Manual

Pedagogical puppeteer (PP)

Vrtec Trnovo

Suzana Antič, Mojca Garvas, Natalija Komljanc and educators of Trnovo Kindergarten

6

Foreword

6

Opinion

7





Introduction


Pedagogical puppeteer (PP) I

10

1 A literary-didactical story about the children, the puppet and the Pedagogical



Puppeteer

10

1.1 The influence of play on cognitive development

13

1.1.1 The puppet sets up a bridge between objective and subjective comprehension 14

1.1.2 The puppet is a reflection of interpersonal impressions and expressions in the



comprehension process

15

1.1.3 The puppet intrigues and internalizes the learning story 17

1.1.4 The puppet is a dialogic and multilogic viewpoint through a personal window of



comprehension

18

2 Innovative learning for the youngest

18

2.1 Play is the path to innovative learning

20

2.1.1 Innovative learning as a form of self-comprehension 22

2.1.2 The formation of knowledge is a complex life-long process of self-formation Pedagogical puppeteer (PP) II

28

1 Training programme

29

1.1 The first part: Puppet is, puppet isn’t. The story of the pedagogical puppet and Pedagogical Puppeteer

30

1.1.1 Protagonist

32

1.1.2 Impression

33

1.1.3 Expression

35

1.1.4 Appearance

38

1.2 Part II: Why a puppet, where and when? The story of the implemented kindergarten curriculum

38

1.2.1 Creating the Didactical Map

40

1.2.2 Assessment

42

1.3 Part III: How to deal with the puppet? I create and assess my story 42

1.3.1 Improving communication channels and enabling experience 44

1.3.2 What can I learn by participating in the Pedagogical Puppeteer training 44

1.3.3 Reflection and evaluation of the Pedagogical Puppeteer training 47

1.3.4 Definition and job description of a Pedagogical Puppeteer 50

Bibliography

6

Foreword

Opinion

This manual is the third one. It is a continuation

Natalija Komljanc, Ph.D in Pedagogy: Over the

of the previous two manuals from 2013 and 2014

years of research within the Innovative Project

entitled Pedagogical Innovation: Didactical Map

(IP) entitled the Work with a Puppet Project,

and Pedagogical Innovation: Literary-Didactical

the Trnovo kindergarten has initiated a new

Story. As with the previous two, the existing

professional Pedagogical Puppeteer. The edu-

manual is intended for kindergarten teachers

cators of the Trnovo kindergarten have formed

and elementary school teachers and for those

an educational programme based on self-cre-

who are interested in thorough training for ed-

ation, self-education and specialization over

ucational work using a puppet.

more than a decade of self-reflective work and

The manual points out the difference between

with the support of various experts from ped-

the ordinary, traditional puppet and the peda-

agogy and puppetry. Skilled in self-analysis and

gogical puppet. It also discusses the meaning,

self-improvement, the teachers have created

purpose and usage of the pedagogical puppet.

an efficient training model that they would like

The pedagogical puppet is a thoroughly fore-

to share unselfishly with others who believe in

thought and intentionally created tool, figure,

the power of a puppet and pedagogical work

being whose purpose is to support a person’s

with children. Within the Work with a Puppet

thinking development and to assist in the pro-

Project, a Pedagogical Puppeteer is one of the

cess of adaptation – learning, educating and

unique holistic forms of an open learning envi-

self-educating, while being open to the current

ronment with an optimal possibility of adjusting

challenges and/or thinking development of a

innovative learning for the youngest.

child and educator. In the educational process,

I wish the management, the educators of

a pedagogical puppeteer uses a pedagogical

the Trnovo kindergarten and all interested Ped-

puppet in a systematic and meaningful way.

agogical Puppeteers success in the development

Those interested in such educational work

of Pedagogical Puppets in the pedagogical lab-

can familiarise themselves with it by reading

oratory in the Trnovo kindergarten and a qual-

the manual or qualify for it by taking part in

itative application of knowledge in a learning

training in the puppet laboratory in the Trnovo

environment.

kindergarten in Ljubljana. The educators in the

Trnovo kindergarten have formed a program

with a professional Pedagogical Puppeteer

that has been established in the framework of

the Innovative Project and in cooperation with

the National Educational Institute of Republic

of Slovenia.

7





Introduction


self-development. Thus, it represents an intro-

duction to a pleasant story of professional and

Suzana Antič, the headmistress of the Trnovo

autonomous self-development, as well as joint

kindergarten raises a question: “Why is it so

training for the Pedagogical Puppeteer in an

important to talk about the puppeteer?” and

open learning environment.

answers: “Because a puppeteer has to train in

pedagogical communication with a puppet.”

Her question and answer reflect the fact that

it is not enough to like the puppet and to enjoy

educating. It is essential to educate and train in

a way that enables the professional upgrading,

improvement and specialization of knowledge

and desires and to be able to present the abilities

and competences of the Pedagogical Puppeteer

in any pedagogical or learning situation and

thus increase the understanding of learners. It

means that we are capable of thinking about the

benefits of a puppet, about how it can support

us in encouragement and direct learning in an

innovative way, and at the same time, we are

capable of bringing the puppet into life.

In order to take advantage of the puppet’s

power in a pedagogical process, not only from

time to time but in a more complex, holistic and

lasting way, it is reasonable that the educational

work is lead, implemented, assessed and eval-

uated by a team of professionally trained Ped-

agogical Puppeteers.

As this complex and unique knowledge is not

simple to acquire or apply masterfully, we pres-

ent a brief introduction, as well as the content

and methodology of the training program for

the Pedagogical Puppeteer. This manual can be

used for personal or professional development

within an individual educational institution.

After all, the vocation of an educator, like any

other profession, needs constant improving and



Pedagogical puppeteer (PP) I





Pedagogical puppeteer (PP) I

10

1 A literary1-didactical story about the

children, the puppet and the Pedagogical

Puppeteer

1.1 The influence of play on cognitive2

development

Research questions (RQ): 1. What role

does a Pedagogical Puppeteer have in

the development of a child’s (human’s)

mind? 2. What role does a Pedagogical

Puppeteer have in guiding a child’s (hu-

man) thinking adjustment in the learn-

ing process?

“Helpless in reality, capable in an imag-

inative world”

Real world

Mind

Amazement

Assessment

Memory

Experience

Measures of

Play

assessment/sucess

Effort

“The puppet as a subject and object of

solving real problems in an imaginative

Ideas

Imagination

world.”

the child reflects the interests and knowledge of

With perceptions, child creates the reality of his

generation, the game raises awareness of the real

curious children.

world of adults.

As children grow and develop, they do not cope3

well with the real world of grownups. Sometimes

Figure 1: Mental world according to Kant in Gavrič, 1991

they are even afraid of it and therefore defensive

A puppet is a medium for visualizing reality in

against it (further reading: fairy tales and real

imaginative worlds and acting as though it was

3 Young children are helpless in real world, yet more

real. The puppet brings the challenges closer to

capable in the imaginative world. Fludd (1619) mentions a scale with faculties of knowledge, such as sensual perception (senses 1 artistic

and emotions), imagination, ratio, intellect, intelligence, verbs.

2 emotions and reason

See also http://en.wikipedia.org/wiki/Robert_Fludd



1 A literary-didactical story about the children, the puppet and the Pedagogical Puppeteer 11

Key words: child, mind, art, will, beau-

creating work with aesthetical value linked to emo-

ty, imagination, play, growth and de-

tional perception (impressions) and expression.

velopment, referential power, desire,

Art is beauty and a spirit that looks for expressing

puppet, experiencing, unfolding conun-

beauty through life principles. Beauty stimulates

the emotions and imagination and awakens rea-

drum, mood, the experience of imagina-

son. By defining the term beauty, the term verges

tive representation and the creation of

on science (Schiller, 2003).

the world, attraction, friendship, rela-

Children are more autonomous and capable

tionship, dialogic viewpoint, love

in their imaginative world as they are becoming

aware of the real world of adults while playing and

stories) until they finally understand it. A human

creating their own reality in their imaginations.

copes with fear as soon as (s)he can define its form

Children experiencing healthy growth and devel-

and transform it into some familiar object, Shiller

opment visualize the abilities, they try to be the

(2003) discovers in his understanding of fear.

most powerful, first and best, they strive for excess

The youngest observe, emote and imagine be-

– for the innovative search for new powers. Chil-

fore they enter the rational world of reason. The

dren form a referential power in a play. This power

drive for reason is awakened by the experience

is a success criterion that children follow curiously

gained through one single power: will power (acc.

and in expectation in order to achieve the desired

to Schiller, 2003). Mind is the capability of think-

goal. Because of their desires4, children perceive

ing and recognizing while art is the capability of

the world and gradually control it (in the field of

art, creation and science).

Growth/giants ▶

striving for

excess

Development/ forms

referential power in

a play/measure of

success which

children follow in

expectation after

achieving a goal

The children experience the world because of the

desired goals/wishes/referential power and

gradually control it. This is the development of

independence.

Essence: Play as reflection of beauty

Figure 2: Growth and development

in free adjustment to the world. Deep

down, play contains the art of living

4 Desire is one of the most powerful emotions (feelings) (acc. to Schiller, 2003).

that direct our goals (according to SSKJ).





Pedagogical puppeteer (PP) I

12

Play is their mental path and remains the path

of inventors when comparing their referential cri-

teria with adventures from reality and imaginative

worlds. More or less interesting experiences are

kept in different brain centres. Some of them are

forgotten about after a while and others are rein-

forced or replaced.

