Programme, 24th of October. The Art of Teaching

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1 This time around, Eksperimenta! as an art education research platform will be focusing on one of the most complicated and contraversial topics in creative subjects namely, assessment. On what basis and how to assess creative works? Which assessment strategies and practices are used in creative subjects and why? How to find a resonable balance between assessing the process and the finished work? How to bridge the assessment practices of art lessons and the actual art world? Is assessment even necessary in creative subjects? What do we mean when we say we re assessing? The main speaker of the conference is Prof. James Elkins from the US, who will be giving an overview of a new research project at the School of the Art Institute in Chicago that seeks to address the topic and terminology of assessment in art education in general. The IDEAlaboratory will be taking place in the framework of the Eduko programme, which has been initiated by the Ministry of Education and Research and supported by the European Social Fund with the mission of improving teacher training in Estonia for our children to have the best teachers in the world.

2 Programme, 24th of October. The Art of Teaching 10:00 Prof. Viive-Riina Ruus (EST). Eduko keynote speach: The Art of Teaching. 10:30 Presentation: Nina Ostan, Mateja Ocepek (SLO) Understanding and Creating Contemporary Art in Secondary School. 11:30 Presentation: Presentation: Workshop: Inese Ritele, Zanda Zilgalve (LAT) Contemporary Solutions for Contemporary Art. 12:30 COFFE BREAK 13:00 Presentation: Prof. Peter Vietgen (CAN) Utilizing Contemporary Art as a Vehicle to Teach Critical and Creative Thinking in Canadian High School Visual Arts Programs. Workshop: Margot Kask (EST) Illustration and Creation of Characters. Developement of Divergent Thinking in Art Lesson. Estevao da Fontoura Haeser (BRA) Nina Ostan, Mateja Ocepek (SLO) Inventing a Laboratory of Education, Liberties and Utopias inside an Art Exhibition. 14:00 LUNCH 15:00 3 x 20 min short presentations: Performance the process of making it. 2 x 20 min short presentations Workshop (EST) 1) Edna Vahter: Student s Personal Artist s Book as an Effective Tool to Support Learning Process. 2) Anu Purre: Artist s Book as a Life Style. 3) Kristi Laanemäe: Hunt for Methods a Method to Create Methods. 16:00 Presentation: Merika Rehepapp (EST) Why and How to Teach Design? 17:00 Presentation: + discussion: (POR) 1) Anabela Pereira, Work of Art and Meaning-making: An Experience with 9th Grade Students. 2) Paula Penha, Teaching Graphic Design: Creating the Image of Almada s Youth Festival. Workshop: Sondra Lampmann (EST) About Using Animation Practice in School. Estêvão da Fontoura Haeser (BRA) Trace Frontiers: Demystifying the Drawing Presentation: Annely Köster (EST) How to Teach without Teaching? Sally Stuudio as a Freethinking Zone. Sepake Angiama (Manifesta 10) Education is at the Core of Manifesta! 17:30 The Conclusion of the Day in Image and Word. Joonmeedia.ee

3 Programme, 25th of October. The Art of Assessment 10:00 Maria Jürimäe (EST) Eduko keynote speach: Assessment that Supports Learning. 10:30 Presentation: Teresa Eca (POR) Assessment for Learning. 11:00 Presentation: Ann Donald (CAN) High School AP Studio Art in Canada 11:30 Short presentation 20 min + discussion: Tiina Niin (EST) Improving Assessment by Uniting Formative and Summative Assessment Systems in the Art Lessons of the Second Level of Estonian Elementary School. 12:00 COFFE BREAK 12:30 Workshop in E! exposition: Short presentation 20 min + discussion: Jacqueline Maguire, Naomi Draper (IRE) Artful Dodgers, an Early Years Music and Visual Arts Artsist in Residence and Creative Exchange Programme in Fingal, 2013 to Short presentation 20 min + discussion: Maris Kilmi (EST) Experience of RAM-school: Assessment. Prof. Tomaz Zupancic (SLO) The Art and the Art of Whispering. 14:30 LUNCH 15:30 Short presentation: Jüri Mäemat (EST) Does Assessment Brake Creativity? 16:00 Presentation: Workshop: Marju Liidia (EST) The Practice of Assessment. Prof. Heie Treier (EST) "Value judgement in Art Criticism and Art Education" 16:30 The main presenter of Eduko IDEAlaboratory: Prof. James Elkins (USA) Evaluation Terms for the BA, BFA, MA, and MFA degrees 17:30 The Conclusion of the Day in Image and Word. Joonmeedia.ee

