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About Creative Invisibles


Quentin: A young "invisible"
“It's me! At 27, I'm nothing… no future… I went to higher education because the teachers and my parents told me: “If you study well, you'll get a good education that will get you a good job. And I've been looking for a job commensurate with my diploma for three years, allowing me to leave home with my parents.”

Mohamed: An “invisible”
“It's been me for five years! I dropped out of college in 9th grade because they wanted to send me to a mechanic's CAP when I wanted to be a baker. Today, I am 21 years old and the Local Missions want to impose solutions on me that I don't like. I don't see the end of my "galley", but I can say that I know what I don't want to be: a cross in a box.”

We could multiply these examples ad infinitum, but what unites these “invisible” young people is their lack of status, with the consequence of their invisibility in society, but also in statistics. How can a rich and modern society like ours, with such developed social engineering, afford to allow such a social and intergenerational divide to persist – or even increase?' Claire Bernot-Caboche, Research Report “invisible” neither in education, nor in training, nor in employment and nor in support In France and in Europe. The identification of the invisible is a public policy problem which arises on a European scale. The situation worsened during the inception of the COVID period. The increase in the number of invisibles is one of the expected consequences of the COVID crisis. 23 of the 27 EU countries are seeing an increase in youth unemployment, with very marked differences between states. Spain is by far the country most affected by unemployment among the under-25s, which reached 41% of young people in June 2020, 21% in France, 28% in Italy. These figures do not, however, fully take into account the impact of Covid-19 on the labor market for these young people.

Street culture has grown exponentially in recent years, driven by the mainstreaming of youth culture and the revitalization of urban areas. From street art, to food trucks, from popup markets to fashion and sports, street culture is any commercial activity that takes place outside 'dedicated and institutional areas' and contains the creative forces that can shape fashions life and stimulate the economy.

Videographers, performing artists, street food vendors and artisan producers form an important segment of the micro-enterprise sector that has seen significant growth in Europe since 2017. Initiatives like Street Art Bordeaux, Culture Night (Belfast), guided tours of the el Carmen district of Valencia, or the Schlachth of (district of the former slaughterhouses), known in Munich to be a place where graffiti and street artists express themselves (monumental frescoes and simple tags coexist on the walls of this place) are known and attract the public.

Street culture is largely absent from entrepreneurship education. Research conducted by partners in their own countries confirms that 85% of professional entrepreneurship education focuses on traditional business sectors. In this context, our project has a clear objective: to introduce new models of entrepreneurship training through actions carried out in the field of street culture.

Our target groups are:

Workers in the creative sector who acquire new skills in terms of informal training and the development of entrepreneurial projects in the street culture sector
Young NEETs, who will use the street space to develop their creative projects, initiatives and businesses

Project Partners

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