 2018 we finished in 2019 we finished with all the activities i would say that the project was successful we are quite happy with the results here i'm sharing our web page where you can basically see all the events under the news section so you can go and check for each event we have a short description and we have also the outcomes of every single event and then you can also see the other products that we made particularly the video game that was developed by a polish partner and since we launched it last year it has been downloaded already more than 1300 times which i think it's a huge success we unfortunately we don't have data how many people actually finish the game because it's quite long but at least knowing that the game is being used and that there is still interest growing after the end of the project i think it's a really good sign so just very briefly about the again never again project i am a university lecturer so my main interest when we started this project was to invite participants to invite collaborations outside of the campus because european universities are still very rigid when it comes to learning processes we still from our point of view from university of turku and selma who coordinated this project we believe that learning should expand beyond university so in this way we try to establish partnerships where every university member work together with an NGO or a civil society organization or group so in this way we could actually encourage dual mutual learning so we organized 12 events all together we were seven part partners from italy romania germany lituania poland basnia herzegovina danmark and finland as the as the leading partner so we wanted to really grasp kind of the different parts of europe so from north to southwest to east to also see how far we are with introducing experiential learning practices at the university level of education so as far as i'm familiar also working quite a lot with euro clear primary and secondary school history education is quite interactive there's lots of different activities there's also lots of lots of professional discussions on how to push forward from the basic lecturing to make history education more interactive but at university level we are still as i said very very rigid the education is very traditional usually not engaging on or inviting people outside of the campus so we wanted to explore what kind of methods we can bring from other sectors and then use them at university level to teach history and to teach specifically so-called difficult history so which is i believe 90 percent of the history so to teach about the trauma and particularly how to affect or how to kind of try to prevent the trauma transmission so the transmission of collective traumas that still exist in in europe to the further generation to also prevent the identity based violence so racism islamophobia xenophobia and so on so as i said we had 12 local events and then we had a huge international event so symposium which i believe was an extremely successful event particularly because we really really managed to bring together practitioners so NGO workers artists and university professors which i think is still very hard and it was also quite challenging to actually prepare a program that would be interesting for all these different disciplines so this was also one of the biggest learning point for us that the different disciplines so the different actors and agents in europe that are that are active in the in the area of remembrance and memory studies are still not collaborating enough together and there are so many things that we can learn actually from each other and so these events were kind of a combination of digital online and physical activities and as i said that i want to talk a little bit more about the the challenges that occurred and also to maybe spark a discussion among us how to how to overcome this it's interesting that we started this project just before the pandemic and we wanted to talk about the experiential learning so learning by doing and i believe if we would start this project now with the pandemic our digital products would be completely different because when we entered the project we were i would say more or less unknowledgeable um specifically when it comes to the university professors who collaborated in this project because we had the awareness the digital education is going to be more and more important and again i'm saying this was pre-pandemic time so we didn't know that zoom will flourish so much in one year but we had this awareness that there is more and more need for the online education and that there is actually lack of training for educators and for teachers to learn how to how to teach online and so when we started to to develop different online tools i would say that the biggest challenge or if i'm reflecting now back also the biggest um learning point that we had was that we work today in two different generations so if you are familiar with the term of digital natives and digital immigrants so most of us teachers and professors are digital immigrants which means that we were born and raised into generations where digital technology was still like you know we learn as we as we go but for the new generation so for the young people for our students and even younger lots of people are basically born into youtube so one of the things that we learned and we could improve with the next project was that when it comes to the new technology so i'm referring now to the artificial intelligence specifically but then also the the digital so the digital tools that we used today we would like to include more young people into creating the products because in our project we were still trying to collect the knowledge from the professors and to try to collect the contents that we want to translate into digital form to digital formats without i would say having enough knowledge how today's users we which are i believe different generation are using these tools so in a way i would still say when we were testing specifically the video game but also a little bit our online tools these tools still work but we were also very happy to receive feedback from young people who were using these tools so what worked and what didn't work what they understood what could be different and how could we use these tools in different way in the next project and for instance one of these really really great i would say inside was when the partners from Denmark were delivering a workshop about about the you can see here on the web site this is the memes and contemporary football culture to explore fascism so they were delivering a session about yeah about fascism particularly in the in the Yugoslav context and it just randomly came up with the students that memes are really great tool that we can use to disseminate the understanding of the historical topics and since then we basically started to use these really in in in our in our lectures in our teaching because realize that the way how you today communicate is very fast they do not have patience to go through the 300 pages of history books which i which i'm not you know justifying that we shouldn't do i just think that we should maybe listen to what kind of tools work with them so just recently i i delivered actually another session using memes in history education and this is really a very very useful tool for for for the for working with students but also i would say younger generations so i think whenever we talk about digital education and i believe that in this couple of months we are all experts in how to make zoom interactive and experiential but yeah having this project before i think this was a really important to learn that understanding that our generation is still learning and using digital tools in different way and that perhaps we should think more how to include young people when it comes to the to the to digital and online remembrance or memory projects so this is one thing and another thing that i would like to expose as a challenge when it comes to dissemination or something that we learned was the question of interdisciplinarity so the remembrance program is a great program which really theoretically which really emphasizes collaboration between different stakeholders and between different agents which more or less works but i would say in our context working with particularly with universities and the staff at universities and then trying to invite people from other sectors it turned out that there is still a lot of things to learn and that we can as i said benefit a lot from each other but there is certain things for instance just the very language and the way how we approach the remembrance or the memory