INTRODUCING CULTURAL DIVERSITY OF EUROPEAN CITIES TO YOUTH

This project has been funded with support from the European Commission. This presentation reflects the views only of the author, and the
Commission cannot be held responsible for any use which may be made of the information contained therein.
 INTRODUCING CULTURAL DIVERSITY OF EUROPEAN CITIES TO YOUTH

Analysis of the structure of

Guidebook, the Training and the
Web-portal
 Structure analysis of the Train the
trainers Guidebook
•1. Desk research findings:
Guidebook should serve as a toolkit for trainers
containing particular guidelines.
The contents of AP served as base line for the structure
development as it was traid to include all relative topics in
order to obtain the most functional and elaborate structure
There is several manuals and guidebooks that were
analyzed to obtain valuable input in terms relevant
structure and contents:
• Quality guide to the non-formal and formal learning processes
(Sustainable Environment fort he Evaluation of Quality in E-
learning, October 2004) -
http://www.menon.org/wp-content/uploads/2012/11/SEEQUEL-T
QM-Guide-for-informal-learning.pdf

• Non-formal Learning Handbook for Volunteers and Volunteering

Organisations (Volunteers at the Interface between Formal and
Non-formal Education, May 2017) -
http://www.icye.org/wp-content/uploads/2017/06/NFE-Handbook
-May-2017.pdf

• Learning Zone Guidebook (Facilitating language learning of adult

migrants in the host country, June 2018) - https://www.salto-
youth.net/downloads/toolbox_tool_download-file-
1936/LEARNING%20ZONE%20GUIDEBOOK_EN.pdf
• The contribution of youth work to preventing marginalisation
and violent radicalisation (A practical toolbox for youth workers
and recommendations for policy makers, 2016-2018) -
https://www.salto-youth.net/downloads/toolbox_tool_download-
file-1742/NC0217992ENN.en.pdf

• Experiential Lab: Child rights programming and nonviolent

community development (Erasmus+ Mobility of youth
workers: training course) - https://www.salto-
youth.net/downloads/toolbox_tool_download-file-
1637/Booklet_Experiential%20Lab.pdf
Manuals and guidebooks that were subject of our analysis have
common indicators, moreover their purpose references the same long-
term goals as our common project.

Selected guidebooks, toolkits, manuals feature following

characteristics:

- all toolkits / guidebooks are illustrative examples of clear structure,

- all toolkits / guidebooks are directly addressing field of youth work,

- all toolkits / guidelines offer examples on how to implement

informal learning process and trainings regarding relative topics,
• Many toolkits/guidelines contain practical activities and
approaches that can be used in informal learning process, but
also examples of good practices and case studies

• - almost all toolkits / guidelines contain the following chapters:

• where the main concept and ideas are reflected after the verified use,

• where examples of good practices are represented and

• benefits of implemented innovative approaches are mentioned.

2. Structure / Contents

Structure takes into account the purpose of the toolkit, it aims, intendet target
groups and non-formal learning methods to achieve set goals.

