“Involving young people in summer cultural projects: issues, avenues of work, proposals”

“Young people” are the main target of summer cultural projects in towns, villages and suburbs. And yet, professionals in the cultural, educational and social fields know just how difficult it can be to mobilize them, and thus to successfully carry out political orders.

Benoît Labourdette offers a one-hour summary to provide useful resources: the sociological challenges of contemporary youth, the integration of cultural rights into methods, the use of digital technology as a bonding factor, methods for the evolution of professional practices, philosophical reflection on the notion of time and the notion of culture in the digital society, applicable in dynamics of renewed cooperation with youth.

Examples of projects, support, training and partnerships are cited in this webinar, and the veil is lifted on situations that are so necessary and not so easy to expose.

Webinar on Zoom, Thursday March 21, 2024 from 9am to 10am. 100 attendees.

Webinar transcription

The trace and the contribution

Before we begin, I would like to clarify something important. This moment of contribution is open until 10am, but afterwards, the link you received by email will remain a place where I will keep this video and where I will also post your contributions. Your contributions, if you make any, will be published. The trace we leave together from this moment is just as important as the moment we share together.

Sociological issues of youth

We address youth, but what is youth? I recommend the work of Camille Peugny, a young contemporary sociologist. His work is fascinating. He asks whether there might be a sociological specificity to youth that, if we understood it, could help us make relevant and targeted proposals.

It is a question we all ask ourselves, and we all have preconceptions about youth. Camille Peugny has conducted extensive sociological studies. Sociology is a science, meaning hypotheses that are more or less supported, with debates. There are people who completely disagree with him, and that is a good thing.

What he says is that in terms of tastes and cultural interests, there is no homogeneity among young people. It simply does not exist. Within youth — roughly defined as ages 13 to 25 for adolescence — we find socio-cultural categories present at all ages. The tastes you have at 12 are essentially the same as those you have at 20 or 35. However, there is something that brings youth together: a kind of precariousness in relation to life. Of course there are social differences, but overall, this feeling and this reality of precariousness is what they have in common. And regarding cultural tastes — clearly distinguishing art and culture, which are not the same thing — it is only from the age of 65 that there seems to be some homogeneity of cultural tastes, which is quite surprising.

I therefore believe that when we address youth, we absolutely must not consider them as a homogeneous group, where there would be things that “suit young people” or “appeal to young people”. That makes no sense. Moreover, someone who is young today, in 5, 10 or 15 years, is the same person. And if we have educational, cultural or social responsibilities, perhaps it is the person we should consider in their journey, in their path, and not a very precise and very brief state in time that would be their “time of youth”.

Why speak of involvement rather than participation

Why did I use the word “involvement”? Among those present, many have planned cultural projects for this summer, with communication already underway. And we always face the same problem: “we need to find young people”. I hear this phrase often.

But I believe there are two levels. There is the question of participation — young people who come to receive our proposal. And there is the question of what happens during: is there involvement, and how is that involvement built? The aim is not to fill rooms. The aim is to meet objectives, which may be cultural democratisation, education, employment support, reintegration, re-engagement with schooling... What matters is: will the proposal we make generate involvement?

Stigmatisation of youth and educational violence

I also recommend the book Sois jeune et tais-toi (Be Young and Shut Up) by Salomé Saqué. When she wrote it, she was 27, a journalist. As a young person, she shares her sense of stigmatisation and recalls that youth, in every era, has been accused of laziness, disinterest, lack of values. This has always been the case. I put some scanned pages of this book in the shared folder.

Another reference: C’est pour ton bien (For Your Own Good) by Alice Miller, a Swiss psychoanalyst, now deceased, who defined what is called ordinary educational violence. Ordinary educational violence was only made illegal in France in November 2019. We were the last country in Europe to ban it by law. Alice Miller shows how, in the relationship with children, there is a structural principle of violence. Her second book, L’enfant sous terreur (The Child Under Terror), traces the biographies of several children, including Adolf Hitler, with explanations rooted in childhood — it is quite powerful. She protests against the idea that enduring violence could be good for us.

