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INTERCULTURAL PRACTISES UNIT 1

Week 60: One-on-One Tutorials+ Report Agreement

Wed 26th Feb

INTRO

GOALS> 1) to form a sustainable practice where you can continue developing narratives for the character based on community contribitions; 2) in the long term build an international audience through which a wider understanding of rural SK culture can be understood

CONTEXT

VALUES -> OBJs (how will I assess this?) (one goal takes place within the project timeline; one goal is for the longterm, in the future)

AUDIENCE (audiences of children, audience of adults)

PLANNED INTERACTION 

HOW THIS MEETS GOALS

STEP-BY-STEP BREAKDOWN OF ACTIONS / ACTIVITY

adapted, changed, innovations

ASSESS THE RESULTS

CONCLUSION

-> future planning

what would you do next to solve any problems etc

CONSENT AGREENMENT.

how used, where its going to be published.

——————————————-

context is my practise,

CONTEXT– my practise and the comparison of two art schools- inform different apreciations of the process.

where is the intercultural conversation.

what am i assesing????? how am i evaluating my project=== DID IT SUCCEED IN ETC ETC.

PROVIDE STATISTICS BASED ON THE INTERNATIONAL POPULATION OF EACH AREA

111111111111111111111111111111111111111111111111111111111111

INTRO
CONTEXT
AUDIENCE
METHODOLOGY (how am i engaging and in what type of activity, how do i plan to iterate that process)
CORE VALUES (your values / your audiences perceived values) -> WAYS OF ASSESSING
STEP-BY-STEP
EVALUATION
CONCLUSION -? what is my future practice

AUDIENCE. went from a public public to a more focused uni public to test/iteratre this type of practice

CONTEXT/AUDIENCE – comparison of two art schools in two contexts which may inform different appreciations of the process / activity

Where is the intercultural conversation in your practice

— interculturality is produced through the Questions and through the comparison of two Locations/Publics
— and subsequently reached through an online (third) public

CORE VALUES & ASSESSMENT.
1) whether I was about to provide a safe environment, demonstrated by the depth&openness of interviews
2) delivery of 5 interviews in UAL & 5 interviews in Cyprus (reaching a baseline of measurable sample)
3) assessing the social media communication

4) whether a comparison is able to be formed between the two contexts and whether understanding is able to be deduced

“What’s something about your culture that you wish more people understood?”

“What does ‘home’ mean to you?”

“What’s a tradition or cultural practice that’s important to you?”

“Have you ever felt like an outsider? If so, when?”

“What’s a piece of wisdom from your culture that you carry with you?”

“Have you ever been somewhere that made you feel like you stood out? What was different about it?”

How do you fairly weight the internationalism of the UK and how this informs answers VS the nationalism of Cyprus and how that may shape reactions to culture based questions.

How do you assess whether this is something that should be part of your practice moving forward?

enjoyment of experience
did i learn from the interview / broaden my perspective
was there a positive impact on people

providing feedback – how to get honest reactions

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INTERCULTURAL PRACTISES UNIT 1

Week 59: Audience Development Presentations

Week 59: Wednesday 19th February [13:00-15:00]
= Audience Development Presentations w. Marsha

Independent Study

Tasks:
  • If you have not already – begin engaging with the community or audience that your project connects with; consider the mode of communication: what are you asking? how are you asking it? and what types of information does it generate?; prepare a short account of this primary research (e.g. 2-4 slide .PPT / .PDF doc) to share in class. 
  • Upload the presentation file to this folder [here].
Read + Watch + Listen + Prepare:
  • Tbc, see below. 

Live Sessions

In today’s session we will begin by checking in on your progress, specifically regarding the audiences your project connects with and any outreach you have conducted to  inform your planning. Please prepare a 2-4 slide presentation on the primary research you have conducted to date. This should accurately explain who your public / audience / collaborators are and give us an insight into how their needs and knowledge are influencing your project.

Everyone will have the opportunity to present their presentation and to receive peer-to-peer feedback. We will take this opportunity to ensure you have fully considered how your project meets a public and how the respond of that public will fold back into your ongoing creative practice.

Finally, we will set aside some time to discuss any immediate challenges you are struggling with. At this stage some of your will have begun project delivery, whilst others may be beginning that process imminently. 