0. TABLE OF CONTENTS

1. INTRODUCTION

2. ABOUT THE TOOLKIT

2.1. purpose and aim of guidebook

2.2.The context and structure

3. „ SMART CULTURE“ LEARNING PROCESS AND ITS OUTCOMES

3.1. »Smart culture« concept approach

3.1.1. »Smart culture« in the field of fine arts

3.1.2. »Smart culture« in digital era in relation to European cultural

identity

3.2. Intercultural communication and cultural diversity

3.3. The need of continuing trainer's professional development in

fine arts

3.4. Learning opportunities and outcomes

• 4. QUALITY OF NON-FORMAL EDUCATION AND
GAINED COMPETENCES

• 4.1. Relevance of non-formal education

• 4.1.1. for trainers

• 4.1.2. for trainees

• 4.1.3. for society

• 4.2. Key competences of trainers and trainees

• 4.2.1. Importance of transversal key competences

• 4.2.2. Importance of cultural awareness

• 4.2.3. Importance of safeguarding cultural diversity

• 4.3. Increasing democratic resilience

• 4.4. Increasing critical artistic expression of young people

• 4.5. Focus on creativity and innovation

• 5. LEARNING OBJECTIVES OF EXPERIENTAL
LEARNING

• 5.1. Experiential Learning Theory

• 5.1.1. Experiential learning guidelines and essentials

• 5.1.2. Checkpoints and recommendations

• 5.2. Reducing youth unemployment by improving arts and
cultural education

• 5.3. Identifying needs of young VET Fine Art students

• 5.4. Identifying needs of young Art professionals

• 5.5. Paying attention to educational and training needs of the

specific sector

• 5.6. Developing cross-border experiential learning activities

• 6. METHODS AND ACTIVITIES

• 6.1. Alternative Pedagogical Methodology

• 6.2. Training practices for trainers

• 6.3. Selected methods and activities

• 6.4. Universal guidelines for training of Art in VET

• 7. EXPERIMENTING WITH LEARNING ZONES

• 7.1. Developing a cultural map with common points

• 7.2. Demonstration of the gained knowledge by sharing ideas

• 7.3. The benefit of experiential learning and concept of »Smart

culture«
• 8. EXAMPLES OF GOOD PRACTICES REGARDING FINE
ARTS IN VET EDUCATION

• 8.1. Learning by doing - good practice examples

• 8.2. Cyprus and Greece

• 8.3. Italy

• 8.4. Spain

• 8.5. Slovenia
• 9. REFLECTIONS AND CONCLUSION

• 9.1. Uniqueness of the project

• 9.2. Impact

• 9.2.1.at the targeted level

• 9.2.2.at the generic level

• 9.3. Further references

• Appendix 1: Abbreviations and Acronyms

• Appendix 2: Resources and References

Structure analysis of the „InArt2DiverCity Training course“
– For Trainers

• The training course represents a creative tool adressing three main principles:
democracy, freedom and justice to promote specific paradigms in the field of
cultural heritage in order to enhance the European cultural identity.

• The training course gives us a new knowledge and skills through implemented
learning methods and approaches.

• By researching non-formal learning/teaching methodas we have come to the

following conclusion: in order to recive maximum impact, the participants must be
immersed into innovative approach that builds on the following experiential learning
cycle: doing/implementing(active inclusion in project activitie), reflecting(assessment
of implemented methods and their impact), transferring(utilizing ways on how to
transfer non-formal education practices to formal contexts

• That cycle is basis for developing the structure of the training course.
1. 2. 3. 4. 5. 6. 7. 8.

WELCOME TO InART2DiverCity! ABOUT THIS TOOLKIT THE IDEA OF »SMART QUALITY OF NON-FORMAL EXPERIENTAL  LEARNING METHODS AND ACTIVITIES EXAMPLES OF GOOD REFLECTIONS
CULTURE« EDUCATION PRACTICES

  2.1. 3.1. 4.1. 5.1. 6.1. 7.1. 8.1.

Informal introductory and refferal for visit the web Purpose and structure of Training »Smart culture« in the field of From trainers to trainees: Experiental Learning  Theory Alternative Pedagogical Learning from examples of good Representing our voice in this unique
portal*   Course Programme Fine Arts and European cultural Relevance of non-formal education Methodology practices project
identity

  2.2. 3.2. 4.2. 5.2. 6.2. 7.2. 8.2.

What is InART2DiverCity project Digitization and online Key competences for trainees in From trainers to trainees: Implementation of »smart Principles of European Cultural Impact of the project
accessibility of cultural material digital era and many ways of alternative methodology« Heritage in relation to
implementation Experiential Learning Guidelines implementation of VET education
and Essentials

  2.3. 3.3. 4.3.Specific competences for 5.3. 6.3. 7.3. 8.3.

trainees
Expected results The need of continuing Identifying needs of young Art From trainers to trainees: Training Examples of good practices in Our role in the project
professional development in Fine   professionals: methods, workshops and activities respective countries:
Arts  
4.3.1. 5.3.1. 7.3.1.
8.4.
Importance of »IT driven education« How society sees it Cyprus and Greece
Evaluation and reporting
4.3.2. 5.3.2. 7.3.2.

Importance of Media literacy and Digital How Fine Art students and young Art Italy
 
competence professionals see it
7.3.3.  
4.3.3. 5.3.3.
Spain 8.5.
Importance of Social inclusion and Active Practical ways to meet these needs
citizenship 7.3.4. Giving meaning: InART2DiverCity -
my cultural coach
4.3.4.
Slovenia

Importance of Cultural awareness and

Respect for diversity

  2.4. 3.4. 4.4. 5.4. 6.4.    

