{"id":145739,"date":"2026-06-08T15:25:59","date_gmt":"2026-06-08T13:25:59","guid":{"rendered":"https:\/\/a4action.ro\/?page_id=145739"},"modified":"2026-07-10T14:32:14","modified_gmt":"2026-07-10T12:32:14","slug":"how-and-which-visual-arts-methods-can-be-used-with-ypwfo","status":"publish","type":"page","link":"https:\/\/a4action.ro\/hr\/toolbox\/m3-visual-arts-methods\/how-and-which-visual-arts-methods-can-be-used-with-ypwfo\/","title":{"rendered":"How and which visual arts methods can be used with YPWFO"},"content":{"rendered":"<div class=\"wpb-content-wrapper\"><p>[vc_row][vc_column width=&#8221;1\/1&#8243;][uncode_block id=&#8221;143257&#8243;][\/vc_column][\/vc_row][vc_row unlock_row_content=&#8221;yes&#8221; row_height_percent=&#8221;0&#8243; override_padding=&#8221;yes&#8221; h_padding=&#8221;0&#8243; top_padding=&#8221;0&#8243; bottom_padding=&#8221;2&#8243; overlay_alpha=&#8221;50&#8243; gutter_size=&#8221;3&#8243; column_width_percent=&#8221;100&#8243; shift_y=&#8221;0&#8243; z_index=&#8221;0&#8243; content_parallax=&#8221;0&#8243; shift_y_down=&#8221;0&#8243; uncode_shortcode_id=&#8221;404764&#8243;][vc_column column_width_percent=&#8221;100&#8243; position_horizontal=&#8221;left&#8221; gutter_size=&#8221;3&#8243; override_padding=&#8221;yes&#8221; column_padding=&#8221;2&#8243; overlay_alpha=&#8221;96&#8243; radius=&#8221;std&#8221; shift_x=&#8221;0&#8243; shift_y=&#8221;0&#8243; shift_y_fixed=&#8221;yes&#8221; shift_y_down=&#8221;0&#8243; shift_y_down_fixed=&#8221;yes&#8221; z_index=&#8221;0&#8243; medium_width=&#8221;0&#8243; mobile_width=&#8221;0&#8243; shadow_responsive=&#8221;yes&#8221; width=&#8221;1\/1&#8243; uncode_shortcode_id=&#8221;717966&#8243;][vc_row_inner row_inner_height_percent=&#8221;0&#8243; overlay_alpha=&#8221;50&#8243; equal_height=&#8221;yes&#8221; gutter_size=&#8221;4&#8243; shift_y=&#8221;0&#8243; z_index=&#8221;0&#8243; uncode_shortcode_id=&#8221;164308&#8243;][vc_column_inner column_width_percent=&#8221;100&#8243; position_horizontal=&#8221;left&#8221; gutter_size=&#8221;2&#8243; style=&#8221;light&#8221; overlay_alpha=&#8221;5&#8243; shift_x=&#8221;0&#8243; shift_y=&#8221;0&#8243; shift_y_down=&#8221;0&#8243; z_index=&#8221;0&#8243; medium_width=&#8221;0&#8243; mobile_width=&#8221;0&#8243; width=&#8221;3\/12&#8243; uncode_shortcode_id=&#8221;148824&#8243;][vc_custom_heading text_color=&#8221;color-564791&#8243; heading_semantic=&#8221;h5&#8243; text_size=&#8221;h5&#8243; uncode_shortcode_id=&#8221;667628&#8243; text_color_type=&#8221;uncode-palette&#8221;]MODUL 3[\/vc_custom_heading][vc_custom_heading text_color=&#8221;color-564791&#8243; heading_semantic=&#8221;h1&#8243; text_size=&#8221;h1&#8243; uncode_shortcode_id=&#8221;138867&#8243; text_color_type=&#8221;uncode-palette&#8221;]Metode vizualne umjetnosti[\/vc_custom_heading][\/vc_column_inner][vc_column_inner column_width_percent=&#8221;100&#8243; gutter_size=&#8221;2&#8243; style=&#8221;dark&#8221; overlay_alpha=&#8221;50&#8243; shift_x=&#8221;0&#8243; shift_y=&#8221;0&#8243; shift_y_down=&#8221;0&#8243; z_index=&#8221;0&#8243; medium_width=&#8221;0&#8243; mobile_width=&#8221;0&#8243; width=&#8221;8\/12&#8243; uncode_shortcode_id=&#8221;691366&#8243;][vc_single_image media=&#8221;145134&#8243; media_width_percent=&#8221;100&#8243; uncode_shortcode_id=&#8221;422205&#8243;][\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row][vc_row row_height_percent=&#8221;0&#8243; override_padding=&#8221;yes&#8221; h_padding=&#8221;2&#8243; top_padding=&#8221;2&#8243; bottom_padding=&#8221;3&#8243; overlay_alpha=&#8221;50&#8243; gutter_size=&#8221;4&#8243; column_width_percent=&#8221;100&#8243; shift_y=&#8221;0&#8243; z_index=&#8221;0&#8243; content_parallax=&#8221;0&#8243; uncode_shortcode_id=&#8221;621957&#8243;][vc_column