The MaMagazinegazine ofof FEANTSAFEANTSA - The European Federation of National OrganisationsOrganisations WorkingWorking with the Homeless AISBLAISBL in Europe Homeless SpringSpring 20020099

Homelessness and the Arts: Creativity, empowerment and social change In this issue

3 Editorial

4 How the arts can deliver real change for homeless people Matt Peacock

6 Interview with Hallvard Bræin, director of ‘Gatas Gynt’

8 Introduction to the ‘Self Portrait’ Project, Hungary Orsolya Szele

10 ‘We exist’ – homeless artists in Hungary Csilla Horváth

11 The empowerment of people with mental health needs and other social exclusion impacts using art participation: evidence from the UCLan/Anglia research project, UK. Dr Sue Hacking, Jenny Secker, Helen Spandler, Lyn Kent et Jo Shenton

14 DentroFuera - InsideOut, An artistic/cultural space in a home for the homeless Antonio Rodríguez, Julio Jara, Tono Areán

16 Arts and rehabilitation Sepp Ginner

17 Emerging art form takes its voice from the streets Liz Rutherfoord

19 ‘Fashion with a Mission’ - getting a second chance Carin Reinders et Jacqueline van Lent

21 Vision ImPossible – providing resources to realise potential Amanda Whittle

LETTERS TO THE EDITOR We would like to give you the chance to comment on any of the articles which have appeared in this issue. If you would like to share your ideas, thoughts and feedback, please send an email to the editor, [email protected].

Les articles dans Sans-Abri en Europe ne refl ètent pas nécessairement les opinions de la FEANTSA.

2 Homeless in Europe Editorial

Homelessness and the Arts: Creativity, empowerment and social change

In recent years, the use of art as a means to empow- Dr Sue Hacking, Jenny Secker, Helen Spandler, erment and well-being has taken on a larger role Lyn Kent and Jo Shenton showcase their research within the sphere of social service provision. It is which explores the empowerment of people with becoming increasingly accepted that the cultural mental health needs and other social exclusion activities broadly known as ‘the arts’ can inspire impacts through art participation. From a study of vulnerable people to fi nd a voice, empower those a large number of arts projects and participants, the who are socially excluded, and profoundly help research found signifi cant improvement in empow- people experiencing mental health problems. erment scores overall, with measurable improve- ments in self-effi cacy and positive outlook. This edition of Homeless in Europe seeks to explore the ways in which the arts, including opera, fi lm Antonio Rodriguez, Julio Jara and Tono Areán, from acting, painting and fashion design, have been Fundación San Martín de Porres in Spain explain used in different parts of Europe to help homeless how art has been made part of daily life in their people deal with their problems and everyday life. supported residence for homeless people. Having None of the projects outlined in this edition claim to converted the basement to a cultural space entitled solve the problem of homelessness – but they do all DentroFuera (InsideOut), it is now a hub of artistic share the common achievement of having improved installations and exhibitions, a magnet for artistic people’s self-esteem, self-awareness and motiva- endeavour, creativity and energy. It has fostered tion, while challenging mainstream perceptions of great camaraderie in the residence and has encour- homelessness. aged people to look at their surroundings with new eyes. Matthew Peacock, Chief Executive of Streetwise Opera explains how the idea of an opera group Art also inspired the residents of Verein Wohnen und for homeless people was inspired by the desire to Arbeit, in Austria to foster a creative atmosphere. challenge attitudes to homeless people. He further Sepp Ginner, manager of the residence describes outlines how the arts and culture are increasingly how the people staying there gained a new-found being used as a tool for social change and are pride in their surroundings and themselves, once gaining the recognition they deserve for delivering the home’s façade had been embellished by a local, tangible results, within the context of other inter- talented decorator. It inspired them to take on ventions. the task of decorating the inside of the home and contributed to their well-being. Perceptions of homeless people and their capa- bilities are also challenged in the Norwegian fi lm, Liz Rutherfoord, Chief Executive at the Single Home- ‘Gatas Gynt,’ in which all the actors were homeless less Project in the UK outlines the organisation’s people. Hallvard Bræin, the fi lm’s director affi rms ‘Urban Art Project’, which was particularly focused that despite the challenges involved in the making on younger people. Urban art can give marginal- of the fi lm, it was a great confi dence boost for the ised and vulnerable people a way into artistic and people who acted in it and proved that a play usually political discourse and gives ways of voicing protest, performed in formal surroundings by professional when other channels are inaccessible. actors can be just as powerful when performed by a group of people who are normally stigmatised. Finally, two articles from the Netherlands and the UK show how artistic endeavour can be converted into Orsolya Szele, a homeless journalist for Fedél Nélkül commercial enterprise, providing not only a creative street paper in Hungary introduces the ‘Self Portrait outlet for those involved, but also paid employ- Project’ which was set up to offer homeless people ment, and a means to a stable life. Carin Reinders the possibility of self-expression. She conducts and Jacqueline van Lent of Mode Met een Missie interviews with people involved in the project, who outline how homeless women in the Netherlands all express positive benefi ts from having found have been taught to cut and sew designer clothes, a way to share their story. Also from Hungary, giving them a skill, a livelihood and a feeling of Csilla Horváth, President of ‘We Exist’ – a group pride. Amanda Whittle at Vision ImPossible, an arts of homeless artists – explains how the group came project for homeless, ex-homeless and precariously about, and how it has helped its members gain an housed people explains how it helps people break increased sense of self-worth. into the London art scene and get artwork sold in group and solo shows.

Homeless in Europe 3 How the arts can deliver real change for homeless people By Matt Peacock, Chief Executive, Streetwise Opera 1, UK

Streetwise Opera was born following a comment by a better by launching, not one, but two centres that just Member of Parliament in the 1990s that, ‘the home- deliver a programme of meaningful activities; ‘Look less are the people you step over when you come out Ahead Housing’ have just delivered major artistic of the Opera House’. At the time I was a Key Worker commissions in fi ve hostels. The most powerful indi- at The Passage Nightshelter and this comment created cation that there has been a shift in opinion in the some strong feeling with the residents. The residents UK is through government policy documents and felt that they needed to respond and the best way of independent research. Papers published by govern- doing this was by turning the tables on this comment ment departments as well as studies produced by – if they were in an opera it would challenge public Broadway, Crisis, New Philanthropy Capital, Homeless perception and show society what homeless people Link and the Westminster Primary Care Trust all talk could achieve given the chance. This idea grew into of homelessness not being solved by housing alone Streetwise Opera and seven years on, the charity runs and that, ‘a multi-layered support approach is needed a national music programme in 11 homeless centres including recreational activities such as sport and the around the UK and its current production will be seen arts’ (Offi ce of the Deputy Prime Minister, (ODPM), by an estimated 70,000 people around the world. 2005). In the government’s new strategy to end rough sleeping, the Department of Communities and Local Arts and culture have always been used as a tool for Government devote a section to the arts. Meanwhile social change although it is only in the last century that Streetwise Opera recently won the Andy Ludlow various ideas and interventions have come together in Homeless Award2 – the fi rst time an arts initiative has recognised movements – Social Arts, Community Arts won this key award in the homeless sector. or Participatory Arts. These movements are extremely broad though often linked and can include work as So why has the homeless sector become more varied as music therapy, arts in hospitals, drama in attracted to the arts? Society has historically been the criminal justice system – artistic programmes with slow to welcome any intervention that doesn’t have every kind of vulnerable individual from homeless immediate, obvious benefi ts. The arts have tended to adults to disabled children. And although these areas be seen as a distraction or ‘add-on’ when it comes of work are now well established, it is my belief that to delivering real change because the change can be it is only in the last decade that the arts has earned more subtle, ‘softer’ or take longer to develop. What the recognition it has deserved for delivering tangible is different now is that the arts are being recognised benefi ts. as having strong benefi ts when placed in the context of other interventions – the idea of the ‘multi-layered In the homeless sector we are now seeing meaningful approach’ from the ODPM report mentioned above. activities (including the arts) approaching the centre Arts interventions themselves are not new - it is the of policies to improve people’s lives for the fi rst time understanding of their role that has shifted. and the front-line agencies themselves are embracing the arts in a way never-before witnessed. Where once On the ground, in homeless centres this plays out in the nearest homeless centres got to the arts was a a compelling and intriguing way. The confi dence and stack of second-hand books in the TV lounge, now self-esteem, increased communication and motiva- you see a number of day centres and hostels running tion that results from the arts are being shown to be a full arts programme and some even employing arts the building blocks to help individuals move forward co-ordinators; Crisis (UK organisation) has gone one quicker and better. Someone with increased confi -

1 Email: [email protected] 2 The UK’s leading homelessness award, open to all agencies who work on preventing, tackling homelessness and supporting homeless people in London, along with local authorities and housing associations. There is a prize of £26,000 available to be won each year.