AT CSM :

INTERVIEW PPL ON

THE STREET

PHILIP:HEAD OF SECURITY

ESTATESHELPDESK2ARTSAC.UK

——

1. Project Description & Framing

When describing the project (whether in proposals, social media, or conversations), you can highlight:

  • How London’s cultural diversity contrasts with Cyprus’s more close-knit cultural environment.
  • The different ways people express identity and belonging in both places.
  • How people’s experiences of connection and self-expression change based on their environment.
  • The role of migration, heritage, and cultural hybridity in shaping perspectives.

For example, instead of just saying:
“I interview strangers and draw them as they share their thoughts.”
You could say:
“Through live street drawings and spontaneous conversations, I explore how cultural backgrounds shape the way people express themselves. By comparing the experiences of individuals in London and Cyprus, the project reveals patterns of intercultural connection, personal identity, and belonging.”

2. Interview Questions (to Guide Conversations Toward Interculturality)

Since you’re balancing openness with structure, you can use open-ended but culturally focused questions, such as:

  • Where do you feel most at home, and why?
  • Do you think your cultural background influences how you express yourself? How?
  • How does London (or Cyprus) shape your sense of belonging?
  • What’s something about your culture that you wish more people understood?
  • Do you feel more like an insider or outsider in this city? Why?
  • How do people connect with each other differently here compared to where you grew up?

This way, the conversations naturally bring out cultural contrasts and similarities without feeling forced.

3. Social Media & Presentation Angle

  • Pair the Drawings with Key Quotes – When posting, highlight statements that reveal cultural differences or shared emotions.
  • Use a Split-Screen Format for Comparison – If you eventually interview people in Cyprus too, you can show responses side by side to visually compare perspectives.
  • Ask Your Audience – Engage viewers by asking them how they relate to the topic of cultural identity and belonging.

—– AUDIENCE—–

Live Audience

-University Students

Since the interviews take place on campus, most participants will be students. (University settings foster open discussions, making students more likely to engage in the process).

-Passersby

People on campus who are open to spontaneous interaction. They might be curious, in need of self-expression, or just enjoy the idea of being sketched.

-People Seeking Connection

 Those who appreciate being listened to and having their thoughts or emotions acknowledged.

-Fine art students/ staff

 Individuals who are drawn to the visual aspect of live drawing and the creative process.

Online Audience

-People interested in human stories

Viewers who engage with raw, personal narratives and psychological insights.

-Artists and illustrators

Those who appreciate the fusion of art and social interaction.

-People interested in public Engagement and social experiments

 Individuals fascinated by projects that explore human behavior, emotions and public participation.

-Cultural & Social commentary enthusiasts

Those who enjoy discussions about identity, positionality, culture and lived experience.

-Art Students & Recent Graduates

Since the project features students, it will likely resonate with other students or recent graduates who relate to way of thinking/ social/ age group.

(no title) – JUGAADOPOLIS

A post from jugaadopolis on JUGAADOPOLIS provided by: https://jugaadopolis.com

I would add that by doing portraiture in a live location you have an accidental audience who encounter the work and opt to engage or not

You become a spectacle 

You mentioned you don’t use TikTok a lot, so there’s a question here about your existing reach and whether you can look at any existing analytics to assess this already?

Meli

  • Technically, our university is not a public space. However, we assume it is. – See privately owned public open space (POPOS)
  • You must look at https://www.unrefugees.org.uk/esdevlin-congregation/ – this Es Devlin project
  • Look at people who draw/paint their sitters over and over; this is a fascinating approach to practice. 
  • How does doing these portraits in higher education inflect the project?

Congregation | Es Devlin | UK for UNHCR

This October, Es Devlin will unveil Congregation, in partnership with UK for UNHCR, The Courtauld and King’s College, London.

Meli – have you done the induction for the loan store? 

And the intercultural properties of YOUR practice? How are you advancing the field? 

ual- international space

(no title) – JUGAADOPOLIS

A post from jugaadopolis on JUGAADOPOLIS provided by: https://jugaadopolis.com

I would add that by doing portraiture in a live location you have an accidental audience who encounter the work and opt to engage or not

You become a spectacle 

You mentioned you don’t use TikTok a lot, so there’s a question here about your existing reach and whether you can look at any existing analytics to assess this already?

Meli

  • Technically, our university is not a public space. However, we assume it is. – See privately owned public open space (POPOS)
  • You must look at https://www.unrefugees.org.uk/esdevlin-congregation/ – this Es Devlin project
  • Look at people who draw/paint their sitters over and over; this is a fascinating approach to practice. 
  • How does doing these portraits in higher education inflect the project?