column_width_percent=&#8221;100&#8243; gutter_size=&#8221;2&#8243; override_padding=&#8221;yes&#8221; column_padding=&#8221;2&#8243; style=&#8221;dark&#8221; back_color=&#8221;color-564791&#8243; overlay_alpha=&#8221;50&#8243; shift_x=&#8221;0&#8243; shift_y=&#8221;0&#8243; shift_y_down=&#8221;0&#8243; z_index=&#8221;0&#8243; medium_width=&#8221;0&#8243; mobile_width=&#8221;0&#8243; sticky=&#8221;yes&#8221; width=&#8221;1\/4&#8243; uncode_shortcode_id=&#8221;177691&#8243; back_color_type=&#8221;uncode-palette&#8221;][vc_column_text uncode_shortcode_id=&#8221;205084&#8243;]<a href=\"https:\/\/a4action.ro\/hr\/toolbox\/m3-visual-arts-methods\/\"><strong>Uvod u metode vizualne umjetnosti<\/strong><\/a>[\/vc_column_text][vc_separator sep_color=&#8221;&#8221; uncode_shortcode_id=&#8221;279653&#8243;][vc_column_text uncode_shortcode_id=&#8221;688871&#8243;]<a href=\"https:\/\/a4action.ro\/hr\/toolbox\/m3-visual-arts-methods\/how-and-which-visual-arts-methods-can-be-used-with-ypwfo\/\"><strong>Koje metode koristiti s mladima s manje mogu\u0107nosti i kako?<\/strong><\/a>[\/vc_column_text][vc_separator sep_color=&#8221;&#8221; uncode_shortcode_id=&#8221;279653&#8243;][vc_column_text uncode_shortcode_id=&#8221;200563&#8243;]<a href=\"https:\/\/a4action.ro\/hr\/toolbox\/m3-visual-arts-methods\/using-visual-arts-methods-for-fostering-inclusion\/\"><strong>Kori\u0161tenje metoda vizualne umjetnosti za poticanje inkluzije<\/strong><\/a>[\/vc_column_text][vc_separator sep_color=&#8221;&#8221; uncode_shortcode_id=&#8221;279653&#8243;][vc_column_text uncode_shortcode_id=&#8221;166001&#8243;]<a href=\"https:\/\/a4action.ro\/hr\/toolbox\/m3-visual-arts-methods\/guidelines-and-examples-of-activities-using-visual-arts-methods\/\"><strong>Smjernice i primjeri<\/strong><\/a>[\/vc_column_text][vc_separator sep_color=&#8221;&#8221; uncode_shortcode_id=&#8221;279653&#8243;][vc_column_text uncode_shortcode_id=&#8221;195099&#8243;]<a href=\"https:\/\/a4action.ro\/hr\/toolbox\/m3-visual-arts-methods\/activities-based-on-visual-arts\/\"><strong>Aktivnosti<\/strong><\/a>[\/vc_column_text][\/vc_column][vc_column column_width_percent=&#8221;100&#8243; gutter_size=&#8221;3&#8243; overlay_alpha=&#8221;50&#8243; shift_x=&#8221;0&#8243; shift_y=&#8221;0&#8243; shift_y_down=&#8221;0&#8243; z_index=&#8221;0&#8243; medium_width=&#8221;0&#8243; mobile_width=&#8221;0&#8243; width=&#8221;3\/4&#8243; uncode_shortcode_id=&#8221;197859&#8243;][vc_custom_heading text_color=&#8221;color-564791&#8243; uncode_shortcode_id=&#8221;211308&#8243; text_color_type=&#8221;uncode-palette&#8221;]Koje metode vizualne umjetnosti koristiti s mladima s manje mogu\u0107nosti i kako?[\/vc_custom_heading][vc_row_inner][vc_column_inner width=&#8221;1\/2&#8243;][vc_column_text uncode_shortcode_id=&#8221;488596&#8243;]Kori\u0161tenje metoda vizualnih umjetnosti u radu s osobama s posebnim potrebama ili mladima s manje mogu\u0107nosti mo\u017ee biti sna\u017ean i vrijedan na\u010din otvaranja prostora za otkrivanje unutarnje snage i osna\u017eivanje. To se ne mora nu\u017eno promatrati kao umjetni\u010dka terapija, ve\u0107 i kao sam proces stvaranja i dijeljenja vlastitog izraza s publikom.[\/vc_column_text][\/vc_column_inner][vc_column_inner width=&#8221;1\/2&#8243;][vc_column_text uncode_shortcode_id=&#8221;198878&#8243;]Kreativni proces ne smatra se samo na\u010dinom izra\u017eavanja sebe, ve\u0107 i procesom osobnog razvoja. Takav je proces pravo svakog \u010dovjeka, neovisno o tome ima li invaliditet ili ne. Pre\u0161utno znanje ili tihi jezik, jezik koji zbog inhibicija te\u0161ko pronalazi rije\u010di, kroz kreativne procese u podru\u010dju vizualnih umjetnosti, drame ili glazbe mo\u017ee dobiti priliku za izra\u017eavanje (Henriksen, 1998).