Sprache

This chapter of the online documentation provides insight into the content of our practical workshops. It illustrates, through various approaches, how activities such as a paraffin bath, making music together, or creating a self-designed digital world can serve as starting points for conversation and open up a wide range of perspectives. Finally, the chapter includes links to all contributors involved in the workshops, as well as to Passage 13 as an additional venue of the practice conference.

"In addition to course offerings on the foundation grounds focusing on contemporary dance and urban explorations, Passage 13 in Halle-Neustadt served as a central meeting place. Among other things, a rap workshop and a lab on the topic “Human Dignity Meets AI in Cultural Education” took place there. These were topics at the pulse of the times — not situated in theoretical spheres, but rooted in the here and now." Martin Becker

 

Potentials of Cultural Education in the Participatory Development of Safeguarding Concepts

With Lina Fabienne Richter and Annina Hessel from the German Federation for Arts Education for Children and Young People (BKJ)

How can children and young people be involved in the prevention of sexualized violence? Cultural education offers many opportunities in this regard: The workshop demonstrates how proven methods of cultural education can be applied in the prevention of sexualized violence and in the development of safeguarding concepts. Best practice examples from projects funded through the “Start2Act” program of the German Federation for Arts Education for Children and Young People (BKJ) provide inspiration and practical insights.

Afterwards, participants will have the opportunity to try out selected methods themselves in order to experience how young people can be involved in prevention work in age-appropriate ways. The workshop operates at the intersection of child protection, cultural education, and child and youth participation.

The workshop was divided into two main focuses: the prevention of sexualized violence in cultural education and social work, and the application of cultural education methods in prevention work.

Prevention of sexualized violence in cultural education and social work

Sexualized violence was defined as any sexual or sexualized act carried out against another person’s will or to which consent cannot be given due to various forms of vulnerability or power imbalance. Central to this definition is the abuse of power and/or authority to satisfy one’s own needs. Sexualized violence includes boundary violations, abusive behavior, coercion, and overpowering conduct. The terminology used includes affected person, perpetrator, and abusive children or young people. An affected person is someone who has experienced or is experiencing sexualized violence. A perpetrator refers to an adult whose offense has been proven. Abusive children or young people refers to minors whose abusive behavior has become known. It is estimated that approximately one in seven to eight adults experienced sexualized violence during their childhood or adolescence. This suggests that in an average school class, one to two students are likely to be currently affected or have previously experienced sexualized violence.

Why is child protection important in cultural education?

Child protection is particularly important in cultural education because this field of work often involves closeness, trust, and sometimes intensive relationships between people of different ages. Disciplines such as dance and theatre are characterized by physical proximity and touch as part of professional practice. Therefore, a mindful approach to physical closeness and open discussions about boundaries are essential in order to create safe environments and enable positive experiences.

Why is cultural education important for child protection?

Cultural education plays an important role in child protection because professionals can take on multiple roles. They act as trusted persons for children and young people, as bridge-builders within support systems, as knowledge carriers for effective prevention, and as facilitators of lived safeguarding practices.

What potentials does cultural education offer in child protection?

Children and young people learn diverse forms of expression and creative approaches, enabling them to engage with sensitive topics and develop the ability to articulate their experiences. Through cultural activities, they experience self-efficacy, are encouraged to explore, and learn to understand and communicate their own boundaries.

What can a safeguarding concept achieve?

A safeguarding concept primarily supports those affected. It creates spaces in which children and young people can feel safe, develop their voice, and become empowered. It also builds trust both internally within an organization and externally. A safeguarding concept consists of a shared value framework, a risk and potential analysis examining internal structures, preventive measures to reduce existing risks, a complaints procedure, a clear action plan for handling suspected cases, and processes of review and follow-up. Developing a safeguarding concept takes time and should be understood as an ongoing and sustained process rather than a short-term task.

 

 

 

Methods from the field of cultural education can foster awareness, empowerment, and meaningful dialogue. They also create spaces in which personal experiences can be expressed and processes of reflection and coming to terms with them can take place. At the same time, they offer opportunities to reflect on one’s own boundaries as well as the specific conditions on site, and to develop strategies for dealing with boundary violations and abusive behavior.

Additional methods, such as developing utopian scenarios or the paraffin hand bath, can be found in the full presentation.

Community Music in Theory and Practice

With Marleen Kiesel and Matt Robinson from the Paper Lantern Collective

Community music is a growing field in German-speaking countries. Music is used as a tool to bring together people from different backgrounds and life stories, enabling creative, collaborative processes on an equal footing. At the same time, the music itself expresses the community that participates in the program. Social processes are considered equally important as the musical processes throughout.