4 Homeless in Europe dence may engage with a housing worker more; I use this example partly because the end result isn’t someone who is more communicative may tell their something you would necessarily expect – something key worker more about themselves and therefore be much less obvious than an individual getting a job or signposted better; someone with more motivation a house and moving out of homelessness. The arts may sustain a tenancy or enrol in further education are important not because they can deliver a strict set and training. There are numerous real examples of of outcomes but because they can be the catalyst for this – at Streetwise Opera we often use a case study people to change – the spark that is needed to make of a man who we started working with in 2006. A people feel proud of themselves for the fi rst time, to long-term alcoholic, ‘John’ is in his 50s and attended show them that they can achieve something if they the centre every day to have his lunch and sit in the are given the chance. They then have the motivation same chair. He rarely spoke to anyone and would not and courage to face some of the tangible issues in engage in any other service. After three months of their lives – issues that the primary services of the running our weekly music workshops in the centre, centres can then help with. he started to show an interest and agreed to work back-stage at one of our productions. We gave him some free tickets and he used them to invite his family Streetwise Opera runs a weekly music programme in who he had not seen in 10 years – he wanted them to 11 homeless centres in England and one professional see that he was doing something positive and moving production each year. The current production, a new forward. His daughters came to the show and he installation, My Secret Heart, is touring the world in met his grand-daughter for the fi rst time. Following 2009 including to New York, Paris, Yokahama and on from this he started doing some voluntary work, Sydney. See www.mysecretheart.co.uk for more including at the homeless centre he had visited every details. day. His life has moved on dramatically as a result of the arts as an intervention running alongside the portfolio of support he was receiving.

T O U R D A T E S

20-27 June Edinburgh International Film Festival

3-18 July Cheltenham Music Festival

6-12 July Hat Factory, Luton

August to September British Council Tour to South East Asia including Sydney and Yokahama

October Belfast Festival

November Taliesin Arts Centre, Swansea

February 2010 Bath International Music Festival

Homeless in Europe 5 Interview with Hallvard Bræin1 Norwegian fi lm director on making ‘Gatas Gynt,’ a fi lm with homeless actors

‘Gatas Gynt’ is a fi lm made by Norwegian fi lm director FEANTSA: How did the idea to work with Hallvard Bræin, based on the last act of the famous homeless people come about? play ‘Peer Gynt’ by the Norwegian 19th century play- wright Henrik Ibsen. The play examines the human H.B: For me, ‘Peer Gynt’ is one of the most impor- condition and our moralistic perceptions; Bræin’s tant pieces of writing that clearly resonates today. fi lm adds a ‘documentary’ aspect through the use of The way the world has been accelerating towards homeless participants from Oslo as actors. The theme greed, lack of dignity with empathy fading away is of trying to fi nd one’s true identity in the world is just discouraging. Living in Norway, I see that people Doing ‘Gatas Gynt’, brought to the forefront in the fi lm through the real- give money to organisations helping people who are I wanted to focus on the life experiences of the fi lm’s actors. homeless. However, the distance between so called ‘successful’ people and people living a different life qualities of the people FEANTSA: How did the idea to make this fi lm is growing. originate? involved. To show that People rarely stop to talk; they pass by people lying Hallvard Bræin: I had worked with homeless people in the streets even if they are hurt. In Norway the a group of people, who before in a short fi lm I made in 1997. This fi lm was also normal perception of people who are homeless is based on an Ibsen text, ‘Rowing Song’. Basically that ‘drug abusers’. This defi nition is more like a diagnosis are often stigmatised, was a series of portraits of homeless people singing - a wholly negative one. The words, ‘criminal’, ‘conta- are able to deal with a a well known children’s song whilst looking straight gious’, ‘unpredictable’ etc. come to mind. People into the camera. The contrast between the cheerful tend to fear due to their lack of knowledge. I know play usually performed song with its lyrics looking optimistically to the future many homeless people that clearly prove that this is a and the faces of the homeless people gave a strong misperception. in fancy surroundings by impression. Many commented that this refl ected the fact that we as children lack the prejudice we tend to Doing ‘Gatas Gynt’, I wanted to focus on the quali- professional actors. acquire as we become ‘established’. ties of the people involved. To show that a group of people, who are often stigmatised, are able to deal We all learn the same songs, but then life takes us with a play usually performed in fancy surroundings in different directions. Some are ‘successful’, some by professional actors. The cast is made up of home- are not, and some ‘fall outside’. The refl ective room less people, some are in shelters, and some have been created in ‘Rowing song’ gave a voice to homeless assigned small fl ats. people and opened some eyes as well. FEANTSA: What was the experience like for After having seen several versions of ‘Peer Gynt’, one them? of Ibsen’s most famous plays, what always fascinated me was the way he described human drives and the H.B: It was mainly a very positive experience. Unfor- human mind. ‘Peer Gynt’ is a play that examines our tunately two actors died between the production of ego and the lies in our lives that we often tend to the pilot in the autumn of 2006 and fi lming the main live with. It’s basically a masterpiece dealing with production in early summer 2007. The fi lm is dedi- the human mind. In the fi fth act, Peer returns to his cated to these two people. home town having lost everything he made out in the big world. A voiceover in the beginning of the fi lm It was a long and demanding process for everyone describes his return like this: involved. I had a close collaboration with ‘Habour Light’ (The Salvation Army) who gave great support to “In this drama, we encounter a man destined for the project. We had long nights trying to locate some greatness. But his family lost it all. All of their prop- of the actors, as they were occasionally not on set, on erty. He learnt from early on how to lie, tell tales, and time. It was a great challenge for everyone, but also cook up stories. very rewarding. Some feared having to be ‘sober’ or Hated by the people, and chased by the law, he ‘clean’. This was not a part of the project, and I said betrays love and fl ees the country. that as long as no one was clearly intoxicated in front He remained a liar and an egoist. Out in the wide of the camera, I respected each individual to be their world, he profi ted from the misfortune of others. own judge on this. This was very rewarding and mostly After many years, he returned home as an ‘emperor this was a very positive challenge - giving everyone of the self’. responsibility, not only for themselves, but also for He lost everything abroad. A ruined man, he is now each other. on his way home. With death stalking him, he will be confronted with his Obviously it was hard for the actors to learn the lines. past... his conscience... and fi nally... his loved one”. To motivate them, I got one of Norway´s top actors, Sven Nordin, to come in as a dialogue coach and to give advice on how to work. He came in on readings and also on some shooting days. The collaboration between the homeless actors and Sven Nordin was great and all in all, the collaboration between the actors and the crew was very good.

1 Email : [email protected]

6 Homeless in Europe FEANTSA: What impact has this experience had on their lives?

H.B: It’s hard to give a general answer to this. Some of the actors took the reward of having succeeded in taking part in a fi lm as a motivation to try to get off drugs. So far, two of them have managed to do so, but for the most part, the actors continue their lives as before. The most important thing is that they all realised that they managed to make it and accom- plished something that was a great challenge. For many of them involved, this experience has been a Source: Norwegian Film Institute great boost for their confi dence.

We had a real professional production crew which I FEANTSA: What impact did this work have on hand-picked to fi nd the right individuals with the right Norwegian arts? social skills. There were times where we met chal- lenges of different kinds, like people suddenly wanting H.B: The production has been very well received with to pull out of the project for various reasons, people good reviews. It has been shown twice at prime time not having a good day, people not meeting at the on the main national broadcast channel NRK1. The right time at the right place… All of these challenges fi lm was on in cinemas in Oslo for several weeks, created insecurity, and we had good and bad days. and has been screened on numerous occasions. It I was prepared for this and managed to encourage has been very well covered by the media and educa- people so that in the end we made it work. tional organisations will use it as part of the school curriculum, and the actors, myself, and the producer, For the night of the premiere we made a great Gaute Lid Larsen have been invited to participate in arrangement in the centre of Oslo. The Salvation conferences. Army and the production company ‘Cylinder’ put together an unforgettable experience. His Royal FEANTSA: Are there any plans to do something Highness the King was invited, and actually attended. like this again in the future? He met all the actors before the screening, which obviously was a very important statement from the H.B: I would love to, but for now, there are no concrete Royal family, and a great experience for the actors. All plans to do something in the near future. However, I actors were presented by myself on a stage to great take great joy in having great meetings with the actors applause. With a 12 x 7 m outdoor screen we had talking about our common experience. a mesmerising experience. Synnøve, who played the character Solveig, was sitting next to the King on the front row. Between 1.500 and 2.000 people were present on this cold night in March to see the fi lm. I wanted to have an outdoor screening and felt this was the right arena to show this fi lm.