[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_single_image media=&#8221;145150&#8243; media_width_percent=&#8221;100&#8243; media_ratio=&#8221;two-one&#8221; uncode_shortcode_id=&#8221;934444&#8243;][vc_row_inner row_inner_height_percent=&#8221;0&#8243; back_color=&#8221;color-164281&#8243; overlay_alpha=&#8221;50&#8243; gutter_size=&#8221;3&#8243; shift_y=&#8221;0&#8243; z_index=&#8221;0&#8243; uncode_shortcode_id=&#8221;211919&#8243; back_color_type=&#8221;uncode-palette&#8221;][vc_column_inner column_width_percent=&#8221;100&#8243; gutter_size=&#8221;3&#8243; override_padding=&#8221;yes&#8221; column_padding=&#8221;2&#8243; style=&#8221;dark&#8221; overlay_alpha=&#8221;50&#8243; shift_x=&#8221;0&#8243; shift_y=&#8221;0&#8243; shift_y_down=&#8221;0&#8243; z_index=&#8221;0&#8243; medium_width=&#8221;0&#8243; mobile_width=&#8221;0&#8243; width=&#8221;1\/1&#8243; uncode_shortcode_id=&#8221;261181&#8243;][vc_column_text uncode_shortcode_id=&#8221;189355&#8243;]<\/p>\n<p class=\"PDq2pG_selectionAnchorContainer\" data-start=\"0\" data-end=\"482\">Kada se vizualne umjetnosti primjenjuju kroz participativne i suradni\u010dke prakse, one dobivaju dodatnu dimenziju: postaju prostori dijaloga, zajedni\u010dkog stvaranja i dru\u0161tvenog istra\u017eivanja. Nadahnute perspektivama Luisa Camnitzera i Claire Bishop, metode vizualnih umjetnosti nadilaze stvaranje estetskih objekata te poti\u010du autonomiju, ma\u0161tu i zajedni\u010dku refleksiju, \u0161to ih \u010dini posebno relevantnima za rad s mladima s manje mogu\u0107nosti. (Bishop, 2012; Camnitzer, 2009; Freire, 1970).<\/p>\n<p data-start=\"484\" data-end=\"1043\" data-is-last-node=\"\" data-is-only-node=\"\">U tom kontekstu, prakse vizualnih umjetnosti nagla\u0161avaju proces, a ne proizvod. Kreativni \u010din nije ograni\u010den samo na individualno izra\u017eavanje, ve\u0107 se pro\u0161iruje na interakciju, suradnju i kriti\u010dko promi\u0161ljanje u odnosu s drugima i okolinom. Camnitzer smatra da bi umjetnost trebala djelovati kao obrazovni alat koji poti\u010de znati\u017eelju, eksperimentiranje i rje\u0161avanje problema, a ne samo reprodukciju ili tehni\u010dko usavr\u0161avanje. Naglasak je na stvaranju situacija za u\u010denje u kojima osobe otkrivaju vlastiti jezik izra\u017eavanja. (Camnitzer, 2009; Freire, 1970).<\/p>\n<p>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner][vc_column_inner column_width_percent=&#8221;100&#8243; gutter_size=&#8221;2&#8243; override_padding=&#8221;yes&#8221; column_padding=&#8221;3&#8243; style=&#8221;light&#8221; back_color=&#8221;color-202973&#8243; overlay_alpha=&#8221;50&#8243; border_color=&#8221;color-164281&#8243; border_style=&#8221;solid&#8221; preserve_border=&#8221;yes&#8221; preserve_border_tablet=&#8221;yes&#8221; preserve_border_mobile=&#8221;yes&#8221; shift_x=&#8221;0&#8243; shift_y=&#8221;0&#8243; shift_y_down=&#8221;0&#8243; z_index=&#8221;0&#8243; medium_width=&#8221;0&#8243; mobile_width=&#8221;0&#8243; width=&#8221;1\/2&#8243; uncode_shortcode_id=&#8221;107558&#8243; border_color_type=&#8221;uncode-palette&#8221; back_color_type=&#8221;uncode-palette&#8221;][vc_column_text uncode_shortcode_id=&#8221;381646&#8243;]<\/p>\n<h4>1.<\/h4>\n<p>[\/vc_column_text][vc_column_text uncode_shortcode_id=&#8221;702279&#8243;]Jednostavne i dostupne tehnike, poput crtanja, kola\u017ea, izrade objekata ili rada s prona\u0111enim materijalima, nude otvorene mogu\u0107nosti za kreativnost. Primjerice, mlade se mo\u017ee pozvati da nacrtaju nevidljive stvari poput ti\u0161ine, straha ili nade ili da izrade zami\u0161ljeni predmet koji rje\u0161ava neki problem u njihovoj zajednici. Ove aktivnosti omogu\u0107uju osobama da istra\u017euju svoju ma\u0161tu i emocije, istovremeno poti\u010du\u0107i dijalog i kriti\u010dko razmi\u0161ljanje (Freire, 1970).<\/p>\n<p><a href=\"#_ftn3\" name=\"_ftnref3\"><\/a>[\/vc_column_text][\/vc_column_inner][vc_column_inner column_width_percent=&#8221;100&#8243; gutter_size=&#8221;3&#8243; back_color=&#8221;color-202973&#8243; overlay_alpha=&#8221;50&#8243; overlay_animated=&#8221;yes&#8221; shift_x=&#8221;0&#8243; shift_y=&#8221;0&#8243; shift_y_down=&#8221;0&#8243; z_index=&#8221;0&#8243; medium_width=&#8221;0&#8243; mobile_width=&#8221;0&#8243; width=&#8221;1\/2&#8243; uncode_shortcode_id=&#8221;186666&#8243; back_color_type=&#8221;uncode-palette&#8221;][vc_column_text uncode_shortcode_id=&#8221;536419&#8243;]<\/p>\n<h4>2.