4 Õpetamise kunst Prof. Viive-Riina Ruus, PhD Estonia Teesid 1. Tallinna Ülikooli koolipedagoogika õppetooli korraline professor august Tallinna Ülikooli emeriitprofessor. 3. Ph.D Kasvatusliku teksti efektiivsus. Viive-Riina Ruus on sündinud aastal lõpetas Tartu Ülikooli eesti keele ja kirjanduse erialal, emakeele ja kirjanduse õpetajana õppis Tartu Ülikooli pedagoogikakateedri juures aspirantuuris. Aastatel töötas emakeele ja kirjanduse õpetajana oli Pedagoogika Teadusliku Uurimise Instituudi teadustöötaja oli EV valitsuse konsultant hariduse alal Tallinna Ülikooli õppekava uurimise labori teadustöötaja ja projektijuht EV Haridusministeeriumi hariduspoliitika osakonna juhataja kohusetäitja Talllina Ülikooli õppekava labori juhataja ja teadustöötaja Tallinna Ülikooli koolipedagoogika õppetooli professor. Aastast 2002 TLÜ emeriitprofessor. Akadeemilised huvid: haridusteooria ja -poliitika, kasvatusväärtused, õppekavauuringud, pedagoogilise diskursuse analüüs. Avaldanud sadakond teadusartiklit, koostanud teadusartiklite kogumikke. Tema juhendamisel on kaitstud neli doktoriväitekirja ja kuni paarkümmend magistritööd. Hariduspoliitilistest tegevustest on olulisemad: EV haridusseaduse koostamine koos HTM kahe esindajaga (1992), üldhariduskooli õppekava üldaluste väljatöötamine koos kolleegidega (1996) ja osalemine õppekava korrigeeritud versioonide koostamisel, Eesti Haridusfoorumi asutamine koos mõttekaaslastega (1995), osalemine Eesti haridusstrateegia 2020 väljatöötamisel, hetkel HTM vastava komisjoni liige strateegia ellurakendamise programmide koostamisel. 1. Võrreldes teiste elukutseliste tegevustega (näiteks õigusemõistmine, inimeste ravimine, riigivalitsemine ja administreerimine) on õpetamine õhtumaises kultuuriruumis alati olnud, ülikooli- ja mõneti ka keskharidus ehk välja arvatud, väheprestiižne tegevus. 2. Õpetajat on ikka peetud poolprofessionaaliks ja tema autonoomia on suhteliselt piiratud. Ka tänapäeva Eesti õpetajatest tajub vaid 14%, et õpetajaamet on ühiskonnas lugupeetud. Meie õpetajad kurdavad madala palga, suure töökoormuse ja vähese tunnustuse üle sajandil tõusis õpetaja prestiiž neis riikides, kus õpetajaid hakati ette valmistama ülikoolides. Ülikoolide endi prestiiž aga sõltub sellest, kuivõrd viljakas on neis teadustegevus. Nii hakati ka õpetamist teaduslike meetoditega uurima. Siit kasvas välja õpetaja-uurija positiivne kuvand ja uskumus, et õpetamine põhineb teadusel, eeskätt pedagoogilisel psühholoogial. See lähenemine parandas õpetaja positsiooni. Õpetaja hakkas paistma asjatundjana, kes teab ja oskab midagi, mida keegi teine ei tea ega oska. 4. See saavutus varjutas õpetamise teisi funktsioone. Ebaõige ettekujutus, nagu oleks õpetamine poliitiliselt neutraalne, jäi kriitiliselt analüüsimata. Siinkohal pole kõneks päevapoliitika ega parteipoliitika, küll aga näiteks õpetamistegevust reguleerivad riiklikud õigusaktid, õppekavad ja hindamisvahendid. Kas õpetaja on riigiteenistuja ja kas ta tahab seda olla? Rahvusriikides on õpetajakutse alati olnud riikliku tähelepanu all. Võrreldes varasemate aegadega, kui õpetaja tegevusse sekkus kohalik võim ja kirik, õpetaja prestiiž tõusis, õpetaja omandas uue identiteedi, uue missiooni kui osaline rahvuse ülesehitamisel. Ent milline on õpetaja olukord võõrvõimu poolt okupeeritud, koloniseeritud või totalitaarses riigis? Nende riikide näite põhjal ilmneb selgelt, et õpetaja on poliitilise valiku ees. Jah, halvimal juhul, totalitaarses ühiskonnas näiteks, on õpetaja meelevallas vähe, kuid midagi siiski. Näiteks variõppekava. 5. Õpetamise poliitiliste aspektide teadvustamine teeb ilmsemaks selle, et õpetamisel on mingid teadvustatud või teadvustamata - filosoofilised, sh eetilised aluspõhimõtted ja et õpetajal peaks olema oma õpetamise filosoofia. Niisiis lisaks kõigele on õpetaja ka filosoof. Ja sellega seondub veel üks valik, mis mõnedes ajaloolistes olukordades on möödapääsmatu: õpetaja kui intellektuaal, kes ei karda kaitsta oma põhimõtteid avalikus ruumis.

5 6. Õpetaja õpetab. Õpetamine on sihipärane tegevus. See vajab eesmärgistamist, kavandamist, sooritamist ja hindamist. Õpetamine on tegemise kunst. Tegevuskunst. 7. Õpetamise kavandamisel on palju ühist disainikunsti (selle sõna kõige laiemas tähenduses) ja arhitektuuriga. Milliseid ja kelle - lapse?, lapsevanema?, riigi?, rahvuse?, kultuurieliidi?, majandus- või poliitilise eliidi? - soove ja vajadusi peab õpetus rahuldama? Milliste vahenditega? Milliste eetiliste, tunnetuslike, informatsiooniliste, materiaalstete piirangutega? Sedalaadi ülesannet lahendades saab õpetaja toetuda teadusele, oma poliitilistele veendumustele, oma õpetamisfilosoofiale. Just nimelt toetuda. Konkreetsed lahendused ja otsused tuleb õpetajal endal leida. 8. Ja nüüd kõige tähtsam. Kõik muu oli üksnes eelmäng ja tagamaad. Nüüd tuleb õpetamistegevus ise. Millise kunstiga on tegemist? Esituskunstid tulevad kõne alla. Võiksime õpetajas näha teatrikunstnikku, kes on kirjutanud näidendi, selle lavastanud ja nüüd koos õpilastega ka ette kannab. Näitemängus võib ette tulla ootamatusi: näitleja jääb lavaletulekuga hiljaks, keegi murrab käeluu või minestab, keegi unustab teksti. Siis tuleb improviseerida. Aga koos õpetajaga on õpetamisskeenel ühekorraga paar-kolmkümmend rollitäitjat ja neile ei saa näidendit täiel määral ette kirjutada. Õpilaste rollitäitmist on raske, vahel võimatu ette näha ja harjutada. See õpetamis-õppimisnäidend olgu selleks või õppetund - etendub ainult üks kord ja käike tagasi võtta ei saa. 9. Järeldus: õpetamiskunst on omaette kunstiliik. 10. Seda õpetamiskunsti tuleb ühiskonnale ja õpetamises-õppimises osalejatele endilegi teadvustada, selle mainet tuleb tõsta, seda tuleb promoda. Seda tuleb pidevalt ajakohastada ja paremaks muuta, kriitilise pilguga üle vaadata. 11. Teen ettepaneku: tekitada õpetamiskunsti vaba lava, kus kuraatorite poolt korraldatuna saaks õpetamiskunsti publikule demonstreerida. Performance'id, videod, näitemängud õppimise-õpetamise teemal, miks mitte ka püstijala- komöödiad, teemakohased NÄITUSED, arutelud, õpitoad, meistriklassid. Mida iganes. See ei ole ühekordne projekt, vaid üritus, millel pole lõppu. 12. Raha? Miks mitte taotleda seda EL fondidest. EL on seni meie haridussüsteemi mõjutanud uuringutega, andmestiku kogumise ja publitseerimisega, rohkearvuliste standardite ja kvalifikatsiooninõuete sisseseadmisega. Aeg on küps selleks, et asuda tõstma meie hariduse loome- ja innovatsioonivõimekust. Kas peaksime koostama manifesti?

