(PL) Warsaw and Mazovia – Participant Research: Reflective Diary of Eglė Marčiulaitytė (LT)

Monday, 28 November 2011
Ochocianie, OMDO, Kolonia Cafe
After visiting Tarczynska 11 all localisers took a walk through Ochota district to

“Kolonia” – small club-cafe in the middle of the Old Ochota. Cafe is very children-friendly (many wooden toys, children books and a playground in a cafe’s yard) as well as open for other target groups and events. According to the owner Agnieszka, “Kolonia” is the place for all generations. On Fridays they have open meetings with people who work in various culture fields and here they discuss and share their ideas.

On that Monday Localise project gathered some activists from the Old Ochota, so we sat around the table and had a long and deep conversation.

Participants: Barbara (inhabitant of Ochota, lecturer, sociologist, runs social consultation in Ochota), Helena (works with OMDO as a volunteer, did an urban design project in the neighbouring district based on the research of behaviors in public space), Maryjka (sociologist, mother of three kids, the founder of “Ochocianie” web network), Joanna (sociologist, member of OMDO), Agnieszka (the owner of “Kolonia”), the owner of “Filtry Cafe” (another pleasant and open place in the Old Ochota) and Aleksander (sociologist, member of OMDO).

Ochocianie is Ochota residents of all ages with different beliefs and political views. The idea about how to make the district a better place to live is a unitive wish of Ochocianie.

The basis and the beginning of Ochocianie was a conflict about Ochota park with the local authorities which wanted to modernise the park, remove the playground and make it a representive place with a fountain in the middle and a fence all around. So local residents started to protest and request such modernisation which would keep the park open, interactive and inviting for everybody instead of being only representive. Maryjka created a mailing list which actually was the first step in building up the Ochota network. Now there are arround 200 people on the list who care about Ochota and identify themselves with its community. The primary function of this list was the arrangement of the protest against the park modernisation, but later it became a great communication channel, people started to discuss about their district, needs etc.

Finally active people from Ochota realised that if they want to have their voice heard they must have representatives in the local government. So this is why they have started dealing with politics and their first achievement is one representative (Ingeborga) of the local community in the local government.

This case led to one clear conclusion that all changes of the public space are dependent on the local authorities and the City Council, so Ochocianie had to discover their own way how to start communication with them and build a relationship. This is how OMDO (The Model of Civic Dialogue in the Ochota distric) was founded.

Ochocianie began a systematic dialogue between the local community and the local authorities. The team of sociologists suggested to open three consultation places, where representatives of the local government would meet people and answer their questions, give needed information and so on. The local government accepted this idea, but it lacked the knowledge how to arrange and run it. Therefore approximately 30 meetings were organized where sociologists and other specialists explained to the local government why this dialogue is needed and how it should be guided. The second step was preparing decision making process of the local authorities. But unfortunatelly it was not so successful. On the contrary, according to Barbara, the community was very active, so it proves that people really care about their living environment.

In general people are tend to take care only about their private space and the surrounding outside doesn’t get into their field of interests so often. Ochocianie grew up because of a different viewpoint. All its activists and supporting residents of Ochota understand that namely local people dictate the rythm of a district and all the changes that are made affect them directly, so why not to make such changes that would be efficient and useful for the local community? When people start to identify themselves with a district, when they know what they want and how to get it, then a district can really be developed in a community-friendly way. The aim of Ochocianie is to change the neighbourhood in a better way according to the residents’ visions and needs, but it can be done only if people get engaged into the whole process and feel a part of it.

All the disagreements between the local community and authorities are connected to the management of the public spaces. The problem is that usually the opinion of residents strongly deffers from the decisions of the local government. For instance, let’s take another presented issue. There is an old-fashioned market in Ochota which is under unsanitary conditions, so the local government decided to demolish the major part of it and instead build social appartments, the left small part of the market would be saved and renovated. However, that means a huge loss for local sellers, therefore a new conflict arouse. At the moment this issue is still on the discussion.

One more public space which called out discussions within the dialogue between the local community and government was Plac Gabriela Narutowicza. This place consists of strange and complicated ownerships, so Ochocianie put forward a question how to change it. They arranged a meeting with local community and local authorities, which eventually took 3 hours. Later on there was a workshop organized with the participation of 25 local representatives. It was expected that these people would spread all discussed ideas to the local community. All participants were divided in two working groups: one of them discussed “green” affairs and culture, while the second one – the infrastructure situation. It was a polite and well moderated discussion. The difference of this issue from previous ones was that this time there was no exact plan suggested by the local government which the local community was against (like in the case of the park modernisation). It was a productive dialogue concerning the future.