<\/h4>\n<p>[\/vc_column_text][vc_column_text uncode_shortcode_id=&#8221;190494&#8243;]Claire Bishop u svojoj analizi participativne umjetnosti nagla\u0161ava va\u017enost metoda koje stvaraju susrete, razmjene i pregovore me\u0111u osobama. Dok se klasi\u010dna umjetni\u010dka produkcija \u010desto usredoto\u010duje na individualnog umjetnika\/cu koji samostalno radi i izra\u017eava vlastitu viziju, participativni pristupi pomi\u010du naglasak prema zajedni\u010dkim procesima, kolektivnom dono\u0161enju odluka i zajedni\u010dkom stvaranju. U tim je metodama proces \u010desto va\u017eniji i vrjedniji od kona\u010dnog umjetni\u010dkog rezultata, jer se upravo kroz suradnju i interakciju odvijaju u\u010denje, povezivanje sa samima sobom, uklju\u010divanje i osna\u017eivanje (Bishop, 2012). U radu s mladima ovaj je pomak posebno vrijedan jer cilj nije samo stvaranje umjetnosti, ve\u0107 i izgradnja uklju\u010divosti, povezanosti i uzajamnog u\u010denja.<\/p>\n<p><a href=\"#_ftn3\" name=\"_ftnref3\"><\/a>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner][vc_column_inner column_width_percent=&#8221;100&#8243; gutter_size=&#8221;2&#8243; override_padding=&#8221;yes&#8221; column_padding=&#8221;3&#8243; style=&#8221;light&#8221; back_color=&#8221;color-202973&#8243; overlay_alpha=&#8221;50&#8243; border_color=&#8221;color-164281&#8243; border_style=&#8221;solid&#8221; preserve_border=&#8221;yes&#8221; preserve_border_tablet=&#8221;yes&#8221; preserve_border_mobile=&#8221;yes&#8221; shift_x=&#8221;0&#8243; shift_y=&#8221;0&#8243; shift_y_down=&#8221;0&#8243; z_index=&#8221;0&#8243; medium_width=&#8221;0&#8243; mobile_width=&#8221;0&#8243; width=&#8221;1\/2&#8243; uncode_shortcode_id=&#8221;107558&#8243; border_color_type=&#8221;uncode-palette&#8221; back_color_type=&#8221;uncode-palette&#8221;][vc_column_text uncode_shortcode_id=&#8221;195770&#8243;]<\/p>\n<h4>3.<\/h4>\n<p>[\/vc_column_text][vc_column_text uncode_shortcode_id=&#8221;355280&#8243;]Metode poput zajedni\u010dkog oslikavanja murala, suradni\u010dkog mapiranja, grupnih instalacija i pripovijedanja kroz fotografiju omogu\u0107uju mladima zajedni\u010dki rad, razmjenu ideja i stvaranje umjetni\u010dkih djela koja odra\u017eavaju i individualne perspektive i zajedni\u010dke glasove. Ove se prakse \u010desto povezuju s javnim prostorom, pretvaraju\u0107i ulice, \u010detvrti ili dru\u0161tvene centre u mjesta zajedni\u010dke kreativnosti i vidljivosti.<\/p>\n<p><a href=\"#_ftn3\" name=\"_ftnref3\"><\/a>[\/vc_column_text][\/vc_column_inner][vc_column_inner column_width_percent=&#8221;100&#8243; gutter_size=&#8221;3&#8243; back_color=&#8221;color-202973&#8243; overlay_alpha=&#8221;50&#8243; overlay_animated=&#8221;yes&#8221; shift_x=&#8221;0&#8243; shift_y=&#8221;0&#8243; shift_y_down=&#8221;0&#8243; z_index=&#8221;0&#8243; medium_width=&#8221;0&#8243; mobile_width=&#8221;0&#8243; width=&#8221;1\/2&#8243; uncode_shortcode_id=&#8221;186666&#8243; back_color_type=&#8221;uncode-palette&#8221;][vc_column_text uncode_shortcode_id=&#8221;345957&#8243;]<\/p>\n<h4>4.<\/h4>\n<p>[\/vc_column_text][vc_column_text uncode_shortcode_id=&#8221;213728&#8243;]Sredi\u0161nja ideja u perspektivama i Camnitzera i Bishop jest da uloga facilitatora\/ice nije podu\u010davati \u201ekako se baviti umjetno\u0161\u0107u\u201c, ve\u0107 stvarati situacije u kojima osobe mogu otkriti vlastite na\u010dine stvaranja, gledanja i razmi\u0161ljanja. Facilitatori\/ce usmjeravaju procese koji su prilagodljivi, fleksibilni i otvoreni za neo\u010dekivane ishode, omogu\u0107uju\u0107i im da sami oblikuju svoj kreativni put (Bishop, 2012; Camnitzer, 2009).