Publication of interdisciplinary lessons plans

This publication created in the project „inclusive and interactive education in museums: sharing of good practices“ (Erasmus+), (2020-1-LT01KA201-077818).

Creators team: Klaipėdos pedagogų švietimo ir kultūros centras (KPSKC), Lithuania Asociacija kūrybinės ateities idėjos (KAI), Lithuania Asociatia Demetrius, Romania Libera università europea terza età campania l.U.E.T.E.C, Italy Des Primary Private Company, Greece

All project partners created these interdisciplinary lessons plans together with schools, teachers and educators from museums and others cultural institutions. All lesson were piloted with school children and presented for educational communities. This publication has two main parts. In the first part there is short review about interdisciplinary learning, in the second part there are prepared interdisciplinary lessons plans with examples.

The European Commission support for the production of this publication does not constitute an endorsement of the contents which reflects the views only of the authors, and the Commission cannot be held responsible for any use which may be made of the information contained therein.

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Table of content

1.

INTRODUCTION ……………………………………………..4 1.1. What Is Interdisciplinary Teaching and Learning? …………4 1.2. Why Is Interdisciplinary Learning Important? ……………..5 1.3. All Lessons Should Be Interdisciplinary …….……………..5

2.

INTERDISCIPLINARY LESSONS PLANS ……….……….8 2.1. Symbolism Movement in Literature & Art ………………...8 2.2. World Tree. The Baltic symbols have been reborn in the casting: heaven, earth, dungeon …………………………….….12 2.3. Archaeology, History and Art ……………………………..14 2.4. Literature and Art lesson plan ……………………………..16 2.5. Literature and Geography lesson plan………………….….18

The European Commission support for the production of this publication does not constitute an endorsement of the contents which reflects the views only of the authors, and the Commission cannot be held responsible for any use which may be made of the information contained therein.

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1. INTRODUCTION 1.1. What Is Interdisciplinary Teaching and Learning?* Interdisciplinary teaching and learning is exactly what it sounds like: students combine learning from multiple disciplines to come up with new ways to think about issues and solve problems.

Teachers looking to create these opportunities for students might ask, what is an interdisciplinary approach? Compared to traditional approaches, an interdisciplinary approach expands what students learn by allowing them to tackle problems that don’t fit neatly into one subject. It also changes how students learn by asking them to synthesize multiple perspectives, instead of taking what they’re told by a teacher at face value.

For an example of interdisciplinary learning, take this project from the theater program at Trinity Academy for the Performing Arts (TAPA) in Providence, RI. ShaLayla Simmons, theater teacher and artist-in-residence, led students in writing, staging, and directing plays based on their own life experiences, interests, and natural curiosities. The students also studied well known plays from across history—a Greek drama, a play by Tennesse Williams, and a play by Lorraine Hansberry. This project was interdisciplinary in that it connected literature with historical perspectives, creative work, and material from students’ own lives. In doing this project, students made deep connections between their own identities and the plays they read, gaining new insights into both.

As this example from TAPA shows, much of the power of interdisciplinary learning lies in how it teaches students to think and make connections. In partnership with the National Science Foundation, The Science and Research Institute at Carleton College (SERC) identified four major cognitive skills that interdisciplinary learning teaches students, including the ability to: • Recognize biases • Thinking critically • Embracing ambiguity • Analyzing ethical concerns These cognitive skills are crucial for high schools looking to transform learning and prepare students for success after graduation. * Anna Sudderht, 2022, https://xqsuperschool.org/rethinktogether/author/annasudderth/ The European Commission support for the production of this publication does not constitute an endorsement of the contents which reflects the views only of the authors, and the Commission cannot be held responsible for any use which may be made of the information contained therein.

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Daniel Allen, former executive director of school renewal with the Santa Ana Unified School District, explained, The economy right now favours the weird; favours the new; favours the out-of-the-box thinkers. Interdisciplinary learning helps students learn creatively and apply knowledge across disciplines.