6 Understanding and Creating Contemporary Art in Secondary School Nina Ostan, BA and Mateja Ocepek, MA National Education Institute, Slovenia Nina Ostan was born in 1963 in Slovenia. Studied in Ljubljana (Slovenia) at Faculty of Arts where she obtained a degree in Art History and Sociology of Culture. She worked as a journalist focusing on art and culture and traveled around Europe extensively. She has been working for the last 21 years in the field of education. She is a high school art history and visual arts teacher. She has prepared various school exhibitions with her students as well as visual arts projects, published students magazines, guided students excursions focused on art and culture and in the last years she has been developing didactical museum approaches to art works. She is a co-author of Art History- Student s book (2008) and several didactical materials on art teaching, also on ICT use. Currently she is also working as a Senior Consultant for Art History on National Education Institute of Slovenia. She is the author of art history teaching materials and numerous pedagogical articles about curricula integrations. She is also a co-author of different art history and visual art syllabus and a teacher trainer. She is the editor of Handbook for art history teachers (2012) and is currently preparing concepts on art teacher s education, organizing workshops and seminars. She has been lecturing since 2008 and she is presently focusing on several didactical approaches to contemporary art, such as intermedia art, performance art and short movies at school. She was mentor and curator of the Slovenian Pavilion on Eksperimenta! and was awarded the prize for The most interesting curatorial work. She is a mentor and curator of the Slovenian Pavilion on Eksperimenta! Mateja Ocepek is the founder and director of H art, Institute for Arts Since The institute focuses on educational activities of contemporary visual arts on the high school level and on performing arts within AEIOU Theatre for Babies and Toddlers. The work consists of workshops for high school students on the field of contemporary and intermedia visual arts. Student exhibitions are organized with the major Slovene galleries such as MSUM, Gallery Kapelica and The Ljubljana Biennial of Graphic Arts and with international student exhibitions such as Experimenta! where given Award for best curatorial work at Eksperimenta! In The practical knowledge about good pedagogical practices gained from the practices mentioned above is presented for art teachers in the form of lectures and articles. These activities bring contemporary visual arts closer to curriculum and encourage art teachers to practice it at schools. The work is done in the collaboration of the Institute of Education of the Republic of Slovenia. Contemporary art with all its complexity and variety is a very challenging subject to work with youngsters in secondary schools. It offers the opportunity to discuss the attitude of their creators towards the contempo-rary world and social issues. It challenges and encourages critical and creative thinking and creativity. Our presentation offers an inside view in the process of understanding and creating contemporary artworks (basically understood as installations, performances or intermedia-works) with years old youngsters inside the school environment. We understand the making of contemporary art as a skill (similar as drawing or painting) which encloses various phases: from getting familiar with contemporary art work and understanding its message and compo-sition the process, which constantly involves critical thinking and is supported by the multi-perspective view on the challenging problem, to the process of choosing the idea, which the youngsters want to express in their contemporary artworks. This so called choosing the idea process concentrates on two questions: WHAT message do I want to convey with my artwork? and HOW will I present the artwork to see that the message is understood by the audience? We see the thinking process as a very important part of composing the contemporary artwork and we also acknowledge the importance of the verbalization of that thinking process. The third part in making the contemporary artwork is the visualization of idea, the process in which the student find the form of presentation (which media or form, which material, which dramaturgy, which placement ). We consider the role of a teacher as a tutor, who helps students to focus on the problem, to select ideas and support them by formulating what they want to express.

7 Contemporary Solutions for Contemporary Art Inese Rītele, BA and Zanda Zilgalve, LLM ABLV Charitable Foundation, Latvia Inese Rītele has received a teacher s diploma from the University of Latvia and undergone vocational training teaching cultural history to secondary school classes. During her studies, she has mastered art and sectoral teaching in-depth, as well as developmental and interaction psychology. She has professional experience of adult education programmes and training methods. Since January 2014, she has led ABLV Charitable Foundation s educational department, whose basic objective is to encourage the development of high quality educational projects in Latvia, thus nurturing the understanding and interest in contemporary art of the potential audience for the nascent Contemporary Art Museum. Zanda was born into an Artist s family who were founders of the first arts NGO in Latvia. From 1998, she was involved in the development of the organization, eventually becoming its Managing Director in Parallel to this, she pursued a career closely connected with her education in law and finance, working as an administrative director for several state- and municipality-owned enterprises. In 2007, the NGO joined the European network of cultural centers Trans Europe Halles that connects around 50 cultural venues in 27 European states. Shortly after, Zanda was elected to its executive committee ( ). Since 2012, Zanda is running the ABLV Charitable Foundation that was founded in 2006 in order to form a collection for the upcoming Contemporary Art Museum in Latvia. Since the establishment of ABLV Charitable Foundation in 2006, we have focused our attention on contemporary art, as well as the development of education in the field of art. Our pilot project a unique, interactive educational game for 9th-12th grade schoolchildren was specially designed for the exhibition of the collection of the nascent Latvian Contemporary Art Museum. The project was made, utilizing the opportunities provided by modern technologies, to educate schoolchildren about contemporary art and its connection with various teaching subjects: physics, chemistry, biology, geography, history, politics, culturology, informatics, etc. Our educational project was developed according to the principle of the game. In small groups or individually, schoolchildren carried out interactive tasks on tablet computers, which were positioned next to the works of art, as well as in work sheets, and, by fulfilling the relevant conditions, could proceed to the next task. What is more, given the huge public interest in the exhibition and its educational project over a five-week period, we succeeded in welcoming more than 3000 schoolchildren we decided to create an interactive version of the exhibition, a virtual 360º tour. This project is highly appreciated by the Latvian Ministry of Education that expressed its interest in the integration of our educational project in the learning program of the highschools. The interactive version of the exhibition, where the above-mentioned project is integrated, can be viewed in Latvian, Russian and English, by pressing the following links: 1) Latvian version: virtuala-ture.ablv.org/lv 2) Russian version: virtuala-ture.ablv.org/ru 3) English version: virtuala-ture.ablv.org/en However, we should stress that while the virtual tour of the exhibition is available in three languages Latvian, Russian and English, the educational project itself for now is only available in Latvian.