Congregation | Es Devlin | UK for UNHCR

This October, Es Devlin will unveil Congregation, in partnership with UK for UNHCR, The Courtauld and King’s College, London.

Meli – have you done the induction for the loan store? 

And the intercultural properties of YOUR practice? How are you advancing the field? 

Meli – have you done the induction for the loan store? 

And the intercultural properties of YOUR practice? How are you advancing the field? 

We’re all intercultural! It’s your job – everyone – to uncork this and effectively resource this. 

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INTERCULTURAL PRACTISES UNIT 1

Week 58: Development Consultation

Week 58: Wednesday 12th February [13:00-15:00]
= Development Consultation 

Independent Study

Tasks:
  • Everyone is invited to contribute talking points to our Development Consultation agenda document [here]. These should be specific issues you are facing and need advice on. Please make sure that you have submitted your points by end-of-day on Tuesday 11th February. 
  • One self-elected student to organise the agenda points once they have been submitted (e.g. on the morning of Wednesday 12th February) / or to structure the agenda document with sub-section areas. 
  • Re-read our Critical Friend agreement document from Week 55 [here]. 
Read + Watch + Listen + Prepare:
  • TBC. These resources will be light and positive. No heavy reading. 

Live Sessions

Collectively working through your co-authored agenda document, we will look at the various delivery associated challenges your projects are facing and begin posing solutions or alternative ways of approach. Please make sure you have added your points to the agenda, and we encourage one student to coordinate / arrange the order so that points are grouped where there is an overlap. 

Please remember that we encourage a communal feedback structure where everyone is welcome to provide ideas and support. We also prompt using case-studies to illustrate your ideas. E.g. “maybe you should look at this project, they did [action] which might be applicable to your problem”.

“What’s something that’s been on your mind lately?” – This is open-ended, non-threatening, and gives people the freedom to share anything, big or small.

“If you could tell the world one thing right now, what would it be?” – Makes people feel like their voice matters and invites a mix of deep or lighthearted responses.

“When was the last time you felt truly seen or understood?” – This taps into the theme of identity and connection, tying in beautifully with you drawing them.

“What’s a piece of advice you’ve received that stuck with you?” – Encourages storytelling and reflection while feeling positive and inviting.

“What do you wish more people knew about you?” – Gets to the heart of personal identity and could spark meaningful conversations.

“What’s something about your culture that you wish more people understood?”
– This invites people to reflect on their background and opens up space for intercultural exchange.

“What does ‘home’ mean to you?”
– This taps into personal and cultural identity, evoking different interpretations based on experiences, migration, family, and belonging.

“What’s a tradition or cultural practice that’s important to you?”
– Encourages people to share something meaningful about their heritage.

“Have you ever felt like an outsider? If so, when?”
– This question directly engages with themes of positionality, belonging, and identity.

“What’s a piece of wisdom from your culture that you carry with you?”
– Allows for storytelling and could generate poetic, heartfelt, or humorous responses.

“If you had to describe your culture in one word, what would it be?”
– Simple yet effective, and it sparks curiosity.

“Have you ever been in a place where you felt like you didn’t quite belong? What was it about that place that made you feel that way?”

“Have you ever been somewhere that made you feel like you stood out? What was different about it?”

This invites people to reflect on cultural differences without making it obvious that’s what you’re asking.
It allows for a wide range of answers—some may mention language, customs, or even the way people interact in public spaces.
“What’s something that felt completely normal to you growing up, but then you realized it’s not the same everywhere?”

Encourages reflection on cultural norms and differences without making it feel like an interview.
Could spark stories about food, greetings, social behaviors, etc.
“What’s something about the way people interact here that feels different from other places you’ve been?”

Perfect for capturing the contrast between London’s fast-paced, individualistic vibe and Nicosia’s close-knit, community-driven atmosphere.
“Have you ever been in a place where you weren’t sure how to act? What happened?”

This could lead to funny or deep responses about social expectations, cultural faux pas, or even just the feeling of being new somewhere.
“Do you feel like people in this city are connected to each other? Why or why not?”

Could bring up the difference between London’s anonymity and Nicosia’s strong sense of community.
Allows people to express whether they feel a sense of belonging or isolation.
“What’s something small that makes you feel at home in a new place?”