topics is sometimes quite hard to comprehend for people from different sectors so i would just like to give two examples how we try to overcome this i would say quite successfully so the first one was with the international symposium which we tried when we when we send out the call invitation for people we try to really address it in a way that there would be people coming from all disciplines however we realized really fast that there was mostly people who were attracted to our symposium coming from the universities the biggest problem was actually not the interest of other stakeholders the biggest problem was inaccessibility so like very simple financial issues that people who work in NGOs people who work as practitioners people who work in grassroots organizations or with youth usually don't have so just traveling to Finland and spending their three days was a big challenge back then now again that we have everything online this issue is soft but the way how we solved it at this moment because we we've seen that there was lots of people contacting us who wanted to come also from the let's say from the parts of Europe that are financially more challenged like eastern and southern and so Balkans what we did was we established Solidarity Fund where we ask university professors who have established positions to basically support to give a peer support to other people who work also in the same or similar topics so they can learn from each other and they can actually help people to come to Finland and to exchange this knowledge so in this way we had really really amazing interesting conference that included people from arts from as I said grassroots NGO sector which would otherwise not come and then the second project that we also were trying to learn how to include people from different sectors was the book that just yesterday went finally into the production and it's going to be published with Routledge which I believe is great because we can really disseminate it worldwide and the book includes 20 chapters which are very very concrete practical guidelines on how we can use different tools different yeah from art base to body base to I don't know visiting places and so on in different context so the challenge here with interdisciplinarity was that as I said before with the language university professors were writing very very academic papers and then NGOs and artists were writing really public simplified very practical contributions however we wanted to have a book that would be interesting both to develop this field theoretically but also practically so people can also learn theoretically the complexity of trauma transmission and remembrance as such but at the same time they can also take away something very practical and basically take it directly to the class so learning how we can connect then also you academic staff and the NGO or artists NGO staff or artists to learn to establish a new language that can be understandable to people from all these disciplines was also a big challenge but also I think a really really important point for us when we talk about dissemination so what do we need to take into consideration to really try to reach very diverse audience because people who work in these different disciplines we usually don't reach out to learn from other disciplines and this is also one of the biggest shortfalls that I'm observing and trying to reflect on when I'm learning about other projects and our project as well is that there are so many projects done that are compatible you know that we collect so much knowledge we connect so much practices but simply we don't get informed what is happening in different countries what is happening informed enough that we would know actually how we can upgrade projects instead of repeating something that has already be done so having this kind of networking event that we have today I think it's extremely important and great because we can really learn what is out there and we can actually just upscale the existing knowledge and the existing practices and I think this is extremely important especially when we work between disciplines so and here I'm referring to extremely rigid academic sector which is still really into a very separated work and I would also say that just bringing European citizens project to the university and being really really focused on university teaching was extremely extremely beneficial because this project usually works with citizens and yeah with other stakeholders and I think that for academic staff who participated in this project this was really really a push forward in thinking how we can yeah collaborate across the borders and also how we can teach more experientially in the very institutional rigid environment like universities and I also think that universities are so powerful but also less skilled than other sectors when it comes to remember so we should definitely try to establish more places to bring practitioners and other sectors to to academia so academics can learn from others so that's it I was trying to be effective and quick and to yeah also throw some maybe some questions because we've been just talking about successful dissemination practices and yeah I think there's also after one year one year after the project I think it's also a nice time to observe what we can learn and what we can do differently next time but now also with all these digital online learning I think we have so much more to think about and also so much knowledge to use for the for the for the project so yeah thanks a lot for sharing candid leader the challenges let's say you you you have faced it's true that nowadays just you know creating a facebook page or a twitter account is not enough and the challenge is how to activate all the digital tools that we have discovered over the past months to to best reach the the targets of the the projects and have impact on the audience that that matters so so so thanks for sharing sharing that as to the interdisciplinarity I can only you know confirm and stress that in the framework of the the european citizens program and its successor the citizens equality rights and value program we will continue to to promote networks not only transnational networks but it's a transdisciplinary network and and projects mixing the the academia with with the civil society organizations as a whole and and our experiences that those mixed projects are very often rich and really productive we're running out of time ricard you you wanted to present the you wanted to present the observing memories thanks gail uh i'm afraid we have uh no time uh for that we have to move on to the to the following session i just i got a presentation by but i'm not going to use it i i'm just going to to show you the the the cover of the of the observing memories as you know is our magazine and since 2017 we have published it uh this this this review i'm just going to to show the the cover uh and the summary uh as i said i i got the presentation but we are out of time uh in this in this issue we we got a couple of articles about uh the conflicts of memory in twitter uh we have an interview with uh with the professor marian here about the topics uh we were talking about yesterday with uh geraldine swars who wrote also uh an article here about the figure of midlaufer and the and the dictatorships and we have another article like selena thought about the memory of the working class we have articles about julian bonder the about the the the role of the the memorial and the architecture in the transmission of memory uh and uh but as we have no time i'm not going to explain anything about that just invite you the next week it will be able on our website uh as you know we always publish a version online and uh you can get it in in our website and uh a printed version that we will send you and uh nothing else i'm sorry but we should move on okay thank you very much uh rickard that was in any case a nice teaser uh an invitation to to discover the the actual review uh when it's made available online in in the coming days so um there was a couple of questions that uh will need to be addressed in different ways i'm afraid we've seen that with a very small sample really of uh of the projects that have been implemented across europe with the support of of our program europe for citizens and we are very happy about this we see uh uh already a very nice um let's say show of of the variety of of topics of of techniques and also of challenges of you know uh remembrance policy memory policies and um and so uh i thank very much all the all the participants who have uh brought to us their their experience about how they implemented these uh these wonderful um projects thanks a lot