8 Utilizing Contemporary Art as a Vehicle to Teach Critical and Creative Thinking in Canadian High School Visual Arts Programs Prof. Peter Vietgen, PhD Brock University, Ontario, Canada Dr. Peter Vietgen is an Associate Professor of Art Education in the Department of Teacher Education, in the Faculty of Education at Brock University, Ontario, Canada, where he began teaching in Peter completed his PhD in Art Education in the Faculty of Fine Arts at Concordia University, Montreal, Quebec, his MEd and BEd in Arts Curriculum Studies at the Ontario Institute for Studies of Education at the University of Toronto and his BA in Visual Arts at Brock University. Previous to starting his doctoral studies, Peter served for 5 years in the role as a Visual Art Consultant/Curriculum Advisor with the Toronto District School Board, after teaching Visual Arts in Toronto for 10 years. Peter is currently in his second term as a Vice President on the executive of CSEA, the Canadian Society of Education through Art. A past Vice President of OAEA, the Ontario Art Education Association, Peter is currently the regional OAEA representative for the Niagara Region. Peter has presented research and numerous workshops at conferences locally, nationally and internationally. His research interests include museum/gallery and school partnerships, social justice and equity issues in the arts, teacher education and the arts, architecture in the curriculum and the connection between literacy and the arts. Peter has also curated and juried many art exhibitions. An artist himself, Peter s current interest and passion lies in the art and practice of photography. Committed to sharing his dedication to art education wherever he goes, Peter was named Post-Secondary Art Educator of the Year for 2012 by the Ontario Art Education Association. How does a secondary visual arts teacher in Canada work to develop an art program that explores the diversity of approaches to art making that can be found in Canada s most forward-thinking contemporary artists working today? This presentation will introduce the work of ten of Canada s top contemporary artists who are pushing the boundaries to communicate their ideas through their art. As the world s second largest country in square kilometres (5,514 km from East to West and 4,600 km from North to South) and with a population of close to 35 million inhabitants, Canada s diverse landscape and multicultural population yield a contemporary art scene that explores a variety of media, themes and forms. From the west coast city of Vancouver, to the art centres of Winnipeg, Toronto, Montreal, and the northern territory of Nunavut, contemporary art in Canada has never been stronger. Through a careful analysis and deconstruction of individual art works by practicing artists from across this vast country, high school teachers develop in their students critical thinking skills which lead to a more rich and deeper understanding of the creative process and art-making component of the Canadian secondary visual arts curriculum. Introducing artists from a diversity of backgrounds, including First Nations and Inuit art, this presentation will make connections to themes such as environmentalism, isolation, self-identity, and nationalism. Peter Vietgen will share his presentation time with The Art Gallery of Ontario. The Art Gallery of Ontario Youth Council works collectively to initiate programming in the City of Toronto, Ontario, Canada, and in the Art Gallery of Ontario itself. Exhibitions, public art projects, large-scale events, field trips, and much more are part of this program. The Youth Council is a hands-on, fast paced program that gives participants a chance to work with local and international artists, advocates, community members and activists on projects that give a voice to people under 24. Our presentation will explore the history of the Youth Council, their role within the institution and their impact in Toronto, with a focus on intergenerational mentorships as creative problem solving for social change.

9 Illustration and Creation of Characters. Developments of Divergent Thinking in Art Lessons Margot Kask, MA Tallinn University Margot Kask has studied printmaking and photography in Estonian Academy of Arts. Works as an artist, curator and art educator since Now, she teaches at Tallinn University Art department and Collegium Educationis Revaliae Art School. The workshop introduces some options of using divergent thinking and increasing awareness of visual communication in art lessons. Therefore, we will use the topics of visual narrative and illustration, concentrate on the multiplicity of rhetorical options in visual expression and study the connections between visual and textual stylistics. The practical process concentrates on character creation and the character s relationship to the surface or space of the image and page. To impel and balance the creative and critical ways of thinking, we will work intermittently individually and in groups.

10 Inventing a Laboratory of Education, Liberties and Utopias inside an Art Exhibition Estêvão da Fontoura Haeser, PGDip UFRGS (Universidade Federal do Rio Grande do Sul), Brazil Estevao Haeser (Porto Alegre, 1977) is a multimedia artist, post graduated on Art Pedagogy in Faculdade de Educação da UFRGS (Faculty of Education of UFRGS) (2009) and graduated Bachelor on Fine Arts at the Instituto de Artes da UFRGS (Art Institute of UFRGS) (2003). Was winner of the Prêmio FUNARTE de Arte Negra (Brazilian Ministry of Culture National prize, adressed to african-brazilian people) in 2013, with the project Casa Grande, which was co-author. Attended the Pedagogical Project of the Mercosul Biennial, from 2005 to 2011 and was co-author of the Fichas Práticas (Practical Cards), educational material of the 7th edition of the exhibition in Since 2008 has been presenting and publishing papers in international conferences on educational projects, gender, art and education, and published in Portugal, Finland and Australia, as well as Brazil. Delivered several workshops, extension courses and teacher training in Portugal since 2009, always in partnership with the Casa da América Latina (House of Latin America) and other institutions such as CCB (Lisbon), APECV (Porto) and IADE (Lisbon). Works as art teacher in private schools in Porto Alegre since Participates of the RIAEA (Ibero-American Network of Art Education), since Graduated as Bachelor in Fine Arts and post-graduated as Specialist in Art Pedagogy This article presents the structural ideas of Escola Caseira de Invenções (School of Homemade Inventions - SHI), and discusses its challenges and results from the perspective and analysis of one of the educators responsible for this space and a teacher-artist who explored the opportunity to subvert the art class and convert it into a prolonged experience with the art world. From these two distinct perspectives, we will take the SHI an educational space, a sort of factory or laboratory, established under the 9th Mercosul Biennial Education Programme as an enhancer process of reflection on art and education. The SHI will be taken as a locus of research and experience of possible schools, imagination and practice of other schools, other modes of learning and teaching. Starting from the aesthetic assumptions of contemporary art, in SHI we tried to pay attention to the banal, the everyday life, the memory of the solutions to problems of day-to-day. So, it has been created, at the SHI, a kind of inventory, collection of ideas and inventions, joining materials, which reveals creativity distant from museums and major art exhibitions, and next of everyday life, showing that we are all potentially artists, and that any material, idea or imagined project, can originate artistic issues. Education seen as participatory and collaborative process will go through the two cases: in them, it will be highlighted the key idea of the SHI whereby we are all bearers of knowledge and techniques, coming from our contact with the world and that, therefore, all of us have something to teach and much to learn. From this, we thematized the empowerment of the spectator as a cultural producer and as a proponent of activities, workshops, forms of appropriation, use and occupation of museum space.