I support this reference with another, from neuroscience. Olivier Houdé, in Apprendre à résister (Learning to Resist) (2005), explains what he calls cognitive resistance. We have a reflexive mode of thinking, designed to protect us from danger. But when we want to learn something new, we must resist this reflexive thinking in order to create new neural connections — which consumes a great deal of energy. And to be able to resist our reflexive thinking, we need to feel safe. If I am threatened, if I am subjected to violence, my learning processes are blocked. The idea that “I’ll give you a slap and you’ll learn” is an illusion: we do not learn under violent constraint.

Non-violent communication and art as experience

I would also like to mention non-violent communication, with Marshall Rosenberg’s founding book. In short, instead of saying “you hurt me”, saying “when you said this to me, I felt hurt”. We are no longer in a mode of accusing the other.

And then, L’art comme expérience (Art as Experience) by John Dewey, a 1934 book by the pragmatist philosopher. He postulates that art is not an object external to us, but the experience we live as human beings, because it is our perception. This connects with UX design approaches — user experience — where the person is placed at the centre. When it comes to young people or children, the question is: are they persons placed at the centre, or do we want to fill our room with a group? Have we placed the person’s experience at the centre?

Digital technology as a living environment

You may know Michel Serres, who in 2012 published Petite Poucette (Thumbelina). His position is interesting: against the idea that young people are “always on their phones” and therefore “brain-dead”, he argues that these are new skills, new neural connections, and that they are inventing another world with these tools. Yes, there is screen addiction. But I think we cannot simply say “get thee behind me, Satan” — the world is changing, and we must work with it.

I also recommend Informatique céleste (Celestial Computing) by Marc Alizart (2017), a young French philosopher who was deputy director of the Palais de Tokyo. He postulates that nature itself functions as a form of computing — with the DNA code driving cell division, the specification of functions — and that our digital machines are mimetic of nature. For me, digital technology is a living environment, in the same way as air, water, culture, society. The question is: how do we work with it?

Cultural rights

A brief note on La Comédie de la culture (The Comedy of Culture) by Michel Schneider (1993). This man directed music at the Ministry of Culture for three years and resigned by slamming the door, outraged by a very condescending form of cultural democratisation and by the lack of consideration for amateur practices in particular. A vitriolic book, truly interesting.

Let us turn to cultural rights. A group of people produced, among other things, what is called the Fribourg Declaration in 2007, led by Patrice Meyer-Bisch, a philosopher. It compiles legal elements drawn from human rights declarations to identify the cultural rights of persons. This entered French law in 2015 and 2016: we must respect the cultural rights of persons. These are not directly enforceable rights, but they are enforceable through their legal sources. Since January 2021, a delegation at the Ministry of Culture has been tasked with ensuring their respect. This is still very little present in evaluation frameworks and funding criteria, but it is something that must be cultivated.

What is it about? First, it is culture understood in its anthropological sense: what constitutes me — the place where I live, my origins, the music I love, what I eat. It is not culture with a capital C. And what cultural rights postulate is that this culture I carry must be legitimised by the institution. If I am told that my culture has value, that it is no less worthy than any other, then I will be able to participate in civic life. If, on the contrary, I am stigmatised, if the institution does not recognise the value of what constitutes me, I am, psychically speaking, barred from making democracy.

Cultural democratisation and cultural democracy

Cultural rights distinguish two notions in the cultural field. Cultural democratisation is André Malraux’s vision: there are great works and they must be transmitted to people. Culture is more or less conflated with art, it is culture with a capital C. Cultural democracy means saying: each of us carries a culture, there are great specialists in Romanesque art but also in cooking or other things, we will not assume any hierarchy and we will create spaces for mutual enrichment.

Cultural rights are often frowned upon in the cultural sector: “it’s amateur practice, so everything is equal, it’s total demagogy”. In reality, cultural rights are not opposed to sharing demanding work, quite the contrary. It is a question of how we meet one another and how we set up mediation frameworks. They are more like a lens through which we look at things. In short, it is the return of popular education into legitimate culture.