Interdisciplinary learning challenges these biases. It asks students to consider multiple perspectives and, in doing so, trains students to think more critically about their own identities. This approach engages students because it forces them to set aside preconceived notions, enabling them to: • Learn more readily • Get a deeper understanding of the material • Be open-minded to new ideas, concepts, and ways of doing things

1.2. Why Is Interdisciplinary Learning Important?

When students graduate, they should be able to evaluate complex information to come up with their own ideas and perspectives – a.k.a., critical thinking. Interdisciplinary learning supports critical thinking by helping students: • Understand multiple viewpoints • Evaluate conflicting perspectives • Build structural knowledge This last bullet point, “structural knowledge”, is a term used by interdisciplinary education expert Dr. Allen Repko. As shown in the table below, it refers to the level of knowledge students need to get to a point of forming their own ideas and solutions to a given problem (*Anna Sudderht, 2022).

1.3. All Lessons Should Be Interdisciplinary Multidisciplinary or interdisciplinary learning is a “whole” or “comprehensive” method that covers an idea, topic, or text by integrating multiple knowledge domains. It is a very powerful method of teaching that crosses the boundaries of a discipline or curriculum in order to enhance the scope and depth of learning. Each discipline sheds light on the topic like the facets of a gem. **Jackie Gerstein, Ed.D., 2019, https://usergeneratededucation.wordpress.com/2019/01/13/all-lessonsshould-be-interdisciplinary/ The European Commission support for the production of this publication does not constitute an endorsement of the contents which reflects the views only of the authors, and the Commission cannot be held responsible for any use which may be made of the information contained therein.

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Imagine being able to teach character development, basic math, and basic science concepts via a classic text. How about basic geography, writing skills, and point of view from that same text? Is it possible to also teach about comprehension, sequence, literal vs. non-literal, imagination, plot, theme, compare and contrast, opinion pieces, vocabulary, friendship, bullying, and critical thinking? The answer is yes, and the genre is legends, myths, and fables (https://www.edutopia.org/blog/a-cornucopia-ofmultidisciplinary-teaching-vincent-mastro).

Benefits of Interdisciplinary Learning: • Obviously, it addresses multiple content areas resulting in increased cognitive development as deeper learning occurs.

• It mimics real life learning rather than isolated educational experiences.

It is authentic. When we learn something in the real world, it is interdisciplinary. For example, when learning how to bake or cook something new, one often does research for the best recipes and cooking strategies, reading of recipes and directions, and using math in the actual cooking or baking.

• It helps students increase their critical thinking and problem solving skills. Due to the nature of interdisciplinary learning which often includes the characteristics of deep and project-based learning, students are asked to make their own connections and conclusions about their learning.

• It is student-centric. The focus is on the student rather than on the teacher and on lower levels of Bloom’s taxonomy that often occurs when students are given drill and grill learning activities.

• It tends to be highly engaging for students. They engage because interdisciplinary activities often have at least one content area that is of great interest to the student. It highlights their strengths.

• It opens doors for students to develop interest in content areas in which they have not been typically interested as they see connections between their desirable content areas and other ones (**Jackie Gerstein, Ed.D., 2019).

The European Commission support for the production of this publication does not constitute an endorsement of the contents which reflects the views only of the authors, and the Commission cannot be held responsible for any use which may be made of the information contained therein.

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Interdisciplinary Teaching Promotes Significant Learning Significant Learning (Fink, 2003) takes place when meaningful and lasting classroom experiences occur. According to Fink when teachers impart students with a range of skills, and insights about the educational process that students will see as meaningful and salient to them they promote student engagement in the learning process and greater learning occurs. Fink identifies 6 elements of the educational process that lead to significant learning and each of these is a common feature of interdisciplinary forms of instruction.

• Foundational Knowledge – acquiring information and understanding ideas • Application – acquiring an understanding of how and when to use skills • Integration – the capacity to connect ideas • Human Dimension - recognition of the social and personal implications of issues • Caring – acknowledgment of the role of feelings, interests, and values • Learning How-to-Learn – obtaining insights into the process of learning (https://serc.carleton.edu/econ/interdisciplinary/why.html).

The European Commission support for the production of this publication does not constitute an endorsement of the contents which reflects the views only of the authors, and the Commission cannot be held responsible for any use which may be made of the information contained therein.

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2. INTERDISCIPLINARY LESSONS PLANS 2.1. Symbolism Movement in Literature & Art Subject Literature & Art (Geography, Art, Literature, History) Age of the students

14-15 years old

Goals of the lessons At the end of the lesson, students will be able to: ∙ Understand the characteristics of Symbolism in Literature & Art. ∙ Identify the correspondences between Literature and Art in Symbolism. ∙ Describe, analyse, and interpret poems and paintings. ∙ Reflect on art and literature works.

