2011 / Teresa Torres de Eça, Tamara Melchor , alunos do 12ºN da Escola Secundária Alves Martins

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Nas aulas de Desenho os alunos pesquisaram o tema , discutiram em grupo os assuntos e desenharam figuras humanas em poses de agressor e agredido. Oito alunos da turma voluntariaram-se para ir para a praça principal da cidade no dia 25 de Novembro de 2011 para colaborarem nas actividades programadas pela Associação Adamastor com artistas e as pessoas que passavam eles fizeram um grande desenho colectivo sobre o tema Sem Mulheres não há Paz.

Uma semana depois os alunos voluntários , fizeram sozinhos graffitis no local da feira semanal da cidade para que as pessoas tomassem mais consciência do problema da violência contra as mulheres .

2011 / Teresa Torres de Eça, Tamara Melchor, 12ºN students from Alves Martins High School

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The topic was launched by a local activist organisation: The Association Adamastor in Viseu.
And the end product was a collective event in the main square of the city in the 25 November 2011. Teachers, students, artists, young European volunteers, the local women movement and other organisations were invited to participate.

In the context of the drawing class students made a search about the topic and discuss the issue, after what they drew human figures in violent poses (victims and aggressors). Eight students volunteered to participate in the celebrations of the 25 November, and they helped to draw a collective panel in the main square of the city. One week later they went alone to the market place and made graffiti to make people more aware.

Interpreting voices. Photo: Teresa Eca

The Starting point was the concept of tourist gaze :

The tourist gaze keeps the sensory surface of a place, the attentive impression of the stranger …
The local gaze keeps the sense of place with memories of life experience feelings of a life time in a place …
Can we make an interaction between tourist and local gaze?

The starting point was discussed with a small group of artists, art teachers and cultural agents from the city ( Viseu anti-poverty League; Viseu cineclube; Emporium ). The elements of the group provided an alternative map of the city , almost all of them had been involved with social-cultural projects with non-profit and charitable organisations. So one of the focus of the discussion led us to look for alternative places and people in the city. To collect stories from people that are not often visible to foreign visitors. During July- September 2011 we discussed the rationales of the project, ethical, ontological and practical issues related to the topic. We defined general lines and a plan of action. It was agreed that we would involve communities that already had participated in artist or school projects, ways of getting in contact with them were established. We also agreed in asking local artists to lead the workshops in the second part of the project.

Part 1: The Hidden Stories (October 2011)
During October 2011 students and art teachers from the host schools in Viseu ( ESAM and Viriato) made pictures and interviews with special members of the community .

Part two: Interpreting Stories
In November Viseu students received the students from the other schools ( Finland; Latvia ad Estonia). After showing them around so they could get the tourist gaze. Students were invited to join five workshops with local artists ( Ana Barbero; Yuraldi Rodriguez; Luis Belo; Beatriz Rodrigues , Beatriz Lacerda; and Graeme Pullynen, Contra- Luz designers ), five ways of reflecting upon their own feelings and the stories collected by Portuguese students in October ( transcribed to images and text- translated to English) . Crossing feelings , sharing experiences …
In the last day of the visit students made a Public presentation and discussion, with the members
of the community .

2011 / Comenius IDEAlab Project

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This workshop was planned by Portuguese art teachers and artists from Viseu in Portugal to introduce
concepts of dialogic and community arts to a visiting Group of COMENIUS’ students from five European countries during two days in November 2011 .
The proposal to the visitors, 45 art students from Latvia; Estonia and Finland, was a community art based project in the city of Viseu, Portugal with the collaboration of 20 art students from the host schools and 8 local artists. Community arts are also known by community based art or community engaged arts. With this term we refer artistic activities based in community settings. Works from this genre can be of any art forms and are characterise by interaction or dialogue with the community.
Since the time of the Comenius participants visit was very short to make a community arts based project respecting a true interaction or dialogue with the community and since there were several ethical and linguistic problems involved we proposed a workshop divided in two parts: Part one: ‘Hidden Stories’ developed by the Portuguese students and Part 2: ‘ Interpreting Stories’ developed by the international group.