When it comes to youth, this is very effective. If I consider that young people consume popular culture of low value and that my role is to offer them culture of higher value — without making the effort to ask them what interests them, without making the effort to know them — I am in a position of total contempt through ignorance. I do not even know what it is, but I consider it less worthy than what I carry.

The framework: what enables

For me, a framework is what enables. A framework is not what forbids. Often, we confuse a framework with a device to control — youth would be overflowing and problematic, they would need to be contained. We start from a view of youth as an indistinct group.

An example. I worked with a dance company from Nantes, the David Rolland company, which performs in school playgrounds with headphones. A show about tolerance and racism, followed by a discussion. But for the dancers, the young people were an indistinct group. I made a simple suggestion: when you arrive in the morning in front of 30 young people, go up to each person, say hello, shake their hand if they agree, ask their first name, make sure you understand it, repeat it. Say hello to persons. Considering that each one is a person and not a group changes everything. People say “we don’t have time”. In fact, we do. We just don’t take it.

The problem, then, is the format of the post-show discussion: we are standing, the young people are seated — you do not need to have read Michel Foucault to understand what those spatial positions mean. We ask questions, we wait for the right answers, we tick our boxes. The adult writes their report: “it was great, it went really well”. But I am not inside these people’s heads, I am only inside my own. What about their journey?

Whether in the cultural or educational field, what matters is the journey. Someone’s path belongs to them, and I have no control over it. I suggested they work in a room arranged in a circle, since they are dancers, it is easy to set up. Then use classic popular education techniques: everyone moves around the room, at a certain moment you say “stop”, you face the person in front of you, and for two minutes, one explains to the other what racism is, then you switch. Every child will have spoken, not necessarily in a public forum, but they will have been able to express themselves. I come back to John Dewey: I produced an experience where each person was considered as themselves, had a place, could express themselves, and followed their own path — a path that belongs to them, that is their culture.

At the Ballet du Nord: inventing with young people

Let me return to a concrete example that seems important to me in relation to next summer. At the Ballet du Nord, in Roubaix, I was there less than a fortnight ago with a dancer and a mediator for a week-long video-dance workshop for young people from a community centre. Essentially, they were required to attend. How do you create a framework that generates involvement?

Involvement matters because my goal might be for them to come back on the second day. At least, for them to be enriched by something, to want to come back. And I can also accept that if they do not come back, it is not necessarily a failure — they may have other constraints, other interests. That is respectable.

The framework is listening. I take an interest in people, I say hello to them — it seems obvious but we do not always do it. And then there is the scenography: in one place musical instruments, in another a camera, a video projector, microphones, a large table with paper to cut out, scissors, felt-tip pens. All of this corresponds to tools for the workshop, but I believe that an artistic project and an involvement project with young people is above all a project of encounter between one or more adults and young people. It is this human encounter that is productive.

Cultural rights distinguish participation and cooperation. It is not just that people are obliged to take part in the project: we will cooperate together, and perhaps the project will be modified by the presence of the young people. For example, we started with cutting, we invented something, then we made these cut-out shapes move, we put them on screen... The young people took photos of each other, there were films, podcasts, photos taken by the young people themselves. At the end of the day, I would put online what had been made, via a private link with a QR code, so they could see it again and share it. What we made belongs to them, and the involvement is there.

At the Centre Pompidou: Cinema-AI and open creative workshops

Just before that, at the Centre Pompidou, at Studio 13-16 — a very interesting space for 13 to 25 year olds, with no registration, where you stay as long as you like — I had proposed a filmmaking workshop in collaboration with artificial intelligences, which I called Cinema-AI. Artificial intelligence, like digital technology, is a term that covers very diverse realities.