Homeless in Europe 7 Introduction to the ‘Self Portrait’ Project, Hungary By Orsolya Szele, a homeless journalist of Fedél Nélkül street paper, Hungary

The Self Portrait Project originates from the United 2. INTERVIEW WITH ATTILA MÉSZÁROS, Kingdom, and was introduced in Hungary by the LEADER OF THE PROJECT, WORKING FOR THE Menedék Hungarian Association for Migrants. One MENEDÉK HUNGARIAN ASSOCIATION FOR of the purposes of the project was to give a voice to those people who are not easily accepted by the MIGRANTS majority of society. Another purpose was to provide information to those who are open to fi nd solu- Our Association represents foreigners living in tions, but do not know much about the ‘why’s’ and Hungary. We provide help in trying to get them ‘how’s’ and to reduce prejudice towards the minori- integrated into society. We started in 1995, and fi rst ties involved in the project. The fi rst target group was only provided legal representation and later on, social that of migrants – the reception was enthusiastic from support. We have about 1.000 people who come both sides. The next minority target group was the to us for help. A big part of our work is providing Roma – the posters made by Roma people with the information: we are trying to make Hungarian society help of artists could be seen all over Budapest. The more open and inclusive. third project offered the possibility of self-expression to homeless people – the exhibition and campaign I fi rst got to know this method on a study trip to the took place in December 2008. United Kingdom, where they worked on the inclu- sion of refugees as well. I was shown the results of In the following interviews you can read about the the project, and was actually invited to one of the opinion of a homeless participant, the organisers, one groups during the creation of their art. When I came of the artists who helped in the act of creation, and back home, I started to look for funding, and then passers-by viewing the exhibition on the streets of to organise something similar involving refugees and Budapest. Roma people.

How did you start working with homeless 1. INTERVIEW WITH CS. M. - A HOMELESS people? PARTICIPANT. I was invited to organise something similar by BMSZKI, who received funding through an EQUAL1 project. We How did you hear about the project? visited various shelters for single people as well as fami- Our key worker recruited us from the hostel. There lies, day centres, the street paper, and offered to help was free food and drinks, which made it all the more the users of these services in expressing themselves. attractive. We were given crayons, paintbrushes, We invited one of the initiators from the UK project we could draw or paint or do whatever we felt we to come and teach our “staff” – painters, graphic had a talent for. I drew a picture of my life: there are designers and photographers who helped the home- two lesbian women in a forest. It is my message to less participants in fi nding their voice. Our aim was the world out there: that there are people who are to paint a more colourful image of homeless people different. The forest symbolises hiding and represents than what is the common, simplifi ed perception. Of the idea that people are usually not too tolerant when course, we hope that by seeing these posters, people you choose a partner from your own sex. I enjoyed will become more open. We would like them to see making the picture. When I was fi nished, my girlfriend that not all homeless people are dirty individuals lying wrote a text to go with it. They said our messages and on the street, but that it is a very diverse group and pictures were going to be made into posters, and that there are many paths that lead to homelessness. So there would be an exhibition as well. we wanted homeless people to be able to tell their messages in a creative way that will make others When did you discover that you had a talent think, and hopefully become more tolerant. for drawing? When I was in fourth grade and lived in a foster- What did you think of the homeless home. My art teacher liked my drawing and told me participants? I was talented! But there was no additional help to It was really positive. On each location we had about develop my skills. Maybe I could have had more luck 8-10 people, who were really enthusiastic to partici- with singing. But to make a living out of either, one pate. They were very creative in expressing them- would need a sponsor. selves. Participants were very eager to fi nd something

1 The EQUAL initiative was part of the European Employment Strategy and the Social Inclusion process. Its mission was to promote a better model for working life by fi ghting discrimination and exclusion on the basis of gender, racial or ethnic origin, religion or belief, disability, age or sexual orientation. Funded through the European Social Fund, EQUAL was implemented in, and between, the Member States up until 2008.

8 Homeless in Europe 3. INTERVIEW WITH ZSÓFIA VÁRADI, ONE OF THE ART TUTORS

Would you introduce yourself? I studied at the Hungarian University of Art and am an artist. I sometimes work with children in teaching them art. I’m currently working on organising an exhi- bition of two photographers’ work. I got involved in the project through my sister, who is a sociologist, and who had worked for the Menedék Hungarian Asso- ciation for Migrants. When they started their fi rst Self Portrait project and were looking for artists, I willingly got involved. First I worked in the projects with refu- gees, then with the Roma. I was enthusiastic when I heard we could also work with homeless people – our whole team of artists was recruited.

How did you learn the method? What do you think about it? I think you either have a gift for this or not. The person who invented the idea came to teach us all the way from the UK. He explained what we have to pay attention to and what kind of questions should be asked. He told us to be very open and listen to the stories so as to fi nd the key points that would help Zoltan Rusz portrait us transform them into art. He gave us tips on what to do with a person who does not seem to have any useful and creative to do. Even though the project is message: we should ask them what they have with called Self Portrait, people are not expected to show them, in their pockets, or when they were last happy, their faces – they have to show a bit of themselves, who their friends are, what they long for… We used but that comes as much through the verbal message this method quite often as many people could only as well as the image. The ‘portraits’ all have a visual start talking when we asked them what they would part: an image (painting or drawing or photo) and a do if they could do anything at all, what they wanted written message. In the case of refugees, the written deep down. They created many pictures and draw- part was about why they had left their home and ings as answers to these questions. We, the tutors, what their plans were. In the case of homeless people, always stayed in the background, we only offered they wrote messages about their hopes and dreams. help to put their ideas onto paper and how to make We also wanted to show that people become home- them into a poster so that people on the street could less for various reasons, not necessarily through their understand. own fault.

Do you think people are open to the What can you say about the participants? messages of the project? It was varied. I was happy to see so many people inter- ested even on the fi rst occasion. I felt that it made a That’s a good question! I do think that providing difference for them, the fact that we were there to help information can be useful. In the case of homeless them create art and that we were willing and open to people, we provided facts about homelessness. I hear their stories. I felt that forming friendships meant think that a visual image with a personal story can a great deal to them and to have people to talk to, to help convey the factual information better. If only a help and get help from. They talked about their lives tenth of those hundreds of thousands of people who openly: who worked and who did not, who messed see the exhibition or see the posters on the metro will up when, and how they wanted to reach their goals. stop to think, I think it was worth it, and I would call We also shared stories about ourselves. I could say we the project successful. have built friendships. Then we, the artists, took their What are your personal impressions of the pieces home and worked on them, so when we met program? again, we could ask them how they liked our ideas and if it met their expectations and how we could I really enjoyed doing it. We managed to involve improve them. very enthusiastic artists as tutors. We invited them to a three-day preparation course in the country- There were many interesting moments. When I saw in side, where one of the original tutors from the UK somebody’s eyes that they were sharing a story they explained the practice. Then in the case of refugees, had not shared before, or that they just realised what the tutors moved into their camps for a week, and they really wanted. When I saw how happy they were lived with the participants. that a piece was fi nished, and they felt it expressed everything they had meant it to… Their method is simple: dialogue. We want to convince participants that they have a message to convey and With homeless people, it was their ‘joie de vivre’ that experiences that are worth sharing with the public. impressed me the most: that they had experienced so Of course, it was important that the artists had ideas many bad things, and could still be positive about life and a tool to make something visual, but even more and their future. vital was that they had to understand each other. The verbal message was always the fruit of joint effort. The emphasis was on the human aspect - liberating people to fi nd their voice.