Entre 8 e 11 de Novembro de 2012, chegaram a Viseu, cerca de 16 professores e 29 alunos (nível de ensino secundário) das escolas nossas parceiras foram recebidos por alunos de artes das escolas Alves Martins e Viriato, visitaram a cidade do Porto e a cidade de Viseu e partilharam pesquisas que tinham feito sobre artistas dos vários países comprometidos com questões sociais e inclusão. Durante o workshop os cerca de 60 alunos de todos os países foram distribuídos em grupos .
Cada grupo de trabalho foi dinamizado por um artista local (Ana Barbero; Yuraldi Rodriguez; Luis Belo; Beatriz Rodrigues , Graeme Pullynen, Contra- Luz design ). Cada artista trabalhou com os alunos as histórias recolhidas junto da comunidade e as experiências turisticas dos alunos estrangeiros . No final foi feita a apresentação pública dos trabalhos desenvolvidos pelos alunos e artistas para a comunidade local.

2011 / Projecto COMENIUS IDEALAB

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No âmbito do programa Comenius, a Escola Secundária Alves Martins (ESAM) e a Escola Secundária de Viriato (ESV) com cinco outros estabelecimentos de ensino de artes da Finlândia, Estónia e Letónia fizeram parte do projecto que visou aprofundar o estudo da arte contemporânea: “IDEAlaboratories: how to integrate contemporay art and art education” Cada país foi responsável pela realização de uma oficina de arte contemporânea com a duração aproximada de cinco dias para um grupo de professores e alunos oriundos das escolas parceiras. Foram realizadas oficinas em Riga, na Letónia, em Talin, na Estónia e em Tampere, na Finlândia. O tema de Riga foi ‘Contemporary Approaches in Art Education’, o de Talin foi: ‘Borders between young and professional art’ e o de Tampere: ‘From the woods into the city – aesthetics of the Finnish contemporary lifestyle’. O tema de Viseu foi: ‘Contemporary art and community / social issues and acceptance’.

2011 / Students from Estonia, Latvia, Finland and Portugal who participated in the Comenius project IDEAlaboratories.

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Drawing commentary is a way to express one’s opinion about something through drawing. In current
context I will tell closer about commentating art work at The Contemporary Art Triennial for School
Students Eksperimenta! There are many possibilities to commentate art work – you may write an
article, hold a conversation, discuss art work in social media channels. One possibility to express your
opinion about an art work is through drawing sketches. The sketches may be added next to the art
work at the exhibition. This allows the visitors to see other peoples’ opinions about the exhibition.

I will describe closer the method of drawing commentary. You should get a number of note papers
and drawing tools (a black rollerball pen is sufficient, but you may also use coloured pencils or felt-
tip pens). After that you should select the art work from an exhibition, which evoke most emotions
or thoughts for you. Select for example 3 art work. If a thought arises about the art work, draw
your thought in the way which represents it the best. If the art work evokes a feeling, draw images
which correspond to the feeling, for example red coloured spots with sharp thorns. For being able to
create commentary about different art work in short time, it is good to use sketchy drawing style (for
example 5 minutes). You can add keywords to the drawing or write down a full thought. This allows
the viewer of your drawing commentary to get diverse range of information about your opinion. In
addition to drawing your thoughts and feelings, you can share your drawing with a companion for
further drawing. Your companion may add a drawing commentary about your drawing commentary
or just complement your drawing. For example a drawing commentary can be coloured by the other
person, they can complement it with new keywords or symbols or add a new element to the existing
ones. In this manner one drawing commentary can be drawn by many people. By this kind of drawing
method the drawing commentaries become collaborative creation without a specific author. The
drawing commentaries can be attached to the wall and the participants may be asked to select the
drawings which have the biggest effect on them and listen to their verbal commentaries about the
selected drawings.

Described drawing commentating took place during The Contemporary Art Triennial for School
Students Eksperimenta!. Exhibited art work was commentated by students who participated in the
Comenius project IDEAlaboratories from Estonia, Latvia, Finland and Portugal.

2011 / Comeniuse projektis IDEElaboratooriumid osalenud õpilased Eestist, Lätist, Soomes, Portugalist.

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Joonistuskommentaarid on oma arvamuse väljendamine millegi kohta läbi joonistuste. Siinses
kontekstis räägin täpsemalt kunstiteoste kommenteerimisest Koolinoorte Kaasaegse Kunsti
Triennaalil Eksperimenta!. Kunstiteose kommenteerimiseks on mitmeid võimalusi – võib kirjutada
artikli, kunstiteosest võib vestelda, selle kohta võib arutelusid pidada sotsiaalmeediakanalites.
Üks võimalus kunstiteose kohta oma arvamust avaldada on läbi joonistussketshide.
Joonistuskommentaarid kunstiteoste kohta võib lisada antud näituse juurde. Sel juhul on kõigil
näitusekülastajatel võimalik näha teiste vaatajate arvamusi antud näituse kohta.