From aesthetic education theory’s5 perspective,

play is reflection of beauty in a free adjustment to

the world. Play enables the vivid formation of the

world. It is based on the free perceptions of a se-

quence of ideas. Schiller (2003) says that one is only

fully a human being when one plays. Play contains

and the effort strengthens the acquired knowl-

in it the art of living.

edge. Play helps children become aware of the

things and notions that they have not completely

... the process in which the

Inventing

understood yet. When observing and enriching

referential measures are

is ...

their ideas, perceptions that represent the absent

compared to experiences in a)

reality and b) imagination

parts of the intellect, children improve their per-

ceptiveness. Genuine and complete knowledge is

preserved while shallow knowledge falls apart or

strives for new transformation. The mental picture

A play

... child's method of

changes constantly in order to preserve and clear

is ...

understanding + remains the

up or transform.

method of comprehension of

As ages pass, a “giant” becomes closer to a “God”

inventors. Mental path of

when setting the highest referential goals – the

children / way of thinking

values of a certain period and preserving the world

Figure 3: A play is …

Children are aware of reality through sentience

and emotion (external and inner perception) in

self-communication and in communication with

others. By reviewing the criteria (referential and

current), they build and therefore upgrade their

memory. In addition, their ideas help them devel-

op their minds (according to Kant in Gavrič, 1991,

see fig.1). Astonishment forces them to continue

5 Schiller, F. (2003). Aesthetic Education of Man.





1 A literary-didactical story about the children, the puppet and the Pedagogical Puppeteer 13

limited in time seemingly eternally. Let us read fairy

tales, myths, folk tales, mythological stories etc. and

watch the growth and development of the worlds

of children and adult through the folk tradition.

1.1.1 The puppet sets up a bridge between objective and subjective comprehension

Research question: “What does a pup-

pet mean for us?”

Real-ity

Puppet

Imagination

It reflects mutual feedback

Solving the conundrum

Figure 4: Puppet is a bridge between the objective and subjective an adult joins a child as a co-actor rather than as

a traditional educator. An adult strengthens his/

The puppet represents a passage, accepted by

her role with a puppet in hand. The puppet’s words

children, between the visualization of reality in

come from the adult’s mouth and are expressed

the imagination and play acted as reality where

through the mimicry, character and spirit of place

and time. Sometimes the puppet replaces the real

educator’s face with its own. This face represents

the world between the reality, which is distant,

unknown and sometimes even unreachable for

children, and a play, representing the world in

which a child plays and experiences reality – real

reality in his/her own way and in cooperation with

others. A child is forceful in play, is a competent

creator trying out the possibilities in an optimistic

and realizable way.



Pedagogical puppeteer (PP) I

14

the environment, but nevertheless, (s)he graciously

accepts only the one that arouses strong feelings

and encourages the functioning of hormones and

consequently competences. Therefore, it is impor-

tant who and which puppet brings the world of

challenges closer to a child in real children’s play

or adjusted pedagogical play. Not every puppet is

successful in doing so. Only a puppet that reflects

(expresses) the interests, knowledge and curiosity

of the children with whom it shares and multiplies

its knowledge prospers.

Which puppet provokes emotions - hormone of

happiness?

The one that reflects, expresses part of interests,

knowledge and curiosity of children. When

making a puppet, it has to include all the

diagnostics of pre-knowledge and interests and

needs of children. The puppet is based on child's

recognition, expectations, beliefs and desires.

1.1.2 The puppet is a reflection of interpersonal impressions and expressions in the comprehension process

Figure 5: The puppet’s power

The puppet’s character encourages and

develops interpersonal relationships

The exchange of impressions and expressions

and emotions.

unfolds in three-part communication in which

body language expresses characteristic features

that define the genetic target code of self-orienta-

The puppet reflects the expressed thoughts, the

tion. Self-knowledge occurs when we feel psychic

feedback of educators and children and resolves

movements, give them meaning, verbalise them if

conundrums.

necessary, express them out loud or silently, write,

When a child accepts a toy, the child plays with

draw or paint them. The climate reflects the at-

it in his/her own way. However, when the toy at-

mosphere that a person perceives and expresses

tracts attention (unconsciously), the child not

it in the form of a mood. An inhalation initiates

only surrenders to it, but establishes a hormonal

impression and exhalation expression. Three-part

and emotional connection with it and builds up a

communication (physical, psychical and spiritual)

friendship. A child has many puppets and toys in

1 A literary-didactical story about the children, the puppet and the Pedagogical Puppeteer 15

is verbalized through the children’s reactions that

formative assessment) in order not to miss the

can be seen in their encounter with a puppet.

critical mental periods and therefore miss learning

opportunities or reactions of children in the direct

Communication with puppet, puppeteer and

innovative learning game where their learning story

children is three partite:

and opportunity are born. These opportunities can

1. body language ▶

guide the children toward the unexpected mental

with its behaviour it

perceptions, experience, imagination and creation

expresses the

2. psychic ▶ spiritual ▶

character ▶ genetic

of the world.

self-awareness ▶

code of self-direction

meaningfulness

1.1.3 The puppet intrigues and internalizes the learning story In the introductory event, the puppet attracts and

forms an attachment with a child through content

that is interesting for the child. When meeting

the puppet, the children’s emotions are released,

3. spiritual ▶

their emotional world and their nervous system

atmosphere ▶ mood

and consequently their movement, breathing and

designates the spirit

heartbeat encourage thoughts and start the story.

detected and released

in the group

The first impression happens. It is powerful and it

remains in the child’s consciousness, it outlines and

overflows the child’s emotional world. In that very

moment, the puppet becomes “you”. The attrac-

Observe a child from all three aspects of

tion establishes the “you-relation”, which means

communication and also our or puppeteer's

that the puppet becomes owned, or “mine” from

reactions.

the child’s point of view. The child addresses the

Figure 6: Three partite communication

puppet as “you” so it becomes “yours” – “my” pup-

pet and thus “yours” – “mine” – “our” learning story.

Let us observe a child – the manner of non-

A friendly relationship representing a tie be-

verb al communication, the behaviour and mood.

tween “me” and “you” is established. The puppet

How does (s)he feel in the environment, what does

in synaptic contact becomes a part of a child and

(s)he perceive, what spirit is (s)he in? How does

(s)he perceives it as a part of him. From the child’s

(s)he express it, how does (s)he behave, how does

point of view, it is a part of “me” and therefore the

(s)he use this knowledge in the process and in what

puppet is no longer whoever or whatever but “you”,

mood? How does the reaction reflect on others?

so it becomes and stays a part of a child’s commu-

In what way does a puppet feel these relationship

nity forever. In “me”, in a child and in a group, the

dynamics, how does it react and combine, what

puppet became domesticated. It became a part

does it provoke in its communication?

of “mine”, “our” mental process, a part of “my” life6.

In the pedagogical work, it is reasonable to

6 The very experience is described in The Little Prince set more observation eyes (cameras - qualitative

written by Antoine de Saint-Exupéry

Pedagogical puppeteer (PP) I

16

Puppet in educational play:

who assists if necessary, and there are other chil-

dren and parents. We are aware that besides the

a) content

parents, we – as a puppet character – are the most

b) mental

magnet

magnet

desired inner guest of a child’s heart. Together we

form pleasant company.

“You” is my dear, eternal friend with whom I

experience, discover and learn. The puppet – “you”

– is the child’s ego, which reveals the wonders of

c) open

d) relationship

the world but at the same time asks for help and

learning

magnet

opportunity

support and in this way leads him toward self-de-

velopment. In play with a child, a puppet may be

beautiful, nice, interesting, unusual, funny, weird,

Figure 7: The puppet in educational play

miraculous, warm, demanding and sometimes even

difficult. It brings the possible and impossible. “The

Why does not every puppet have the same power

weird thing though is that the puppet’s demanding

and attraction? What does it attract? (my

interests do not attract and it is not necessary

character is ‘my effort’, which is in reality a pleasure that his (child's) interests would either). The

– my joy and my happiness, even if the situation is

puppet is domesticated in this way. Only then it is

really difficult to resolve.

worth of person's care and love.

ESSENCE! The puppet must reflect the child's

Story - creation: ESSENCE

interest, it must attract him to become a

1. The first impression ▶ strong, so that it stays in friend who cares and sticks to it. Because of

one's consciousness and overflows the emotional

that the child develops caring and responsible

world of a child

relation with the puppet. This is a child's

self-development. An appropriate pedagogical

2. Care ▶ love establishes and cultivates

puppet accelerates and guides

persistence and continuity. Cooperation.

self-development of a child. The child needs

and expresses the desire for help only in

3. Child's effort ▶ extremely demanding challenges

extremely complicated challenges. The puppet

influence on the child's development of thought,

creation, existence and life cycle.

is a child's reflection.

Figure 9: Care and story

Figure 8: “Mine, your, our” puppet

The puppet influences my (the child’s) way of

“I now take care of “you” - puppet. I care for it

thinking, it affects my life, creation, sleep, dreams

very much and if necessary, more friends are will-

and my exceptional, unique, unrepeatable life in

ing to care for it as well, to love it together.” The

this world. It is my happiness, my life goal”, taken

first, second, third or fourth time, a child begins to

from the assessment of work with a puppet in the

not only be taken care of by others but to care for

Trnovo kindergarten over the years.

others or a group of children collaborate. A child

is not alone in a group, there is also an educator





1 A literary-didactical story about the children, the puppet and the Pedagogical Puppeteer 17

1.1.4 The puppet is a dialogic and multilogic viewpoint to listen to yourself and others and to hear and to

through a personal window of comprehension

communicate what is being heard, what is per-

To describe the development and understanding

ceived as important, where, how and why others

of the world and dialogue in life, Panikkar7 uses

see things differently. In this way, dialogues and

the metaphor of the window. From birth, every

lives can be enriched. Personal and dialogic view-

child has the possibility to look through a personal

points are formed in this way and sometimes we

window on life or the world around him. The more

agree with them, we like and support them.

we understand our existence and the world we are

looking at, the clearer the glass and the clearer the

Guided mental

vision of the world and of our own personality.

development of

Early in our youth, we are aware that the others

person's adjustment ▶

look through the window of their life. Considering

learning

the neighbourly relations and listening, we realize

that the view through the window is diverse and

varied – everyone sees it in a similar but also in a

different way.