Venue

The Museum of Romanian Literature, The Poetry Museum from Iaşi, Romania

Results

Knowledge: Identify the characteristics of Symbolism in Literature & Art. Skills: Describe, analyse, and interpret poems and paintings.

Competence: Collaborate with peers to create an original short video with images of Symbolist paintings for representing a Symbolist poem at their choice.

Resources

2-3 poems of the Romanian Symbolist poet, George Bacovia or other international Symbolist poet (Charles Baudelaire, Paul Verlaine, Artur Rimbaud, see exhaustive list in further reading), at teacher’s choice.

5 printed images in A3 format of paintings from Symbolist artists, at teacher’s choice. For example: 1. Edvard Munch, The Scream 2. Gustav Klimt, Death and Life 3. Gustav Klimt, The Kiss 4. Gustave Moreau, Oedipus and the Sphinx 5. Odilon Redon, Profil bleu Handouts with the poems written by George Bacovia, to be read.

A symbolist classic music composer may be heard in the background during the lesson: Richard Wagner, Claude Debussy Further readings: https://joannegrowney.com/BacoviaLeadofWinter2012.pdf https://en.wikipedia.org/wiki/Category:Symbolist_poets https://www.theartstory.org/movement/symbolism/history-and-concepts/#nav https://www.britannica.com/art/Symbolism-literary-and-artistic-movement https://en.wikipedia.org/wiki/Impressionism https://www.identifythisart.com/artmovements-styles/modern-art/symbolism-art-movement/ https://www.the-art-world.com/blog/2021/03/02/symbolist-painters-are-inspiredby-emotions-and-dreamlike-images/

Duration

1 hour and 40 minutes

The European Commission support for the production of this publication does not constitute an endorsement of the contents which reflects the views only of the authors, and the Commission cannot be held responsible for any use which may be made of the information contained therein.

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Content

Symbolism was an artistic and literary movement of the late 19th century, which opposed Romanticism, Naturalism/ Impressionism and Parnassianism and according to which the value of every object and phenomenon in the surrounding world can be expressed and described using symbols.

Unlike Impressionism that focus on the natural world, Symbolists choses subjects based on visions, dreams, and mythology. In addition, Symbolism has an emphasis on spirituality and religious iconography, leaving aesthetics in the second plan.

In the Symbolist manifesto, published in Le Figaro, in 1886, Jean Moréas stated that every person, natural element, and object should be used as a representation of a deeper thought or emotion. Artists should convey it through symbol, rather than imitating reality.

Symbolism was an artistic and literary movement of the late 19th century, which opposed Romanticism, Naturalism/ Impressionism and Parnassianism and according to which the value of every object and phenomenon in the surrounding world can be expressed and described using symbols.

Unlike Impressionism that focus on the natural world, Symbolists choses subjects based on visions, dreams, and mythology. In addition, Symbolism has an emphasis on spirituality and religious iconography, leaving aesthetics in the second plan.

In the Symbolist manifesto, published in Le Figaro, in 1886, Jean Moréas stated that every person, natural element, and object should be used as a representation of a deeper thought or emotion. Artists should convey it through symbol, rather than imitating reality.

Representatives of Symbolic Movement in Literature: Jean Moréas, Stéphane Mallarmé, Charles Baudelaire, Paul Verlaine, Arthur Rimbaud, Paul Valéry, Gustave Kahn etc. In Romania, Ion Minulescu and George Bacovia are considered Symbolists poets.

Representatives of Symbolic Movement in Art: Gustave Moreau, Odilon Redon, Gustav Klimt, Edvard Munch, Paul Gauguin etc.

Exercises/labs examples

Activity 1 - Introduction: At the beginning, museum guide shortly presents the writers and exhibition related to literature from the museum. When presenting details about The Poetry Museum, museum guide introduce the idea of correspondences between art and literature/ poetry. Also, he/ she makes a short introduction about life and opera of a Romanian representative poet for Symbolism Movement, George Bacovia (15 minutes).

Lesson development: Activity 2: Museum guide or teacher reads 2-3 poems written by George Bacovia, together with students. Students receive handouts with the poems. In order to analyse and interpret the poems and their meanings, as well to understand the characteristics of Symbolism, teacher guides the students asking the following questions for each poem (25 minutes): 1. How did you feel about this poem?