Studio 13-16 really resonates with me: the proposal is completely open in terms of time commitment. You need workshop proposals that match this. I have developed what I call “open creative workshops” — no registration, you can spend fifteen minutes or three hours, as you wish. There is notably an example of what we did at the Musée de l’Homme with cut paper.

At the Centre Pompidou, it seemed essential to me that the young people leave with their content, because some had not finished their film in one afternoon. Some came back, and they came back all the more because they could find and share their work. I use a script on a personal server — not Google or anything like that — because there are political dimensions linked to digital sovereignty. Digital tools can create connection.

In Elbeuf: a job centre and the autonomy of objectives

At the job centre in Elbeuf, we had a weekly digital workshop for young people paid within the framework of the job centre. The principle: for each day, I would suggest they find a personal objective. My role was to make sure that objective led to something, even something partial. “I’m interested in 3D design. I want to make a video CV. I want to create my logo. I want to record a piece of music. I want to create a website...” Gradually, everyone had their own folder online and uploaded their work to it.

For example, with the video, one young person had hours of footage. The following week, he had spent an entire day sorting through it all, without my having asked. He had the possibility to do it, it was up to him — and it is not for me to judge. Each week, I had more and more people. They must have been spreading the word.

The question of involvement requires listening, a kind of support that allows the person to recognise the value of what they have done — a genuine, very attentive accompaniment, because everyone does things at their own level. There is no value judgement to make. And the digital tool I use as a connector, so that young people can find their content again, is one element of the whole.

In Les Lilas: creating a heritage of memory

In 2022 in Les Lilas, a filmmaking workshop on the memory of a neighbourhood, in housing estates, during the April holidays. Tables with musical instruments, cameras, offered to passers-by — young people but not only. We proposed creating a heritage of the neighbourhood’s memory. A heritage is traces, it is the narrative of something.

We gave cameras to people. I start from trust. I have cameras, I give them to people. In roughly 20 years of practice, only once has a camera disappeared. There is a framework, but I am not afraid. The question of tools is important: you must not be afraid of your tool being broken, and people must be capable of autonomy.

Over three days, we made films from photographs, then recorded music and voice-overs. About forty films were made in three afternoons — a great deal of involvement, and it was quite intergenerational. The challenge was the open-air screening on Saturday evening. It was the first day of Ramadan, and we were not off to a confident start. But the films were put online as they were made, we gave the QR code to the young people, the films circulated during the week, the parents had seen them.

There is a kind of belief we hold, that going to the cinema is for watching a film. No. Going to the cinema is about living a social experience. Seeing again a film I have already watched, on a small scale, with my community, is very powerful. I want to go and see it all the more because I have already seen it, because I know what it is and it is already legitimised for me. On Saturday evening, we had a full house. Digital tools are a connector.

The symbolic third

In Choisy-le-Roi, a few years ago, we were supposed to run a video workshop in housing estates, but the young people in the estate did not care about us. We brought a drone, flew it in the middle of the estate — within five minutes, there were plenty of young people. And I put the drone controller in the hands of the young people. Immediately, we meet around an object.

I would like to introduce here a concept from psychoanalysis: what is called the symbolic third. Often, in a dual relationship, one person wants, with the best of intentions, the other to do things. But there is a problem of power relations. The object — the paper to cut out at the Ballet du Nord, the drone, the camera, the camera — with which, autonomously and non-normatively, we will create things, allows us to meet. We are no longer in a dual relationship; we meet through the object. Digital tools are also a symbolic third that creates connection. I do not know what each person does with them, but I know they are potentially a connector.

When nobody turns up: going to meet people

A few years ago, in Gonesse, I was asked to run a workshop in a cinema, with young people registered for the whole week. I arrive: nobody had registered, there had been a change of management. I am there, I walk around, I go and see, I meet young people, I spot a neighbourhood library. By the next morning, I had a group of ten young people who were involved for the entire week at the cinema. You have to put in the work. Like travelling screenings: sometimes there are no registrations, so we go with the projector into the neighbourhood and we meet people.

