Approaches and methodologies
Fig 1. A group of young people moving on a sunny meadow under a blue sky, with several wrapped in golden rescue blankets.
Fig 2. Top-down view of four people sitting on grass with several small notes with red words and some larger sheets of paper between them.
Creative Approach
The creative approach encompasses a wide range of techniques and methods, including somatic, sensory, vocal, conceptual, musical, visual, movement-based, and circus practices. The most important aspect of this approach is that the material, content, and form of the presentation are not introduced from the outside but are instead devised by the participants themselves. This enables them to use their imagination and creativity while also developing artistic articulation and practical skills.
In our process, artistic facilitators first introduced participants to various performance techniques (movement, vocal, sensory, contemporary circus, performance, etc.), providing them with a pool of resources to draw from. Afterwards, participants were given space and encouragement to come up with their own ideas on how to present the topics of migration and the climate crisis. In the end, the performances were devised by the young people, with the support of artistic facilitators.
Fig 3. A large square in front of a cathedral, with twenty young people standing in a circle holding long thin sticks.
Fig 4. Thirty young people in dynamic positions in a group on a dusty plateau, with the sea and dammusi buildings in the background.
Youth-Led Approach
„Youth-led” and „youth participation” are approaches that emphasise the active involvement and leadership of young people in projects and initiatives. These approaches are particularly relevant in contexts like the Erasmus+ programme, which encourages learning and engagement among youth across various political and sociocultural topics, including migration and the climate crisis. In our project, we applied these approaches to varying degrees in response to the dynamically evolving nature of the creative process.
Young people were invited to co-create the programme, engage in peer-to-peer learning, and take part in cultural exchange.
By using creative methods rooted in improvisation, they generated most of the performance material from their own creativity. The result was more authentic and genuinely reflected the voices, ideas, demands and energy of the young participants.
It was a delicate balancing act—between youth-led initiatives, intentions, and abilities on the one hand, and the project’s objectives on the other. In some areas, these two merged beautifully, allowing young people to experience a sense of self-efficacy as they saw the tangible outcomes of their work. The relatively large group also brought a diversity of ideas, opinions, and expectations, requiring careful facilitation and flexibility.
Fig 5. Discussion between three young people and one artist sitting in a room; four young people standing in front of a background window.
Fig 6. Smiling young person mending their hair with a golden rescue blanket around their neck, standing on a sunny meadow under a blue sky.
Goals
What we learned through this approach
Clear communication
Ensure clear communication about the structure and objectives of the project
Implementing solutions
Focus on implementing solutions that enable maximum participation without compromising the project’s integrity
Take time
Take time for decision-making processes
Dedicated team member
Assign a dedicated team member to safeguard participation and youth-led principles throughout the changing process
Diverse methods
Use diverse methods to seek consensus
Group agreement
Establish a group agreement (see: method group agreement, Toolbox) at the beginning, and reflect on it regularly