11 Performance the Process of Making it Nina Ostan, BA and Mateja Ocepek, MA National Education Institute, Slovenia Nina Ostan was born in 1963 in Slovenia. Studied in Ljubljana (Slovenia) at Faculty of Arts where she obtained a degree in Art History and Sociology of Culture. She worked as a journalist focusing on art and culture and traveled around Europe extensively. She has been working for the last 21 years in the field of education. She is a high school art history and visual arts teacher. She has prepared various school exhibitions with her students as well as visual arts projects, published students magazines, guided students excursions focused on art and culture and in the last years she has been developing didactical museum approaches to art works. She is a co-author of Art History- Student s book (2008) and several didactical materials on art teaching, also on ICT use. Currently she is also working as a Senior Consultant for Art History on National Education Institute of Slovenia. She is the author of art history teaching materials and numerous pedagogical articles about curricula integrations. She is also a co-author of different art history and visual art syllabus and a teacher trainer. She is the editor of Handbook for art history teachers (2012) and is currently preparing concepts on art teacher s education, organizing workshops and seminars. She has been lecturing since 2008 and she is presently focusing on several didactical approaches to contemporary art, such as intermedia art, performance art and short movies at school. She was mentor and curator of the Slovenian Pavilion on Eksperimenta! She was awarded the prize for The most interesting curatorial work. She is a mentor and curator of the Slovenian Pavilion on Eksperimenta! Mateja Ocepek is the founder and director of H art, Institute for Arts Since The institute focuses on educational activities of contemporary visual arts on the high school level and on performing arts within AEIOU Theatre for Babies and Toddlers. The work consists of workshops for high school students on the field of contemporary and intermedia visual arts. Student exhibitions are organized with the major Slovene galleries such as MSUM, Gallery Kapelica and The Ljubljana Biennial of Graphic Arts and with international student exhibitions such as Experimenta! where given Award for best curatorial work at Eksperimenta! In The practical knowledge about good pedagogical practices gained from the practices mentioned above is presented for art teachers in the form of lectures and articles. These activities bring contemporary visual arts closer to curriculum and encourage art teachers to practice it at schools. The work is done in the collaboration of the Institute of Education of the Republic of Slovenia. This workshop addresses art educators explaining how to lead youngsters through the process of understanding and making contemporary performance. The workshop will be practical consisting of 4 steps. The participants will work in groups. Step 1 (10 minutes). Analysis of an artwork answers on two main questions: What is the artwork about (the content)? How is it structured (which strategies are used to present its content)? Research work: using the computer and internet to contextualize particular artwork. Step 2 (20 minutes). Making a plan of your own art work on chosen subject. First choose a subject and put it in words. WHAT do you want to communicate with your artwork, find a subject and make it clear, understandable. Find the form of presentation. HOW will you present the artwork to be as precise as possible in communication with the audience (which format, which material, which dramaturgy, which placement ) Method: group work, debate, exchanging ideas 20 Step 3 (25 minutes). Presentation of plans of every group, analysis and discussion upon that. Participants will be encouraged to present their ideas in a form of a small art performance, a minor art action in situ. In order to gain practical knowledge to understand better the process how to make an art performance. Step 4 (5 minutes). Conclusion

12 Õpilase personaalne kunstiraamat kui efektiivne vahend õppeprotsessi toetamiseks Edna Vahter, MA Tallinna Ülikool Edna Vahter on kunstiharidusega olnud seotud üle 15 aasta. Õpilasteks on olnud nii 1-2 aastased kui ka täiskasvanud õppijad. Hetkel töötab Edna Vahter Tallinna Ülikoolis Kasvatusteaduste Instituudis kunstididaktika lektorina, Eesti Rahvusvahelises Koolis ja Laste Loomingu Stuudios kunstiõpetajana. Haridustee jätkub Tallinna Ülikooli Kasvatusteaduste Instituudi doktorikoolis Tallinna Ülikool, Kasvatusteaduste Instituut, doktorantuur Tallinna Pedagoogikaülikool, Kasvatusteaduste teaduskond, magistrantuur, pedagoogikamagister (MA) Tallinna Pedagoogikaülikool, Kultuuriteaduskond, kunstiõpetuse ja joonestamise eriala, kultuuri- ja kunstiajaloo lisaeriala Kunstiõpe on kaasajal avardunud, praktiliste oskuste kõrval on saamas oluliseks ka ainesega suhestumine. Tuginedes mitmetel allikatele, sh Eesti riikliku õppekava kunsti ainekavale, võib välja tuua, et kunstiaine edastamisel tuleks kaasajal arvesse võtta mitmeid olulisi aine õppimise osi uurimine, teadmised ja arusaamine, planeerimine ja ideede arendamine, loomine, reflekteerimine ja hindamine. Eelmainitud tegevuste fikseerimise ja õppimise dokumenteerimise üheks võimaluseks on kasutada kunstiraamatut. Kunstiraamat on õpilase personaalne märkmik või päevik kunstiõppeprotsessi kajastamiseks. Kunstiraamat võimaldab õpilasel võtta vastutus, avastada ja katsetada uusi võimalusi lähtuvalt isiklikust huvist ning arendada eneseväljendusoskust. Kunstiraamat võib sisaldada visuaalseid ideid ja mõtteid õppeprotsessist, spontaanseid kavandeid, inspiratsiooniallikaid ja tehnikaproove. Samuti saab kunstiraamatut kasutada märkmete tegemiseks, näituse/muuseumi külastuste fikseerimiseks ja uurimistööks. Sissekanded näitavad, kuidas ideed ja teemad on käsitletud ja õpilase poolt arendatud. Ettekandes tutvustatakse võimalusi kunstiraamatu kasutamiseks õppetöös, esitletakse erinevate kunstiraamatute vorme ja arutletakse kunstiraamatu vajalikkuse üle. Bibliograafia Arts Guide. (2008). Middle Years Programme. International Baccalaureate Organization. Arts Scope and Sequence. (2009). Primary Years Programme. International Baccalaureate Organization. Gee, K. (2000). Visual Arts as a Way of Knowing. York Maine: Stenhouse Publishers. Robinson, G. (1995). Sketch-books: explore and store. London: Hodder & Stoughton. Kunstiained. (2010). Põhikooli Riiklik õppekava, lisa 6. ( ).