Ochota can be characterized as a district where many people of high economical and educational status live, therefore there is a strong potencial to impact the development of Ochota public spaces. A great example is the case of the Filtrowa street. This street has a lot of beautiful buildings of pre-war architecture which should be preserved. The idea of Ochocianie is to present a possibility of minor changes in this street which would make it more pleasant, vivid and functional for the local community. This project is like a mini laboratory for the team of local sociologists where they could try different working methods. At first they came together and brainstormed the ideas, then they organized a workshop and invited around 50 people from different cultural fields – architects, planners, various artists etc. According to Helena, before changing the design of a district it is necessary to know what local people need and what they would use in order that this new design would not be done only for pretty looking, but would be useful for the community. The Filtrowa street project is a good example of classical cultural animation. According to Aleksander, their activity is connected to the cultural animation in that sense that this project is not permanent and its coordinators would not be around forever. People will be working on their own, organizing the space and making decisions about this street. Of course, specialists would help them, but there would not be any control. Nevertheless, nothing is possible without agreement of the local government, therefore the dialogue is extremely important. There are many ideas how to make this street an inviting public space. For example, it should have more uncommercial activities like shops or stalls of local artists, regular fares and flea markets, sports events for families etc.

In conclusion, it can be noted that all this Ochocianie movement well illustrates how important is the engagement of the local community into all the processes of developing the public space. Moreover, the dialogue between residents and the local authorities can open many great possibilities for making better changes because the government gets more trust when there is an agreement with those, who elect it. This case is also a good example of how the academicians can become mediators between residents and authorities and how they can help hear each other. As we see, everything is very related and the harmony can be reached only if you understand these links and use them in an efficient way. The initiative of local sociologists has expanded with cultural animation activities which require more knowledge, involvement of new specialists and engagement of local people for developing Ochota public space in a proper way. Like the owner of “Filtry café” said, all the district is like a puzzle – if one piece is changing (for instance, the community), the other one has to change as well (the local authorities).

Tuesday, 29 November 2011
A short walk in Old Praga with Tomek from GPAS
After lunch all localisers were divided into two groups guided by two Tomeks from GPAS organization who agreed to show us the Old Praga (a part of North Praga). It has been a nice one-hour walk in this district that has not suffered much damage during the World War II (WW II) and therefore now is considered as the most historical area of Warsaw.

The first important building that we passed used to belong to a railway company and after the WW II the City Council was moved here from the left side of Warsaw which had been destroyed. Then we were amazed with a building which had all windows died in red and white (the colours of Polish flag) last year during the Independence day of Poland.

Buildings. The face of the district is quite exceptional if to compare it with other parts of Warsaw. It has saved the pre-war architecture and most of the buildings here are very old. Even the wars touched this district not so strong as on the other bank of the Vistula, you could recognize a lot of its traces left in the walls of buildings and in the faces of people.

Most of the buildings have 5-6 floors and look quite abandoned or simply forgotten. The reconstruction has been made to only few of them and it seems that the Council in general doesn’t pay enough attention to this district. Nevertheless the holes of bullets left in the walls, the pre-war ad of shoes on the side of the building, inner courtyards where is forbidden to play ball-games, dark corners, dirty streets could be considered as some keynotes about the Old Praga.

But today you can rcognizes some changes. The artists are coming here to search for the authenticity of old Warsaw which somehow could be used in their works, for instance, you can cross two streets where Roman Polanski has shot his “Pianist”. Recently many new alternative cafes/ bars have been opened in shabby corners which attract many people form other Warsaw districts. Moreover, GPAS, “Unblock”, other NGOes and some artists have initiated many social and artistic projects or events which have brought some changes to the district – paintings and graffiti on the walls, the moving sculpture of a well-known drunker made by Pawel Althamer, mosaics on the pavements composed by children etc. Now the district is getting more and more popular among burghers. So even though the district looks forgotten it has a very unique character, exeptional architecture and tiny details which witness the history of Praga and points the recent changes.