Encourages people to think about what gives a city its personality—could lead to discussions about culture, community, or even personal rituals.
“Have you ever walked through a city and felt like an outsider? What was it that made you feel that way?”

Similar to your favorite idea but slightly reworded to feel even more natural.
“What’s something about this city that would surprise someone who’s never been here before?”

This can reveal cultural insights about both London and wherever they’re from, since people naturally compare to their own background.

“What’s something normal in your hometown that feels unusual here?”

Encourages them to reflect on cultural habits they didn’t realize were unique until they left home.
Could lead to fun or deep comparisons (e.g., social behaviors, food, nightlife, academics).
“Do you think it’s easier or harder to make friends in London compared to where you’re from?”

Subtly highlights the difference between London’s fast-paced, individualistic culture vs. a more close-knit community like Nicosia.
Gets students to open up about belonging and social norms.
“What’s one thing about your culture that you wish more people here understood?”

Makes them feel like their culture matters and gives them space to express something personal.
“If you had to teach someone one unwritten rule about where you’re from, what would it be?”

Could lead to fun insights about politeness, greetings, or customs people don’t even realize are cultural.
“What’s a stereotype about where you’re from that’s actually kind of true?”

Lighthearted and invites humor but can also lead to deeper discussions.
City & Social Life Comparisons
“Where do you feel more at home—here or where you grew up? Why?”

Gets them thinking about belonging and what makes a place feel like home.
“Do you think people in London keep to themselves more than where you’re from?”

Naturally sparks discussion about how people interact in different cultures.
“What’s something that made you experience culture shock when you moved here?”

Great for international students or even locals who moved from smaller towns.
“What’s something you can do here that you couldn’t do back home?”

Encourages a positive perspective while still contrasting cultural differences.
“If you could bring one thing from your hometown to London, what would it be?”

Could be a dish, a way of socializing, a tradition—helps them talk about what they value from their culture.

For Cyprus, though, the cultural context is different. Since Nicosia is more homogenous and people might not immediately think of “culture” in the same way as Londoners do (where diversity is a daily experience), you might need a different hook.

Cyprus Hook Ideas:
“What’s something uniquely Cypriot that you love (or struggle with)?”

This invites both pride and critique, which can get people talking more naturally.
“What makes someone truly Cypriot?”

This subtly explores identity and cultural expectations without making people overthink.
“If someone visited Cyprus for the first time, what’s the first thing they should experience?”

People will likely mention food, traditions, or social behaviors—great for starting a cultural discussion.
“What’s one thing about Cyprus that outsiders don’t understand?”

Encourages them to reflect on what makes Cypriot culture unique.
If you still want to keep the “TALK TO ME ABOUT YOUR CULTURE” approach but adapt it for Cyprus, you could tweak it to something like:

“TALK TO ME ABOUT WHAT IT MEANS TO BE CYPRIOT – GET A FREE PORTRAIT”
“SHARE A PIECE OF CYPRUS WITH ME – GET A FREE PORTRAIT”

CSM (EMAIL estateshelpdesk@arts.ac.uk FOR PERMISSION TO SET UP A BOOTH IN CSM

( ON THE STREET) – name of that corridor in csm.

also tell philip- head of security.

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INTERCULTURAL PRACTISES UNIT 1

Week 57: Tailored Examples Lecture

Week 57: Wednesday 5th February [13:00-15:00] 

Independent Study

Tasks:
  • Prepare a timeline document outlining the stages of your project and plotting its delivery point[s]. Upload to folder [here]. Refer to the Suggested Project Timeline page on Moodle for a suggestion of how your project should be unfolding.

UPDATED PROJECT PROPOSAL AFTER PEER FEEDBACK: INCLUDES TIMELINE

  • Look into the socially engaged art practice example assigned to you below and prepare some notes / reactions to share with your peers in today’s class.
  • And if you were not able to complete your pre-reporting evaluation during our class in Week 56, then please make sure you have time to! You can find and download the template [here].
Read + Watch + Listen + Prepare:
  • Melissini Motiti = ‘Complaints Choir’ (2005-) by Oliver Kochta-Kalleinen and Tellervo Kalleinen [useful links herehere and here]

The Complaints Choir is a collaborative art project initiated by artists Oliver Kochta-Kalleinen and Tellervo Kalleinen in 2005. It involves creating choirs where people come together to sing about their complaints and grievances, turning everyday complaints into song lyrics. The project aims to provide a creative outlet for expressing frustrations, highlighting common issues in society, and fostering community bonding through shared experiences. Each choir’s performance typically includes singing these grievances in public spaces, turning personal frustrations into a collective expression. It’s a unique blend of art, music, and social commentary aimed at exploring the cathartic and communal aspects of complaining.