13 Kunstnikuraamat kui elustiil Anu Purre, MA Eesti Kunstimuuseum Töötan juba pikemat aega Eesti Kunstimuuseumis kuraator-metoodikuna. Tegelen seal laste ja noorte haridusprogrammide kureerimise ja koostamisega ning vastava kogukonna loomisega. Juhendan ka ülikoolides magistritöid ja ōpetan muuseumipedagoogikat. Lisaks sellele juhendan erinevaid kalligraafia, kunstitehnikate ja kompositsioonikursuseid Tallinnas, Hopneri Majas. Tegelen ka ise kunstiga. Viimastel aastatel olen ma kõige rohkem joonistanud. Avastasin enese jaoks sketchbooki meetodi. See vaimustab mind juba paar aastat ja on muutunud minu loovaks elustiiliks. Haridus: Eesti Kunstiakadeemia MA ja Ōpetajakoolitus Välkettekanne " Kunstnikuraamat kui elustiil" käsitleb kunstniku ja raamatu suhet. Kunstnikuraamatuga tegelemine võib muutuda lausa elustiiliks - kui kord oled sellega juba algust teinud, on seda raske peatada. Ja miks peakski? Kunstnikuraamat on maailmas levinud kunstipraktika. Raamatuid võib ise teha, joonistada või kirjutada, aga ka objektiks vormida. Neid võib teha millest iganes. Miks peaks ära viskama näiteks vanad raamatud, millel pole enam väärtust ja mida keegi enam kunagi ei kasuta. Neist võib luua ka uue kvaliteedi. Ettekandes tuuakse näiteid erinevatest kunstnikeraamatutest. Autor tutvustab oma viimase pooleteist aasta elustiili, milles on oluline roll sketchbook il, kirja ja kunstnikuraamatu õpetamisel.

14 Meetodijaht meetod meetodite loomiseks Kristi Laanemäe, MA Tallinna Ülikool Olen tegev MTÜ-s Loovalt tulevikku loovtöötaja, koolitaja ja projektijuhina ning Tallinna Ülikooli kunstihariduse osakonnas peametoodiku ja lektorina. Loovalt tulevikku loominguline meeskond tegeleb kunstihariduse arendamisega läbi õppematerjalide loomise ja koolitamise. TLÜ kunstihariduse osakonnas on minu vedada kunstiõpetuse didaktika, pedagoogiline praktika ja arvuti ning uusmeedia kunstiga seotud teemad kunstiõpetuses. Praegusel ajahetkel olen tähelepanu keskendanud väljundipõhisele õppekavaloomele, hindamismeetoditele kunstis, loovusõpetusele ja tänapäevase kunstiõpetuse mudeli leidmisele ja sõnastamisele. Mulle meeldib leida mustreid või süsteeme, samuti korrastada olemasolevat infot Väljaspool töiseid tegevusi armastan õppida ja luua. Loovust mõistan igasse eluvaldkonda ja hetkesse imbuva ärksuse, avatud hoiaku ja tegutsemistahtena. Haridus Võru I Keskkool Tallinna Kergetööstustehnikum (kutsekõrgharidus) Akadeemia Non Grata Eesti Kunstiakadeemia maalikunsti bakalaureus Eesti Kunstiakadeemia kunsti ja kunstiajaloo õpetaja MA Eesti Kunstiakadeemia uusmeedia MA Aktiivõppe meetodid, nii individuaal- kui grupitööks sobilikud, on muutumas õppetöö loomulikuks osaks. Ka eestikeelne meetoditealane teave on juba küllalt kättesaadav. Kuid ometi võib õpetav inimene leida ennast olukorras, kus sobivat meetodit on raske leida või juba kasutatud meetodid on üksluiseks muutunud või ei paku piisavalt väljakutset. Metoodika on justkui arenev ökosüsteem, kus uusi meetodeid pidevalt sünnib ja sureb. Iga õpetav inimene saab olla ise meetodilooja, mitte ei pea leppima teiste poolt juba varem looduga. Meetodijaht on meetod õpetamismeetodite loomiseks, kuid miks mitte ka õpetamiseks. Meetodijahi aluspõhimõtteks on tõdemus, et meetodid, kui tegutsemisviisid, ümbritsevad meid igal pool. Meetodijaht sobib kõikidele õpetavatele inimestele, vajalik on vaid loov lähenemine ja ettevõtlikkus. Meetodijahti on edukalt praktiseeritud koos tegevkunstiõpetajatega koolitusel "Kunstiõpetaja ainepraktikum" ja TLÜ Kunstihariduse osakonna tudengitega.

15 Work of art and Meaning-making: an experience with 9th grade students Anabela Pereira, MA General Humberto Delgado Middle School, Lisbon, Portugal Anabela Pereira is Visual Arts Teacher and Painter. She has been a teacher at Middle and Secondary Schools for over twenty years. Currently, Anabela Pereira teaches Visual Arts at General Humberto Delgado Middle School, in Lisbon, where develops its effort to engage students with the work of art and to create tools that encourage critical dialogue about art. Since 1996, she participates in painting exhibitions in Portugal, Spain and France and has received several awards and honorable mentions. She graduated in Painting and holds a MA in Art Education (Faculty of Fine Arts, University of Lisbon). Her primary academic and research interests are in literacy in visual arts, critical interpretation of the work of art and the role of the arts in the school curriculum. As a Visual Arts teacher I acknowledged that plastic experimentation is not followed by activities designed to develop skills of artistic appreciation. Being aware that school and art education in school have an important role in literacy, understood as the ability to encode and decode various forms of representation, intended to contribute to the development of students' autonomy in discerning visual language. After a review of the literature on developmental stages and models of aesthetic interpretation of the works of art, was outlined an action plan that went through the methodological choice of a case study with students from the 9th grade. The main purpose of this research was to design and analyse the results of the implementation of a program of artistic mediation based on a set of procedures that aim to stimulate dialogue about the work of art. For this, we used the works of artists such as Edward Hopper, René Magritte, Edvard Munch, Henri Matisse, Lucian Freud and Martha Telles, organized according to themes. The study concluded that the dynamics of the discussion about the work of art has revealed that the students have a valid knowledge to bring to the group and the interaction between them was a key factor for the construction of a more accurate language. The students were able to develop a structure that give them a wider range of possibilities in future experiments with other works of art.