<\/p>\n<p><a href=\"#_ftn3\" name=\"_ftnref3\"><\/a>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner][vc_column_inner column_width_percent=&#8221;100&#8243; gutter_size=&#8221;2&#8243; override_padding=&#8221;yes&#8221; column_padding=&#8221;3&#8243; style=&#8221;light&#8221; back_color=&#8221;color-202973&#8243; overlay_alpha=&#8221;50&#8243; border_color=&#8221;color-164281&#8243; border_style=&#8221;solid&#8221; preserve_border=&#8221;yes&#8221; preserve_border_tablet=&#8221;yes&#8221; preserve_border_mobile=&#8221;yes&#8221; shift_x=&#8221;0&#8243; shift_y=&#8221;0&#8243; shift_y_down=&#8221;0&#8243; z_index=&#8221;0&#8243; medium_width=&#8221;0&#8243; mobile_width=&#8221;0&#8243; width=&#8221;1\/2&#8243; uncode_shortcode_id=&#8221;107558&#8243; border_color_type=&#8221;uncode-palette&#8221; back_color_type=&#8221;uncode-palette&#8221;][vc_column_text uncode_shortcode_id=&#8221;121467&#8243;]<\/p>\n<h4>5.<\/h4>\n<p>[\/vc_column_text][vc_column_text uncode_shortcode_id=&#8221;141314&#8243;]Posebno relevantna praksa nadahnuta ovim pristupom jest organizacija zajedni\u010dki kuriranih izlo\u017ebi, u kojima mladi sura\u0111uju u osmi\u0161ljavanju i postavljanju umjetni\u010dke izlo\u017ebe. Ova metoda omogu\u0107uje osobama ne samo da stvaraju umjetni\u010dka djela, ve\u0107 i da sudjeluju u dono\u0161enju odluka o tome kako \u0107e ona biti predstavljena, kako \u0107e se ispri\u010dati njihove pri\u010de i na koji \u0107e se na\u010din uklju\u010diti publika. Zajedni\u010dko kuriranje poti\u010de osje\u0107aj vlasni\u0161tva, odgovornosti i dijaloga, istovremeno razvijaju\u0107i organizacijske i komunikacijske vje\u0161tine.<\/p>\n<p><a href=\"#_ftn3\" name=\"_ftnref3\"><\/a>[\/vc_column_text][\/vc_column_inner][vc_column_inner column_width_percent=&#8221;100&#8243; gutter_size=&#8221;3&#8243; back_color=&#8221;color-202973&#8243; overlay_alpha=&#8221;50&#8243; overlay_animated=&#8221;yes&#8221; shift_x=&#8221;0&#8243; shift_y=&#8221;0&#8243; shift_y_down=&#8221;0&#8243; z_index=&#8221;0&#8243; medium_width=&#8221;0&#8243; mobile_width=&#8221;0&#8243; width=&#8221;1\/2&#8243; uncode_shortcode_id=&#8221;186666&#8243; back_color_type=&#8221;uncode-palette&#8221;][vc_column_text uncode_shortcode_id=&#8221;171441&#8243;]<\/p>\n<h4>6.<\/h4>\n<p>[\/vc_column_text][vc_column_text uncode_shortcode_id=&#8221;845481&#8243;]Kori\u0161tenje taktilnih i prirodnih materijala, poput gline, pru\u017ea sna\u017enu metodu za izra\u017eavanje i refleksiju. Rad s glinom omogu\u0107uje mladima oblikovanje apstraktnih formi ili simboli\u010dkih objekata koji predstavljaju emocije, strahove, snove ili dru\u0161tvene teme. Glina je zahvalan i podatljiv materijal koji poti\u010de senzorno iskustvo, strpljenje i eksperimentiranje, \u0161to je \u010dini posebno prikladnom za radionice usmjerene na samoistra\u017eivanje ili rad utemeljen na pristupu osjetljivom na traumu.<\/p>\n<p><a href=\"#_ftn3\" name=\"_ftnref3\"><\/a>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner][vc_column_inner column_width_percent=&#8221;100&#8243; gutter_size=&#8221;2&#8243; override_padding=&#8221;yes&#8221; column_padding=&#8221;3&#8243; style=&#8221;light&#8221; back_color=&#8221;color-202973&#8243; overlay_alpha=&#8221;50&#8243; border_color=&#8221;color-164281&#8243; border_style=&#8221;solid&#8221; preserve_border=&#8221;yes&#8221; preserve_border_tablet=&#8221;yes&#8221; preserve_border_mobile=&#8221;yes&#8221; shift_x=&#8221;0&#8243; shift_y=&#8221;0&#8243; shift_y_down=&#8221;0&#8243; z_index=&#8221;0&#8243; medium_width=&#8221;0&#8243; mobile_width=&#8221;0&#8243; width=&#8221;1\/2&#8243; uncode_shortcode_id=&#8221;107558&#8243; border_color_type=&#8221;uncode-palette&#8221; back_color_type=&#8221;uncode-palette&#8221;][vc_column_text uncode_shortcode_id=&#8221;124190&#8243;]<\/p>\n<h4>7.