Directions for professionals

I invite you to read the article “Et si on changeait de posture ?” (What If We Changed Our Approach?) which I published in the review of the Observatoire des politiques culturelles, and particularly the questions at the end — a methodological proposal among professionals.

Two things, to conclude. First, I believe that nobody has all the answers on this, and setting up among professionals moments of exchange without stakes — a video call from time to time, sharing experiences and ideas, without production pressures — is invaluable.

Then, on the question of young people’s competence: ask a young person or young people to explain things to you, to teach you things. Every time I do this, I realise that there is a great deal they can bring me and teach me.

This listening is essential for involvement, but it implies questioning oneself — not necessarily questioning all our projects, but questioning ourselves in the present moment. And perhaps, in our proposals, being a little more flexible so as to put ourselves in a position to cooperate with young people. This requires supporting artists, because there are identity issues — artists who think they will transmit their skills, their know-how. I believe it should be framed around encounter, not around the transmission of skills. The encounter, and what we will invent together. If I am an artist, I have a life path, I am legitimate in my path, I do not necessarily need to format the project. At the Ballet du Nord, for example, we did many things, none of what I had planned. Thanks to the young people, we invented, listening constantly changed what was happening, and everyone was happy, everyone was involved, us and them. But it takes work.

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Resources cited during the webinar

• Camille Peugny, sociologist, author of works on contemporary youth
• Salomé Saqué, Sois jeune et tais-toi — Réponse à ceux qui critiquent la jeunesse (Be Young and Shut Up — A Response to Those Who Criticise Youth)
• Alice Miller, C’est pour ton bien (For Your Own Good) (1984) and L’enfant sous terreur (The Child Under Terror)
• Olivier Houdé, Apprendre à résister (Learning to Resist) (2005)
• Marshall Rosenberg, Les mots sont des fenêtres (ou bien ce sont des murs) (Nonviolent Communication: A Language of Life) — founder of non-violent communication
• John Dewey, L’art comme expérience (Art as Experience) (1934)
• Michel Serres, Petite Poucette (Thumbelina) (2012)
• Michel Schneider, La Comédie de la culture (The Comedy of Culture) (1993)
• Marc Alizart, Informatique céleste (Celestial Computing) (2017)
• Observatoire des politiques culturelles, review featuring articles by Camille Peugny and the article “Et si on changeait de posture ?” (What If We Changed Our Approach?) by Benoît Labourdette
• Fribourg Declaration on Cultural Rights (2007), led by Patrice Meyer-Bisch

Links to cited projects

• Ballet du Nord, Roubaix (2024)
• Cinema-AI, Centre Pompidou (2024)
• Digital creation, Elbeuf job centre (2023)
• Films on neighbourhood memory, Les Lilas (2022)
• The fire show, La Fabrique numérique in Les Lilas
• The time travel machine, Cultures du cœur (2023)
• Webinar contributive space