Kirjeldan täpsemalt joonistuskommenteerimise meetodit. Selleks tuleb varuda hulk märkmepabereid
ning mõned joonistusvahendid (piisab ka mustast tintelpennist, kuid võib kasutada ka värvipliiatseid
või viltpliiatseid). Seejärel valida näituselt kunstiteosed, mis tekitavad Sinus kõige rohkem
emotsioone või mõtteid. Valida välja näiteks 3 kunstiteost. Kui valitud kunstiteose kohta tekib mingi
mõte, siis võiks sellisel viisil oma mõtte üles joonistada, mis seda võimalikult hästi edasi annab.
Kui kunstiteos tekitab aga tundeid, siis joonistada üles tunnetele vastavaid kujundeid, näiteks
punaseid värvilaike teravate okastega. Selleks, et lühikese ajaga oma joonistuskommentaarid
erinevate kunstiteoste kohta paberile saaksid, on hea joonistada visandlikult (näiteks 5 minutit).
Joonistuskommentaaridele võib lisada ka märksõnu või kirjutada üles terve mõtte. See annab Sinu
joonistuskommentaaride vaatajale võimalikult mitmekülgset infot sinu arvamuse kohta. Lisaks
oma mõtete ja tunnete ülesjoonistamisele võib oma joonistuskommentaare anda oma kaaslastele
edasi joonistamiseks. Sinu kaaslane võib sinu joonistusele lisada oma joonistuskommentaari sinu
joonistuskommentaari kohta või seda lihtsalt täiendada. Näiteks võib teise joonistuskommentaari
omal äranägemisel värvida, lisada sinna uusi märksõnu või mõni uus kujund või lisada olemasolevale
kujundile uusi elemente. Sedasi võib ühte joonistuskommentaari üle joonistada mitu inimest. Läbi
sellise joonistusmeetodi muutuvad joonistuskommentaarid ühisloominguks ilma kindla autorita.
Valminud joonistuskommentaarid võib kinnitada seinale ning lasta osalejatel välja valida enim
kõnetanud joonistused ning kuulda nende suulisi kommentaare valitud joonistuste kohta.

Kirjeldatud joonistuskommenteerimine kunstiteoste kohta toimus koolinoorte kaasaegse kunsti
triennaalil Eksperimenta!. Kommenteeritavateks kunstiteosteks olid näitusel eksponeeritud
kunstiteosed. Joonistuskommenteerijateks olid Comeniuse programmis osalenud noored Eestist,
Lätist, Soomest ja Portugalist.

2011 / Various students from five schools in Tallinn

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Creativity is considered to be an important key competence in 21st century. Society is changing rapidly and creativity has been considered to be even more important than knowledges and skills for facing new challenges. Creativity has been found to be connected with intelligence, talent and personality traits like opennes, extraversion and emotional stability. Supportive environment is very important for developing creativity – education level of parents, their active communication with children are the determining factors, but also paying attention to creativity in school plays an important role.

Among other things, creativity helps to motivate students, raises their self-esteem and positive attitude towards school (Cropley, 2008, 356). Unfortunetly, it is claimed both in Estonia and elsewhere that strictly structured education, orientation towards good results and examinations set borders to creativity. For developing creative thinking, children should be allowed to get experiences in variable disciplines and environments, develop creative problem solving and more time should be taken for creative solutions.

Aim
The aim of the task was to make young people realize that creativity is a useful quality for a future artist and also in other areas – business, science and everyday life.

Description of the process
At first we introduced creative solutions from different fields. We brought examples of people (Sir Ken Robinson, Steve Jobs, Stefan Sagmeister, Albert Einstein, Pablo Picasso) who have gained recognition due to creative approach in their field. They all have created new situations, objects, designs and emphisised the importance of creativity in their work. Our aim was to make young people realize that creativity helps you to differ from the ordinary and supports finding your own individuality. It is important to find your own talent, to believe in it and to develop it creativly.

During the practical taks, the students received a A4 paper, which was filled in with one of the basic shapes (triangle, square, circle). We were inspired by the creativity test of Panamericana School of Art and Design (http://www.toxel.com/inspiration/2009/05/06/school-of-art-and-design-creativity-test/) and W.Kandinsky’s composition theory. Student were asked to continue the basic shapes drawing as many different objects, symbols etc they could imagine (similary to a part of the Torrance creative thinking test). Finally we asked students to select their favourite image and enlarge it. A video was composed of the selecteed images: http://www.youtube.com/watch?v=4jG48Ir3lUk.

