DENIZ HASIRCI'S WEBSITE: Mart 2010

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2010 ART&DESIGN for Social Justice Symposium &
15th Anniversary, Kids’
Guernica Peace Mural Project
Florida State University, January 15-18, 2010
College of Visual Arts, Theatre, and Dance
Sally McRorie, Dean
Committee
Tom Anderson, Department of Art Education
David Gussak, Department of Art Education
Peter Munton, Department of Interior Design
Allys Palladino-Craig, FSU Museum of Fine Arts
Lisa Waxman, Department of Interior Design
Eric Wiedegreen, Department of Interior Design
Viki Thompson Wylder, FSU Museum of Fine Arts
Proceedings Editor
Lisa Waxman, Department of Interior Design
Paper Reviewers
Lynn Sanders-Bustle, University of Louisiana-Lafayette
Hannah Mendoza, University North Carolina- Greensboro
Tock Ohazama, Florida State University
Shari Park-Gates, Auburn University
Ryan Shin, University of Arizona
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Schedule of Events - Pre-Symposium Activities
January 15-17
Kids Guernica Peace Mural Project
Friday, January 15
10:00-1:00 Optional Tour of the Tallahassee Museum of Art and Science
See the Kinsey Collection of African American Art, followed by lunch at the Suwannee Room, Florida
State University.
4:30-8:00 Making Peace Together: Visions From Around the World, Teacher Workshop, Florida State
University Museum of Fine Arts
Meet the people who worked in their countries to bring a challenging vision of peace to the
next generation, and the children who will grow up and determine the direction of history.
4:45-5:30 Walk and Talk Tour of Kids Guernica Peace
Takuya Kaneda (Japan) will guide this session, providing comment on the works in the exhibition.
Various people responsible for the production of murals will be introduced during this session including:
Thomas Economacos (Athens, Greece), Deniz Hasirci (Izmir, Turkey and Chios, Greece), Boris Tissot
(Picasso’s Atelier, France), Ann Kuo (Taiwan), Toshifumi Abe (Japan), Savina Tarsitano
(Italy/Martinique), Ian Brown (Australia), Bernard Conlon (Northern Ireland), the North Florida mural
group (Tallahassee, USA), and others. This session will allow for discussion of individual pieces among
the leaders of the session, those responsible for the murals, and teachers in attendance.
Walk and Talk Tour of Kids’ Guernica Peace Murals
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5:30-6:00 Buffet Dinner
6:00-6:45 Overview and history of the Peace Mural Movement
Takuya Kaneda (Japan) on Kids’ Guernica with input from Toshifumi Abe (Japan) and Ann Kuo
(Taiwan). Kids of Guernica (now in their 20s) will provide a look at participation in the movement from
the child’s perspective.
6:45-7:30 Presenting Peace Issues in the Classroom
Panel members talk about the projects or activities that can be done in the classroom as part of a
presentation on peace issues.
Panel: Deniz Hasirci (Turkey), Thomas Economacos (Greece), Bernard Conlon (Northern Ireland),
Takuya Kaneda (Japan), Valia Mhaish (Lebanon), Boris Tissot (France), Toshifumi Abe (Japan), Ann
Kuo (Taiwan), and others.
7:30-8:00 Artwork for Peace from Leon County Classrooms
A walk and talk through the student display titled Peace: A Challenge by participant teachers.
Teacher workshop for peace through art/education led by presenters from Europe, Asia, and
the Americas.
Saturday, January 16, Florida State University Museum of Fine Arts
8:00 All Day, beginning at 8 AM- Peace Mural Workshop with Wafa Elsaka (Art teacher at
Hartsfield Elementary); Location- Parking garage adjacent to Museum- Open to everyone- kids and
adults.
9:00 Gathering and continental breakfast in the Florida State University Museum of Fine Arts
10:00 Kids’ Guernica Business Meeting
1:00-4:00 Children’s Mural Workshop and Regional K-12 events at the FSU Museum of Fine Arts
K-12 performances coordinated with local school teachers through the Museum Education
Department. Activities include “make and take” art activities for children and performances by
elementary students (music, recitation, stomp dance, peace cheers). (Events open to all with
activities and performance targeted to elementary level.)
Children perform at K-12 Museum Events
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Children at the FSU Museum Making Peace-Related Art.