The community musicians of the Paper Lantern Collective, Matt Robinson and Marleen Kiesel, are currently working in Chemnitz, European Capital of Culture 2025, where they are building a diverse community music program that regularly reaches hundreds of people. We will approach community music both theoretically, through practical stories, and by hands-on experimentation. What values underpin this field of work? What does a community music program look like? What are its foundations? Which methods are used

Throughout, the social process is considered equally important as the musical process. The foundation and guiding principles of community music, regardless of the setting or target group, are: an inclusive, low-threshold music offer for everyone, the belief that every person can make music, a process- rather than product-oriented approach, and the establishment of trust with participants. This approach also reflects values of social work. The self-positioning of a community musician often lies between the worlds of music/cultural education and social work. Depending on the setting and situation, different methods and approaches are selected or combined.

Community music addresses a wide variety of target groups, including kindergartens, people with disabilities, schools, adults, families, young people, and seniors.

 

Claiming Spaces with Open Brush

With Nadia Boltes and Katharina Remiorz from the Service Center for Digital Cultural Education of the State Association for Cultural Education for Children and Young People in Saxony-Anhalt

What would a place look like where you could relax, grow, learn, or experience community? Would it be a studio without walls, inviting people in the neighborhood to engage in artistic activities together? Or would you imagine a green oasis that evolves and grows with its people – organic, breathing, dreaming?

Nadia Boltes and Katharina Remiorz invite workshop participants to think utopically. Creativity is given no limits thanks to the virtual reality application Open Brush and the three-dimensional space in which participants immerse themselves. Through artistic exploration, they approach the question of how public spaces can be designed to be inviting, inspiring, and safe. Colors, shapes, and light become tools to design visions for new spaces that promote well-being.

The resulting works can serve as a visual basis for dialogue with local residents, professionals, and decision-makers, or be integrated into exhibitions and participatory processes to make diverse perspectives visible.

dis/connected bodies – Workshop on Contemporary Dance in Cultural Education

With Franziska Massa from the Bürgerstiftung Halle, choreographer/dance educator & artistic director of Tänzer* ohne Grenzen Bae van Vark, and dance educator Alina Hausmann

For around 20 years, the Bürgerstiftung Halle has been active in the city with cultural education projects. In close collaboration with the association Tänzer* ohne Grenzen, a special focus on the medium of dance has developed: dance creates expressive images for stories, emotions, and experiences – and connects people across age and language barriers.

In our workshop, we focus on learning through movement, share insights into our participatory approach, and demonstrate how contemporary dance in cultural education can spark creative processes.

We repeatedly observe in our project weeks how participants use dance to channel energy and create powerful images for their own feelings and thoughts. In this process, we collaborate with artists, dancers, and choreographers who guide and support it in a participatory and artistically compelling way.

Our work with contemporary dance is guided by three core principles:

  • We provide impulses for positive self-esteem, supporting the long-term development of self-confidence.

  • We foster a positive body awareness and inspire joy in movement.

  • We create encounters, break down prejudices toward the unfamiliar, and open up new perspectives for participating children on themselves.

As practitioners at the intersection of cultural education and social work, we create a low-threshold environment in which children and young people in challenging life circumstances can have artistic experiences that expand their opportunities for participation.

Franziska Massa, Bürgerstiftung Halle

DJ-Workshop

With Joerg Schnurre, graffiti artist, and Max Biner, DJ from NEWKID e.V.

A DJ workshop can have a versatile and positive impact on children and young people. It promotes musical understanding, technical skills, creativity, and self-confidence, while also strengthening social skills such as teamwork and performing in front of an audience. When presenting music, there is fundamentally no “wrong,” which encourages and empowers children and young people in their actions.

City Stories and Discovering Corners

With Ina Treihse and Franziska Dusch from Freiraumgalerie/Collective for Spatial Development

In the workshop, Ina Treihse and Franziska Dusch present the storytelling game “City Stories: Discovering Corners.” The game explores questions such as: “What is going on in the minds of other people in your city? What are their favorite places, where memories resurface?” The game inspires players to engage in conversations about living together in the city. It can be played by anyone, in small or large groups.

Impressions from the Conference

“Similarly, the participants in the workshop ‘Understanding and Experiencing Diversity and Inclusion’ by the Berlin-based Thikwa Theater were set in motion, creating art and theater together with and without disabilities. How does a good person act? What five things do I consider ‘normal’? What is performed versus genuine friendliness in a greeting? And who has ever laughed at a racist joke? In engaging play-based situations, participants explored different aspects of inclusion and exclusion, casually discussing their fears, worries, and experiences of discrimination." Martin Becker

Understanding and Experiencing Diversity and Inclusion

With Saskia Neuthe, Deniz Dogan, Max Edgar Freitag, and Robert Janning

A mixed-abled team from Thikwa Theater invites participants to explore the dynamics of exclusion, bullying, and inclusion through artistic practice. Using humor, playfulness, and movement, we approach questions that are often left unspoken. The workshop is light-hearted, fun, and thought-provoking — all without any performance pressure. It concludes with an open discussion and a small presentation.

Thikwa Theater aims to further train and empower its performers not only in their professional artistic work but also in leading creative rehearsal and workshop formats. The workshops are designed and facilitated collaboratively by a mixed-abled team. Our formats are aimed at diverse, intergenerational audiences, including schools, training institutions, universities, theater professionals, companies, and more.

