Appeal for minority and majority peer groups:

can the new cultural influencers attract their own community and also the Hungarian youth to their channels?

A moderated evaluation session of the new Roma cul-tural channels will be organised through an open call of interested young people (aged 18-30 years) from both the majority Hungarian and the minority Hungarian Roma community who have not seen the new cultural channels yet. Participants will judge them, as experts did before, for authenticity, clarity, and expressivity.

Comments under each channel post of the participants will also be analysed to see the thematic range and tone of unsolicited audience reaction in the posts.

Fig.7. Tamás Péli’s painting at the Ministry of Human Resources, Budapest

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# Effective social media presence needs a sophis-ticated set of verbal, visual and media skills, as well as personality characteristics. We must help par-ticipants find their voice as well as the genre and format that would suit them best. Therefore, we increase hands-on activities in the media labora-tory and teach about creation in a variety of genres.

# Roma cultural heritage should be introduced through successful media representations that show the way of selecting content, setting, narrative and style. Therefore, we introduce a series of lectures followed by discussion about feature films, art works, documentary photos and videos, theatrical performances, literary works etc.

about Roma life and culture.

# Tutoring (teaching new knowledge and developing skills) and mentoring (supporting experience-based learning) should be more personalised. Therefore, we have employed an experienced journalist and coach to support our participants in their way to establishing their social media presence through a cultural channel. This coach will observe our course participants during their work at the seminars and in the media lab and offer individual consultation or small group coaching.

Why girls and women? After journalists had asked their first question about the mission of cultural influencers, their second question was always about the exclusion (or non-inclusion) of boys and men. The AMASS project intends to support the most disadvantaged individuals and groups within a selected community. As we have shown in the first part of this paper, within the Roma community, girls and women are more disadvantaged than men in working life. They are rarely present as influencers in social media, as they are not used to CONCLUSIONS

There are many courses that teach you about success-ful social media presence, and filming and photography workshops are also abundant. What is the difference?

This was the question that our participants asked us when they applied. The difference is linking these two course types with a strong immersion in the artistic heritage of the Roma nation and teaching young girls and women to show their culture in a medium that is appealing and easily accessible to their peers. The experiences of the first course have shown us that its content and methodology was appropriate.

# Despite basic media literacy, young people are unaware of the intricacies of social media presence and should be taught about its potentials and dangers.

# Despite frequent use of a variety of visualising apps, they should be taught to compose, edit, cri-tique, complete with text, select and showcase their images and videos.

# Despite living in a Roma environment, knowledge about and appreciation of their own cultural heritage needs to be substantially enriched.

We have learnt a lot about digital literacy skills development for creative use of social media and have made substantial changes in the subsequent Roma Cultural Influencer Course II. This training program is open to the participants of the first course, but also to new applicants who have acquired basic experiences in creating social media elsewhere and want to improve their competencies. Much more time and effort are needed for a synergic development of visual and media skills, both on the side of the tutors and tutees.

References

Bernáth, G. & Messing, V. (1999). Seen from afar: Roma in the Hungarian media. Blog entry, 7 December 1999, European Roma Rights Center.

http://www.errc.org/roma-rights-journal/

seen-from-afar-roma-in-the-hungarian-media

Council of Europe Newsroom (2020). Minorities in Hungary:

Roma need “urgent” help for education, housing, and health care. Strasbourg: Advisory Committee on the Framework Convention for the Protection of National Minorities (FCNM). https://search.coe.int/

directorate_of_communications/Pages/result_details.

aspx?ObjectId=09000016809fe4c6

Cserti Csapó, T. (2019). The social situation of Roma women in Hungary: A statistical analysis. Hungarian Edu-cational Research Journal, 9(1), pp. 67-79. DOI:

10.1556/063.9.2019.1.5

https://akjournals.com/view/journals/063/9/1/arti-cle-p67.xml

Kárpáti, A., Molnár, É. & Munkácsy, K. (2014). Pedagogising knowledge in Multigrade Roma schools – potentials and tensions of innovation. European Educational Research Journal, 13 (3), 325-337. https://doi.org/10.2304/

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Kárpáti, A. & Somogyi-Rohonczy, Zs. (2021). Making your voice heard:

a visual communication project for young Roma women.

Invisibilidades, 2021(15). https://www.apecv.pt/en/

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Kerényi, G. (2001). Roma in the Hungarian Media − In unstable times, images with dangerous consequences appear. In: Giles, R., Snyder, R. & DeLisle, L. (Eds.), Reporting the Post-Commu-nist Revolution. London, New York: Routledge, 159-168.

making their voice heard. While teaching the first part of our course, we have learnt that their viewpoints are unique, so their perspectives of Roma culture needs to be presented. We have seen that their ideas are needed: some of them have already been recognised by the Roma media and even offered jobs. We have seen how one participant managed to improve her small business through a more effective media presence and how another has learnt about visualisation formats that she is using now in her research papers as a doctoral student. The community of Roma girls and young women has many voices and we hope to make them heard.

Roma cultural heritage and current social issues should be expressed through the synergy of creative arts and media pieces. Apart from creating their own expressive works, we intend to encourage them to report on exemplary arts education projects at schools or showcase Roma artists, craftsmen, musicians, scientists or ordinary people who succeeded, by learning and hard work, to change their life for the better. Reports on them in social media, when presented in a youthful and creative manner, will be much more inspiring than speeches and slogans.

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Kertesi, G. & Kézdi, G. (2011) The Roma/Non-Roma Test Score Gap in Hungary. American Economic Review, 101(3), 519-525.

http://dx.doi.org/10.1257/aer.101.3.519

Lindström, S. Ed. (2020). AMASS deliverable 1.2: Comparative policy analysis and evaluation of artistic projects. Boras: Univer-sity of Boras. Research document.

Minority Rights Group International (2021). Roma in Hungary: The Challenges of Discrimination. https://minorityrights.org/

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Erizanu, P. & Iona Cîrlig, I. (2020). Six Roma Women Artists Making Their Voices Heard in Romania — Summer of Solidarity. The Calvert Journal, 22(2020).

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of 20^th and 21^st century visual arts and their teaching methodology. The relevance of this theme for the objectives of the AMASS lies in the power of the arts in revealing and healing social conflicts through their aesthetic conceptualisation and expression.

The two institutions worked as a team, and structured their educational programs and assessment methods similarly, to provide comparable data for the evaluation of the two courses. In both museums, the in-service training course lasted 30 hours. It was divided into three 8-hour theoretical teaching units and a single 6-hour practical session.

The two in-service training courses of the museums were harmonized in terms of their completion requirements, too: After the conclusion of the course, participating teachers worked on their final assignment To disseminate the results of the experimental project

of the AMASS- Hungary team at the Ludwig Museum and the Hungarian National Gallery, we organised in-service professional development courses. The course organised by the Hungarian National Gallery focused on theoretical and methodological knowledge that facilitates the use of 19^th-century artworks from the museum’s collection in teaching Hungarian language and literature and history in secondary education. In harmony with AMASS objectives, this program facilitates learning these two basic school disciplines through their integration with works of art that express cultural phenomena or historic events in an engaging aesthetic form that supports their appropriation by students with learning problems.

The training program of the Ludwig Museum, with an internationally reputed collection of contemporary works of art, focused on socially oriented trends in end