Homeless in Europe 9 I have looked through 4. INTERVIEWS WITH PASSERS-BY DURING • Middle-aged man: “It is not easy to say something. THE STREET EXHIBITION (BY ERDŐS B. On the one hand I am glad I have never experienced the pictures and read GYULA, PARTICIPANT AND JOURNALIST OF such misery. Of course, I feel sorry for these people, but that does not help much. I think the location THE STREET PAPER) the texts underneath. of the exhibition is ideal, it is central and there are homeless people around. I think the message I was touched, much • Two young women, one of them is an actress: reaches a wide audience.” “I feel very disempowered when I see homeless • A young psychologist: “I have looked through more than when I see people, I would like to help them but I don’t know the pictures and read the texts underneath. I was someone sleeping on how to… And I am glad to have the opportunity to touched, much more than when I see someone speak with them and see their pieces of art. Some- sleeping on the street. I get the bigger picture that the street. I get the times I feel very humbled, when I see that vulner- is behind the individual. Like I can take a peep into able people can have such love and determination. their heads. I was not expecting art, I wanted to bigger picture that is These things are often missing from our lives, even fi nd out what homeless people feel or think. I was though we live in much better conditions.” really surprised by the poems.” behind the individual. • A 40-year old teacher: “I think this is a very good idea, it makes the problem of homeless people To fi nd our more about the project, please contact Like I can take a more tangible and, more understandable. We can Boróka Fehér ([email protected]) see their own points of view. I like the exhibition.” peep into their heads. • A middle-aged couple: “We think this is a good exhibition, it makes one think. I think most of us do not know homeless people who are responsible in life. This provides a different image.” • 26 year old unemployed woman: “I was struck how people who live on the streets are more independent than I am. They have to be, they have to stand up for themselves. We tend to get lazy when we have a steady relationship, and live in a nice inner city home. I get a lot of support from my partner. I like the exhibition. I think it is great art.”

‘We exist’ – homeless artists in Hungary By Csilla Horváth, President of ‘WE EXIST’, Hungary

It started with a street paper called ‘Fedél nélkül’ So far, we have organised seven exhibitions: the fi rst (‘Without shelter’). It was founded by homeless three were hosted by service providers, and then people, and when it got bigger, a monthly award was two were hosted by cultural centres, where we also offered for the best contributions in three categories: succeeded in attracting the attention of the media. An poetry, short stories and pictures. A group emerged employee of the Parliamentary Commissioners Offi ce from the regular contributors who decided to establish of Hungary saw our exhibited pieces, and invited us a self-help association to represent their interests and to show the same collection in their building. Our organise exhibitions. Our fi rst attempt was to create seventh exhibition was hosted in Bratislava at the the HAA – Homeless Amateur Artists Corporation, same time as the Visegrad Group (Czech Republic, but it failed due to fi nancial diffi culties and personal Poland, Slovakia and Hungary) held its consultation differences. Finally, on December 6th 2006 the ‘WE about homelessness. EXIST’ - Homeless Artists Self-Help Association was created with support from three homeless service We are currently working on our next exhibition in providers (BMSZKI, Menhely and FSZKA) within the Budapest, and are planning another one in a resort framework of EQUAL. area for the summer.

I think our most important achievement so far has Our members and our associates can be proud that been our success in convincing a wider audience the name of our association has become known, but through the street paper that there are talented and also that our art can be sold. We hope to keep this gifted people to be found amongst those living in up in the future. I might also add that two of our the most diffi cult circumstances. Anyone capable of members (myself included) have broken out of home- creating something cannot be worthless in the eyes lessness and some others are optimistic about having of society. Another goal has been to prove that even a good turn of events in their own lives. We think that those who are not capable of creating art can be those who can create can be useful in the world and useful, important members of society; furthermore, are also capable of living a life like everyone else – they can be appreciated by their immediate circle of they just need to be given the chance! friends and family. This actually does not only apply to homeless people.

10 Homeless in Europe The empowerment of people with mental health needs and other social exclusion impacts using art participation: evidence from the UCLan/Anglia research project, UK By Dr Sue Hacking1, Jenny Secker2, Helen Spandler3, Lyn Kent4 and Jo Shenton5,UK

INTRODUCTION HOW THE INDICATORS WERE DEVELOPED Poverty of circumstance that includes homelessness As White and Angus (2003) argue in their review of or belonging to a minority or vulnerable group, such the arts and mental health literature, tools for meas- as people with mental health issues, limits access to uring arts and mental health outcomes should be society’s institutions and thus may be said to impact relevant to the aims of arts projects. We developed upon citizenship and human rights through barriers indicators through a survey of existing participatory other than obvious or legal ones. Equity of access arts projects in England asking what they were aiming may be compromised further for a variety of other to achieve, and we examined previous literature to reasons and can be doubly impacting if people have review the evidence for support of these claims and to multiple problems which is often the case for people identify tools that we could use to measure the aims in these circumstances. It is only very recently that that the survey had revealed. Project aims that were social policy for inclusion in the UK has moved more collated from 102 projects working with people with towards whole community participation and consul- mental health needs (for full results see Hacking et al tation. Thus poverty has come to be identifi ed with 2006) which responded to the survey were generally social exclusion, and under-representation of excluded understood to lift mood and increase the social inter- groups continues to be a key focus of UK government action of participants. Finally, considered amongst the policy (Social Exclusion Task Force 2006; for a further most important by over 90% of the project workers examination of social exclusion in Britain see Hacking who completed the survey, were outcomes associated 2005). In 1999 the British Government set up units with empowerment such as improved self-esteem, to fund improvement programmes in designated confi dence and personal growth. Outcomes that can areas of poverty and disadvantage and particularly to be seen as ‘distance travelled’ towards longer- term target vulnerable groups such as rough sleepers and health and social outcomes. Our literature search young people. However, in 2004 the Social Exclusion revealed few evidence-based studies, but there were Report (Offi ce of the Deputy Prime Minister - ODPM) indications that arts participation may have health- admitted that minority and vulnerable groups were related benefi ts such as increased self-esteem and helped little by these measures. The report identi- self-determination (Health Development Agency fi ed potential for third sector services such as arts 2000). Small-scale studies have reported specifi c and sports to engage people with mental health and benefi ts for people with mental health problems other inclusion needs in society, but examinations of including fewer hospital re-admissions (Colgan et al. the evidence base for the social and health benefi ts of 1991), lower levels of depression (Huxley, 1997) and participatory arts has revealed gaps (Department of reduced rates of consultation with a doctor (Everitt & Health 2007; White and Angus 2003). Hamilton, 2003).

THE ARTS, MENTAL HEALTH AND SOCIAL MEASURES FOR THE OUTCOMES STUDY INCLUSION RESEARCH PROJECT For mental health, we used the Clinical Outcomes The study reported on here was jointly commissioned in Routine Evaluation (CORE) instrument, since this by the UK Department for Culture Media and Sport includes measures of both wellbeing and problems/ and the UK Department of Health in response to symptoms (CORE System Group, 1998). these policy recommendations and to strengthen the evidence base. The aims of the study were therefore To capture self confi dence and self esteem, we adapted to identify appropriate indicators and measures for a measure of empowerment that was already tested mental health and social inclusion outcomes, and to with a group of mental health service users (Schafer, use those indicators and measures in an evaluation of 2000). This measure was refi ned to comprise of 17 the social and mental benefi ts of participatory arts. questions grouped into four scales assessing self-

1 Senior Research Fellow in Mental Health & Wellbeing at the University of Central Lancashire, Preston, UK. Email: [email protected] 2 Project leader and Professor of Mental Health, Anglia Ruskin University, Chelmsford, UK 3 Research Fellow, University of Central Lancashire, Preston, UK 4 Administrator for the project, Anglia Ruskin University, Chelmsford, UK 5 Independent artist (contact through J.Secker), Anglia Ruskin University, Chelmsford, UK