The dialogue between people who describe the

Figure 10: Guided mental development of person’s adjustment view through the window enriches both. Through

- learning

the experience, people therefore realize that you

Other time we do not. We learn to repeat, de-

cannot see everything through one’s own window.

fend, support other people’s thoughts, intertwine

Our eyes do not provide the complete picture; how-

them with similar ones and upgrade them with the

ever, we can construct it through self-reflections

thoughts of people who have comparable ideas.

and other people’s viewpoints in order for it to

All of this leads to the development of a culture of

come clearer. For the same reason, it is reasonable

communication and coexistence.

7 More about R. Panikkar: https://www.youtube.com/

watch?v=Kvsov6OuTWs





Pedagogical puppeteer (PP) I

18

provide good insight in general situations. Obser-

vation (spontaneous and guided) can help us in

formatting opinions, gathering information and

communication, but it can become boring if it is

not wisely encouraged. The experiment is one of

the methods that enables the control (testing, ex-

perimenting) of one or more variables. The received

outcome is frequently harder to understand since

it is isolated from real life, especially if we are not

taking part in the experiment from beginning to end

to know what and why something is being tested.

The combination of all three forms of perception

is reasonable since it provides better insight into

the development and comprehension of the world

around us, especially if we do the experiment in an

open, laboratory environment8.

The educator already has experience of the

adult’s real world, however, (s)he simulates the

story through research before presenting it to the

children. In this way, the educator/puppet is more

confident, interesting and exciting. Moreover,

the curriculum is more accurate and predictable.

The puppet can therefore more clearly encourage

(through a research question) children to experi-

2 Innovative learning for the youngest

ence new things. To those who enter the world of

exciting moments, the puppet ensures an inter-

2.1 Play is the path to innovative learning

esting and safe, but at the same time exciting co-

Pedagogical play is a symbol of creative learning

operation. The educator increases the awareness

that brings the educator or teacher and the child

in children of real life situations so they are able to

together. They both give what they can in order to

find the best solution.

create and activate the best idea.

Moreover, it is not only a question of teaching

In pedagogical play, an educator and a child

how to tie shoe laces but also discovering how to

or children reasonably complete knowledge by: 1.

rescue somebody from a tree or from the water

experience, 2. observation and 3. if necessary, ex-

or to help somebody succeed in his/her profes-

perimenting in open and laboratory learning envi-

sion. With a research question, a puppet signals

ronment. Gaining experiences without the feeling

to a child that it has total confidence in him and

of security can become dangerous and imperfect.

8 According to R. Panikkar: https://www.youtube.com/

It is itself an experience but it does not ne cessarily

watch?v=Kvsov6OuTWs



2 Innovative learning for the youngest

19

can because I have already done this successfully

in the past.”

Experiences with a puppet in a pedagogical

game become part of a child’s unconscious and

conscious mental world and wealth that strength-

ens the children’s prefrontal cortex and mirror

neurons and develops empathy. Nature endowed

humans with the ability to play (natural learning

method) and the curiosity (form of motivation)

that is part of the play. It is a desire, motivation-

al light, buoyancy, momentum and declared goal

(a purpose limited in time and place). It is also an

believes that (s)he would be able to solve a conun-

encouragement for and measurement of success

drum that at first appears unattainable, unsolvable

on the path towards the goal. It is a manner and

but so very exciting.

style of functioning. The puppet in a pedagogical

A child has an extraordinary natural ability to

game is not only a content magnet or mental at-

develop play and to act in it. In their play, they are

traction, it is also an open learning opportunity

not slaves and robots (though they might be if they

for research and discovery and relation attractor

decide to play the role), they are leaders, directors,

– a mediator between a child and an educator and

researchers, discoverers, magicians, parents, “the

others involved in the life-learning story.

ones”. In their play, they can prove to themselves

The experiences gained in the pedagogical games

and to others that they are capable; they develop

with a puppet become part of the unconscious and

their abilities and give meaning to the play. More-

conscious mental system and a treasure for the

over, they help develop the abilities of people they

Pedagogical Puppeteer who enriches his/her ed-

love and who need their help or support. Of course,

ucational potential and kindergarten curriculum9.

they can discover completely new, unusual profes-

sions, not thinking about abilities but observing

the possibilities as they feel and experience them

and are aware of them.

Children with a pedagogical puppet are not

only competent virtuosos acting in a spontaneous

children’s game but they are capable of playing

pedagogical games, and outstanding roles in real

stories with real life experiences that are stored

in their long-term memory. This memory is avail-

9 Will is the ability of desire (according to SSKJ), conable in every future life situation and is labelled “I

scious management of behaviour in order to reach the goal. The basic will is in the unconscious instinct Will is freedom. The first phase is the battle of motives, the second phase is the selection and the third one is the reaching the decision.

Pedagogical puppeteer (PP) I

20

... is creative learning

... the ability of living

Pedagogical

The innovative

(educational content

beings, who change the

didactic game ...

learning is ...

and child's method)

world into a better

place by their

innovative referential

measure.

The puppet with a research question clearly

Figure 12: Innovative learning

encourages gaining new experience. Reason

encourages new experience and the willpower

The principles of innovative learning10 are as

enables new experience.

follows: 1. All attention is focused on the child and

the child’s attention is focused on the adjustment –

... the ability of the

Will ...

unconscious desire and

learning; 2. Learning is a social activity that brings

conscious management

interesting and rich experiences – memory; 3. Emo-

of behaviour in order to

tions are an important determination of thinking

reach the goal. The first

for formatting referential measure of success;

phase is the battle of

4. Awareness of the differences in thinking (and

motives, the second

pre-knowledge) and the resulting expectations

phase is the selection

and the third one is the

of various learning opportunities; 5. Learning en-

reaching the decision.

vironments adjust and reinforce their flexibility;

http://hr.wikipedia.org

6. Positive feedback in the learning process and 7.

/wiki/Volja

Specialization in individual disciplines only happens

Figure 11: Game, puppet and will

after integrated transparency over the disciplines.

Ways of learning: 1. thinking about the things we

2.1.1 Innovative learning as a form of

already know (being familiar with the learning top-

self-comprehension

ic) and about the improvement of our pre-knowl-

Learning is the ability of constant unconscious and

edge and a positive influence on the knowledge of

conscious thinking and a search for knowledge in

all children; 2. being aware of the mental picture

many different ways that enable survival and a

of the topic that is being studied and compared to

good life. In addition, it is self-changing based on

other people’s images or alternatives; 3. providing

behaviour and knowledge or the self-regulation of

current and constant mutual feedback about the

thinking. Innovation means the self-transformation

functioning of the topic and about the benefits of

of existing knowledge and behaviour into a better,

the instructions and messages received for learning.

possibly new and different form. Innovative learning

The educator’s and teacher’s abilities required

is the ability of living beings to change the world

for innovative learning are: 1. working with the

for the better by innovative referential measures.

source of the current knowledge of the children;

10 According to School-jena plan, OECD, 2013.

2 Innovative learning for the youngest

21

2. using empathy for cooperation; 3. being aware

learners would be able to use their pre-knowledge

of pre-knowledge (own, not the children’s) and 4.

as a starting point and learning source – a chal-

being able to use it in formatting beliefs; 5. being

lenge to look for possibilities for the more intensive

an excellent expert; 6. being capable of qualitative

creative impulse of learners in the direct learning

formative learning assessment.

environment. The innovative project in which the

knowledge of Pedagogical Puppeteer is indispen-

Educator's/teacher's ability in innovative

sable encourages precisely this.

learning:

Innovative educators deal with learning en-

+ working with the source of current knowledge of

ergy, learning principles, assessment mechanisms

a child/learner

and mental processes.

+ using empathy for cooperation

Innovative children perceive the learning space

+ awareness of pre-knowledge and its usage in

and time as their own thinking process and coop-

creating beliefs

eration with other learners and the puppet. Most

+ distinguished expert, capable of qualitative

formative assessment of learning/artistic

children perceive this as having more freedom and

expression

not as a burden, even though their learning intensi-

ty increases. An innovative form of learning is thus

PWP is Innovation Project - educational

an independent form practiced by people (children,

movement, which organized educational

educators, parents and other experts) who are not

process as a form of reasonable qualitative

scared of change or transformation and have the

mutual feedback. At the same time, it searches

for the possibilities for learning approaches in

vision how to improve the world, their pre-knowl-

which a learner could use his/her

edge and enrich formal education.

pre-knowledge as a starting source and real

learning source - challenge and in which (s)he

could look for the opportunities for more

Inovative children perceive the learning space

intensive creative beat in the direct learning

and time as their own thinking process and

environment.

cooperation with other learners and the

puppet. Most children perceive this as having

Innovative educator deals with the energy of

more freedom and not as a burden, even though

learning with the principles of learning,

their learning intensity increases.

mechanisms of assessment and mental

processes.