Georgia Kotretsos: By inviting people to
lodge their complaints, to protest, to express
their objections, to speak (sing) out, to make
a statement of disapproval, to stage that very
act and perform it in public, you offer the par
ticipants a platform to communicate their petty
every-day gripes as well as issues that affect and
concern every citizen. You invite them “to take
responsibility for their complaints,” to stand up
straight and face collectively their own reflec
tion. The participants sing together and to one
another, they do not exclude themselves from
what they are singing about. It’s not an act of
pointing their finger to a third party but of dis
tributing responsibility first among themselves
and then among their listeners. What are your
thoughts on the socio-political “Valituskuoro”
dimensions in practice

Live Sessions

The details of this session will be updated after the Week 55: Project Proposal Review class and be tailored in relationship to your proposals and the types of public engagement your projects will likely involve.  

The session will be divided between small lectures / peer-to-peer discussion / staged debate*. Expect to be asked to a) conduct small scale experimental engagement activities to connect with publics in playful ways; b) to study materials related to one of five socially engaged art projects, either assigned to your directly or distributed internally amongst yourselves.  

From this class you should think of ways to augment, expand and refine your Unit 6 projects. 

* In a staged debate you will be asked to adopt one or two positions on a given subject and argue against your peers. The purpose of this is not to win the argument, rather it helps to dislodge readily assumed positions and to critically examine a case study. 

FEEDBACK

15 INTERVIEWS.

FOCUS ON WHAT U WANNA TELL THROUGH THE QUESTION!!!!!!!!!!!!!!!!!!

QUESTION FOCUS (SOCIAL? POLITICAL?) SOMETHING THAT CAN SHOW THE DIFFERENCE BETWEEN LONDON/ CYPRUS!!! IN LIVING COMMUNALLY? SOCIALLY? RACISM? RELATIONSHIP TO FAMILY? TELL ME ABOUT YOUR FAMILY AND RELATIONSHIP TO PARENTS/ GRANDPARENTS

ETC ETC

SOMETHING THAT WILL DO NUMBERS ON TIKTOK AS WELL.

questions that arent too leading.

example: what is the last thing that really annoyed u

am i able to create scenarios that create vulnerability

cricise my self/ the intereactions/ maybe it isnt the best moment/ maybe i didnt create a safe space.

think of the history of sitting with someone and the power dybamics

am i creating a situation were vulnerability can be achieved i a meaningful way

does this conversation achieve something intercultural.

model- artist RELATIONSHIP!

Categories
INTERCULTURAL PRACTISES UNIT 1

 Week 56: Art Reporting

Week 56: Wednesday 29th January [13:00-15:00] 
= Art Reporting  

Independent Study

Tasks:
  • Conduct an online search for arts funding initiatives in your national context / or investigate an example of socially engaged art practice with an eye towards how it was funded. Take notes to share. 
Read + Watch + Listen + Prepare:
  • Take a look at the questions detailed below and begin to think about how they relate to your practice + project and how you would answer them. 

Live Sessions

To understand how we can report on public art practices, this session will open with a discussion on funding in the arts and how this shapes a culture of quantification and report writing.  

Followed by a critical examination of Lahua: The Lola at Sea – an online performance produced by Angeline Meitzler and curated by Off Site Project for the SummerWorks Festival 2022 – using the six-question framework below. We will consider how the piece connects with different audiences and what challenges it faces in communicating its values.  

  • Describe your creative practice [30-70 words]
  • List the locations where it connects with a public [inc. whether online/offline]
  • Pick one of the above locations, and describe the type of communication and interaction that takes place [30-50 words]
  • Describe the type of values that are important to your project and key to creating a meaningful relationship with its audience [50-100 words]
  • How do you expect to register the success of the project? [30-70 words]
  • What concerns or challenges do you expect to encounter? [50-100 words] 

Everyone will then have the chance to preemptively answer the six-question framework to understand how their project will reach its audience and whether it aligns with the values your central values. Please use the prepared worksheet document [here]. 

Finally, we will look at a suggested structure for reporting on your projects and you will be asked to write down a list of elements you could include in your submission.