Analysis
The process revealed that a wide variety of images can be drawn from one basic shape. It was interesting to observe which of the shapes started to repeat, for example mushrooms were drawn out of all three shapes, also sunsets, eyes and sandglasses were common. On the other hand there was a lot of thinking outside the box, for example including all the shapes into a greater images. Drawing around 50 images appeared to be quite a difficult task. While the first ten images came quickly, the later required more thinking. We also noticed diffrence between art school students and general students – art school students fulled the sheet quicker. It proves that creativity can be developed. Supportive environment, in this case attending art classes, helps to develop creativity.

References
Child, D. (1997). Psychology and the Teacher. (6. tr ). London and Washington: Cassell.
Cropley, A., Cropley, D. (2008). Resolving the Paradoxes of Creativity: An Extended Phase Model. Cambridge Journal of Education, 38(3), 355-373.
Kaufman, J.C., Plucker, J.A., Baer, J. (2008). Essentials of Creativity Assessment. John Wiley & Sons, Inc.
Ruokonen, I., Vikat, M. (2005). The Creativity of Gifted Children in Estonia and Finland from a Musical and Environmental Perspective. Trames, 9(59/54), 49–68
Sepp, V. (2010). Andekusest ja andekatest lastest. Tartu: AS Atlex.
Smiths, P., K., Cowie, H., Blades, M. (2008). Laste arengu mõistmine. (4. tr). Tallinn: TLÜ kirjastus.

2011 / Erinevad õpilased viiest Tallinna koolist

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Loovust peetakse oluliseks võtmeoskuseks 21. sajandil toimetulekuks. Ühiskond on kiires muutuses, selleks, et uutele väljakutsetele vastu astuda ja kiirete muutustega edukalt kohaneda, on teadmistele ja oskustele rohkemgi vaja loovust. On leitud, et loovus on seotud intelligentsi, andekusega (Sepp, 2010, Kaufman jt, 2008) kui isiksuseomadustega nagu avatus uuele, ekstravertsus ja emotsionaalne stabiilsus (Sepp, 2010, Sung & Choi, 2009 ). Äärmiselt oluline loovuse arenguks on toetav ja arendav keskkond, määrav on vanemate haritus ja aktiivne suhtlemine lastega, kuid ka loovusele tähelepanu pööramine koolis (Smith jt, 2008, Child, 1997, Ruokonen, Vikat, 2005).
Muuhulgas aitab loovus motiveerida õpilasi, tõstab nende enesehinnangut ja positiivsust kooli suhtes (Cropley, 2008, 356). Kahjuks tõdetakse nii Eestis kui mujal, et rangelt struktureeritud haridus, orienteeritus headele tulemustele ja eksamitele seab piirid loovusele. Kujundamaks loovat mõtlemist, tuleks lastel võimaldada kogemusi saada mitmesugustes valdkondades ja tingimustes, arendada loovat probleemilahendust ja võtta aega loovate lahenduste genereerimiseks.

Eesmärk
Antud ülesande eesmärgiks oli teadvustada noorte seas, et loovus on oluline omadus nii tulevasele kunstnikule, kui et see on kasulik ka teistes valdkondades – äris, teaduses ja igapäevaelus.

Protsessikirjeldus
Ülesanne algas tutvustusega loovatest lahendustest erinevates eluvaldkondades. Tõime näiteid inimestest (Sir Ken Robinson, Steve Jobs, Stefan Sagmeister, Albert Einstein, Pablo Picasso), kes on saanud tuntuks loova lähenemise tõttu mingis valdkonnas. Nad kõik on loonud uusi olukordi, asju ning nende loomisel rõhutanud loovuse olulisust. Soovisime noortele teadvustada, et loovus aitab keskpärasusest eristuda ja enda omapära leida. Oluline on leida oma anne, sellesse uskuda ja seda loovalt arendada.

Praktilise ülesandena said õpilased A4 lehe, mis oli täidetud ühe algkujundiga (kolmnurk, ruut, ring). Inspiratsiooni saime Panameerika kunsti ja disainikooli loovuse testimise lehtedest (http://www.toxel.com/inspiration/2009/05/06/school-of-art-and-design-creativity-test/), samuti V.Kandinsky kompositsiooniõpetuses. Ülesandeks oli jätkata kujundeid ja joonistada erinevaid objekte, kujundeid (sarnaselt Torrance’i loova mõtlemise testi ühele osale). Lõpuks palusime õpilastel valida oma lemmikkujundi ning selle suurelt joonistada. Valitud kujunditest panime kokku video, mis tutvustab, milliseid erinevaid lahendusi Tallinna noored algkujunditest tegid: http://www.youtube.com/watch?v=4jG48Ir3lUk.