Figure 14: Innovative children

Figure 13: Innovative educator, teacher

This very idea is discussed in Innovative Projects

The Innovative Projects (IP) and its Work with a

(IP) and the Work with a Puppet Project (PWP). The

Puppet Project (PWP) and Pedagogical Puppeteer

principle of simulative, open learning in open envi-

(PP) are learning activities that organize educa-

ronment therefore represents a constant dialogue

tional process as a form of meaningful, qualitative,

and multi-way communication in various forms

mutual feedback. At the same time, they look for

of coordination of thoughts – even more so with

possibilities for open learning approaches in which

Pedagogical puppeteer (PP) I

22

a pedagogical puppet who links the dialogue and

the differences, similarities and the development

upgrades it mentally.

of abilities for mutual adjustment.

The educators take into account all these find-

2.1.2 The formation of knowledge is a complex life-long ings in their educational process and their work with

process of self-formation

the youngest. Learning through understanding al-

Gaining knowledge is a complex and prudent pro-

ways develops knowledge at higher stages, begin-

cess in which we create conclusions, summaries

ning with pre-knowledge. An educator includes a

and predictions. The knowledge we acquire in the

child in active learning and follows his/her partial

process enables us to predict the situation and to

or final reactions or learning outcomes because a

choose the right behaviour. This process is called

child brings a unique perception of the functioning

adaptation or learning11. Formative assessment

of the world into the playroom.

is a natural form of mental process that triggers

If children are deeply engaged, we expect them

meaningful adjustment – learning that satisfies

to be ready to participate in creating learning con-

the learners’ needs and expectations. Assessment

cepts, collecting and selecting learning sources

is the comparison of current knowledge with refer-

and to have their goals, expectations and beliefs

ential knowledge but it is nevertheless vital to have

already formed to certain extent. An educator helps

a desire and personal goal that activates optimal

the children work out the current ideas and shapes

adjustment in accordance with pre-knowledge and

of the world, and integrates them into renewed

competences. The process of self-assessment ena-

learning stories. Through these stories, children get

bles and activates the self-regulation of adjustment

to know and recognize essential connections and

and therefore encourages feedback and the pre-

relations. The educator is aware that the learning

sentation of learning stories. Success is a product

process begins where it had ended and continues

containing motivation for learning and considers

from there into the future. In this way, (s)he helps

Vygotsky’s12 zone of proximal development in the

the child in the process of self-transformation to

learning process. The greater the curiosity, the

build a spiral/developmental open kindergarten

greater the productivity can be.

curriculum (acc. to Bruner, 196014).

Theory of the mind deals with analysing the un-

It is important that an educator develops the

derstanding of other people’s thoughts (empathy).

abilities of a child and that (s)he gives him the op-

Mirror neurons play an important role in this. The

portunities for researching, improving and strength-

theory of the mind is actually an ability to under-

ening. For that purpose, an educator organizes

stand different mental states such as: beliefs, in-

learning so that the children can re-organize their

terests, desires, pretence and knowledge from our

knowledge, paths and working methods. Moreover,

and others’ point of view. Learning13 is establishing

the learning environment has to enable the child

to take over at least some part of the control over

11 Adapted from cognitive learning theory

12 Vygotsky: zone of proximal development

Neuroscience in magazine Sustainable Development in School 13 Flaherty, AW. (2005). Frontotemporal and dopaminer-and Kindergarten. 2013, year 7, no: 1-2.

gic control of idea generation and creative drive. J. Comp Neurol.

14 J. Bruner, 1960: The Process of Education (Bruner).pdf Dec. 5; 493(1): 147 – 53. Equally recommended for further reading

- judzrun-children





2 Innovative learning for the youngest

23

the learning process. When a child’s mind is active,

the mental process forms categories for process-

ing information (Gibson, 195015). Experiences in ex-

tending knowledge play an important role as they

can considerably increase the complexity of new

knowledge and behaviour in a very short time. The

educators think in the same way and therefore, it is

best to observe the children and encourage them

within the learning activities. Learning activities

that include an educator as an equal thinker and

partner enable the sharing of feedback, which con-

tinuously and immediately improves the learning

and teaching level in the mutual learning story. The

active learning environment recognizes that the

educator and the child are both in the centre, are

oriented toward the upgrade of pre-knowledge,

they assess and regulate learning dynamics and

that learning happens in the group16.

15 Gibson, 1950

16 The characteristics of the so-called outstanding teaching approach





Pedagogical puppeteer (PP) I

24





2 Innovative learning for the youngest

25



Pedagogical puppeteer (PP) II

Pedagogical puppeteer (PP) II

28

1 Training programme

The structured programme shown below answers three interlinked questions: “What?”, “How?” and

“Why?” is a pedagogical puppet/puppeteer involved in the educational process.

Part II of the programme Pedagogical Puppeteer

Answers to the questions:

?

What?

Figure 15: Questions in the programme

?

How?

Why? ?

SEQ. № № OF HOURS CONTENT GOAL AUTHORS/PERFORMERS

1. 8hrs - 10hrs

“Puppet is, puppet isn’t”

1.The puppet as a

Expert workers of the

The story of the

protagonist

Trnovo Kindergarten

pedagogical puppet and

2.Perception of the

Pedagogical Puppeteer

puppet – impression

3.Communication with a

puppet – expression

4.Creating a puppet -

appearance

2. 8hrs - 10hrs

“Why, where and when a

1.The puppet creates a

Expert workers of the

puppet?” The story of the

literary-didactic story

Trnovo Kindergarten

kindergarten curriculum

(Didactical Map)

2.Formative assessment

of education by a

puppet

3.Reflection and

summative evaluation

of Pedagogical

Puppeteer

3. 8hrs - 10hrs

“How to handle a

I improve

Expert workers of the

puppet?” I create and

communication flows

Trnovo Kindergarten

assess my own story

and enable experiencing

PEDAGOGICAL PUPPETEER training programme

The Trnovo Kindergarten, 2014 - 2015

1 Training programme

29

1.1 The first part: Puppet is, puppet isn’t.

•

a new or additional communication channel

The story of the pedagogical puppet and

for planning the achievement of educational

Pedagogical Puppeteer

goals (Korošec);

Puppet is:

•

a medium, an art element that opens the im-

•

a link between the world of the human and

agination, in our case “a child’s friend” (Antič

the imagination (Žigon, 1992,5);

et al., 2013, 41);

•

a figure that represents, imitates, performs,

•

a protagonist (main character), a communi-

casts a spell on life (Semolič, 1987, in: Mat-

cation with a metaphor, someone to whom a

jašič, 2011);

child can communicate needs and expectations

•

an educational learning means that stimu-

more easily than to an educator. It has a power

lates, increases excitement, reacts, encourages

and it grows together with the human’s will,

thought and fantasy, enables expression and

it also gets a symbolic meaning, it becomes a

intimate experiencing of the world (Žigon, 1992);

being and a puppeteer’s energy brings it to life

•

the main expressive means with a puppet

(Antič et al., 2015, 35);

system of signs. It connects the animate and

•

a song (rhythm and melody – synchronization

inanimate worlds (Trefalt, 1993);

of pedagogical dialogue) that co-creates im-

•

a figure that represents something or someone

pressions and expressions (Antič et al., 2015, 36);

– “essence”. A puppet is a being, animated by

•

there so we are not scared (a 5-year-old girl in

a human force. A person lends his/her energy

Antič et al., 2015, 39);

to a puppet (Jurkowski, 1991);

•

half human and half fabric (a 5-year-old boy in

•

an animator, someone who gives life to, a

Antič et al., 2015, 39);

recipient, someone who assures life to the

•

a toy, a friend (a 5-year-old girl in Antič et al.,

object that (s)he animates and manipulates

2015, 39);

(Omerzu, 2010, 16-18);

•

a kind, gentle, emphatic and interesting being,

•

a three-dimensional figure that gets its full

meant for teaching the youngest (educators’

meaning and purpose only in the hands of the

opinion in Antič et al., 2015, 41);

one who animates it. It overcomes the motion-

•

a powerful educative influence (one of the

less, dead state and becomes a being that can

parents in Antič et al., 2015, 44).

do whatever it wants and desires that cannot

be achieved in the real world. We only need

Puppet = a link between the world and

some imagination and skills and the puppet

the imagination, a figure, a hero, a pro-

becomes what we want it to be – our, my im-

tagonist, the main means of expression,

aginative being (Matjašič, 2011);

an educative means, a communication

•

a being with a psychosocial developmental

aspect (Jurkowski, 1991,26);

channel, animator, an element of art, a

medium, a song, half human and half

fabric.

Pedagogical puppeteer (PP) II

30

Puppet = Puppet ≠

PUPPET ...

“Puppet is half human and half

fabric” (a 5-year-old boy)

Puppet = a link between the world and the

imagination, a figure, a hero, a protagonist,

... a burden, addiction, worry, fear, intrusiveness,

the main means of expression, an educative

anti-therapy

means, a communication channel, animator,

Figure 18: Puppet is not (gathered responses from participants an element of art, a medium, a song, half

in the Pedagogical Puppeteer training 2015)

human and half fabric.

Puppet as a protagonist guides and brings

PUPPET ...

closer the roles of others so the things that

need to happen really come true and

prevents things that should not (yet) happen.

Figure 16: Puppet is, puppet is not

PUPPET ...