Reception for Peace Murals: Upstairs galleries- murals from around the globe with one
Peace Mural by students and teachers in 14 Leon County Schools.
Reception for K-5 Student display, Peace! Downstairs galleries- exhibitions in all media with
participation by 20 elementary schools.
8:00 Drum Circle for Peace, Home of Tom Anderson & Mary Beth McBride
Sunday, January 17
9:00 Nature Tours
Nature tours to the heart of North Florida’s wilderness to see alligators, anhingas, and manatees.
Sunday Evening Events- See Symposium Schedule Below
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Symposium Activities, January 18
Sunday, January 17, Montgomery Hall, Florida State University
5:00 Symposium Welcome & Opening Remarks, Montgomery Hall
5:15 Dance Performance by FSU Dance Department
"Transform", choreographed by Alan Danielson, performed by Dance Repertory Theatre,
School of Dance, FSU
5:30 Evening Keynote: Tom Anderson, Jessie Lovano-Kerr Professor of Art Education, Florida State
University
Tom Anderson
Monday, January 18, New Classroom Building, Florida State University
8:00 Registration & Continental Breakfast
8:40 Welcome and Introductions
Symposium Attendees at Opening Session
9:00-10:20 Opening Plenary Session
Ann Kuo, Taiwan, Moderator
Takuya Kaneda, Art Educator, Otsuma Women's University, Tokyo
Lynn Bustle, Art Educator, University of Louisiana-Lafayette
Jill Pable, Interior Design Educator, Florida State University
Ray Goodson, 3Form CEO, Salt Lake City, Utah
Dave Gussak, Art Therapy Educator, Florida State University
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Plenary Moderator, Ann Kuo (l) with panelists Takuya Kaneda, Lynn Bustle, Jill Pable, & Ray Goodson
10:20- 10:30 Break
10:30-11:00 Presentation Session 1
Art and Design with Children’s Participation…………………………….. ……………... 11
Deniz Hasirci, Izmir University of Economics, Turkey
Considering the Role of Personal Narrative in Interpretation and Dialogical
Spaces…………………………………………………………………………………………... 15
Karen Hutzel and Vesta Daniel, The Ohio State University
Identity and Voice: Constructivist Approaches to Inclusive Museum
Exhibitions……………………………………………………………………… ……………. 18
Mary Erickson, Professor of Art, School of Art, Herberger Institute for Design and the
Arts, Arizona State University
Pat Villeneuve, Professor, Department of Art Education, Florida State University
Melanie Magisos, Executive Producer, Publishing and Product Development, Hispanic
Research Center, Arizona State University
Building Social Capital among Designers……………………………………………….. 22
Suzanne Cabrera and Patrick Lee Lucas, University of North Carolina at Greensboro
11:10-11:40 Presentation Session 2
Teaching the Art of Social Activism: Imperatives for Democracy…………………... 23
Melody Milbrandt, Georgia State University
America’s First People: Another Way of Knowing through the Design
Process………………………………………………………………………………………… 25
Rebecca Sweet, East Carolina University
Art and Social Responsibility: Utopia or Reality……………………………………….. 28
Savina Tarsitano, Artist
Yvette Galot, Centre Culturel Fonds Saint-Jacques, Sainte-Marie Martinique
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(2 sessions combined- 1 hour 10 minute session)
The Aesthetic Experience: The Connection between Art and Personal/Political
Transformation……………………………………………………………………………….. 34
Rosa Naparstek, Artists Unite, Inc., International Artists Society, New York Metropolitan
Martin Luther King Jr. Center for Nonviolence
11:50-12:20 Presentation Session 3
Breaking the Social Comfort Zone and Facilitating Positive Interethnic Relations
Through the Arts among Pre-service Art Teachers…………………………………….. 37
Ryan Shin, University of Arizona
Memory and Erasure: Applying Visual Narrative Power Analysis to the Image
War Between Dow Chemical and the Women of the International Campaign for
Justice in Bhopal………………………………………….………………………………….. 42
Carolyn Erler, Texas Tech University
The Art of Conflict and Peace in Northern Ireland………………….………………….. 43
Bernard L. Conlon, Ireland, InforStructure/Belfast Kids Guernica
(Continuation from Previous Session- 1 hour 10 minute session)
The Aesthetic Experience: The Connection between Art and Personal/Political
Transformation……………………………………………………………………………….. 34
Rosa Naparstek, Artists Unite, Inc., International Artists Society, New York Metropolitan
Martin Luther King Jr. Center for Nonviolence
12:30- 1:50 Lunch
Music by Sir Charles Atkins, Jazz and Blues Musician
Lunch Keynote Speaker: Takuya Kaneda, Otsuma Women's University, Tokyo
Sir Charles Atkins Takuya Kaneda
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2:00- 3:00 Poster Session & Dessert