People. From the old times Praga had a bad reputation – it was and still is considered as a district where the majority of the poor, (ex)criminals, alcoholics, drugers and other “bad” people live. Here many people have no jobs, no money, so they don’t care about preserving or reconstruction of buildings. Tomek has been telling us about many children who stop going to school and start spending their days in the street. Most of those kids come from problematic families where they grow up surrounded with violence, alcoholism, disrespect, poverty etc.

Tomek works in GPAS organization which has started to fight with these problems and works with 10-16 years old children as well as partly with their families. We met few of them on the street and got some their attention as we were guided by Tomek – their “big brother”. If to talk particulary about Tomek, he seems totally into GPAS and his work with children. Even though he is not living in the Old Praga, he feels local here – knows the buildings, most of courtyards, many children and their problems…

After this one-hour walk both groups of localisers met in a cozy café were Tomeks presented GPAS, their previous and ongoing projects.

Wednesday, 30 November 2011
The second part of Wednesday’s program consisted of visiting W.A.R.K.A. association, Warka’s Culture Centre (in Polish: “Dom cultury”) and taking part in St. Andrew’s celebration with local children.

As we were a bit late, the presentation of W.A.R.K.A. association was really short. Dorota showed their tiny office which is given by the commercial company (it also supports the association financially). W.A.R.K.A.’s aim is to develop the local area by stimulating activity and promotion of residents of Grojec county. The association has run more that 90 projects in the region. If to mention some of them, it was the open cinema under the sky, various workshops, common projects with local fire-brigade, sports events, cycling trips, activities with disabled people, traditional folk culture event, the Children’s day, a sinior club arranged by a NGO “Animators” etc.

W.A.R.K.A. also helped to save a local school: the authorities wanted to close it but the local community was against this, so W.A.R.K.A. established a separate association which became responsible and now runs the school.

W.A.R.K.A. association is mostly animating local institutions, organizations and leaders, also taking care of finding money for their activities and giving them as small grants.

It is already five years when W.A.R.K.A. association has this program of small grants which is called “Act locally”. So far they have made 110 projects in the frames of this program. Where does the money come from? According Dorota, the money is gathered from local authorities, private donations, buisiness sponsors etc.

The three main aerias of their money dissemination are “Act locally” grants, program of scholarships for young people and supporting the projects of Culture centre.

After this presentation we moved namely to the Culture centre where the prezident of W.A.R.K.A. association and simultaniously the head of he Culture centre Andrzej Zaręba was waiting for us. In 2000 after his studies in Wroclaw Andrzej arrived to this region and established a NGO “Animators”. For many years this organization was working much better and more effectively than the governmental Culture Centre. According to Andrzej, there is a strong competition between governmental and non-governmental organizations, cause NGO usually does more with less money while GO does less though gets more money. Finally, at least in Warka, this competition was partly solved: one person – Andrzej – managed to join two opposite organizations for the same goal – to work with local communities and stimulate their initiatives. Now while working as a prezident of W.A.R.K.A. association and headmaster of the Culture centre he feels that all organizational problems should reduce and the management of finances should become more clear and fluent.

So he mentioned some activities held under the roof of the Culture centre, for instance, theathre workshop for children. However, Andrzej admits that artists mostly come only to exhibit or show something, but there is a need to call and keep them for the work with local communities. The newly elected headmaster of the Culture Centre looks full of energy and motivation to develop cultural animation activities in the region, but the question is how long would it take and how successful would it be.

Later on the informal part of the evening has started. All the building of the Culture centre was transformed into a magic place with five special points. Localisers and local children who had gathered to the holiday were devided into 5 groups and had to try all the spells. The celebration of St. Andrew’s Day was organized by the youth folk esemble who were in their traditional clothes and enchanting every participant. For me everything reminded the celebration of St. John’s Day on 23rd of June. The children from my group told me that they come to the Culture centre once a month. Anyway, even thought it seems quite rarely, it is better than never.

After all events we got back to Warsaw. It is worthy to mention that Mazovia is famous for its apple production so all day long we have been “attacked” with apples – big and juicy apples!

Thursday, 1 December 2011
The evening with seniors from Old Praga
The localisers were happy to take a tram across the Vistula river and return to Praga district once again. In my opinion, visiting and learning about Praga every day in a different way was a great aspect of this study trip. Praga is historically, socially, culturally rich and therefore it is a fertile land for active initiatives of cultural animation.