2. What is the theme of poetry?

The European Commission support for the production of this publication does not constitute an endorsement of the contents which reflects the views only of the authors, and the Commission cannot be held responsible for any use which may be made of the information contained therein.

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Exercises/labs examples

3. What elements of painting surprise them?

4. What is happening in this painting? What do they see that supports their ideas?

5. What word comes to their mind when viewing the painting?

6. What symbols can they identify?

7. What do you think is the topic of the painting?

8. What emotions do they think are represented in the painting?

The second task is to observe the painting and read again the 2-3 poems from Activity 1, and to answer the following questions: 1. What common elements do you notice between poetries and the painting?

2. What topics do you find in both works?

3. What are the common emotions, feelings, ideas represented by the authors?

4. What are the common messages that the authors want to convey?

5. In your opinion, what are the characteristics of symbolism?

Total: 20 minutes Each group share for 5 minutes their conclusions and answers to the questions (Total: 25 minutes).

Conclusions (15 minutes): The teacher summarizes the aspects presented by the students, emphasizing the important features and details about Symbolism in Art and Literature.

The teacher also explains homework and answers the questions of students.

Evaluation/ Homework: Students are asked to group 5 or 6 people each for a joint creative project. They must choose a poem by a Symbolist poet, from Romania or abroad and represent it by creating a short video with images of Symbolist paintings.

Handouts with the poems written by George Bacovia

Moisture [Moină] Autumn and winter Both are descending; It's raining and snowing It's snowing and raining.

The walls are moist I'm feeling cold – I think of the dead I'm growing old.

The night is falling Dirty and cool Sick kids are coming Back from their school.

Autumn and winter Both are descending; It's raining and snowing It's snowing and raining.

The European Commission support for the production of this publication does not constitute an endorsement of the contents which reflects the views only of the authors, and the Commission cannot be held responsible for any use which may be made of the information contained therein.

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Autumn vexation [Nervi de toamnă] It’s autumn, it’s rustle, it’s sleep...

The trees softly sigh in the lanes; It’s cough, it’s weeping, it’s steep...

And it’s cold and it rains.

Sad lovers on roads, in great number, Make all kinds of gestures and fret, While leaves in perpetual slumber Fall heavy and wet.

I stay, and I go, and return, All these lovers make me feel bad – Would be pointless to laugh in my turn, And it’s cold and I’m sad.

Regret [Regret] I've known two poplars for so long I still can see them on my way It pleases me to watch them grow But I get sad and go away.

Because I seem to hear a voice That tells me I am gonna die And thus they'll never be admired By any other passer-by.

Source: https://joannegrowney.com/BacoviaLeadofWinter2012.pdf

The European Commission support for the production of this publication does not constitute an endorsement of the contents which reflects the views only of the authors, and the Commission cannot be held responsible for any use which may be made of the information contained therein.

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2.2. World Tree. The Baltic symbols have been reborn in the casting: heaven, earth, dungeon Subject Literature (folklore). Menai. History (Paganism) (Geography, Art, Literature, History) Age of the students

Students 9–11 years old

Goals of the lessons To acquaint students with the concept of the world tree, Baltic symbols, to teach them to recognize them both in the visual arts, in literature and in the living environment Venue

Class / Ethnocultural Center (https://www.etnocentras.lt/) / Curonian Spit

Results

Pupils will be able to explain the meanings of Baltic symbols, reflect them in castings, and recognize the living environment (e.g. excursion in Nida)

Resources

Paper, watercolor, brushes, black pen, cards with Baltic symbols, visual material

Duration

2-3 hours

Activity content

Introduction. Students are invited to observe the drawing on a slide (containing the Tree of the World) and identify the details of what is depicted in the drawing in front of their eyes.

The main part. Students are presented with material about the World Tree (https://www.vydija.lt/kurejai_kuryba/Egle/medis.htm; https://www.puoskislietu viskai.lt/lietuviskas-pasauliomedis/; https://www.patogupirkti.lt/knyga/gyvybes-medis-lietuviu-mene-irtautosakoje.html). They are invited to complete the task. A tree drawn on a piece of paper is hung on the board, and the children choose ready-made character cards and stick them on the sheet to an area of heaven, earth, or dungeon. We then discuss the meanings of the characters, check to see if the characters have been guessed and assigned to the correct sphere. Students are invited to listen to S. Geda's song "White Checkered" (https://www.youtube.com/watch?v=VeU9KC_43yk&ab_channel=vdemon1962) and draw three characters in the casting (the interface between the lyrics and the Baltic characters).