Attendees Participate in Poster Session
Service Learning as a Strategy in the Study of Aging and Environment:
Developing Generations of Evidence-Based Interior Designers…………………….. 48
Lisa Bates, Iowa State University
Addressing Societal Injustices Toward the Aging and Dying: The Intersection of
Art and Healthcare…………………………………………………………………………… 50
Susan Martin Meggs, East Carolina University
The Affordable House: Making Design Competitions More Effective at Affecting
Change……………………………...................................................................................... 56
Ron Dulaney, West Virginia University
Moments of Peace……………………………………………………………………………. 57
Valia Mhaish, Wayne State University
Making It Right: A Case Study Exploring Sustainable Low-Income Housing
Developments in the Lower Ninth Ward of New Orleans……………………………… 63
Mary Beth Lane, Florida State University
Teaching Art in High Poverty Elementary Schools: A Search for Best Practices…. 65
Sunny Spillane, Florida State University
The Effect of Music Videos on African-American Males: Implications for Art
Education………………………………………………………………………………………. 69
Zerric Clinton, Florida State University
Growing Home: Creating Living, Sustainable Housing………………….…………….. 72
Elena Vee Myhre, Florida State University
Filtering Access through Social Engagement: Artists, Community, and
Curriculum……………………………………………………………………………………… 76
Cory Arcak, Marissa Munoz, Angela Cornelius, B. Stephen Carpenter III,
College of Education, Texas A & M University
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Art, Education and the Internet: A Context for Critical Pedagogy…………………… 81
Carlos Escano Gonzalez & Sergio Villalba Jimenez, University of Seville
3:00-3:30 Presentation Session 4
Artmaking as a Process for Exploring the Relational Qualities of Service-learning
Experiences………….………………………………………………………………………… 86
Lynn Sanders-Bustle, University of Louisiana at Lafayette
Voices of Children: An International Project Where Children Have a Voice Through
Image and Text………………………………………………………………………………… 89
Ian Brown, University of Wollongong, New South Wales, Australia
Art and Life With Children……………………………………………………. …………….. 92
Boris Tissot, Curator, Artist
The Homeless Shelter Family Dorm Room Considered: A Design To
Reduce Perception of Crowding……………………………………………..…………….. 95
Jill Pable & Kenan Fishburn, Florida State University
Mary Radcliffe & Pam Andras, Mainstreet Design
3:40-4:10 Presentation Session 5 (concurrent sessions)
Visual Narrative Study of Transnational and Relational Immigrant
Identities………………………………………………………………………… …………….. 102
Anniina Suominen Guyas, Florida State University
Blind Boys Art………………………………………………………………………………… 104
Asit Poddar, India & Ann Kuo, Taiwan
Art Education for Social Justice
Tom Anderson, David Gussak, & Allison Paul, Florida State University
The Rainbow-Shell-Spiral…………………………………………………………………… 105
Thomas Economacos, Athens, Greece
4:15 Closing Keynote: Ray Goodson, 3Form CEO
Ray Goodson, 3Form CEO
4:50 Final Remarks
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Symposium Papers
Art and Design with Children’s Participation
Deniz Hasirci, Izmir University of Economics, Turkey
In this session, the discrepancy in the definition of participation, participatory methods used in art and design
projects with children, and possible difficulties that arise from these processes will be discussed. A design
project and an art project will be explored and the differences in both methods will be compared. The
participatory design processes of a school design project will be explained. In this project, the children and
youth of different age groups collaborated to form a learning environment, and an interpretation of a life-size
mural of Picasso’s “Guernica”. Additionally, examples will be given from realized design and art projects
that have come to life by a series of participatory processes with children and other stakeholders, such as
teachers, principals, museum personnel, volunteers, and parents. Quite often, users do not have a say in
the environments they occupy. Although participatory efforts aim to prevent using standard methods and
tried-and-true solutions, commonly, the findings are not reflected upon the resulting spaces. This is not to
say that these processes are worthless. However, consideration has to be given so that children are not
tokenized. It is important that they are interpreted correctly, just methods are used, and the space that is
created at the end carries qualities that are actual results of the processes. The same is true for art projects.