Contribute to the webinar

https://www.benoitlabourdette.com/_public/2024_webinaire_01_implication_jeunes/

Chat during the webinar

09:06:02 De Benoît Labourdette : https://www.benoitlabourdette.com/les-ressources/conferences/l-implication-des-jeunes-dans-les-projets-culturels-d-ete-enjeux-pistes-de?lang=fr
09:06:56 De Benoît Labourdette : https://www.benoitlabourdette.com/_public/2024_webinaire_01_implication_jeunes/
09:15:09 De Benoît Labourdette : https://www.benoitlabourdette.com/_public/2024_webinaire_01_implication_jeunes/
09:19:17 De malya : bjr, je n’ai pas suivi, ou sont les documents scannés?
09:19:37 De Rosina Nigro Foyers ruraux 88 : Replying to “bjr, je n’ai pas sui...”
il y a un lien au dessus du tchat pour y accéder
09:19:43 De sylvain parfait : Ici, dans le dossier documents : https://www.benoitlabourdette.com/_public/2024_webinaire_01_implication_jeunes/
09:19:47 De Vincent Bergeron : Replying to “bjr, je n’ai pas sui...”
https://www.benoitlabourdette.com/_public/2024_webinaire_01_implication_jeunes/?Documents
09:19:55 De malya : Replying to “Ici, dans le dossier...”
Merci!!!
09:22:42 De Line NUMA-BOCAGE : Replying to “Ici, dans le dossier...”
merci pour cette revue de litterature.
09:23:06 De malya : Replying to “Ici, dans le dossier...”
tout à fait!
09:29:14 De Véronique Schenher : merci Benoit
09:29:57 De Cyrille (Tissé Métisse - Nantes) : Merci déjà pour tous ces éléments. L’écoute empeche-t-elle la contribution ? ;)
09:31:16 De Rosina Nigro Foyers ruraux 88 : Replying to “Merci déjà pour tous...”
si on considère qu’on peut placer notre attention qu’à un seul endroit en même temps, oui je pense. Mais comme on écrit aussi sur le tchat en même temps, on peut penser que non :)
09:45:57 De Benoît Labourdette : https://www.benoitlabourdette.com/_docs/projets/2024/2024_ballet_du_nord/index.php
09:48:17 De Dénys Powa : Bonjour à tous, enchanté d’être ici avec vous. Je suis poète-artiste-comédien, membre d’un groupe de recherche sur l’éducation et la formation.
09:49:03 De Dénys Powa : Merci Monsieur Benoît Labourdette pour ce wébinaire.
09:56:06 De Carole ZIEM FONTENAY : Convaincue sur la richesse de chaque jeune, plus complexe accompagner les professionnels de la culture et de la jeunesse à travailler main dans la main, en réussissant à sortir des représentations
09:57:18 De Hugo Inizan : Reacted to “Convaincue sur la ri...” with ❤️
Implication= écoute + accompagnement+Valorisation du travail accompli
09:58:08 De Charlotte MERAUX : A réagi à “Convaincue sur la ...” avec ❤️
09:58:09 De Charlotte MERAUX : A supprimé un ❤️ de “Convaincue sur la ...”
10:01:43 De Anne-Sophie Charpy : Merci Benoît!
10:01:45 De Charlène Emmaüs France : Merci pour ce temps
10:01:47 De Agathe Mouchard - Mayenne Culture : merci !
10:01:49 De Dénys Powa : Très intéressant comme travail. Je vous laisse mon adresse e-mail pour un éventuel échange pour un partage d’expérience et faire un peu mieux connaissance. Merci beaucoup : dpourawa gmail.com
10:01:51 De Claudine : Merci !
10:01:51 De Carole ZIEM FONTENAY : merci Benoit
Merci à vous
10:01:55 De Marie-Laure Boukredine : Merci !
10:01:56 De Rosina Nigro Foyers ruraux 88 à Benoît Labourdette(Message direct) : coucou. On pourrait t’écouter des heures ! A bientôt et merci !
10:01:57 De SIANA Léa Giraux Fellah : Merci pour ce temps
10:01:58 De Sophie Berland : Merci !
10:02:02 De Tifen Marivain : Merci beaucoup
10:02:09 De Claudine : Quel est le nom de cet outil pour partager les contenus en ligne avec les jeunes, nous etc ?
10:02:09 De SDransart : merci beaucoup
10:02:09 De Lisa : Merci pour ce temps
10:02:10 De Cyrille (Tissé Métisse - Nantes) : Merci pour ces matériaux et partages d’expérience. A bientôt ? - Festival Tissé Métisse sam. 30 novembre 2024
10:02:11 De Julien (Périphérie) à Benoît Labourdette(Message direct) : Merci Benoît !
10:02:16 De Rosina Nigro Foyers ruraux 88 à Benoît Labourdette(Message direct) : merci :)
10:02:27 De Marie-Dominique Teyssier : Merci très inspirant pour monter des projets!
Merci pour ce partage de réflexions. A poursuivre dans l’espace de partages ! Bonne journée à chacun.e
10:02:46 De Yahiaoui Fatiha : Merci, très riches en si peu de temps
10:02:47 De Anne Les Yeux de l’Ouïe : Merci Benoit
10:02:57 De Romain Colson : Merci beaucoup Benoît
10:03:00 De sylvain parfait : Merci de cette belle initiative. Votre espace reste accessible par la suite pour être ressource ? Et que nous puissions l’alimenter par la suite ?
10:03:12 De Claudine : Quel est le nom de cet outil pour partager les contenus en ligne avec les jeunes, nous etc ?
10:03:24 De Vincent Bergeron : Merci
10:03:35 De Javiera Quiroga - Ville de Nantes : Merci
10:03:43 De Agathe Mouchard - Mayenne Culture : très bonne idée!
10:03:50 De urvoy : Un grand merci !
10:03:50 De Camille Soupin : Merci beaucoup ! Partante pour un webinaire contributif !
10:03:56 De Cultures du Cœur 37 / Adeline : Merci beaucoup! Très riche en référence… du grain à moudre!
10:04:02 De Charlotte Le Bras Compagnie Les Papavéracées : Reacted to “Merci beaucoup ! Par...” with 👍
10:04:04 De Benoît Labourdette : benoit benoitlabourdette.com
10:04:07 De sylvain parfait : Avec joie pour un rdv contributif par la suite
Merci, ça fait du bien d’entendre ce discours. Plus les professionnels changerons de posture (non descendant), plus les échanges seront humains. Et l’implication ira de sois.
10:04:07 De Véronique Schenher : merci beaucoup pour toutes ces propositions et infos
10:04:09 De cha.nicolas : Merci beaucoup !
10:04:16 De Mallonn : Merci beaucoup Bonne journée
10:04:16 De adeline : Merci Benoît ! Bonne journée
merci !
10:04:20 De smaiza : Reacted to “Merci, ça fait du bi...” with 👍
10:04:24 De Priscille CDC PDLL (49) : merci !!!
10:04:29 De julia.garau : merci.
10:04:29 De anneb : Merci beaucoup, très intéressant!
10:04:29 De Sophie Berland : bye bye
10:04:30 De Noémie Boulay Dparc : Merci ! Bonne journée
10:04:35 De Line NUMA-BOCAGE : merci beaucoup
Aller vers sans aucune appréhension….
10:04:47 De sylvain parfait : Bonne journée à tous.tes
Super Benoit merci et à très vite !
a bientot
10:04:56 De Elsa : Merci bonne journée
10:05:03 De Vincent Bergeron : Bonne journée !
10:05:05 De Sophie Jacquemont - CIAM : Merci et bonne journée !
bonne journée et merci beaucoup