This time we had an informal meeting with seniors from Old Praga in a Praga café. This meeting was absolutely practical experience of how does it feel to belong to any community and create or share something together. We have entered a crowdy room – all seniors have been already sitting at tables and preparing for the evening’s concert while the musicians have been bringing their instruments. All localisers joined the seniors and so it began…

The project called “All Praga district sing with us” is a part of the program “Active Praga”. Its aim – to organise a series of meetings with seniors (aged 55+) who are under the care of the Social Welfare centre in North Praga at the Brzeska street. This project is organized by the Association of Creative Initiatives “ę” and guided by a young cultural animator Magda Latuch. The project participants have been gathering every Thursday for six months – attending singing workshops conducted by the singer and actress Justyna Jary and the music group “Czessband”. All the songs are coming from a song book of Old Praga. During this evening we tried to sing together and the Polish people explained that the songs had many words of the local dialect. The melody sounded like in the first part of the previous century – inviting to have fun on the dance floor.

According to Magda, the project is successful, more and more seniors want to sing. Praga’s seniors have a strong tradition of singing so this activity was the best way to bring them together.

I was lucky to sit in front of two Zoshias who were sharing their experience about this project and their community. Zoshia with a red hat has been telling that seniors are meeting usually everyday in a Day centre, they all are good friends, celebrate holidays together, go to the cinema and enjoy singing accompanied with the jazz music.

The Social Welfare Centre collaborates with the City Council, local journalists, the priest and others. Seniors also attend the Third-age university where sometimes they have common lessons with children. According to Zoshia, seniors are happy that teachers don’t treat them neither like children, nor like seniors – their status is “fnts”.

In conclusion, some localisers were singing, some of them dancing and definatelly all of them having a great time. This project is a good example of what cultural animation actually is, how it is organized and what benefit it creates.


Localise study trip in Apple country Poland. Reflection

Before going to Warsaw my knowledge about cultural animation was quite narrow and surface. Nevertheless, the whole idea seemed very exciting and interesting as I always loved working with people and discovering something together with them. I read some articles, introducing the theory and presenting few practical examples, thought over and finally came up with an idea that cultural animation had been existing and practised since earlier times, just it was never put so clearly in the amademic level. Now, when it has become a discipline or even a studying program in universities, cultural animation became more structured and better explained, so all the theory which is built mostly upon practical experience is being used for preparing new specialists – cultural animators.

In the first meeting Localisers talked about different terms of this activity: English call it “community arts” while Polish use “cultural animation” term. Lithuanian have taken the latter term, but actually cultural animation is not well-known in Lithuania so far and there is a possibility that we would adapt even a different term. Although all these terms should cover the same idea and acitivity, their difference inevitably create some misunderstandings. What I have learned during this study trip that English and Polish terms not only sound different but also mean not necessarily the same thing. However, the terms “community arts” and “cultural animation” have older roots and changing them in the context where they have been used for a long time would be the same as uprooting an old strong oak which holds the whole system and structure undearneath. One more conflict that may arise is how should the incoming countries call this activity in their national languages – whether to use one of already excisting terms or create their own term which might be even untranslatable. I cannot answer to this question yet but I see a need to put it on the table and discuss about this issue with a wider audience which is anyhow connected with cultural animation. As it is my first (and maybe the only one) study trip in Localise I prefer using the term “cultural animation” because it is common in Poland and namely here I have grown my perception about this activity while learning different practises and methods.

Though the study trip in Warsaw was very intensive and full of experience, I would not write this reflection as a narration about what happened, in what circumstances and why. I will try to reflect how different examples of cultural animation inside and outside Warsaw have brought a clearer understanding about its possible activities, reasons and goals as well as learning about people in this field – what are the characteristics of cultural animators and people who are being animated.

To begin with it is important to note that Warsaw surprised me a lot. I totally broke my previous stereotypes about this city while exploring it with Localisers. Maybe it is because of our wide and various program which took us to different districts of Warsaw and presented them through the examples of cultural animation. However, I have got an explicit impression how different Warsaw is on the east side and the west side of the Vistula river. I must admit that more problematic districts attract me more as they have a strong characteristic face and obvious problems that need to be solved. Cultural animation is one of the ways how to cope with them and seen examples show how animating communities or places can result in reviving the district in general.