16 Teaching Graphic Design: Creating the Image of Almada s Youth Festival Paula Penha, MA Cacilhas-Tejo Secondary School, Almada, Portugal Paula Penha is a Visual Arts and Graphic Design Teacher. Presently she is a Teacher of Graphic Design (Vocational Course) at Cacilhas-Tejo Secondary School and has been a supervisor and jury member of Graphic Design Vocational Skills Exams. She is also the schools website administrator and promotes graphic design exhibitions and talks. Paula worked as a Communication Designer at C&C Consultores de Comunicação, a PR and Communications Agency, where she developed projects of visual communication, corporate identity, advertising, editorial design and webdesign. She graduated in Communication Design, holds a Post-Graduation in Art Education and a MA in Teaching Visual Arts (University of Lisbon). Her research interests relate to visual arts and graphic design education, design process, graphic design history, visual communication and multimedia. This presentation illustrates the project Creating the Image of Almada s Youth Festival developed by graphic design students (vocational course) of Cacilhas-Tejo Secondary School (Portugal). The project was based on the vocational education goals and students' involvement with the local community, while promoting real work situations and contact with graphic design professionals. The students were asked to create the graphic image for Almada s Youth Festival (Quinzena da Juventude) and its application in various media to publicise the event. They followed the design process with research and analysis of previous projects, brainstorming, conceptualization, generating and developing ideas, creating mock-ups of the product, preparing the files for print and the final presentation to the client. The project, conducted in collaboration with the Youth Division of Almada s City Council, incorporated an exhibition of the work developed by students, part of the 2012 Youth Festival program. Bibliography: Davis, M. (2005). Raising the Bar for Higher Education. In Steven Heller, The Education of a Graphic Designer (pp ). New York: Allworth Press. Frascara, J. (2006). El Diseño de Comunicación. Buenos Aires: Infinito. Gordon, B., & Gordon, M. (2002). The Complete Guide to Digital Graphic Design. London: Thames and Hudson. Heller, S. & Talarico, L. (2009). Design School Confidential: Extraordinary Class Projects from International Design Schools. Massachusetts: Rockport Publisher. Hollis, R. (1994). Graphic Design: a Concise History. London: Thames and Hudson. Lehrer, W. (2005). Emptying the Spoon, Enlarging the Plate: Some Thoughts on Graphic Design Education. In Steven Heller, The Education of a Graphic Designer (pp ). New York: Allworth Press. McCoy, K. (2005). Education in an Adolescent Profession. In S. Heller, The Education of a Graphic Designer (pp. 3-12). New York: Allworth Press. McLuhan, M. (2001). Understanding Media: The Extensions of Man. London: Routledge Classics. Munari, B. (1968). Design e Comunicação Visual. Lisboa: Edições 70. Penha, P. (2012). A Imagem Gráfica da Quinzena da Juventude de Almada: o Ensino Profissional e a sua Articulação com a Comunidade Local. (Master s Thesis, University of Lisbon). Retreived from Shaughnessy, A. (2005). How to be a Graphic Designer, Without Losing your Soul. London: Laurence King Publishing. Swanson, G. (2005). Graphic Design Education as a Liberal Art: Design and Knowledge in the University and the Real World. In Steven Heller, The Education of a Graphic Designer (pp ). New York: Allworth Press.

17 Trace Frontiers: Demystifying the Drawing Estêvão da Fontoura Haeser, PGDip UFRGS (Universidade Federal do Rio Grande do Sul), Brazil Estevao Haeser (Porto Alegre, 1977) is a multimedia artist, post graduated on Art Pedagogy in Faculdade de Educação da UFRGS (Faculty of Education of UFRGS) (2009) and graduated Bachelor on Fine Arts at the Instituto de Artes da UFRGS (Art Institute of UFRGS) (2003). Was winner of the Prêmio FUNARTE de Arte Negra (Brazilian Ministry of Culture National prize, adressed to african-brazilian people) in 2013, with the project Casa Grande, which was co-author. Attended the Pedagogical Project of the Mercosul Biennial, from 2005 to 2011 and was co-author of the Fichas Práticas (Practical Cards), educational material of the 7th edition of the exhibition in Since 2008 has been presenting and publishing papers in international conferences on educational projects, gender, art and education, and published in Portugal, Finland and Australia, as well as Brazil. Delivered several workshops, extension courses and teacher training in Portugal since 2009, always in partnership with the Casa da América Latina (House of Latin America) and other institutions such as CCB (Lisbon), APECV (Porto) and IADE (Lisbon). Works as art teacher in private schools in Porto Alegre since Participates of the RIAEA (Ibero-American Network of Art Education), since Graduated as Bachelor in Fine Arts and post-graduated as Specialist in Art Pedagogy. Workshop description: introduction about the dadaist techniques of aleatory drawing. After that, by thinking of their walks through Tallinn's streets, the participants will have to find their paths in the maps. Each path they followed they will mark with a different color. We will think of, at least, ten paths. So, when we finish, we'll transfer those colored lines to the white paper, loosing the relation with the reference, the map. Then what we'll have is just a colored abstract drawing, some of them very beautiful, another ones strange. The idea is to notice our relation with the territory that we are occupying. And then it will be time to discuss about images and their production. How a map is created now and how it was created five hundred years ago, when the buildings that receives Eskperimenta! today were assembled? How the technology influences our lives? What Albert Einstein has to do with it?