Homeless in Europe 11 worth, self- effi cacy, mutual aid and positive outlook. EFFECTS FOUND No studies assessing the impact of arts participation The effects found are briefl y explained without going on social inclusion appeared to have been carried into complex explanations of statistics which are out and no published measure of social inclusion reported elsewhere (Hacking 2008). We found no appeared to be available. We therefore developed an signifi cant decreases in mental health scores and that instrument in the course of the study that comprised change in medication was not a suitable outcome for of three scales measuring social isolation, social rela- project participants because it is diffi cult to measure tions and social acceptance (Secker et al., 2009). and not all decreases or increases are easily inter- preted as positive. We found small but signifi cant CASE STUDIES increases in social inclusion for participants, which It was clear from our project survey that these meas- was surprising as many projects claim effects for ures alone might not capture the outcomes that social inclusion. However, there were indications that were of greatest importance to the projects. Our people were strengthening their immediate networks understanding from the start of the research was that rather than building new ones. We found medium evaluation of outcomes alone would be insuffi cient effects and signifi cant improvement in empower- Our understanding from and that detailed qualitative research and talking ment scores overall with measurable improvements the start of the research to participants and workers, was needed to explore on the individual scales measuring self-effi cacy and how and in what contexts arts projects might benefi t positive outlook. Furthermore, people attributed the was that evaluation of participants. Alongside the outcomes study using improvement to arts participation. the three standardised measures described above, outcomes alone would we therefore carried out a series of six in-depth case THE EXPERIENCE OF EMPOWERMENT FOR studies of projects chosen to refl ect a diverse range in PARTICIPANTS be insuffi cient and that terms of location, target group and working methods. This is good news for arts and mental health projects, We interviewed project workers and 37 participants, but it does not take us much further unless we can detailed qualitative asking about their expectations of their project, what understand what it is about arts participation that they saw as the benefi ts, and how these had come research and talking could have affected the scores. The largest effect and about. the one I focus briefl y upon here was for empower- to participants and ment (see Secker et al 2007 for more detail); it was the workers, was needed METHODS most sought after effect and an appropriate outcome The three measures described above were included in to discuss for art projects that were not included in to explore how and a questionnaire for completion by arts project partici- the survey but impact directly on homeless people, pants soon after joining their project (baseline) and six such as Streetwise Opera, Cardboard Citizens, Crisis in what contexts arts months later (follow-up). Amongst other questions, Skylight and the Novas group, that hope to express the baseline questionnaire also asked for information creativity but also to impact on the perception of citi- projects might benefi t about participants’ gender, age, ethnicity and mental zenship and inclusion in mainstream society. The case participants. health problems. The follow-up version asked about studies helped us to defi ne fi ve processes that partici- their experiences of arts participation. In addition, pants linked to empowering benefi ts. We termed since it was not possible to establish the traditional these fi ve processes: ‘control group’ as a means of attributing any change to arts participation, at the end of each of the three • Getting motivated – the main element here was measures, the follow-up version asked participants developing inspiration and pride in their artwork to rate the impact of their arts projects in relation to that gave a sense of purpose and meaning in the issues addressed using a four-point rating scale people’s lives. (a lot, a little, not at all, unsure). The question asked “I feel when I come that I have got some was, ‘Thinking about all the questions you have just purpose...Coming here gives me impetus to answered, do you think that being involved with your make the rest of my time more important” arts project has helped you in these ways?’, followed (project 6 participant). by a list of items linked to the scales contained in each • Expressing self – in self-expression, participants measure. valued their art and themselves as creator, helping them to discover and accept themselves. This was seen particularly in people experiencing complex RESULTS mental health issues, people with diffi cult past Across 22 projects that agreed to be involved in the experiences and people who self-harmed. survey of participants, 62 people completed the ques- “My own means of painting and expression tionnaire at the start of their project and the follow- has been incredibly important …accepting up at 6 months. Almost three-quarters were women, that I do paint in this style…and alongside that around a third were in their middle years (36-45) has gone my acceptance of myself”. (Project and the great majority (82% at both time points) 2, participant) described themselves as of White British ethnicity. In terms of their mental health needs, over half were experiencing depression or depression and anxiety, with smaller numbers describing their needs in terms of other diagnoses (schizophrenia, bi-polar disorder/ manic depression, obsessional disorders, eating disor- ders and panic attacks). Responses to questions about service use indicated that two fi fths were frequent and regular service users.

12 Homeless in Europe • Connecting with abilities – this was important REFERENCES for participants who had little or no experience of Colgan S., Bridges K. & Faragher B. (1991) A tenta- art before joining their project and who were there- tive START to community care. Psychiatric Bulletin 15, fore able to gain specifi c benefi ts from learning. 596 – 598 “My feeling is that I’ll never be an artist and I know that, but it doesn’t matter, it’s that Core System Group (1998). CORE System (Informa- I can actually start to do things that I didn’t tion management) Handbook. Leeds: Core System think I could do before. Occasionally I look at a Group, University of Leeds. picture [I’ve done] and it has been really good for my self esteem”. (Project 1, participant) Department of Health (2007) Report of the Review of • Rebuilding identities – this is associated with Arts and Health Working Group. London, Department opportunities to create and display work, which of Health. helped participants view themselves as people who could achieve something, and showing their Everitt, A., & Hamilton, R. (2003). Art, health & artwork led other people to view them differently well-being – An evaluation of fi ve Community Arts - both processes which enhanced their sense of self in Health Projects, Centre for Arts and Humanities in worth. Health and Medicine, Durham University. “They took all the stuff what we created here, what we made here, to [a local museum] …and Hacking, S. (2005) Social Quality in Britain: a welfare then they did a function there, they invited all state? European Journal of Social Quality, 5(1&2), of us there and it was really nice, they showed 43-56 it to everybody there. The program we did here, what we made here… Before that we Hacking, S., Secker, J., Kent, L., Shenton, J., & Span- were thinking we can’t do anything, but we dler, H. (2006). Mental health and arts participation: felt really good… they really appreciated and the state of the art in England. Journal of the Royal we did as well, what they done for us”. (Project Society of Health Promotion, 126, 121 – 127. 4, participant) • Expanding horizons – this is associated with long- Hacking S., Secker J., Spandler, H. Kent L., Shenton, term service users who were living with serious J. (2008) Evaluating the impact of participatory art mental health diffi culties, giving a new sense projects for people with mental health needs, Health of their identity as artists rather than an identity and Social Care in the Community, 16(6):638-648 defi ned by their mental ill-health. These partici- pants usually had a previous interest and involve- Huxley P. (1997) Arts on Prescription. Stockport: ment in art and through participation in their arts Stockport NHS Trust. project, were able to return to those interests and make them central to their sense of self. As well as ODPM (2004). Mental Health and Social Exclusion. contributing to a sense of self-worth, this was also London: Offi ce of the Deputy Prime Minister. clearly linked with developing a positive outlook: “It’s not just something that someone with Schafer, T. (2000). Empowerment: Towards a partici- mental health problems has produced, it’s patory model for the evaluation of the empowering something that an artist has produced and it therapeutic environment. Mental Health Care, 3, 233 just so happens that they’ve got mental prob- – 237. lems as well”. (Project 3, participant) Secker, J., Hacking, S., Kent, L., Shenton, J., Spandler, Finally, for participants across all projects, arts partici- H. (2009) Development of a measure of social inclu- pation had expanded their horizons, enabling many to sion for arts and mental health project participants, widen their aspirations in relation to the worlds of art, Journal of Mental Health, 18 (1):65-72. work and education. A few had already taken up new opportunities as a result, but for all the participants Secker, J., Spandler, H., Hacking, S., Kent, L., Shenton, concerned, expanding horizons was clearly linked J., (2007) On the trail of the holy grail: empowerment with a positive outlook and a growing sense of self- and arts participation for people with mental health effi cacy. needs, Journal of Public Mental Health 6 (4):14-23.

Social Exclusion Task Force (2006). Reaching Out: An Action Plan on Social Exclusion. London: Cabinet Offi ce.

White M. and Angus J. (2003) Arts and Adult Mental Health Literature Review. CAHHM , University of Durham.

Homeless in Europe 13 DentroFuera - InsideOut, An artistic/cultural space in a home for the homeless By Antonio Rodríguez1, Julio Jara, Tono Areán Fundación San Martín de Porres, Madrid, Spain

“The Day of the Homeless” has been held in Spain Next step: Why not create an art gallery?! We since 1992. Every year, the problems faced by home- made premises available to our volunteer artists as less people are broached for discussion and social of September 2007, to create a cultural space in the awareness raising with great impact in the media and basement of our supported residence. The ground society. In Madrid, the organisations that work on fl oor, which is normally used as a canteen at midday, this issue organise different actions and events geared also served as a meeting space during openings. towards the public. In 2004, 2005 and 2006, we One of the artists, Julio Jara, also lives permanently asked two Madrid-based artists, Tono Areán and Julio in residence as a volunteer with another 10 homeless Jara, both involved as volunteers with the Fundación people on the three upper fl oors. On weekends, the San Martín de Porres, to organise an artistic and centre is used as a Day Centre for persons who live in cultural event for this day. They proposed that we our centres. invite different artists to prepare various artistic activi- ties with homeless persons in the centres. The space was given the name “DentroFuera” (Insid- eOut), or “DF” for short. Its two core themes are rela- This singular space • In 2005, the “Dar la Voz” (Give Voice) project was tions and encounter. This singular space aims to bring developed: this was a video installation, with videos people together and to build bridges, beyond clichés aims to bring people produced by the users themselves. The exposition and prejudices, between worlds that are separated was held in La Casa Encendida, a very important from and alien to each other, i.e. the world of home- together and to build cultural centre in Madrid, connected with the less people and the world of the artists. They meet in bridges, beyond charity work of a building society, Cajamadrid2. this space, in DF, every third Thursday. clichés and prejudices, • In 2006, the Yo también pinto algo project (I too The aim was to create art spaces beyond the tradi- have painted something) was held. A workshop tional sacred venues, endowing a place, a home, between worlds that comprising various sessions with homeless persons an anything but conventional space with a different and graffi ti artists was held in each centre. A logo meaning - that of dialogue and a real encounter are separated from and was designed for each centre which was printed between artists and the world of exclusion. The onto T-shirts, and the participants went out into homeless people who take part are not the aim of the alien to each other, i.e. the street to paint a number of walls with the fi nal product – rather, they participate actively in the same logo. The activities included the distribution entire process. Art is not reserved for the fortunate the world of homeless of awareness raising posters and brochures, and few; we are all involved; we are all protagonists. people and the world of the whole event was photographed. Some of the images were selected and used to make a large The closest description of what DentroFuera can the artists. collage for each centre. These collages were then be is perhaps that it is an art gallery run at a fl uctu- shown in an exhibition held at the Centre for Fine ating pace in Madrid, in the outskirts of the city, far Arts in Madrid. An open microphone was installed removed from the circuit of contemporary, commer- at the exhibition so that anyone who so wished cial art galleries, in a basement in no way equipped could speak on the day of the opening, and not for the viewing of works of art, which can only be only the authorities. The aim was to have as hori- reached by going down a tortuous spiral staircase, zontal an approach as possible: we all spoke from accessed through a canteen. Yet in spite of all this, ground level, and not from a rostrum3. astonishment awaits every three weeks.