... is a medium with which we begin to deal

consciously, unconsciously

... knowledge without limits, empathy in a puppet

and a person

... protagonist = a hero who creates the story;

intensive, complete communication

... amusement, relaxation, integration, comfort, a

means for achieving a goal

... love increases the level of comprehension/

action

... play, curiosity, theatre ▶ mirror, improvisation, creative imagination outdoors and indoors

... puppets ask children for help

... a puppet ▶ one that is a part of you, one who

Figure 19: Puppet is (gathered responses from participants in the suits your personality, your second pole that

Pedagogical Puppeteer training 2015)

enables balance

Figure 17: A puppet is (gathered responses from participants in 1.1.1 Protagonist

the Pedagogical Puppeteer training 2015)

When we ask the children what a protagonist is

like, their answer would be that it is someone who



1 Training programme

31

suggestions, solutions and doubts of the children,

parents and educators, and includes them in the

story – in an open (educational) curriculum. Gradu-

ally, they become a part of an important story, they

become co-creators of the literary-didactical story.

The puppet as a protagonist and therefore performs

virtuosic communication and pedagogical work

(action) through its extremely good performance.

It also guides and brings closer the roles of others

so the things that need to happen really come true

and prevents things that should not (yet) happen.

The puppet as a protagonist keeps the thread and

the events in the story, which are innovative learn-

ing activities. The puppet is the centre, a meeting

point of minds and a focus of learners. The main

is diligent, who behaves the way (s)he should. A

characters of learning the literary-didactical story

protagonist is a hero that spurs children, educa-

become small heroes – giants of self-development

tors, parents and other participants into action.

– the children that get the support from the Peda-

The protagonist “pulls us into”17 the project – the

gogical Puppeteer, their educators, their parents

implemented kindergarten curriculum – so that

and other performers in the educational process.

things happen as they should. The protagonist

(from Ancient Greek protagonists18) is the main fig-

Puppet as a protagonist is a guide en-

ure of the story. It is all about the protagonist, the

suring that only the things that should

complete literary-didactical story is about him/her.

happen, really happen and prevents

The basic purpose of the puppet protagonist is

those that should not (yet) happen.

to clearly communicate the vision and common

goal. Everyone bears it in the mind during a certain

event or experience from the planned pedagogic,

Impresion

Expression

Perception

didactic and literary event. The event is an introduc-

tion, beginning, entanglement before formatting

the learning story.

The event is logically followed by reactions that

are assessed, upgraded and included in the story,

until the climax and resolution of the problem.

Creation /

The puppet – protagonist logically follows the

figure, name

17 attract

Figure 20: Impression and expression create the image, name 18 The opposite character is antagonist

Pedagogical puppeteer (PP) II

32

1.1.2 Impression19

an impression. The impression might sometimes

If we want to achieve the above mentioned and

be vague and negative or sometimes strong and

if we want it to last for a longer time period, a

positive.

puppet has to be very powerful and pass on efficient

messages that become and remain learning magnets

The puppet gains its attraction through

– attractions. The puppet itself has to be a form

its image but the impression happens

that exerts attraction and catches one’s eye. The

only after the puppet in its form inten-

puppet gets its attraction through its figure but

the impression only happens when the puppet

sively expresses the message it carries

intensively transmits the message that it bears

inside.

within. Only than it can attract the learner. The point

is not the puppet as a hero who knows everything

The real impressionists are interested in the oc-

and is the strongest. These kind of tales are not the

currence and meaning of things in the area. They

object of our learning process, because the events

want to capture the synthesis of that occurrence

are the children’s vision and the puppet normally

and meaningfulness in time. The same goes for a

remains the one with the question (problem,

learning process. Obvious moves of influence, the

conundrum) or dilemma. A puppet therefore has

transmission of sensory impressions and the cre-

a strong desire and reasonable goal that it wants

ating of different moods and perceptions are very

to accomplish but knows at the same time that it

important. The impression is as short, clear and

cannot be successful without help and support.

strong as the message20 should be.

The puppet is the children’s friend that comes

Impression:

closer to the children and the group with its abilities

1. Puppet ▶ form ▶ attraction ▶ attracts one's eye

and capacities and therefore its desires and goals.

2. Puppet ▶ carries messages

Because of its presence and resemblance to the

3. Getting closer with a child and group

children and their interests, the puppet attracts,

4. Impression settles in

makes contact and remains a friend of the children

5. Expression represents warmth, openness

6. The real impressionists are interested in

in the learning process. In this way, we can set the

appearance and meaningfulness of things around us

impressions that we recognize, feel close to, cope

7. Impression ▶ a short and strong yet expected

with, admire and learn from, gradually, consciously

feedback, continuation, response

and developmentally.

The impressions usually settle in our hearts,

The puppet gets its attraction through its figure

but the impression only happens when the puppet

suit our mind, are clear, and have a bright image

intensively transmits the message that it bears

– solution. The impression(ism) is not related to

within.

heroism but to cosiness, the warmth of life, open-

ness to cooperation and for play with colours and

Figure 21: Impression

light. Everyone that starts to communicate makes

19 Perception of a puppet - impression

20 According to Aleš Justin, impressionism, dijaški.net

1 Training programme

33

Impression ▶ inhale ▶ dialogue educator, puppet,

The communication link between a child and a

contact with children, strong, strong feelings,

puppet is unusual, special and exceptional. A child

impulse

would never disappoint a puppet; (s)he would work

even harder because of it. If you want to become a

Impression ▶ contact ▶ warmth ▶ astonishment

puppet or guide a puppet, you have to know how

Game: reality, world, imagination,

to change your voice, since every puppet has its

discovery/effort/departure, game of reality and

own voice. The voice very efficiently directs at-

imagination

tention most of the time because a child likes to

imitate it, adopt and help it. It is all due to love, in-Story of action research ▶ authentic, strong

message/experience

terest, care, joy, pleasure and happiness. Example:

http://supersimplelearning.com/blog/2013/07/03/

Animation ▶ accomplished ▶ event ▶

puppets-as-communication-aids/.

astonishment, unusualness

It is important that a puppeteer selects the right

timing for bringing children closer together with a

Entire action ▶ engagement: research, discovery ▶

effort

puppet because the effect depends on the quality of

Taste ▶ assessment

communication. Our unconscious posture mimics

Solution ▶ result

our character and the atmosphere (spirit) we feel,

Conclusion/end of story ▶ solution

influences the tone of our voice and the rhythm and

Figure 22: Impression according to the participants of the train-melody of expression. Moreover, a child’s mood in-

ing program PP 2015

fluences the quality of responsiveness.

Among other things and along with all the mes-

1.1.3 Expression21

sages, a pedagogical puppet has to express and

The communication is influenced by body lan-

radiate the so-called pedagogical love. At one of

guage, the puppet’s figure, its tone of voice and

the training sessions, the educators and teachers

the words, of course. A person selects a moment

defined what this pedagogical love ensures. In the

and formats it in his/her personal impression in dif-

first place, it ensures safety, which enables mutual

ferent ways and in different sequences. It is not a

trust, and in the second place, it ensures joy that

question of exaggeration in order to be heard, it is

leads to pleasure (enjoyment).

a question of the clearness, pureness and impor-

1. Therefore, it is reasonable to follow the ped-

tance of a message – expression. Expression always

agogical principles of peaceful coexistence rather

arises as feedback for a certain impression. It is a

than exaggerate the use of rules and, as a conse-

logical consequence of a certain impression and

quence, the introduction of various measures. 2.

therefore learning activity begins where it ended,

Ensuring synchronized communication; harmoniz-

which is in a child – in the child’s thinking, desires

ing a melody with rhythm and expression with the

and expectations.

purpose of creating new qualitative, efficient and

useful impressions. 3. Ensuring the optimal func-

21 Communication - expression with a puppet

tioning of the nervous system (brains for linking the



Pedagogical puppeteer (PP) II

34

unconscious, spontaneous with the conscious mind)

1. The communication is influenced by body

that enables one’s own findings and innovations

language, the puppet’s figure, its tone of

in coexistence. 4. To make a reservation and give

voice and the words,

time not only for emotional reactions but also for

2. A child would never disappoint a puppet

creative reflections (immediate, quick, consequent

((s)he would disappoint him/her self);

3. Every puppet has its own voice

or creative inspiration that simply has to come out

4. Mood influences the quality of

and produce an idea or thought) and reactions in

responsiveness

research (science) where we are dealing with the

5. pedagogical love ensures safety,

possibility of classification, assessment and selec-

happiness, optimal functioning of nerve

tion before closing thoughts. 5. To give a person

system, time for creative reflections,

(teacher, child or parent) the possibility of artistic

possibility for artistic and scientific

expression

and scientific expression and for presenting the re-

E X P R E S S I O N

sults or knowledge in the process of adjustment (of

learning and the literary-didactical story).

Learning activity begins where it ends, which is in

a child - in the child’s thinking, desires and

Learning activity begins where it ends,

expectations.

which is in a child - in the child’s think-

Figure 23: Expression

ing, desires and expectations.

Expression ▶ with the support of an expert

Expression, solution, challenge,

The puppet as a pedagogical figure enables

learning dialogue ▶ research + discovery

children to traverse the activities and it allows an

Inventiveness ▶ ingenuity, resourcefulness,

adult to select (the space, time, educator or teach-

communication

er) freely, which means that everybody can pick up

Expression ▶ exhale ▶ tasks, solving ▶ challenges

his/her own way of research according to his/her

competences22.

Impression ▶ getting closer, expression = growth +

development

The expressions of children always happen with

the support of an expert/adult/experienced one

Connection ▶ link with the environment, present,

modernization of a problem

Figure 24: Expression - definition by the participants of the training programme PP 2015

The participants have expressed the

need for more knowledge about the

22 see in Marjanovič: Razvojna Psihologija





1 Training programme

35

production technique and animation of

puppets.