To be more precise, I made my top 5 of places and cultural animation examples that I liked most of all or which caused me much great time of thinking. In this case the sequence of the positions is not important as my interest in all of them was more or less equal. But to make it clearer I will go through them chronologically according our program.

The first place I would like to reflect on is Ochota district that we visited on Monday. At first we stopped in Tarczynska 11 – a tiny home style café where Agnieszka shared her ideas about animating the community of that street. In my opinion, it was the first touch with a real classical example of cultural animation where the resposibility is taken by a representative cultural animator – Agnieszka inspired all of us with her enthusiasm and strong motivation which proved that she was sure about the aims of her acitivities and she was open to any recommendation or advise. “Learning from each other“ and “learning together” could be pointed as essential basis for cultural animation that she is trying to build in Tarczynska.

After this visit we took a walk in Stara Ochota and sattled in “Kolonia” café where we had a long and a bit tiring coversation with local activists. I really like the place, it looks extremely cozy and perfectly servicing the local needs. We sat around the table and started to discuss about the local initiatives which had arisen when local people disagreed with the decisions about public spaces made by the local authorities. The core feature of the initiative group is that majority of them are sociologists, so they adapted their knowledge and working field to the exact case relevant to their personal situation – most of them are inhabitants of Ochota and all this activism has started because they care about their district and want to make it a pleasant place for living.

It is an interesting case and good example of making a dialogue between local community and local authorities because they are partly dependent on each other, so the efficiency can be achieved only through communication. But for me it seemed too much in politics and too little in arts which, in my opinion, is a very important point of cultural animation. I simply could not recognize cultural animation there… Well, the last example of their initiatives – the revival of the Filtrowa street –brought me the feeling that finally local community was started to be animated. People were invited to share their ideas and take part in the process of making Filtrowa the street created by people and being used namely for their needs. It is a space open for all creative ideas and everybody can participate in this project. Whereas the size of animated community is not defined this project can be considered as an example of unconventional cultural animation because anyway the community is being stimulated to create and participate. Moreover, the local activists admit that there is a strong need of cultural animation in Ochota but they are lack of knowledge so they would like to have some specialists helping them. In my opinion, it well illustrates how close and penetrating cultural animation is.

I took into account the comment of Rachel, a participant from the UK, that in Ochota she did not recognize anything connected to community arts. I cannot say I disagree with her, but it just proves my previous notes about the difference between terms and their meaning. Cases that in Poland are assigned to cultural animation not necessarily will be assigned to community arts in the UK. So how to know?

This issue can be developed more while presenting the second position of my top 5 – Stara Praga district and local cultural animation examples. I just fell in love with this district because it has a striking face – atlhough the mass media is strengthening the opinion that Praga is a black spot of Warsaw where all the criminals and unpleasant people live, I have seen that place incredibly attractive with all its old architecture which has survived the World War II and visible problems which are not hidden behind fake glossy facades. People are true there whoever they are – alcoholics, homeless, thieves… Praga looks abandoned but in some places you find cozy tiny spots – bars or cafes with intresting interior and public which signs a vivid or reviving cultural life here. According Tomek, most of their visitors are coming from other districts because the atmsphere in Praga is really special. You can recognize the history and the past here while the west side of Warsaw is almost all rebuilt and therefore, we have to admit, the history is only a memory or an imagination, not a true evidence.

Localisers were introduced with two examples of cultural animation – Grupa Pedagogiki I Animacji Społecznej (GPAS) and the project “Everyone in Praga sings with us”. The first organization works with street children who come from problematic, anti-social families so the core of their acitivity is social work. But then why it is presented as cultural animation? GPAS example helped me to build an understanding about cultural animation and finally personally define it as an activity which tries solving social problems with using art as a tool. At first I have distinguished social work and cultural animation as two different things but after this study trip I see that they are related to eatch other and even consist of each other. Maybe that is the main difference from a term “community arts” where namely art is emphasized and social problems are put (if they are put) in the background. I like the way how art is icluded and used for social improvement, people become creators or at least they get to know art better and stop thinking that art is something exclusive that signs high culture and cannot be understood by “simple” people.

Cultural animation is a temporary activity – an animator is working with a community for a while and after it gets stronger he leaves. The period of animation can be various and in the case of GPAS, it is longer than of the second named example. Why? The answer is quite clear – the activity involves more problematic audience and carries more responsibilities as it helps children to grow more consciously and in better conditions. Meanwhile the project “Everyone in Praga sings with us” is for making local seniors more active and having fun all together.