These two events urged us and the two artists to The selection of artists who take part in this space continue to create places of encounter between artists is also somewhat of a mystery. As DentroFuera is a and the homeless. One of these activities, called Pablo meeting place, encounters with like-minded artists Tránsito, was held in the summer of 2007. It was a defi ne the selection of participants; from there, it is a workshop of poetry, music, drawing and theatre, held small step to enthusiasm and personal involvement. in the patio of the home for the homeless. The idea seemed to work: on the one hand, the residents in Artists are given total freedom to concentrate on their the home took part in the different activities, and work, which in my view, constitutes one of the most found them really positive. On the other, the invited interesting features of DentroFuera. Although it is not artists got more and more involved. a commercial space (artists do not sell their work), or perhaps because it is not (let us not forget that art is one thing, and the art market is something quite different). To date, the artists who have taken part in this “experiment” have shown a level of dedication which is diffi cult to fi nd in a conventional artist-gallery relationship.

1 Email: [email protected] 2 See photos: Day of the Homeless - 2005 http://www.faciam.org/spip.php?article202 3 See photos: Day of the Homeless - 2006 http://www.faciam.org/spip.php?rubrique14

14 Homeless in Europe For its part, DentroFuera is completely involved with its artists, and this camaraderie is apparent in each of the works. The users of the home participate actively in the mounting of the exhibitions, and without the energy fl ow generated from this interaction, the result would undoubtedly be very different, far poorer and less enriching.

DentroFuera turns the fact that it only has limited resources into one of its great virtues, and each show is set up through collective cooperation in such a way that the exhibitions that have been held to this day bear a very remote resemblance, if any, to what usually happens in art galleries. Time and again, an atmosphere close to a homely situation has emerged, one which makes relations between people possible. Teresa del Pozo, with The State of Things (El estado de las cosas) gave three cameras to homeless people for Perhaps the most important aspect of DentroFuera is 24 hours to take pictures of whatever they wanted. that it comes across as a space of relations, where She then collected, sorted, photocopied and trimmed art holds sway, but where life takes pride of place. them. She put them in boxes, one behind the other, Perhaps this is what Robert Fillou meant when he said in a slide show. It became a combination of distinct that “art is what makes life more important than art.” views, moments in one stream of images and sounds. This is what happens in DentroFuera. For them, it was very interesting to see themselves in those boxes, devoid of their context or contextualised Publicly recognised artists have passed through DF. with other people. Five events were organised in the 4th quarter of 2008 with the participation of more than 50 people per Jesús Acevedo, another artist, took up residence at opening. Among the participants, there have been the centre. He was given a key and a room. He would many prominent people from cultural and artistic go there from time to time to live, like the others. circles in Madrid, students from schools of fi ne arts, All his work focused on what happened around the friends, workers, etc. and people who live in our dining table. In his view, this was the centre of the centres. house. The table is covered with a tablecloth, which in Acevedo’s eyes became the living part, alive with a On the fi rst day, 2 October, the public opening life that was already there, but of course those who featured an installation and a video installation with lived there had not noticed it. This blindness must material from the “Pablo Tránsito” activity. have been caused by the proximity of the residents to the tablecloth. Distance is necessary for objects The subsequent days featured a variety of activities to speak, to tell us something. Acevedo likes to listen such as the workshop of Belén Cueto, called Micro- to things, to the house that speaks of the lives within roots (Microarraigos). Belén asked the participants: it. He showed a video with scenes of hands doing “What can you offer to the people of the neighbour- things: rolling cigarettes, playing cards, moving a hood?” The artist pointed out that anything, however cup of coffee. And all these scenes against the same small, was a service to the neighbourhood. Things background: the tablecloth. On the opening day, this started emerging. Luís offered his services as a drafts video was projected on the wall of the canteen. player to play in the park in the mornings. Miguel- Ángel offered to help carry the shopping bags of Right now, Mariano H. Osnorno and the Centre elderly ladies. Francisco had the idea to set up a of Initiatives to Make Up for Lost Time (Centre de Flamenco Club. Paco noted that there was no bar in Iniciativas par la Recuperación del Tiempo Perdido) the neighbourhood, but such a bar would not serve are exhibiting an installation entitled La biblioteca de alcohol. We got down to work and included this bar los pobres (The Library of the Poor). Also, Fernando as an additional element of the exhibition. We put Baena is developing a research workshop on some up posters, and announcements on the door, where photos found in the house of a person who died. An we offered a range of different tasks useful to the entire life, in a cardboard box! This will involve one community. month’s work with the participation of various video producers, homeless people and workers from the centre.

Many other projects are pending at this moment, as different artists would like to participate. We are thinking of producing a catalogue soon with all the exhibitions we have held, and perhaps a book featuring the entire experiment.

Homeless in Europe 15 Arts and rehabilitation By Sepp Ginner, Verein Wohnen und Arbeit, Austria1

In the close vicinity of Melk, in Austria, which is invite him for that task. During 4 weeks the façade famous worldwide for its monastery, the small asso- was given it’s very special appearance and now the ciation ‘Verein Wohnen und Arbeit’ founded a home building is recognised all over Austria, as very many for homeless people in 1989. The building that was people drive by it on the A1 motorway. A traveller originally a family dwelling went through a series of even took a photograph and put it on google-earth adaptations. At fi rst a new heating system had to be (it can be seen at Melk/Austria: house for homeless installed. The well and the sewage system needed people). extensive restoration and in 1994, an extension was built to make more space for the inhabitants. Now Apart from the effect the new façade has had on the shelter has 18 beds and supplies room for 30 to tourists and travellers, it has also changed the attitude 40 people per year. of the inhabitants. Before, our clients were rather shy to admit where they were living, but with the new The old part of the building was built in the 1930s house they became very proud to be living in one of and did not meet the requirements of modern insula- the best known houses of Melk, second only to the tion and construction standards, so the association monastery. decided to complete the building with a new styro- foam façade in 2003. At the same time, the old On top of that, it motivated them to do some deco- windows were replaced by modern ones. The whole rating themselves within the building. Within a few renovation took almost six months. As the building is months, we started to paint the inside just like the isolated in a big fi eld and is close to the highway, it outside and this created a very special atmosphere can be seen from quite a distance. that permanently contributes to a feeling of being at home in a very artful, creative surrounding. When the Styrofoam façade was being put up on the walls, someone called the manager and suggested The ‘Home for homeless people’ is now in its 20th year making it unique and colorful. This ‘someone’ was of operation. We can look back on a history of almost Mister Kiesling, who ran a little company that deco- 300 clients that spent some 7 months on average rated façades in a very original way. As he offered within our walls, in order to restart a new chapter in to cover all the costs, we were more than happy to their lives. We have specialised in alcohol-withdrawal treatments and the results show we have been quite successful. About a third of our users refrain from alcohol for the rest of their lives and can fi nd their own homes with more or less support from the social- aid system.

Our impression is that the arts and social goals can come together in a very useful way and create more than just a welcome feeling, but can also foster good soil for growing new roots. Thus, we hope to be a good shelter for all those who stumble on their way through their life.