Is this project a good fit for me? What is missing in VET Improving my creative and The benefits of Experiential Universal guidelines for the training
(Vocational Education and innovative thinking Learning for me of Art in VET
Training) ?
 
 

      4.5.        

Finding my inner voice as a critical

artist
 Structure analysis of the „Cultural
heritage WEB platform“
• 1. Desk research findings:

While conducting desk reserch, certain characteristics were taken

into account in order to create a structure that will properly reflect
all core activities of the InArtDiverCity project which deals with
non-formal education

Non-formal education- millions of young students use non-formal

education because it offers unique learning on daily basis.

There is a lot off e-learning portals that are used by millions off
users on a daily basis
• By making WEB portal we must create a meaningful e-learning
toolkit with e-learning courses and e-learning contents

• It must be useful for trainers, students, participants and general

public.

• There we can upload our work, find information, join non-

formal education activities, trainers can share good practice
examples, materials…
Things to consider while creating a web platform

• Functionality

• User friendly

• Customization

• Technical requirements
About Good practices and other resources

Purpose of the project

Toolbox/Data base/Downloads

»Subscribe now/ CULTURAL HERITAGE WEB PLATFORM

Follow us«

Videos and Photos

Highlights

Multilingual toolbox Partners

InArt2DiverCity opportunities

Social media icon

European year of cultural heritage

»You may be interested in«

Project Partners INTRODUCING CULTURAL DIVERSITY OF EUROPEAN CITIES TO YOUTH

The European Office of Cyprus is the Coordinator.

It is a non-profit, non-governmental organisation based in Nicosia
(Cyprus), with a representation office in Brussels (Belgium) and in
Athens (Greece). It was co-founded in 2007 by 18 organisations from a
wide spectrum of sectors and interests.
EOC has a broad experience in participation in EU funded projects for
the enhancement of young adults skills.
More information at www.eoc.org.cy

Ergasia Ekpedeftiki SA is Partner from Greece.

It is a Vocational Training and Lifelong Learning Center at national rage,
offering extensive experience in providing training services and career &
business counselling. The centre is certified by the National Certification
Agency for Qualifications and Career Guidance (Greece) and by ISO
9001:20018 for its qualitative services.
More information at www.ergasiakek.gr
Project Partners INTRODUCING CULTURAL DIVERSITY OF EUROPEAN CITIES TO YOUTH

Bank of Cyprus Cultural Foundation is Partner from Cyprus

Since its establishment in 1984, the Bank of Cyprus Cultural Foundation
(BOCCF) main strategic acmes are: to collect, preserve and disseminate
primary sources related to the cultural and natural heritage of Cyprus,
and to encourage, assist and materialise the research and study of Cypriot
civilisation in the fields of archeology, history, art and literacy in keeping
with the objectives originally delineated for Cultural Foundation.
More information at www.boccf.org

ComeUnaMarea Onlus is Partner from Italy.

ComeUnaMarea was established in 2005. The Association is aimed at
promoting and preserving the cultural heritage and gives great
importance to the activities that valorise oral traditions and expressions.
In the activities carried out emerges a great attention for the study and
promotion of the cultural, natural, artistic and ethnic heritage of the
Mediterranean region.
More information at www.comeunamarea.eu
Project Partners INTRODUCING CULTURAL DIVERSITY OF EUROPEAN CITIES TO YOUTH

IPF International is Partner from Spain.

IPF International Consulting is a private company located in southern
Spain, specialised in management, development and implementation of
training plans and an advocate of cultural events, arts, diversity and
education. The company’s main focus lies on the development of courses
for adult learners, youngsters and the unemployed in order to improve,
explore and acquire new tools and skills for intercultural communication
and education.
More information at www.ipfinternational.com

RIS is Partner from Slovenia.

Research and Education Centre Mansion Rakican is a public regional
organisation from Slovenia and is founded by the Municipality of
Murska Sobota and co-founded by the Association for Technical Culture
of Slovenia. They work in the field of research, education, tourism and
intergenerational cooperation.
More information at www.ris-dr.si
Contact us INTRODUCING CULTURAL DIVERSITY OF EUROPEAN CITIES TO YOUTH

For more information about the project contact us at:

christou.p.elpida@ucy.ac.cy

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