Our workshop formats are part of cultural education, while our artistic work is established as professional theater within the independent scene.

Saskia Neuthe, Thikwa Theater

Landart

With Theresia Frenzel from naturart

You are warmly invited to an afternoon in nature. Let’s rediscover the seemingly familiar. Experience a blend of nature exploration and adventure play. We create in places where the fresh wind brushes our faces. There is no “right” or “wrong,” no judgment. Leaves never run out, colors never dry up, the hand serves as the eraser, and materials are abundant. However, you might get wet, and the artworks are rarely pocket-sized.

Creativity moves – art connects, culture is not a privilege, it is a human right

With Sanja Zivo (performance artist)

In this participatory activity, participants explore the meaning of human dignity and how artificial intelligence can be creatively used in cultural education. Under artistic guidance, they use words and symbols to collectively weave a story about human dignity—visible in a large AI-assisted image.

At the end, everyone reflects on how they can respect human dignity in everyday life, including in interactions with AI. The activity creates intense group experiences, strengthens cohesion, and leaves lasting memories of shared creative time. The finished woven image will be permanently displayed at the foundation, continuing to tell the story of this special experience.

Community Art & Sciences: Participatory Project Work with Municipalities (IRL) and Communities (VR)

The workshop invites participants to explore and directly try out methods for participatory project work both IRL (in real life) and in VR. Using concrete examples from the facilitator’s own artistic and academic practice with municipalities, as well as case studies from community art and research, we examine different forms of participation. In addition, the workshop encourages reflection on transparent communication and the various roles in participatory projects. At the same time, the collaborative group work in the practical segment is intended to inspire the development of participants’ own projects within participatory formats.

I situate myself at the intersection of cultural education and social work in that, in both fields, participation and the invitation to take part are central to successfully involving participants in practical, shared collaboration.

Nica Junker (Postdoc, Horizon Europe Project #DEMOCRACYinACTION, Hochschule Magdeburg-Stendal)

Art, Children, Animated Films: A Workshop for Creative Educational Work

With Jenny Schmiedel, Program Director of MUS-E, and artist Rubén González

In this session, Jenny Schmiedel, regional program director of MUS-E, and artist Rubén González Escudero provide insight into the significance of cultural education for children in disadvantaged areas. After an introduction to the international MUS-E program and its impact on personality development and participation, key approaches from the ERASMUS+ project Green Tales are presented, creatively combining sustainability and storytelling. In the practical segment, participants develop and produce their own short animated films under artistic guidance. This allows innovative methods to be experienced firsthand and provides inspiration for their own work.

Our Co-Creators in the Practical Workshops

Bundesvereinigung Kulturelle Kinder- und Jugendbildung https://www.bkj.de/

MUS-E https://www.mus-e.de

Servicestelle für digitale Kulturelle Bildung der Landesvereinigung kulturelle Kinder- und Jugendbildung Sachsen-Anhalt e.V. https://www.lkj-lsa.de/kompetenzen/servicestelle-digitale-kulturelle-bildung/

Freiraumgalerie / Kollektiv für Raumentwicklung https://www.freiraumgalerie.com/

Rap macht Schule https://www.rapmachtschule.de/

Bürgerstiftung Halle https://www.buergerstiftung-halle.de/ in Kooperation mit Be van Vark (Choregrafin/Tanzpädagogin und künstleriche Leitung Tänzer* ohne Grenzen) https://www.taenzerohnegrenzen.de/ und mit Alina Hausmann (Tanzpädagogin)

NEWKID Dessau https://www.newkid.club/

naturArt https://www.naturart-frenzel.de/

Aktionskünstlerin Sanja Zivo

Thikwa Theater Berlin https://www.thikwa.de/

Paper Lantern Collective https://paperlantern.eu/

Passage 13 https://passage13.de/

Oligoform https://www.oligoform.com/

Nica Junker als Vertreterin des Postdoc Horizon-Europe-Projekt #DEMOCRACYinACTION an der Hochschule Magdeburg-Stendal

Man sieht im Vordergrund die Schulter und das seitliche Profil einer Frau. Die Frau steht einen Zettel in ein Bild. Darüber wurden schon mehrere Zettel in das Bidl geseteckt.
Man sieht zwei Frauen. Die eine Frau breitet die Arme aus. Die zweite Frau steht ihr gegenüber und hat ihre Arme auf Hüfthöhe ausgebreitet.
 Im Hintergrund siht man zwei Frauen, die sich gerade in Bewegung befinden. Beide Frauen strecken den linken Arm nach vorn und den rechten haben sie angewinkelt an der Seite. Im Vordergrund ist ein Balken und deas Netz einer Spielraqupe zu sehen.

Chapter selection

from opportunities and limits

theoretical impulses and discussions

practical workshops

impressions and a feeling to hold on to

Logo - Bundesregierung (Medien und Kultur)
Logo - Freundeskreis der Franckeschen Stiftungen
Logo - Sachsen Anhalt (Kultusministerium)