Concluding remarks. The lesson is summarized in an exhibition of students' works, students share their impressions (mood at the beginning of the lesson, the fact where the acquired knowledge will be used).

NOTE. The castings are prepared by the students together with the teacher during the lessons. Technique: moisten a sheet of paper for drawing (it is recommended to prepare squares 20 * 20 cm), pour various colors on it with a brush, leave the paper to dry).

Continuation. A trip to the Curonian Spit, where students will observe the old architecture, visit the Fisherman's Museum, discover the Baltic symbols in architecture and everyday life

The European Commission support for the production of this publication does not constitute an endorsement of the contents which reflects the views only of the authors, and the Commission cannot be held responsible for any use which may be made of the information contained therein.

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Activities examples

The European Commission support for the production of this publication does not constitute an endorsement of the contents which reflects the views only of the authors, and the Commission cannot be held responsible for any use which may be made of the information contained therein.

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2.3. Archaeology, History and Art Subject (Geography, Archaeology, History and Art Art, Literature, History) Age of the students

8-12 years old

Goals of the lessons

Going to the MAV – Virtual Archaeological Museum allows children to discover in situ the Roman history, culture, and art of the period, and the eruption of the Vesuvius of the 79 A.C. Through the virtual learning experience children can relive virtually what they have studied about life and habits of the citizens of Pompeii and Herculaneum

Venue

MAV – Virtual Archaeological Museum https://www.museomav.it/?lang=en

Results

Children learnt about the Roman history, in particular of the period of the eruption of Vesuvius, in which these cities were crystallized in time. They discovered about people’s customs, habits and traditions, the places they lived in such as the villas, the shops, the theatre, the baths. Moreover, they learnt about the art of that time such as the use of the Rosso Pompeiano as the typical colour of the mural art, the architecture of the Domus (Roman house), mosaic and papyri

Resources

Digital tools: 3D, a short-movie, devices.

The explanation delivered by the tour guide

Duration

2 hours

Content

The first part of the lesson take place among the public places present in every ancient Roman city: the Herculaneum Theatre, the Central Bath House (a very popular social place); Pompeii’s Forum, the Amphitheatre, and the “Schola Armaturarum”, vital centers of the city.

The second part of the itinerary is dedicated to the Domus (houses): some of the most significant examples of Pompeian domus are the “House of the Tragic Poet”, “House of the Faun”, “House of the Labyrinth” and “House of the Citharist”. The reconstruction of these private places makes it possible to discover how the houses of the ancient Pompeians were organized, their environments and the different functions they were intended for.

The third part is a journey into Pompeian and Herculaneum painting. Each fresco and mosaic are analyzed in detail, focusing on their colour, techniques and their meaning.

The fourth, and last part of the itinerary, is entirely dedicated to the Villa dei Papiri and its extraordinary library. This sumptuous villa, built on the coast of Herculaneum, comes to life through the virtual reconstructions.

The tour ends with the reconstruction of the event that changed forever the history and geography of the area: the eruption of the Vesuvius of the 79 A.C.

The European Commission support for the production of this publication does not constitute an endorsement of the contents which reflects the views only of the authors, and the Commission cannot be held responsible for any use which may be made of the information contained therein.

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Exercises/labs examples

Role-play activity After the explanation by the guide about the life of ancient Pompeians, children are involved in a role-play activity in which they have to act as if they were living during that period. We handle kids some white papers on which they can write and draw their character. Then, we give them 5 minutes to think about who they want to be (a patrician, a plebeian, an artist etc.). After that we let them draw how they are dressed and write what kind of activity they are involved in, based on what was explained during the lesson. At the end we let them invent the story of their life in order to understand how they must act with others.

When everything is settled, children, with the help of the trainer/educator, can start the drama activity

The European Commission support for the production of this publication does not constitute an endorsement of the contents which reflects the views only of the authors, and the Commission cannot be held responsible for any use which may be made of the information contained therein.