Although they are more flexible when compared to design project in terms of architectural standards,
functional needs and requirements, project organizers may still tend to have their opinions applied instead of
actually listening to the children. This is a crucial point as these processes are very educational for both the
users and the designers, and can be very efficient and fruitful when the findings are extended into the
project correctly. In the examples to be given, the ongoing participatory processes have already had this
collaborative and unifying effect. The presentation will connect to one design (“Peace Village”) and one art
workshop (“Difference and Peace”) to be applied by the author with children from Hartsfield Elementary
School, as well as a panel discussion and the exhibition of the Kids’ Guernica mural completed in 2007 by
Turkish and Greek children.
Participation
Children have a right to take part in the decision-making process as active participants who are considered
equals to all of the participants as well as the persons organizing the activity (Clark and Percy-Smith, 2006;
Sanoff, 1990). This approach dates back to Hart and his definition of participation as the “process of sharing
decisions which affect one’s life and the life of the community in which one lives”, and that participation being
the fundamental right of citizenship for everyone in a community (1992, p. 5). This approach considers the
child an equal in the decisions that are made. Several research studies have been established gaining support
for this view. However, care should be given so that one does not fall into tokenist approaches that “use” the
participatory acts with children for their own good without really listening to them.
Involving children in participatory processes of design and architecture is an attempt to come closer to an
inclusive and holistic approach within the design world. This is especially true when one considers the fact
that children almost never have a say regarding the environments they grow up in. The involvement of
parents and teachers is key in any issue related to children and children’s environments. Where children’s
environments are considered, it is crucial that they be a source of fulfillment as well as part of enhancing
educational programs within schools. Thus, what can working with children teach designers and architects?
First, if a space is created for children, the fact that they have a say in the space they will occupy is very
important. Also, in a changing world in which children are experiencing a life very different than the children
of 10, or even 5 years ago, it is important to consider their needs. Thus, one cannot keep repeating old triedand-
true solutions for designs in children’s environments (Clark and Percy-Smith, 2007; Hasirci and
Demirkan, 2003; Hasirci and Wilson, 2009; West, 2007).
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There are basically four steps to just participation of children in decisions that will influence them directly.
First, children should be given the opportunity to know, discuss, and contribute to those decisions. Second,
in order to be able to do this, it is important that they receive the necessary background information on the
subject and have equal access to a discussion platform. Next, they should be asked their opinions while in a
decision-making situation and have the opportunity to get those opinions across. The fourth step is that their
viewpoints should be taken seriously as they might present an issue not considered by the designers.
Merely a chance to be heard is often what anyone deserves. Lastly, children should be informed of the
outcomes after the participatory process is complete and the final decisions have been made. They and all
participants should be able to question the results, reject, and discuss them (Kural et al., 2007; Skivenes
and Strandu, 2006).
Art and Design Projects – Differences in Approach and Methodology
There are some commonalities and differences in the approach to participation in art and design projects,
especially with children. To begin with the commonalities, first, in both cases, the aim should be to motivate
children, get them to participate, listen to them and obtain the necessary information from them, and to
interpret this information correctly (Hasirci and Wilson, 2009). These factors apply to both art and design
projects. Another feature that is crucial to any participatory project is to get the participators warmed up to
one another. This can be done in a number of ways, by talking and/or with games, and a considerable
amount of time should be given to this activity before the actual process starts.
In terms of differences, although there is a joint objective in both an art and a design project, an art project is
much more flexible in terms of creative process. Both methodology and results may change depending on a
simple idea that comes up from a participant. It is open-ended, and can change from one moment to another
taking shape according to the agreed decision. A design project on the other hand, has a particular aim that
has to be solved at the end of the process. Whether it is the production of the design of a building, a logo, or
a chair, if standardized methods are not utilized, the process may remain only at the level of exercise and
may not lead to the desired result. There are various techniques to be applied that change according to the
purpose of the participatory process.