<\/h4>\n<p>[\/vc_column_text][vc_column_text uncode_shortcode_id=&#8221;208566&#8243;]<\/p>\n<p class=\"PDq2pG_selectionAnchorContainer\" data-start=\"0\" data-end=\"514\"><strong data-start=\"0\" data-end=\"51\">Rad utemeljen na pristupu osjetljivom na traumu<\/strong> odnosi se na metode koje daju prednost emocionalnoj sigurnosti, izboru i osna\u017eivanju, prepoznaju\u0107i da neki mladi ljudi mogu nositi iskustva iz pro\u0161losti koja utje\u010du na na\u010din na koji se uklju\u010duju u kreativne procese. \u201ePraksa utemeljena na pristupu osjetljivom na traumu prepoznaje potrebu da se gleda dalje od pona\u0161anja koje osoba pokazuje te da se postavi pitanje: <em data-start=\"421\" data-end=\"452\" data-is-only-node=\"\">\u2018\u0160to je ovoj osobi potrebno?\u2019<\/em> umjesto <em data-start=\"461\" data-end=\"495\">\u2018\u0160to nije u redu s ovom osobom?\u2019<\/em>\u201c (GOV UK, 2022).<\/p>\n<p data-start=\"516\" data-end=\"666\" data-is-last-node=\"\" data-is-only-node=\"\">Postoji \u0161est na\u010dela prakse utemeljene na pristupu osjetljivom na traumu: <strong data-start=\"589\" data-end=\"665\">sigurnost, povjerenje, izbor, suradnja, osna\u017eivanje i uva\u017eavanje kulture<\/strong>.<\/p>\n<p><a href=\"#_ftn3\" name=\"_ftnref3\"><\/a>[\/vc_column_text][\/vc_column_inner][vc_column_inner column_width_percent=&#8221;100&#8243; gutter_size=&#8221;3&#8243; back_color=&#8221;color-202973&#8243; overlay_alpha=&#8221;50&#8243; overlay_animated=&#8221;yes&#8221; shift_x=&#8221;0&#8243; shift_y=&#8221;0&#8243; shift_y_down=&#8221;0&#8243; z_index=&#8221;0&#8243; medium_width=&#8221;0&#8243; mobile_width=&#8221;0&#8243; width=&#8221;1\/2&#8243; uncode_shortcode_id=&#8221;186666&#8243; back_color_type=&#8221;uncode-palette&#8221;][vc_column_text uncode_shortcode_id=&#8221;153460&#8243;]<\/p>\n<h4>8.<\/h4>\n<p>[\/vc_column_text][vc_column_text uncode_shortcode_id=&#8221;260729&#8243;]<strong data-start=\"0\" data-end=\"56\" data-is-only-node=\"\">Land art i ekolo\u0161ki osvije\u0161tene kreativne aktivnosti<\/strong> pru\u017eaju dodatne metode za povezivanje mladih s njihovom okolinom i poticanje ekolo\u0161ke svijesti. Land art uklju\u010duje stvaranje umjetni\u010dkih radova specifi\u010dnih za odre\u0111enu lokaciju u vanjskom prostoru, koriste\u0107i prirodne materijale poput kamenja, li\u0161\u0107a ili zemlje. Ovi su radovi \u010desto privremeni, nagla\u0161avaju\u0107i ljepotu prolaznosti i prirodne ritmove. Ekolo\u0161ki osvije\u0161tene radionice pozivaju osobe na promi\u0161ljanje o odr\u017eivosti kroz rad s recikliranim materijalima ili stvaranje prolaznih instalacija koje se uklapaju u krajolik (Freire, 1970).<\/p>\n<p><a href=\"#_ftn3\" name=\"_ftnref3\"><\/a>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner][vc_column_inner column_width_percent=&#8221;100&#8243; gutter_size=&#8221;2&#8243; override_padding=&#8221;yes&#8221; column_padding=&#8221;3&#8243; style=&#8221;light&#8221; back_color=&#8221;color-202973&#8243; overlay_alpha=&#8221;50&#8243; border_color=&#8221;color-164281&#8243; border_style=&#8221;solid&#8221; preserve_border=&#8221;yes&#8221; preserve_border_tablet=&#8221;yes&#8221; preserve_border_mobile=&#8221;yes&#8221; shift_x=&#8221;0&#8243; shift_y=&#8221;0&#8243; shift_y_down=&#8221;0&#8243; z_index=&#8221;0&#8243; medium_width=&#8221;0&#8243; mobile_width=&#8221;0&#8243; width=&#8221;1\/2&#8243; uncode_shortcode_id=&#8221;107558&#8243; border_color_type=&#8221;uncode-palette&#8221; back_color_type=&#8221;uncode-palette&#8221;][vc_column_text uncode_shortcode_id=&#8221;185573&#8243;]<\/p>\n<h4>9.<\/h4>\n<p>[\/vc_column_text][vc_column_text uncode_shortcode_id=&#8221;235923&#8243;]Drugi va\u017ean pristup jest kori\u0161tenje prona\u0111enih materijala i svakodnevnih predmeta za izradu skulptura ili instalacija. Ova praksa demokratizira pristup umjetnosti kori\u0161tenjem onoga \u0161to je ve\u0107 dostupno, istovremeno poti\u010du\u0107i promi\u0161ljanje o potro\u0161nji, otpadu i odgovornosti prema okoli\u0161u. Radionice u kojima mladi prikupljaju predmete iz svoje okoline i pretvaraju ih u umjetni\u010dka djela otvaraju mogu\u0107nosti za pripovijedanje, ma\u0161tu i kriti\u010dko promatranje vlastitog okru\u017eenja.