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2.4. Literature and Art lesson plan Subject (Geography, Literature and Art Art, Literature, History) Age of the students

3-4 years old

Goals of the lessons

Using literature and art as a tool of understanding modernism. Learning that modernism is an art movement that’s also applied in literature. Children to be exposed to modern art

Venue

Classroom- visit to an art exhibition. Louise Bourgeois's monumental sculpture Maman (1999) is brought to the Greek public by NEON and the Stavros Niarchos Foundation Cultural Center (SNFCC). Children visited the exhibit. Maman, standing at over 10 metres tall, was created for the Tate Modern’s first Turbine Hall commission in 2000, and was subsequently cast in an edition of bronze, stainless steel, and marble. Painting our own portraits of mother and reading literature books with subject relevant to mother and family

Results

Children were introduced to modernism viewing the sculpture that was made as a symbol of motherhood. The portraits they created were also a hands-on activity regarding the art lesson. The literature class read relevant books both in Greek and English lessons as a part of the introduction to talking about this subject. It was a fun and creative way to enforce art and use literature in other ways

Resources

Exhibition. The books: Greek book: “The day my mother lied” and the English book: “The bears in the bed and the Great Big Storm”. Handmade portraits and memory book

Duration

May, a month dedicated to mothers

Content

Modernism was taught is small aged children through a subject that they like the most. Their mother. The installation of Mamam was a view of how art can be expressive of our thoughts and feelings. The portraits that students made gave them the same feeling. The colours and the backround they selected to use were a statement of their feelings towards the subject. The shapes were according to modernism. The literature was simple stories referring to the modern techniques. language, ways of writing, use of frames and themes

Exercises/labs examples

During visiting the Maman sculpture, children created their own memory book using materials and photos that brought with them. Pieces of clothes with a special meaning to them and photographs were used to make their own personal and unique family book

The European Commission support for the production of this publication does not constitute an endorsement of the contents which reflects the views only of the authors, and the Commission cannot be held responsible for any use which may be made of the information contained therein.

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Activities examples

The European Commission support for the production of this publication does not constitute an endorsement of the contents which reflects the views only of the authors, and the Commission cannot be held responsible for any use which may be made of the information contained therein.

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2.5. Literature and Geography lesson plan Subject (Geography, Literature and Geography Art, Literature, History) Age of the students

8-9 years old

Goals of the lessons

Using literature as a source of geographical concepts.Learning the continents and the means of travelling through two different literature texts timed in different eras

Venue

Classroom – visit to aircrafts

Results

Children were introduced to different views of the wideness of the world through time. They learned about the continents, the oceans, the seas and the different cultures depending the place we are living. It was a fun and creative way to enforce Geography and use literature in other ways

Resources

Maps, the book: “Around the world in 80 days” by Jules Vernes, Odyssey by Homer

Duration

The reading of the books is all throughout the school year, using maps and geography hints lasted about four weeks

Content

Children used maps to detect the places Ulysses travelled while returning to Ithaka. His travels were within the Mediterranean sea, involving the coastline of Turkey, Greece, Italy and Africa. There was an intercontinental approach of the three different and mysterious -at these ages- continents. We also talked about the means of travelling, navigation and the limited knowledge of the world borders in the antiquity. We used the book: “around the world in 80 days” as a different approach of a very different time. Different means of travel, knowledge about where every country or continent is and how we can approach them. Children worked with worksheets

Exercises/labs examples

Maps, drawing maps, worksheets, literature books. During this lessons, we also visited the aircrafts of Aegean airlines, and we had a small tour inside a plane, inspected the pilot's cabin and examined how an aircraft works. The visit was planned in order the children to reflect on how our transportation means had finally became easy and fast around the world

The European Commission support for the production of this publication does not constitute an endorsement of the contents which reflects the views only of the authors, and the Commission cannot be held responsible for any use which may be made of the information contained therein.

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Activities examples

The European Commission support for the production of this publication does not constitute an endorsement of the contents which reflects the views only of the authors, and the Commission cannot be held responsible for any use which may be made of the information contained therein.

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This publication created in the project „inclusive and interactive education in museums: sharing of good practices“ (Erasmus+), (2020-1-LT01KA201-077818).

Creators team: Klaipėdos pedagogų švietimo ir kultūros centras (KPSKC), Lithuania Asociacija kūrybinės ateities idėjos (KAI), Lithuania Asociatia Demetrius, Romania Libera università europea terza età campania l.U.E.T.E.C, Italy Des Primary Private Company, Greece

Design and collection of information was made by project coordinator Giedrė Petrošienė, from Klaipėdos pedagogų švietimo ir kultūros centras (KPSKC), Lithuania.

For contacts and any extra information: einmu.project@gmail.com

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