1 Email: [email protected], website: www.wohnenundarbeit.at

16 Homeless in Europe Emerging art form takes its voice from the streets By Liz Rutherfoord1, Chief Executive, The Single Homeless Project, UK

The Single Homeless Project (SHP) is a London based Matt paints portraits on reclaimed metal and chooses charity working with people who are homeless or at subjects from the street (literally and fi guratively) risk of homelessness, providing a range of hostels and who are often stereotyped or perceived with fear. His outreach services to meet the needs of substance portraits redefi ne them, asserting that the subjects misusers, offenders, people with mental ill-health and exist as individuals and inviting viewers to acknowl- young people at risk. edge that existence. Matt won the Best Urban Art prize at the inaugural Street Art Awards in December One of the tools SHP uses to engage with its clients 2008. Empowering people to is to create opportunities for people to participate in cultural activities with which they identify. Other leading urban artists supported the project create, and encouraging and we were fortunate to often have 4 or 5 profes- Urban art, the ‘legal’ cousin of street art, belongs sional artists at each session. The project focused on them to express their to a tradition of self-expression that celebrates group work; using spray and recycled paints on found freedom and the existence of the individual and the materials and large communal boards. People also views or feeling through community. In street art, this celebration takes place participated musically by reading poetry or rapping art and ensuring a space in public spaces. In its simplest form, the individual over instrumentals. Clients were thus encouraged artist asserts his or her identity by signing his/her to experience art as an inclusive and communicative (and audience) where name. In more complex forms of street art, the artist exercise as well as a means of self-expression. The critiques social values and communicates his or her continued attendance even by clients living the most that voice can be heard own political messages. Urban art takes the materials chaotic of lifestyles was a testament to the way urban and traditions of street art and creates something for art was able to engage with the most marginalised. actually addresses the public viewing, without damaging public property. greatest downside to From the outset we decided that the series of work- Whilst it is widely acknowledged that the power of shops needed to work towards a goal – in this case to being marginalised - creative activity can enhance general wellbeing and curate a public exhibition of the work in an art gallery. instil a sense of self-worth, the emergence of urban The show was called ‘Hope in Life’ and the exhibi- namely the feeling and art as a tool for engaging the most marginalised tion was hosted at the Black Rat Press Gallery. The members of society is a new development. exhibition was a big success, visited by hundreds of reality of powerlessness. people whose interest was in urban art, not SHP or SHP’s ‘Urban Art Project’ was particularly focused on homelessness. This gave the participants a sense of our younger clients - people leaving the care system real achievement, providing validation of their expres- or deemed to be vulnerable because of homelessness, sion by the wider community. For people who so offending or substance misuse. In fact some older often fi nd themselves to be outsiders, this is hugely clients from our offender and mental ill-health serv- important. ices also participated. Urban art programmes do more than facilitate The project was designed to celebrate the traditions communal therapy; they create the potential for of urban art. These include working together as a marginalised people to have a louder voice. The natural group to create a collaborative piece of work whilst downside of being marginalised is that your voice encouraging everyone to also celebrate there own tends to be quieter and your ability to place yourself existence and to ‘leave their mark’. to be heard is compromised. Empowering people to create, and encouraging them to express their views Matt Small, a leading urban artist who is famous for or feeling through art and ensuring a space (and audi- painting disadvantaged young people, choreographed ence) where that voice can be heard actually addresses and led the project. Matt was the perfect choice of the greatest downside to being marginalised - namely lead artist because of the way he paints and because the feeling and reality of powerlessness. of who his sources of his inspiration are. In much of the world, people who are in a position to do so, create their environment and assert their identity by buying and owning property, which they usually personalise through art and decoration. This private environment expresses and affi rms the owner, and on some level it keeps the street and its inhabit- ants at bay.

1 Email : [email protected]

Homeless in Europe 17 ‘The street’ then takes on the fi gurative meaning of a Secondly, developing urban art to create a genuine public space - anywhere that is accessible to everyone. expressive voice takes confi dence, perseverance and, The street is the natural domain of those who don’t above all, skill. Urban art that eloquently celebrates have their own private property and have to turn freedom and recognises the self and community elsewhere to express themselves. Street Art is a way is likely to be produced by celebrated artists whose of laying claim to an area, of asserting identity and fundamental human needs are intact and whose freedom, and of voicing a protest when other chan- work is widely portrayed by the media. As a conse- nels are inaccessible. quence it cannot truly represent the voice of the street or the marginalised population. However bringing the Urban art is exactly the same but with no risk to professionals together with our amateur client artists the individual and no damage to private or public was the best way we could think of to overcome this property. Unwanted street furniture is reclaimed, the problem. Our clients benefi tted from professional artist’s identity is expressed on the found material, artistic technical assistance and they also benefi tted and often returned to a communal space as a gift from being able to communicate to the professional to the community or sold to fund the artist’s next artists who could express the clients voice through project. Through this exchange the artist’s creative their own future professional work. voice is recognized. Last year Mark Daye, an art student in Toronto, created When created by marginalised people, urban art imitation street signs to raise awareness of the city’s presents a simple but powerful challenge to the homeless population. with messages such as “Please forces that hinder an individual’s sense of freedom or keep our streets clean, over 818 people have to sleep recognition. People who have felt shut out of artistic on them” - re-coding the offi cial language of council and political discourse can fi nd a way in. One client signs to provoke people into acknowledging an over- articulated this very well after the ‘Hope in Life’ show looked section of society. This expression remained when he said: “This is the fi rst time I have ever been the voice of the student rather than the population to an art gallery and the amazing thing is, my fi rst of Toronto’s rough sleepers. For SHP the important experience is as an artist.” point is that everyone’s voice is being heard.

However we are also aware that the extent to which The commercialisation of street art seems unlikely urban art, as promoted by homelessness organisa- to take it out of the reach of marginalised people. tions such as SHP, can truly give marginalised people It remains a democratic art form where, to a great a political voice is compromised by several factors. extent, the value of the work, whether in a gallery The fi rst is that homeless people are often absorbed or on the street, is determined both by the skill of in demanding private struggles that overshadow or the artist and the community’s appreciation of their stifl e political expression. When an individual’s funda- political voice. Anyone can be the artist and everyone mental human needs are not being met, there is a can be the critic. limited platform for self-expression. We overcame the simplest needs by providing travel expenses and food With its roots in the assertion of individual identity and drink at our workshops. However we were aware and the politics of the street, urban art depends on that engagement with the urban arts project often marginalised people for its authenticity. Urban artists required a basic level of needs met and the result could themselves are trying to protect these roots – SHP often be that attendee’s were not always the most was the benefi ciary charity for December’s Street marginalised clients. One way in which we found this Art awards, and more than 40 leading artists are could be overcome was by placing the project as close auctioning original work on Ebay in February 2009, to as possible to our most marginalised clients and for a fund more of SHP’s urban art workshops. period of time we worked in the garden of one of our hostels to maximize attendance.

18 Homeless in Europe ‘Fashion with a Mission’ - getting a second chance By Carin Reinders and Jacqueline van Lent1, the Netherlands

Designer clothes made by women who sometimes SECOND CHANCE have never had anything to do with fashion - that is The collection Ami-e-toi stands for basic chic. Looking the essence of Mode Met een Missie (MMM - Fashion at it in a technical way, the designs are fairly simple. with a Mission), founded in 2005. In that year, Rietje Comments Jacqueline van Lent, “The stylishness is Compiet and Jacqueline van Lent took the initiative due to the choice of the materials like silk, wool and of setting up a remarkable fashion label called “Ami- Kashmir and the refi ned details. Ami-e-toi wishes to e-toi”. offer a counterbalance to the ephemerality and mass In fashion studios, production of the fashion industry by adding soul to It is all in the name. Ami-e-toi is a play on words of a garment . This is mirrored by the fact that women specially set up for the French words for ‘friend’ and ‘you’. In this way, with a diffi cult background work for this fashion label. the founders wanted to make it clear that a relation- Our philosophy is that everybody deserves a second this purpose, women ship between women who are having a diffi cult time chance. We make this tangible by always incorpo- and women who have it all, is possible. Fashion is the rating some second hand detail in the garment - either with problems caused link that creates this relationship. In fashion studios, by using an antique button or an old strip of lace, for specially set up for this purpose, women with prob- example. by an addiction or lems caused by an addiction or homelessness or psychiatric problems learn to make clothing, while homelessness or being coached by a professional coupeuse (‘cutter’). PRESENTATION ARNHEM FASHION BIENNALE psychiatric problems They work for the fashion label Ami-e-toi, which was The label was presented for the fi rst time during the created by the young and very promising fashion Arnhem Fashion Biennale in 2007. The purpose of learn to make clothing, designer Claes Iversen. At the moment there are 7 this international fashion event is to put Arnhem on studios in the Netherlands that work following this the global map as a Fashion City. After all, Arnhem while being coached by concept. In June 2009, a shop will open where the is home to the prestigious Fashion Institute Arnhem, Ami-e-toi label will be sold next to a number of other which celebrities like Victor & Rolf attended. “The a professional coupeuse fashion labels. presentation of Ami-e-toi with a catwalk show for an audience of over 800 people was clearly a social (‘cutter’). SELF ESTEEM acknowledgement” says Jacqueline van Lent. “We work with hired professional models, make-up artists In 2005, Rietje Compiet was working as a director of and stylists”. The unique concept has got a lot of a care institute, and Jacqueline van Lent had her own media attention which has enhanced the reputation communications offi ce. What brought them together of Mode Met een Missie. On the 11th of June this was their passion for fashion and social engagement. year, Ami-e-toi will again be present at the Arnhem Rietje Compiet says: “Just a roof over your head is Fashion Biennale. not always the solution to your problems. For many women it is at least as important to spend the day in a useful way in order to overcome their misery. When DEVELOPMENT TOWARDS NATIONAL CONCEPT you are in trouble it is nice to have something to do, Explains Rietje Compiet, “The foundation is looking and what is nicer than fashion? Apart from that, for a long-lasting cooperation with care institutes working for MMM offers structure to women who in the Netherlands to have them run the studios. are in a crisis situation. To young fashion designers it MMM would be responsible for the development of offers a platform”. She also says: “Experience is not the collection, the management of the production an issue. Everybody is welcome to join”. The women in the studios, the purchase of the materials and the start off with some test material to establish the level management of fundraising and promotional activi- of their skills. Next, they work on a more complex item ties. There are 7 studios in Nijmegen, Arnhem, Apel- of fashion. Teaching them a skill in a safe environment doorn, Tilburg, Utrecht and Amersfoort. A studio in helps women on their path of recovery. It strengthens Amsterdam will open in June 2009. Every studio has their feelings of pride and self esteem. been kicked off with a huge catwalk show and lots of publicity - it is very important to stay in the public eye.”