<\/p>\n<p><a href=\"#_ftn3\" name=\"_ftnref3\"><\/a>[\/vc_column_text][\/vc_column_inner][vc_column_inner column_width_percent=&#8221;100&#8243; gutter_size=&#8221;3&#8243; back_color=&#8221;color-202973&#8243; overlay_alpha=&#8221;50&#8243; overlay_animated=&#8221;yes&#8221; shift_x=&#8221;0&#8243; shift_y=&#8221;0&#8243; shift_y_down=&#8221;0&#8243; z_index=&#8221;0&#8243; medium_width=&#8221;0&#8243; mobile_width=&#8221;0&#8243; width=&#8221;1\/2&#8243; uncode_shortcode_id=&#8221;186666&#8243; back_color_type=&#8221;uncode-palette&#8221;][vc_column_text uncode_shortcode_id=&#8221;990658&#8243;]<\/p>\n<h4>10.<\/h4>\n<p>[\/vc_column_text][vc_column_text uncode_shortcode_id=&#8221;164434&#8243;]Fotografija i video tako\u0111er se mogu koristiti kao participativne metode, posebno kada su alati dostupni grupi. To ne mora nu\u017eno zna\u010diti kori\u0161tenje osobnih pametnih telefona; mnoge se aktivnosti mogu provoditi uz pomo\u0107 zajedni\u010dkih ure\u0111aja, jednostavnih digitalnih kamera ili \u010dak jednokratnih fotoaparata kada su dostupni. Fokus nije na tehni\u010dkoj savr\u0161enosti, ve\u0107 na pru\u017eanju mladima mogu\u0107nosti da dokumentiraju svoju stvarnost, svoje snove ili svoju zajednicu iz vlastite perspektive. Aktivnosti poput stvaranja zajedni\u010dke foto-pri\u010de ili izrade video poruke budu\u0107nosti pru\u017eaju prostor za samoizra\u017eavanje i dijeljenje.<\/p>\n<p><a href=\"#_ftn3\" name=\"_ftnref3\"><\/a>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner][vc_column_inner column_width_percent=&#8221;100&#8243; gutter_size=&#8221;2&#8243; override_padding=&#8221;yes&#8221; column_padding=&#8221;3&#8243; style=&#8221;light&#8221; back_color=&#8221;color-202973&#8243; overlay_alpha=&#8221;50&#8243; border_color=&#8221;color-164281&#8243; border_style=&#8221;solid&#8221; preserve_border=&#8221;yes&#8221; preserve_border_tablet=&#8221;yes&#8221; preserve_border_mobile=&#8221;yes&#8221; shift_x=&#8221;0&#8243; shift_y=&#8221;0&#8243; shift_y_down=&#8221;0&#8243; z_index=&#8221;0&#8243; medium_width=&#8221;0&#8243; mobile_width=&#8221;0&#8243; width=&#8221;1\/1&#8243; uncode_shortcode_id=&#8221;107558&#8243; border_color_type=&#8221;uncode-palette&#8221; back_color_type=&#8221;uncode-palette&#8221;][vc_column_text uncode_shortcode_id=&#8221;109034&#8243;]<\/p>\n<p class=\"PDq2pG_selectionAnchorContainer\" data-start=\"0\" data-end=\"351\">Crtanje, kola\u017e, izrada objekata, oslikavanje murala, skulptura od gline, land art, fotografija, video, zajedni\u010dki kurirane izlo\u017ebe i participativne instalacije mogu se prilagoditi ovim na\u010delima. Ono \u0161to ih povezuje nije sama tehnika, ve\u0107 na\u010din na koji se ona koristi \u2013 kao alat za istra\u017eivanje, emancipaciju, zajedni\u010dko stvaranje i dru\u0161tveni anga\u017eman.<\/p>\n<p data-start=\"353\" data-end=\"465\"><strong data-start=\"353\" data-end=\"465\">Ukratko, naju\u010dinkovitije metode vizualnih umjetnosti iz participativne i suradni\u010dke perspektive one su koje:<\/strong><\/p>\n<ul data-start=\"467\" data-end=\"816\" data-is-last-node=\"\" data-is-only-node=\"\">\n<li data-section-id=\"3g698r\" data-start=\"467\" data-end=\"512\">koriste jednostavne i dostupne materijale<\/li>\n<li data-section-id=\"c0vl4c\" data-start=\"513\" data-end=\"566\">omogu\u0107uju slobodu izra\u017eavanja i eksperimentiranja<\/li>\n<li data-section-id=\"w2dh8q\" data-start=\"567\" data-end=\"619\">usmjerene su na proces, a ne na kona\u010dni proizvod<\/li>\n<li data-section-id=\"1dgle68\" data-start=\"620\" data-end=\"693\">stvaraju prostor za dijalog, refleksiju i zajedni\u010dko dono\u0161enje odluka<\/li>\n<li data-section-id=\"u2vmu2\" data-start=\"694\" data-end=\"771\">povezuju se s okru\u017eenjem osoba, njihovim sje\u0107anjima i osobnim pri\u010dama<\/li>\n<li data-section-id=\"881him\" data-start=\"772\" data-end=\"816\" data-is-last-node=\"\">poti\u010du kriti\u010dko razmi\u0161ljanje i autonomiju.