1.1.4 Appearance23

When we begin to make the puppet and create its

image, we consider the goal and vision that the

puppet/protagonist is to experience together with

the children. On the one hand, we have to consider

its didactical purpose and literary beginning, on the

other the introduction and the first meeting. Based

on this, we can already begin to draft the basic ele-

ments of the puppet. Considering the foreseen ba-

sic activities, it is reasonable to pick material that

would be useful in numerous learning situations.

Regardless of the content or purpose, it is rea-

sonable to think about the strong key aspects of

the puppet. The image of the figure or puppet is

marked – formatted and created by: 1. form, 2.

light, 3. colour and 4. movement. The biggest and

strongest discernible element of the situation is a

face, especially facial features (brains have special

centres for that). A person can recognize them very

quickly and reacts to them immediately. A face is

basically represented by two dots and two lines:

(. . --) in varying positions and relationships. The

quickest and strongest expression is achieved by

two dots in mutual dialogue that represent eyes.

Eyes are the most important element for receiving

impressions. The next most important feature is a

vertical line in different directions, carrying the mes-

sage of the puppet. Eyes (two visible dots) give the

impression (reflect the character) while the mouth

represented by a line transmits the message of the

puppet (mimics, verbal communication). Eyes and

mouth provide more accurate information about

23 Creating, representing the appearance - of face, ex-

pression of a puppet



Pedagogical puppeteer (PP) II

36

development. It is also a supporter and

assistant in the process of adaptation,

learning, education and self-education

with the precisely defined purpose be-

ing simultaneously open for current

reactions or the procedural mental de-

velopment of children and educators

(pedagogical puppeteers).

A puppet as an image gets its own name. The

name is usually part of the message of education-

al vision.

The image of the figure or puppet is marked –

formatted and created by: 1. form, 2. light, 3. colour

the puppet’s way of thinking and communicating.

and 4. movement. Eyes represent impression, the

If we add another vertical line representing a nose,

mouth represents expression and the nose repre-

the puppet also reflects its mood (atmosphere, the

sents atmosphere. A puppet has a name.

spirit it shows and looks for in the surroundings).

Two dots (on the same level) and two lines (verti-

cal and horizontal) represent the elements of the

non-verbal message (expression) about what the

puppet knows, how it feels and why it behaves in

a certain way. It only takes a few moment for chil-

Eyes ≈ impression

dren to receive that message. Based on this, they

aspect ☺

Nose ≈ atmosphere

create a philosophy (vision) and course (strategy)

of adjustment or reaction (functioning), and the

Mouth ≈ expression

course of learning and disseminating knowledge24.

When the basics of the puppet have been cre-

Aesthetic





Name

ated, we begin to embellish it. Aesthetics is one of

the basic human needs, as mentioned by Maslow.

The image of the figure or puppet is marked ▶

formatted and created by:

A pedagogical puppet is a carefully

1. form

thought through, planned and formed

2. light

tool, figure or being with the inten-

3. colour and

4. movement

tion of supporting a person’s mental

Figure 25: Appearance

24 According to Kandel, 2014





1 Training programme

37

MINU

RO

TRAJA

KRALJ MATJAŽ

AND ALENČIČA

JAGODKA AND

CENE

SREČKA

PERLITA AND

KARLO

FERDO

Pedagogical puppeteer (PP) II

38

1.2 Part II: Why a puppet, where and when?

off with it. The power settles in them because they

The story of the implemented kindergarten

have created the best possible conditions for op-

curriculum

timal or at least improved functionality. Because

In its essence, a puppet carries a spirit of a past

of this ability, the Pedagogical Puppet and Peda-

period25. Animism26 can influence the functioning

gogical Puppeteer are unique, extraordinary and

of real current forces (energies). The secrets from

vital elements in a period of sustainable and deep

the past empower contemporary life and open the

mental adaptations. The Pedagogical Puppet is

possibility for bringing back to life and breathing

not an ordinary, traditional puppet that passes on

new life into motionless objects represented by a

a good thought or moral but it encourages us to

puppet. Jurkovski lists different types of puppets

the best possible creativity in time and space. This

such as religious, aristocratic and folk. We would

puppet masters the skills of current pedagogical

add the Pedagogical Puppet to the list as well.

communication that encourages innovative learn-

The puppet comes among giants and gods (chil-

ing. Moreover, it knows how to find exceptional

dren and educators) to encourage mental growth

learning sources that enrich mental process and

and development – mental breakthrough. The

enable the development of referential goals and it

puppet can communicate and connect the giants

has the ability to release the scent for experiencing

and gods who sometimes may not like each oth-

(formatting memory), imagining (imagination)

er so much since those who already know what is

and creating (realizing new mental constructs for

right do not see the point in making things better

humane purposes).

and those who know how it is would like good or

even the best things. Giants show their power, they

1.2.1 Creating the Didactical Map

want to climb the ladder and thus the smallest

As it says in the Encyclopaedia Slovenia (1992, p.

ones at least stand on the tips of their toes before

340), puppetry is a form that turns an inanimate

they can answer.

object into a theatrical figure animated by an ac-

Giants like to be noticed so they gather and

tor/puppeteer. Pedagogical puppetry is a form that

manipulate information, sometimes even by force

transforms the puppet into a learning theatre fig-

with a lot of thunder and lightning. But the path

ure that encourages the thinking process with the

of the gods is different. Gods solve issues in a more

intention of creating, evaluating, improving and

peaceful way. They are able to permanently and

presenting current products of children / future

reasonably upgrade good tradition and do not

citizens in an innovative community – with the

change the divine world in which they feel good.

support of educators and other experts and parents.

Permanent and constant improvements are only

The Pedagogical Theatre or Pedagogical Stage

a light breeze so we can breathe more easily and

denotes a type of literary-didactical art in which

keep good spirits. The Gods do not only hold pow-

a puppet plays the role of a teaching magnet. The

er, they get it for a reason and they do not show

magnet is logically connected to thoughts that are

fast as lightning, not only to gain admiration but

25 Collectively unconscious according to Jung

26 In Jurkovski (1995), read more in Propp, Bethlehem,

also to get attention in such a way that it creates

Bruner

1 Training programme

39

a permanent memory as opposed to an occasional

The literary-didactical story is the story of all

visit to the theatre. The scenic stage represents an

times. It is a contemporary and true story that

open learning environment.

can be changed, adjusted, tested, checked, con-

Mise-en-scène is an expression used to de-

cluded, focused or created according to the needs

scribe the arrangement of actors and scenery on

and expectations of the children and educators.

a stage and the setting for action and speech re-

The story in which we live and which we so-create

garding the content of a work (SSKJ, 2000). In a

is alive, malleable and open. The story has already

pedagogical mise-en-scène, this arrangement is

begun and already happened but today, we have

called the implemented kindergarten curriculum

the chance to relive it and change or adjust it to our

or Didactical Map.

needs, expectations or beliefs. This is a pedagogical

The text in puppetry is literary material for pup-

story that unfolds before us and which we live and

pet performance27. The text of a puppet used for

create. It is mutual, our, your and my life story. The

pedagogical purposes is a literary-didactical story

imagination and reality come closer, intertwine

created in advance and corresponding to the im-

and together create a talent and a gift. The story

plemented kindergarten curriculum that remains

enables reflection on and the creation of some-

open for creative attempts by children and for the

thing that has not yet existed. By mutual learning

reactions of the Pedagogical Puppeteer.

and one’s own thinking, we build a new world. In

The puppet represents a kind of connection with

this new world, new thoughts, desires, ideas and

ancestors and has experiences from the past while

goals are born that lead to new mental novelties.

the Pedagogical Puppet offers both pre-knowledge

“The pedagogical story is created on the basis

and challenges. Nevertheless, any puppet only

of a research question and upgraded two to three

represents itself.

times a year as we solve the literary-didactical co-

For creating the Didactical Map, the educa-

nundrums that arise in the form of a learning chal-

tors stick to the following pedagogical principles:

lenge. The conundrum represents a learning problem

1. teamwork for mutual revision, 2. possibilities

and/or necessity that needs to be resolved so our

and opportunities for children and educators to

lives can continue without further disturbances.

change groups, 3. proactive cooperation with par-

In this way, the story offers both large and small

ents, 4. being aware of the mission of education,

learners a chance to resolve the so-called thinking

5. learning through discovery, 6. the integration of

processes using different techniques, skills and

the new into the good old things, 7. being aware

meaningful materials that help children solve the

of the presence of a hidden curriculum, 8. social

conundrum or unfold29 the story.

communication network, 9. perceiving children

as the essence of the educational programme and

10. respecting children28.

27 Encyclopedia Slovenia, 1992, p. 343

28 In Antič et al., 2013, 2015:”Children are seen, heard and 29 From Pedagogical Innovation, Literary-Didactical

respected.”

story, 2015, p. 16, Antič et al., 2015.





Pedagogical puppeteer (PP) II

40

and management). The Didactical Map is written

Terminology:

according to the development of the literary-didac-

Pedagogic puppetry is a genre in which a

tical story. The story is developed in accordance with

puppet(eer) encourages thinking, creating,

the self-regulation of learners (learning groups, in-

evaluating and presenting the learned things

cluding educators, parents and other participants).

Pedagogical theatre represents the variety of

Self-regulation is an autonomous form of control or

literary-didactical art in which a puppet plays a

assessment of events accompanied by the quality

role of teaching magnet

evaluation of the events and the partial (current)

The stage is represented by the open learning

environment

Pedagogical mise-en-scène = Didactical

Map/implemented curriculum

Text of a puppet is literary material for the

pedagogic influence of a puppet or a

Literary-Didactical story. It is alive, malleable

story, which we live and co-create. It is a

pedagogical story created on the basis of a

research question and it solves the

literary-didactical conundrums

Pedagogical puppet is a connection with the

challenges in time

Figure 26: Terminology

The participants in the training have realized

that the learning story is not a trick but a true sto-

ry, which becomes such when created together by

children and adults. Each story follows a learning

goal and includes all five measures according to

Dewey. The story can be closed or open. The open

one is more flexible for the pedagogical process.