GPAS was presented by two members – Tomeks. While listening to them I have got the impression that they are so much devoted and strongly connected to the place and especially people they are working with. They are big brothers and siters to those children, protectors, teachers… So here comes the question to my mind: what should be the relation between an animator’s work and personal life? If the relation is very strong or in some cases the work becomes your life and the community you work with – your family, it is obvious that the end of the project is very hard and painful for both sides. My conclusion in this situation would be that nevertheless how close you become with your work, you have to keep at least a narrow border between animation and your own life, because otherwise you lose an objectivity and common sense about the situation and aims of animation.

The meeting with seniors of the project “Everyone in Praga sings with us” was more practical as Localisers got an opportunity to understand how does it feel to be animated. Actually this feeling can be hardly described, but it proves one very simple thing – people carrying or reaching the same feeling fulfill their days with motivation, self-organisation, creative work, communication etc. which lead the to the same aim. That is both the strenght and the aspiration of cultural animation.

Brodno is the third postion of my top 5. I have been feeling quite homesick there as I also live in a block of flats in a similar district of Kaunas (Lithuania). Brondo example inspired me a lot and I started to dream about such activity in my home district. Of course, I should find a Lithuanian equivalent to Pawel Althamer who could inspire the changes of the district. Many people in my home district simply don’t care about it, most of them only sleept there and pass every place or building with closed eyes. The first attempt to make them open their eyes and look up has been a wire net fixed high between two blocks of flats with hanging ladder. But that was it, nothing else was done, and this installation did not become the starting point of any possible animation. Brodno example is different – here all pieces of art and intallations in the central park are interactive and somehow created by and for people. In this case the involvement goes together with the identification – “I create and participate here because I identify myself with this place” or the opposite – “Identify myself with this place therefore I create and participate here”. Well done, dear activists in Brodno! Thank you for such an inspirational example!

The fourth place in my top 5 is given to Podkowa Leśna which we have visited on Thursday. Despite the beauty of the place and the solidarity of its inhabitants, I was quite critical about this example. I recognized too much pride in their activism and my perception of cultural animation was reshaped. The local community has no such social problems like, for instance, Praga, so why should it be animated? Finally I came up with such understanding that the community could be simply very active and curious. In this case they are animating themselves, organizing various projects where other people can also participate. The key point of Podkowa Leśna community is that people don’t need to think a lot about funding as most of inhabitants have a high economical status. This example shows another type of cultural animation which is not worse, but simply different.

My top 5 ends up with the Laboratory of the Creative Education (LET) settled in the Centre for Contemporary Art in the Ujazdowski Castle. Localisers took part in a workshop which gave many great ideas how to animate an exhibition’s visitors. It suggests that all visitors can be considered as a community and can participate in exploring the exhibition through communication and sharing ideas with each other. Another note would be that art is a social construct as it stimulates the relantionship between an artist, his creation and reciever/perceiver. The explanation could be various, for instance, the reciever is socializing with the artist through his creation or a piece of art has many meanings given by both the artist and the audience and they can meet only while communicating. Especially I like the concept of LET – “a museum without walls”. I understand it in the way that everyone everywhere can become a creator and at the same time a reciever as if we all live in exhibition created and perceived by ourselves. Janusz, one of the leaders of LET, calls himself a cultural activist which can be taken as a synonym of a cultural animator. Moreover, it also carries the idea that animating is about culture and people, their relations and interactions.

All the places we have visited during the study trip could be thoroughly decribed but I decided to limit myself in order to give a more systematical reflection. It is important to note that I have enjoyed our Localise group very much. Despite the variaty of our fields of interests, we respected each other and used to end our discussions with a common agreement. I think during this study trip we all have been a single community animated by our coordinators or those circumstances and chances given by every person we have met or places we have visited.

Many thanks to Anna, who organized a great feast to our stomachs, to Ashia and Polish group for such an intensive but interesting program and good time management. However I should mention that there could be more free time because such intensive program requires intensive thinking and I didn’t have enough energy for self conclusions after the whole day explorations and discussions…

I learned a lot during this trip and hopefully I will continue learning because while writing this reflection I experienced everything once again and once again I became sure that I really want to continue. The only uncertain thing is how I would do it and what for.

Eglė Marčiulaitytė


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