Web links visited during the webinar

Le spectacle de feu | La fabrique numérique aux Lilas | Les créations numériques des habitants des Lilas.
https://www.lafabriquenumerique-leslilas.fr/les-ateliers-participatifs/dans-le-quartier-des-sentes/ton-quartier-tu-l-aimes-fabrique-ton-film-sur-les-sentes/le-spectacle-de-feu

La machine à voyager dans le futur
https://www.ateliersnumeriques-culturesducœur.org/2023/

Pratiques artistiques et numériques de la jeunesse | Partage de ressources et de questions
https://www.benoitlabourdette.com/_public/2023_actart/

2022_villejuif_films
https://www.benoitlabourdette.com/_docs/projets/2022/2022_villejuif_films/

2024_ballet_du_nord
https://www.benoitlabourdette.com/_docs/projets/2024/2024_ballet_du_nord/

2023_elbeuf_creation_numerique
https://www.benoitlabourdette.com/_docs/projets/2023/2023_elbeuf_creation_numerique/

2024_cinemai
https://www.benoitlabourdette.com/_docs/projets/2024/2024_cinemai/

The Benoît Labourdette production agency builds cultural and digital experiences and develops creative engineering. It draws on the expertise of its founder Benoît Labourdette, filmmaker, educator, researcher and consultant in cultural innovation and digital strategies.