<\/li>\n<\/ul>\n<p><a href=\"#_ftn3\" name=\"_ftnref3\"><\/a>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_single_image media=&#8221;145158&#8243; media_width_percent=&#8221;100&#8243; media_ratio=&#8221;two-one&#8221; uncode_shortcode_id=&#8221;162588&#8243;][vc_column_text uncode_shortcode_id=&#8221;832276&#8243;]Kao \u0161to nas Luis Camnitzer podsje\u0107a, umjetnost nije u proizvedenom objektu, ve\u0107 u procesu u\u010denja koji ona generira (Camnitzer, 2009). Kao \u0161to pokazuje Claire Bishop, sudjelovanje u umjetnosti najsna\u017enije je kada nas poti\u010de da zajedno razmi\u0161ljamo, djelujemo i zami\u0161ljamo, pretvaraju\u0107i kreativnost u jezik povezivanja, refleksije i nade.[\/vc_column_text][vc_column_text text_lead=&#8221;small&#8221; uncode_shortcode_id=&#8221;196807&#8243;]Literatura:<\/p>\n<p>Bishop, Claire. (2012). Artificial Hells: Participatory Art and the Politics of Spectatorship. Verso Books.<br \/>\nCamnitzer, Luis. (2009). Didactic Art: Art as Education. In Conceptualism in Latin American Art: Didactics of Liberation. University of Texas Press.<br \/>\nFreire, Paulo. (1970). Pedagogy of the Oppressed. Herder and Herder.<br \/>\nOffice for Health Improvement &amp; Disparities. (2022). Working definition of trauma-informed practice. GOV.UK.<a href=\"https:\/\/www.gov.uk\/government\/publications\/working-definition-of-trauma-informed-practice\/working-definition-of-trauma-informed-practice?utm_source=chatgpt.com\"> URL:<\/a> <a href=\"https:\/\/www.gov.uk\/government\/publications\/working-definition-of-trauma-informed-practice\/working-definition-of-trauma-informed-practice\">https:\/\/www.gov.uk\/government\/publications\/working-definition-of-trauma-informed-practice\/working-definition-of-trauma-informed-practice<\/a><br \/>\nHenriksen, K. (1998). <em>Kunsten at forme et sprog: Om udviklingsh\u00e6mmede og den billedskabende proces<\/em>. Gyldendal.[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column width=&#8221;1\/1&#8243;][uncode_block id=&#8221;144757&#8243;][uncode_block id=&#8221;143281&#8243;][\/vc_column][\/vc_row]<\/p>\n<\/div>","protected":false},"excerpt":{"rendered":"<p>[vc_row][vc_column width=&#8221;1\/1&#8243;][uncode_block id=&#8221;143257&#8243;][\/vc_column][\/vc_row][vc_row unlock_row_content=&#8221;yes&#8221; row_height_percent=&#8221;0&#8243; override_padding=&#8221;yes&#8221; h_padding=&#8221;0&#8243; top_padding=&#8221;0&#8243; bottom_padding=&#8221;2&#8243; overlay_alpha=&#8221;50&#8243; gutter_size=&#8221;3&#8243; column_width_percent=&#8221;100&#8243; shift_y=&#8221;0&#8243; z_index=&#8221;0&#8243; content_parallax=&#8221;0&#8243; shift_y_down=&#8221;0&#8243; uncode_shortcode_id=&#8221;404764&#8243;][vc_column column_width_percent=&#8221;100&#8243; position_horizontal=&#8221;left&#8221; gutter_size=&#8221;3&#8243; [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":145708,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-145739","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/a4action.ro\/hr\/wp-json\/wp\/v2\/pages\/145739","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/a4action.ro\/hr\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/a4action.ro\/hr\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/a4action.ro\/hr\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/a4action.ro\/hr\/wp-json\/wp\/v2\/comments?post=145739"}],"version-history":[{"count":8,"href":"https:\/\/a4action.ro\/hr\/wp-json\/wp\/v2\/pages\/145739\/revisions"}],"predecessor-version":[{"id":146075,"href":"https:\/\/a4action.ro\/hr\/wp-json\/wp\/v2\/pages\/145739\/revisions\/146075"}],"up":[{"embeddable":true,"href":"https:\/\/a4action.ro\/hr\/wp-json\/wp\/v2\/pages\/145708"}],"wp:attachment":[{"href":"https:\/\/a4action.ro\/hr\/wp-json\/wp\/v2\/media?parent=145739"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}