18 Why and How to Teach Design? Merike Rehepapp, MA Estonian Academy of Arts, Tallinn WHY? The profession of Product Designer can be implemented on very wide scale. For complete design process mastering of variety of skills are needed, including theoretical knowledge and technical practice. Acquiring those skills have enabled Merike to lead product development and company structure development projects in commercial companies. Her Masters degree evolved into Design Cheat Sheet, the first Estonian design study handbook how to teach design in public schools. Design thinking has changed Merike s personal quality of life so much, that teaching of these skills has become her mission. She teaches product design students in Estonian Academy of Arts, focused on design knowledge as well as auxiliary skills of presentation and performance technics. Beside academy work, she is lecturing design didactics. In cooperation with Estonian Research Council Merike is training the tutors of young inventors. Education: MA Estonian Academy of Arts 2002 Industrial Design, Kolding Designskole, Denmark B.A. Product Design, Estonian Academy of Arts Pedagogical Education: Tallinn University We live our lives in a more or less man-made or artificial environment. Therefore it is imperative to both understand this surrounding environment as well as to be able to create it as necessary. Design thinking makes it possible to understand our surroundings, it teaches us to think critically towards the environment created by us and by others, and gives a means to create positive surplus values. Design as a way of thinking, permeates all areas of life surrounding us and links these different areas together. In the public school system, the essential purpose of design as a subject is to teach children to notice these links between the various areas of life and subjects taught in school as well as links between cause and effect. Designer-like thinking is being taught, which gives the skill of reading / interpreting the man made environment. This, in turn, enables better navigation in the sphere of design and gives the competence to create and shape it as needed. HOW? The first Estonian study material Design Cheat Sheet, author Merike Rehepapp. The need to create a study material derives from the decision of the Estonian government issued on 28 January 2012, approving the new curricula for the public school system which lays out the obligation to teach design as a subject. Design Cheat Sheet is a teacher's study aid to teach design in an Estonian language public school setting. The workbook consists of three parts. The first part introduces the essence of design and the basic design terminology. The second part contains exercises geared towards students, where they experience what our environment consists of and what means are being used to create it. The third part introduces the design process, that is, how and in which order the process works. The various topics covered in the workbook give the chance to use the study aid in different subjects within the curriculum, starting from social studies to geography. Bibliography 2012 Design Cheat Sheet Teacher's workbook for teaching design (Estonian language), edited and published by the Estonian Art Academy 2014 Design Cheat Sheet Teacher's workbook for teaching design (Latvian language), translated and published by The Art Education Centre TRĪS KRĀSAS

19 Animatsiooni praktika kasutamisest koolis Sondra Lampmann, MA Nukufilmi Lastestuudio, Tallinn Lühidalt öeldes olen oma teadliku elu jooksul tundnud soovi tegelda erinevate kunstialade ja valdkondadega, katsetades ja eksperimenteerides. Alustades joonistamiset lõpetades metallikunstiga pole aga kindlale valdkonnale truuks jäänud. Tagasi vaadates on ilmselt asjade loomulik käik, et pidepunktiks on jäänud animatsioon, filmikunsti alaliik, mis peidab endas kõiki kauneid kunste. Olen MTÜ Nukufilmi Lastestuudios juhendaja ja peadagoog aastast Tänu erinevatele projektidele, koolitustele, kursustele, mida oleme aastate jooksul välja töötanud, katsetanud ja praktiseerinud olen ise väga palju juurde õppinud. Just siin valdkonnas tegutsedes avastasin endas soovi lisaks kunstiõpetaja haridusele omandada ka animatsiooni magistrikraad Eesti Kunstiakadeemias. Olen tänulik kogemuse eest, et olen saanud koostööd teha väga erinevas vanuses ja rahvuses laste, noortega ja täiskasvanutega. Usun, et animatsioon on tuleviku suunatud ala, kus võimalused seda valdkonda kasutada nii hariduses kui eneseteostusel, on piiritud. Uus põlvkond noori animatsiooni tarbijaid on kasvanud internetis - youtube, facebook ning omavahel jagatakse kõikvõimalikku infot ja materjali. Pidevalt muutuvas, digitaliseerunud maailmas on animatsiooni universaalne, visuaalne keel suurepäraseks kommunikatsioonivahendiks, mille mõistmisest võiks olla huvitatud igaüks :) Tänapäeva infoühiskonnas on animatsioon lisaks traditsiooniliselt tuntud multifilmile kujunenud multimeedia üheks alustalaks, mille seaduspärasusi ning võtteid kasutades eksisteerivad kõikvõimalikud visuaalsed meediumid ja metoodilised õppevahendid: arvutimängud, liikuvad logod-sünnipäeva kaardid, interneti kodulehed, mobiiltelefonide liikuvad sõnumid jne. Kuid lisaks kõigele on animatsioon filmikunsti üks vanimaid ja põnevamaid alaliike kus lõimuvad mitmed kaunid kunstid nagu kirjandus, kunst, muusika jne. Välkettekande eesmärgiks on tutvustada loengus osalejatele animatsiooni võimaluste kasutamist loovusõppes, et inspireerida õpilasi loovate lõputööde teostamiseks vajalike valikute tegemisel. Loovus erinevate teadmiste, oskuste ja protsesside sünteesimine animatsiooni abil. Protsess, kus sarnane läte võib anda lõputu hulga erinevaid lahendusi ja võimalusi ning kus kõik lahendused võivad olla õiged. Animatsioon erinevate objektide, mudelite ja joonte elustamine kaader-haaval piltide loomise, ülesvõtte ja taasesituse kaudu. Praktiline loovtöö - juhendatud õppeprotsess, mille käigus õpilane rakendab iseseisva töö oskusi ja omandatud teadmisi, arendab loovust ja kinnistab ning täiendab koolis omandatut. Animatsiooni võimalik roll loovusõppes. 1. Silmale nähtamatute ajas kulgevate (loodus)protsesside salvestamine ja nähtavaks muutmine. A la taimede ja puude kasvamine, päikese liikumine, maja ehitamine, juuste kasv, jne. 2. Reaalsete keeruliste protsesside mudeldamine ja illustreerimine. A la lapse sünd, maakülgetõmbe jõud, raharinglus, mootori tööpõhimõted, jne. 3. Isiksuse psüühiliste ja vaimsete protsesside (kogemuste) illustratiivne ja kunstiline väljendus. a la metafoorsed ja abstraktsed audiovisuaalsed teosed 4. Lugu kui pärimus, fantaasia, omalooming.

20 Kuidas õpetada õpetamata? Sally Stuudio kui vabamõtlemise tsoon Annely Köster, MA Sally Stuudio, Tallinn, Estonia Annely Köster on koolinoorte kaasaegse kunsti triennaali Eksperimenta! asutaja ja direktor, haridusjuht, kunstihariduse uuendaja ja uurija juhtis ta Eesti Kunstiakadeemia kunstiõpetaja magistriõppekava, riikliku õppekava kunstiainete töörühma, a kureeris riiklikku Kunstiaastat, andis välja eesti galeriigiidi "Art this Week", oli Eesti Kunstimuuseumi pedagoogikaosakonna asutaja ja juhataja aastal asutas Sally Stuudio kunstikooli, mida juhib tänaseni. Sally Stuudio kunstikool positsioneerib end kui vabamõtlemistsoon, kus noorte oma mõtted on päriselt teretulnud, piiride kompamine ja ületamine on lubatud. Ettekandes visandan teoreetilise raami, millesse paigutub õppeprotsessi kirjeldus. Märksõnad: väärtused, õpiprotsess, loovus, hea õpetaja.

Visual and Performing Arts

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