1 Email: [email protected]

Homeless in Europe 19 Kick-off events typically attract 200 curious visitors on MMM-SHOP average, and employees from the studios talk about This year will show a new peak in the development their experiences. In most cases, it is obvious how of Fashion with a Mission. With the opening of the MMM has brought stability and new goals in the lives Ami-e-toi shop in the Weverstraat in Arnhem on the of these women. 11th of June, the label will be within easy reach of the customer. Until now items out of the Ami-e-toi collec- Our goal is to open a total of 13 studios. Looking at tion were only sold during and after the catwalk shows the social map of Holland there should be enough in several cities and at Capello Design in Nijmegen. interest for it. With the profi ts from sales from their own shops, the foundation hopes to eventually be self-supporting. MY GEM Van Lent and Compiet have developed a taste for HELPING HAND TOWARDS JOB more, which is why they have started their own jewel- lery line. A project called ‘My Gem’ was started in Around 30 women work in various combinations per Utrecht with a jewellery studio. The concept is the studio. The studios start off with 4 half-day shifts and same; women who are in a diffi cult period in their expand in time to 10 half-day shifts. The women who lives get to work on a beautiful collection of jewel- work there come from different social backgrounds lery under the guidance of a gold or silversmith. The and Municipal Social Services work closely together collection has been designed by professional jewel- with the studio. One of the original participants lery designers. This collection will also be sold in the started her own curtain studio in Nijmegen and MMM shop in the Weverstraat in Arnhem. employs women from MMM studios. “The fi nding of one’s daily routine, structure and self-appreciation is The reputation of Mode Met een Missie has grown possible too” says Compiet. “Working on something rapidly during the past years. Almost every time the beautiful has a healing effect”. women tell their story they are met with recognition and acknowledgement. Fashion with a Mission is a project where care, well being, art and culture meet. It’s a very concrete example of social enterprise.

For more information go to: www.modemeteenmissie.nl

20 Homeless in Europe Vision ImPossible – providing resources to realise potential By Amanda Whittle1, Arts & Community Development Co-ordinator, Vision ImPossible2, UK

WHAT IS VISION IMPOSSIBLE? compete on a level playing fi eld with others in the arts Vision ImPossible (ViP) is an award-winning arts market. It offers chances where chances would not project for homeless, ex-homeless and precariously otherwise exist. It creates opportunities for so-called housed artists. Homeless people within the project ‘unqualifi ed’ artists. What makes Vision ImPossible are emerging talents who require studio space, mate- unique is that artists experiencing the hardships of rials, resources, support and marketing to allow them homelessness are given the opportunity to exhibit and to succeed. Vision ImPossible provides these resources sell their work, attracting endorsements and acclaim in order to realise their potential. from respected critics and an appreciative public.

OFFERING HOMELESS ARTISTS THE HELP THEY GROUP AND SOLO SHOWS NEED TO SUCEED The idea of Vision ImPossible is also to push our artists forward, to help them grow as individuals and to help At Vision ImPossible our aim is to help to give those give them the independence they need to develop on the outside of the education system the chance as artists in their own right. Throughout the year our to succeed within their own right. Most of our artists artists are given the opportunity to exhibit either in have not previously had the opportunity for success group or solo shows, giving a good opportunity to that others from a more fortunate background may expose their work, and the chance to sell. For example, have. We try to give our artists the chance to learn one of our artists has been in fi ve exhibitions in the new skills, or to develop their own ideas within their past four months alone, and has sold work at four out own space at the open studio. This way they can have of fi ve of these exhibitions. as little or as much support as they need. At the studio, artists have access to many different media so that they can create the painting, photograph or digital EXPERIENCED AND NEW ARTISTS WELCOME work of their choice. The group gives the chance for Some of our artists may have taken up art recently, artists’ work to be taken seriously - alone it can be and what can start out as perhaps a more therapeutic diffi cult to get a step-up into the art world. hobby, can actually turn into a blossoming artistic future. One of our artists, Jeff Hubbard, is an example BREAKING INTO THE LONDON ART SCENE of this. Moving from Australia to England several years ago, Jeff found himself on the street. A few In the London art world, many of the smaller galleries years on and Jeff’s life is much changed. After initially will only look at artwork from artists of a certain joining the project just to experiment with painting, education. Although it is understandable that a he quickly found he had a talent for this previously good degree from a renowned college should give a unexplored area. Jeff now lives in his own fl at and has good start in an artist’s career, is it really right that a stable lifestyle. His art has developed enormously, as someone with talent should be overlooked because he creates beautiful paintings and photographs, which they haven’t got that education behind them? With he often sells. He also recently won a competition for art being such a visual pleasure, shouldn’t judgement a digital design that he created for a pantomime. All be made on the quality of the work alone? If it’s good, in all, Jeff is succeeding as an artist in his own right. it’s good. Unfortunately, the art world in London isn’t He is now at the point where he still uses the project this simple, and as with so many things in life, agenda for the materials, but is incredibly independent with prejudices get in the way. his work. This is where Vision ImPossible really comes into its Vision ImPossible is part of Thames Reach, a London- own. Vision ImPossible believes that no limits should wide organisation that helps homeless men and be placed on the ability of its artists to succeed and women rebuild their lives.

1 Email: [email protected] 2 Website: www.visionimpossible.org.uk

Homeless in Europe 21 NOTES

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22 Homeless in Europe FEANTSA celebrates its 20th anniversary! FEANTSA is supported by the European Community Programme for Employment and Social Solidarity (2007-2013).

This programme was established to fi nancially support the implementation of the objectives of the European Union in the employment and social affairs area, as set out in the Social Agenda, and thereby contribute to the achievement of the Lisbon Strategy goals in these fi elds. The seven-year Programme targets all stakeholders who can help shape the development of appropriate and effective employment and social legislation and policies, across the EU-27, EFTA and EU candidate and pre-candidate countries. To that effect, PROGRESS purports at: • providing analysis and policy advice on employment, social solidarity and gender equality policy areas; • monitoring and reporting on the implementation of EU legislation and policies in employment, social solidarity and gender equality policy areas; • promoting policy transfer, learning and support among Member States on EU objectives and priorities; and • relaying the views of the stakeholders and society at large.

For more information see: http://ec.europa.eu/employment_social/progress/index_en.html

FEANTSA is supported fi nancially by the European Commission. The views expressed herein are those of the authors and the Commission is not responsible for any use that may be made of the information contained herein.

The cover image, ‘Bottles’ by Jo Landau has been kindly provided by Vision ImPossible in the UK.

European Federation of National Organisations working with the Homeless, AISBL

194, Chaussée de Louvain 1210 Brussels Belgium Tel: +32 (0)2 538 66 69 Fax: +32 (0)2 539 41 74 Email: [email protected] gp design: www.beelzepub.com

Printed on 100% recycled paper stock