1.2.2 Assessment

The didactical Map is a tool for assessing the im-

plementation of the kindergarten curriculum in an

educational institution and is therefore intended

for all educational workers (educators, teachers

1 Training programme

41

outcomes. In this way, coincidences often happen

unit. The research question outlines and forms the

but we give them meaning and include them when

goal of the learning path. It is not just the question

implementing the so-cal ed spiral curriculum, which

of a result or achievement but it defines the path

is one of the open forms of planning for the educa-

toward the goal (strategy). In addition, it offers

tional process. There, pre-knowledge and existent

possibilities for checking and assessing the meas-

knowledge integrate into the learning process and

urements for the successful achievement of the

influence future learning30.

desired goal. It also provides learning sources, ma-

terials and the formation of the scene or learning

The Didactical Map is a tool for assessing

environment. The learning environment is not only

The story is developed in accordance with the

a space but it represents the philosophy of work,

self-regulation of learners (learning groups,

concrete learning actions for provoking and creat-

including educators, parents and other

participants). Self-regulation is an

ing thoughts and skills. The Didactical Map fore-

autonomous form of control or assessment of

sees possible detours or changes, adjustments and

events accompanied by the quality evaluation

improvements with the purpose of strengthening

of the events and the partial (current)

outcomes. It enables the implementation of

the basic purpose (learning goal).

the so-called spiral curriculum (according to

The didactical story is a learning process. Com-

Bruner), which is one of the open forms of

planning for the educational process. There,

plexity, dynamics, tolerance influence on the ed-

ocess with a puppet pre-knowledge and existent knowledge ucational process. Therefore, it is reasonable to

integrate into the learning process and

change and to regularly collect proofs of the quality

influence future learning.

of vivid learning to enable holistic growth and full

Every plan has a subject and content (content

development through regular feedback (learning

units) and a research question forms a

actions). Feedback represents the activation en-

didactical unit. The research question outlines

ergy of education involving educators, parents

and forms the goal of the learning path. It is

not just the question of a result. In addition, it

and other experts. The Didactical Map includes

offers possibilities for checking and assessing

an active bank of information that help us decide

the measurements for the successful

how and where to continue. Through meaningful

achievement of the desired goal. The

puppet(eer) improves educational process, it

reflections, action research31 with the principle of

is a form of innovative learning.

triangulated gathering, and selecting and inter-

Puppeteer = inventive educator with

preting information, the path of discovery that

pedagogic vision: "Getting closer to the

guides and plans the content of future learning is

children for their optimal achievement of

enabled. Reflections on information gathered from

educational goals"

Assessment of educational pr

triangulation will help us outline the most logical

Figure 27: Assessment

learning path in the future.

The future of learning. Learning proofs should

Every plan has a subject and content (content

be stored at least for a while or until the end of

units) and a research question forms a didactical

the project. The Didactical Map not only shows

31 Encourages the use of different methods of gathering 30 According to Bruner, 1960

and interpreting information

Pedagogical puppeteer (PP) II

42

the paths we went through and planned for the

Puppeteer, I create and assess my three-part liter-

future, but it also denotes all the milestones of

ary-didactical story in the following way:

qualitative mental breakthrough and success and

1. I am the educator Frančka. I am the way I am

time for celebrating achievements. It is a harvest

and I educate in a certain way. My colleagues,

time, time for picking the fruits and a time for the

children and parents see me in a certain way.

meaningful and natural conclusion of the learn-

2. I am the Pedagogical Puppeteer Frančka and I

ing cycle before planting new ideas and creating

animate the puppet, for example Perlita. I am

desires and goals32.

the way I am. My colleagues, children, parents

and others see me in a certain way.

1.3 Part III: How to deal with the puppet? I

3. I, Frančka, as Perlita am the way I am. My col-

create and assess my story

leagues, children parents and others see me in

The puppet(eer) is a catalyst33 and link to learning

a certain way.

content34.

Based on the reflections (analysis), we can

A puppet is an individual essence and part of the

identify our role, our expressions and learn how

educator and child. How do I as a puppeteer and

to professionally improve holistic communication

educator act in this role and the experience of the

in education within the implemented curriculum.

puppet? How do I as an educator create my part

“In the learning process itself, the educator plays

of the story with a puppet? Self-reflection. An ex-

the role of a Pedagogical Puppeteer in a way that

periment and recognition. Everybody probably has

enables him/her to switch between different roles

their own personal story of a puppeteer. The story

and start a polylogue. The puppet does not change

refers to the educator in the role of a puppet, his/

its role but passes from one role to another. The

her consideration of what (s)he should say, what

highest level of polylogue35 is simultaneously held.”

is his/her message, what does (s)he want to see

and know before (s)he transforms into a puppet.

1.3.1 Improving communication channels and enabling

The educator has and plays three roles: 1. The role

experience

of an educator (e.g. “I am Frančka and I am an ed-

I improve communication channels, enable experi-

ucator.”), 2. The role of a puppeteer that brings the

ence, analyse and self-reflect, I look for advice and

puppet to life to make contact with children (e.g. “I,

ideas on how to improve my mission as a pedagogue

Frančka, animate the puppet named Perlita.”) and

in the role of a Pedagogical Puppeteer.

3. Frančka who lends perceptions, emotions and

“The Pedagogical Puppeteer (PP) programme is

mental reactions to the puppet Perlita and at the

open. It can be updated and upgraded. The same ap-

same time keeps her perceptions as an educator

plies to the story and the process of lifelong learning.

and as an individual. In the role of a Pedagogical

A strong aspect of the awareness of puppet animation is our guideline. During the process of creation, we cre-32 More on Didactical Map in Pedagogical Innovation

(Antič et al., 2013)

ate an awareness of the case study and examine why

33 Stimulator and guide, chemical substance that changes a puppet is accepted. It does not happen overnight, it the speed of chemical reaction, not becoming part of the reaction (acc. to SSKJ).

34 According to Majaron

35 Suzana Antič



1 Training programme

43

took us more than three years of training and partici-element is learning from the context. The element of pating in several training sessions under the leadership emotions is also very important in the process.

of our dear colleague Brane Vižintin, who is a profes-Likewise, it is important that a constant polylogue

sional puppeteer.

is taking place between the children, the puppet and the It is the question of perception, the combination

educator. In imaginative worlds, we solve real problems.

of multiple components and a different environment

Reality is therefore processed in the imagination and (theatre) in which a child has to draw together the

thus the reality is less painful and more secure. The pres-threads of the action. The puppet remains the core of ence of thread is also important. The puppet enters and the educational programme. A child and an educator

departs. The thread from the point of view of the adults need to master the process of planning and the pup-and children is intertwined within different stages. All pet itself and they need to know how to identify with stages are afterwards united in conundrums/centres and the role of the child and the puppet. Years of practice within the process an expert falls in love with a puppet.

enable immediate supervision.

This only happens when the puppet is homemade for

How a child communicates with a puppet is impor-

its intended use. Only then can it radiate love, which tant. The Pedagogical Puppeteer always has the func-is the most important feature for the youngest at this tion of an actor in a dynamic action. The Pedagogical stage. Moreover, adults can use the puppet for solving Puppeteer does not take the role of an adult. The key problems. An educator asks the puppet in order to get the response from children. ”

Pedagogical puppeteer (PP) II

44

to our needs. In real life, a puppet(eer) opens the

1.3.2 What can I learn by participating in the Pedagogical door to imagination. A puppet(eer) is a friend, a

Puppeteer training

leader, supporter and challenger, also having a role

With the active use of this manual, participation

in stimulating curiosity in children and in encour-

in the training and qualitative self-assessment we

aging both children and educators. (S)He settles

can learn how to:

in the child’s endurance because it assures a safe

1. Create a puppet and operate with it.

world of pleasant and interesting learning36.

2. Create, assess and evaluate one’s own peda-

Suzana Antič, headmistress: An axiom37 of a

gogical work (self-evaluation).

Pedagogical Puppeteer is a principle of laboratory

3. Create and follow one’s own Didactical Map

and teamwork because pedagogical work with a

(one’s own methodology or mechanism for

puppet is vivid story and formation that arises in a

self-development).

multidirectional communication channel.

4. Plan the open kindergarten curriculum of the

educational process (to outline the course of

Desire or referential learning goal and

innovative learning in an open environment).

measurement of success, proofs,

self-evaluation, assessment of qualitative

1.3.3 Reflection and evaluation of the Pedagogical

implementation with the suggestions for

Puppeteer training

improvement

Beside reflecting on the implementation of the

pedagogical story written in the open kindergar-

ten curriculum, it is of great importance to reflect

and evaluate in a summative way the Pedagogical

Puppeteer program. When doing that, it is indis-

pensable to set desires or referential goals and, in

accordance with that, the measurements of success,

Figure 28: Reflection and summative evaluation of Pedagogi-proofs of current reactions and self-evaluation or

cal Puppeter

assessment of qualitative implementation (analysis

of work) with suggestions for (self) improvement.