Analüüs
Ülesanne näitas, et ühest kujundist võib vägagi palju erinevaid pilte joonistada, noorte joonistused näitasid, et loovust neis on. Huvitav oli vaadata, millised kujundid korduma hakkasid, näiteks seeni joonistati nii ringidest, ruutudest kui kolmnurkadest. Samuti joonistati palju päikeseloojangut, silma, liivakella. Kuid esines ka loovat nö kastist välja mõtlemist, kus terve lehekülg algkujundeid ühendati üheks objektiks, nt korrusmajaks. Ilmnes, et 50 kujundi joonistamine ühest algkujundist oli raske ülesanne. Esimesed kümme kujundit tulid lihtsalt, edasi muutus uute variantide mõtlemine juba keerulisemaks. Tuli välja ka vahe kunstikooli ja tavakooli õpilaste vahel – kunstikooli õpilased joonistasid lehekülje täis kiiremini. See tõestab, et loovust on võimalik arendada. Soodus keskkond, antud juhul kunstiga tegelemine, aitab kaasa loovuse arengule.

Allikad
Child, D. (1997). Psychology and the Teacher. (6. tr ). London and Washington: Cassell.
Cropley, A., Cropley, D. (2008). Resolving the Paradoxes of Creativity: An Extended Phase Model. Cambridge Journal of Education, 38(3), 355-373.
Kaufman, J.C., Plucker, J.A., Baer, J. (2008). Essentials of Creativity Assessment. John Wiley & Sons, Inc.
Ruokonen, I., Vikat, M. (2005). The Creativity of Gifted Children in Estonia and Finland from a Musical and Environmental Perspective. Trames, 9(59/54), 49–68
Sepp, V. (2010). Andekusest ja andekatest lastest. Tartu: AS Atlex.
Smiths, P., K., Cowie, H., Blades, M. (2008). Laste arengu mõistmine. (4. tr). Tallinn: TLÜ kirjastus.

2010 / Jana Rozentala Rigas Makslas vidusskolas 2.un 3.kursa audzekni

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Sniega skulpturas „Kubs” tapsanu JRRMV pagalma pavisam noteikti var devet par skolenu pasiniciativas paraugu. Sniegiem bagata 2009./2010. gada ziema burtiski pati „uzprasijas”, lai visuresosas kupenas lipinatu, veltu kada lielaka makslinieciska apjoma. Skoleni no 2.un 3. kursa nolema rikot sniega skulpturu simpoziju „Sniegaviriem –NE!”, kura rezultata, ka vienigais darbs tapa masivais sniega kubs. Neskatoties uz zemo temperaturu, paris dienu laika, abstrakta forma tika pabeigta. Pateretais, silta udens daudzums, kurs tika izmantots piku liptspejas palielinasanai, bija pietiekosi iespaidigs, lai skolas saimniecibas dalas vaditajam sagadāja nepatikamu parsteigumu, tacu sis fakts lauj mums spriest par padarita apjomu. Darbs parsvara norisinajas pec macibu stundam – dienas kreslainaja dala un vakara tumsa. Skatoties uz neviltoto aizrautibu, ar kadu liela skulptura tika veidota, nolemu fotografijas iemuzinat sniega masas turpmakas parvertibas. Pavasara iestasanas lenam kauseja un deformeja lielo apjomu, dodot laiku uznemt apjomigu foto seriju nelielai „slow – motion” filmai par makslu daba. Jaatzime, ka kadru montaza, laika trukuma del, joprojam nav pabeigta.

2010 / 2. un 3 course students of Janis Rozentals Riga Art High school

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The making process of the snow sculpture „A cube” in the yard of Janis Rozentals Riga Art High school might be called as an example of students self-initiative.Th winter of 2009/2010 was that rich with snow that it almost put forward the idea to make use of heaps of snow which lay everywhere by applying them in a bigger-sized artistic shape.
The students of course 2 and 3 decided to arrange the symposium of snow sculptures „No! to the SNOWMEN”, as a result of what an enormous snow cube was made as the only object. Despite a low temperature, the abstract form of the work was finished.The amount of hot water used for sticking the snowballs was impressive enough to make the substitute director unpleasantly surprised, however this fact allows us to judge about the carried out work.The process took place after lessons during the day`s dusk and evening hours.By observing the genuine enthusiasm in which the huge sculpture was created, students decided to make photos of the further changes of the scupture.The setting of spring melted and deformed the big amount of snow slowly,thus giving time to make bulky photo series for a small „slow-motion” film about art in nature.It has to be noted that the process of assembling pictures has not been finished yet due to lack of time.