After discussion with participants in the train-

Evaluation and mainly the analysis will show how

ing, the lecturers realized that unfortunately this

to animate the puppet, what can be created with

sort of training does not exist or that there are only

it and how it can improve the educational process.

a few seminars that tightly blend theory and prac-

This is a form of innovative learning.

tice (demonstrations, exercises, changing rooms,

The puppeteer is an inventive educator with a

enriching the pre-knowledge of participants with

pedagogical vision: “Getting close to the youngest

the knowledge of lecturers and the pre-knowledge

to help them with their optimal achievement of

of other participants). The content of the training

educational goals”. With the help of a puppet, edu-

cators and children update expectations according

36 In Literary-Didactical story, Antič et al. 2015, p. 12

37 Axiom as an indisputable principle, fundamental truth that does not need any further proofs. Suzana Antič.



1 Training programme

45

was realistic, we carried out real learning actions,

kindergarten. The training, though, was affected

real games and performances in which the par-

by early dropping out, as some participants (2) were

ticipants were actively engaged and challenged

not prepared for such open training.

to co-create. The participants in the training and

After the seminar, we discussed how we could

lecturers together formed a new didactical story

improve the quality of the training and thought

– the Didactical Map. Thus, they felt the energy of

about the selection of the target group. Perhaps,

teamwork and the mutual planning of the imple-

it would be better if the entire educational and

mented curriculum.

teaching staff takes part in the training or at least a

They got closer to each other while genuinely

group of experts from one educational institution.

exchanging knowledge and making plans for a new

Likewise, we realised that the participants should

story that was a challenge for both the participants

get and read our three manuals before they apply

and the lecturers.

for the training so they can more easily coordinate

The participants expressed a desire for more

the expectations with the offer and decide whether

and emphasised how good it is to be part of the

or not to take part. Moreover, it would be wise to

process. They realised that they had created “from

organize the open day event in the kindergarten

themselves”. In this way, they felt the difference be-

for potential participants.

tween the classic individual planning and the inno-

The expert workers of the Trnovo Kindergarten

vative planning of the learning story of the entire

unselfishly and openly shared their knowledge





Pedagogical puppeteer (PP) II

46

with the participants. They opened the doors of

The participants quickly saw the difference be-

the playgrounds to the participants where they

tween a puppet from a store and a “homemade”

could observe the educational process and talk

puppet, which is made with a special pedagogical

with the educators about the content and tested

purpose. In this way, the puppet can have a special

themselves under the direction of their mentors.

communicative value. Moreover, the puppeteer can

In this way, the educators were faced with a new

more easily identify with a homemade puppet so

challenge. The constant active participation was

(s)he can function in other directions. The puppet

enabled by the work in workshops, discussion and

encourages empathy in relation to the children,

reflections. The participants were thrilled and ex-

the puppeteer, the educators and the parents.

pressed an interest in further cooperation. There is

This sort of work enables qualitative independ-

a big difference between working as an educator/

ent and mutual reflections, reflections in pairs as

Pedagogical Puppeteer in a social learning group

a form of learning based on one’s own and other

and with colleagues you have not met before.

people’s experiences. The feedback from children

The participants discovered a different aspect

about the puppet is of great importance and has

of puppets; they were introduced to the Pedagog-

a major influence on the quality of education for

ical Puppet. The Pedagogical Puppet has its own

the educators and parents. The homemade puppet

personality, story, feelings, love and attachment.

maintains a constant interactive link between the

The friendship between “me”, “us” and the puppet is

vivacity and dynamics of learning. In this way, we

strong. The Pedagogical Puppet lives and breathes

can more easily and quickly observe the changes

with children, it is close to them and it does not live

in the child’s understanding in the learning process

(only) on the stage but coexists with the group. The

as the emotions and dialogue between children,

Puppet has an expression and the educator’s and

educators and puppet is based on the intensive

children’s souls bring it to life. The extraordinary

emotional connection. This experience influences

teamwork of educators enabled the lecturers to

the quality of the communication and the puppet

demonstrate the holistic pedagogical work.

optimizes it. The puppet represents a real problem,

1 Training programme

47

challenge and work with materials. It offers the

chance to discovering forms and content as we deal

with the gradual transformation of classic focused

learning into innovative learning38.

The lecturers realised that the participants in

the training had different expectations. The pro-

gramme, nevertheless, greatly exceeded the expec-

tations since we not only presented the different

techniques of puppet animation but we showed

and invited the participants to actively participate

in learning how to make, use and evaluate peda-

gogical work with a puppet for a holistic training

programme. It was a great innovation and chal-

lenge39 for everyone.

1.3.4 Definition and job description of a Pedagogical Puppeteer40

The profile of Pedagogical Puppeteer (PP) requires

the knowledge of a puppeteer and educator, as well

as experience or training. Naturally, the training

and the Pedagogical Puppeteer cannot come to life

without practical work in groups with children and

without the support of parents. It is a performance

of the open implemented curriculum, which allows

participation in the relevant fields, problem-solving

strategies, working with materials, methods of

presenting the results, creating ideas etc. In a re-

spectful, pedagogical and moral way, we extract

the children’s ideas based on the imagination that

is released by the pedagogical input/impressions to

encourage the development of thinking product41.

38 Opinion of participants in the PP training programme in accordance with the source UNESCO 2020.

39 Adapted from final evaluation of work in the PP training programme

40 The structure of the text is adapted from standardize description of professions, Zavod RS za zaposlovenje

41 The closing thought of lecturers in reflexion after the training programme

Pedagogical puppeteer (PP) II

48

1. Title

Pedagogical Puppeteer

2. Short description

The Pedagogical Puppeteer is an educator, teacher, pedagogue (a person with pedagogical education) who know how to create a learning puppet. (S)He knows how to manipulate it and manage the educational process in a way that guides the learners to achieving the educational aims.

3. What does (s)he usually do

The Pedagogical Puppeteer is an educator, teacher, pedagogue (a person with pedagogical education) who know how to create a learning puppet. (S)He knows how to manipulate it and manage the educational process in a way that guides the learners to achieving the educational aims.

4. Field of work

The expert in one or more educational fields, reasonably including the puppet as a learning magnet or medium between the educator/teacher, children/learners, learning topic and the environment.

5. Work Accessories

An implemented kindergarten curriculum, for example a Didactical map, material, a place for making and simulating a child’s play or the implementation of the curriculum and others if necessary.

6. Products and services

The puppet and other proofs of work and learning results, opinions and achievements of children gathered through systematic assessment and the implementation of a spiral curriculum.

7. Knowledge and skills

Knowledge of action planning and implementing the educational process in the context of the spiral development of the so-called open curriculum, creating and manipulating the puppet, presenting the puppet as a medium or learning magnet that is present throughout the school year.

Definition and job description of a Pedagogical Puppeteer

1 Training programme

49

8. Psychophysical

The capacity of sober judgement and maintenance of active competences

communication in different roles at the same time. The manipulation and animation of puppet and at the same time managing the learning group and contact with different learning sources. Changing learning stages in a closed and open learning environment. Working with large or small heterogeneous social learning groups. The skilful performance of polilogue.

9. Interests

Art, science, humanism, dance, communication, empathy etc.

10. Working conditions

The support of the management, staff and parents is desired, as well as a convenient learning place. The possibility of constant improvement.

11. Risks

Possible confusion of the Pedagogical Puppeteer with an ordinary puppeteer or to carry out the implemented curriculum without previous additional training or special knowledge and the development of special skills in the creation, animation and manipulation of a puppet, reacting for pedagogical purposes without considering the basic pedagogical or didactical principles of education.

12. Employment possibility

In kindergartens and primary schools and other educational institutions.

13. Education

The module or training programme Pedagogical Puppeteer (PP).

At the end of the programme, the participants receive a certificate.

14. Other information

It is advisable to think about personal experiences and expectations before participating in the training programme.

15. Related professions

An educator with additional knowledge of pedagogical

puppeteering, a puppeteer with additional knowledge of guiding learners through the learning process.

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50

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52

Manual

Pedagogical puppeteer (PP)

Vrtec Trnovo

Authors: Suzana Antič, Mojca Garvas, Natalija Komljanc

and educators of Trnovo Kindergarten

Consultant: Natalija Komljanc

Translation: Alenka Komljanc

Language editor: Alenka Komljanc

Graphic design: Tomaž Ebenšpanger, Meta Kutin

Photography: archives Trnovo Kindergarten

Published by: Trnovo Kindergarten, www.vrtectrnovo.si

First digital edition

Ljubljana, 2019

Educators 2014/2015:

Bojana Adlešič, Petra Arko, Karmen Cerar, Katja Cerar,

Marija Cvetek, Ingrid Čandek, Tina Dolenšek, Nataša

Ferčnik Milakovič, Mateja Gedei, Lili V. Glamočanin, Mateja Golorej, Romana Jankovec, Maja Ješe, Tjaša Kamnar, Niko

Klemenčič, Magda Klemenšek Raguž, Alenka Klenovšek,

Sabina Kržič, Snežna Kužnik, Elvira Laharnar, Anica Lampič, Mateja Lavriša, Ana Lepoša, Katja Leskovic, Zdenka Ljubić, Mojca M. Felicijan, Renata Mrvar, Gordana Panić, Lara

Pavšič, Katarina Pečar, Zorica Petrović, Lidija Pristavec, Maša Rebič, Mojca Slabe, Klara Sobočan, Dušanka

Stanič, Tatjana Strušnik, Frančka Šoštarič, Tanja Tarman, Aleksandra Tomasović, Teja Tomažič, Mateja Tomelj, Darja Turudija, Edita Uršič, Klara Velkovrh, Nina Zorko, Mojca Zupan

Kataložni zapis o publikaciji (CIP) pripravili v Narodni in univerzitetni knjižnici v Ljubljani

COBISS.SI-ID=298425088

ISBN 978-961-94611-4-3 (pdf)