The Case Studies
The Kids’ Guernica Art Project
Often the production of art is individual and it is shared with the public when it becomes a product. If interest
in art does not begin at a young age, the appreciation of it in future years is likely to be most difficult.
Therefore, participating in art processes at young ages urges children to value art. Art projects planned with
different age groups enable older youth to take responsibility, and to introduce younger ones to art language
and methods. In an environment in which there are children and youth of various backgrounds, art provides
a common language and creative results can be achieved. The idea behind participatory art is to
systematically integrate theory and practice and enable people to take part in art activities in their
environments.
In a participatory art project realized with Turkish and Greek youth, the Kids’ Guernica group enabled youth
to contribute to culture with a “peace” concept, and enhance cultural relationships. A mural project that
started with children from Chios, carrying the theme and dimensions of Pablo Picasso’s “Guernica”, was
completed in Izmir with the participation of a group of middle school children, children from Chios, and
undergraduate design students from the Izmir University of Economics (IUE). The organizing committee was
Poiein Kai Prattein in coordination with Kids’ Guernica and IUE, and the finalized version of the mural was
exhibited in Athens at the Zappion – Megaron. All participants were ecstatic to have created an international
joint project with so many different groups of people involved. When the participants were asked about how
the groups communicated, they replied by saying, “by painting”. Even this reply points to the beginning of an
awareness concerning art that stresses creativity and communication (See Figures 1 and 2).
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The “Peace Village” idea came from turning the Kids’ Guernica art mural into a three-dimensional design
project created using participatory design methods. Thus, it was the coming together of art and design using
the different participatory methods of both.
The School Design Project
Decisions regarding spaces for children are often made by owners or stakeholders who are not the actual
users of the space, building or environment. When this is the case, several important needs of users may be
overseen, causing ineffective use of the space or unsatisfied users. Although, participatory processes seem
to consume more time, energy, and resources, they enable quick results that focus on real needs that are
more difficult to reach with other methods. Extended life for building through user contribution and possibility
of more adventurous solutions due to user backed confidence for project are also other possible advantages
(Hadjioannou, 2007; Hasirci and Demirkan, 2003). The idea that lies behind participatory spatial
programming workshops is that people from different ages and different fields can come together and create
efficient design solutions (Sanoff 1980 and 1990).
In a school design project, the aim was first to start a discussion on learning environments and the design of
products, furniture, interior spaces, playgrounds, and entire building complexes for children. The joint project
between the Faculty of Art and Design of Izmir University of Economics in Turkey and the Department of
Architecture of Chiba University in Japan lasted for three months. In this project, participatory methods were
undertaken with elementary school children and volunteer undergraduate architecture, interior architecture
and industrial design students. Post Occupancy Evaluations on existing city schools, and the design
students’ schools were completed, interviews were done with teachers and students, city plans were
assessed in an effort to evaluate the approach to the school, playground and green areas, and scale. Books
were read and films were watched, and lengthy discussion sessions were held about school design. As a
result, design guidelines for schools were developed, classrooms, desks, and playgrounds were designed.
It was a fruitful process in which the design students learned about participation along with methods of
design programming and awareness on the importance of users and of the special qualities of children’s
environments. The children were happy to be listened to and the design students were excited to be taking
part in this project that required participation on several different levels.
At the end of the summer, designs were exchanged between the two universities, comparing the different
approaches. Both groups of projects were developed according to the needs of the school discovered as a
result of the research period. The need for better designed gathering areas and green spaces were
mentioned frequently, as well as having choices in spending free time within the school and flexibility in
spatial arrangements in classrooms. The learning environment providing for development of motor abilities
and needs for self-actualization were stated as the most critical needs of the children in both Japan and
Turkey.
According to the questionnaires regarding the classrooms completed by the Turkish design students during
their visit to their own elementary schools, the most liked features were colorful furniture, plants or a
connection of the classroom to the outside, large windows, high ceilings, individual desks for students, and
the class providing for interactivity. The most disliked features were, chalk dust, small play areas, hard floor
material, small size of the classroom, noisy chairs and furniture, lack of hooks for coats and bags, lack of
personal area in the classroom, disordered arrangement of classroom, lack of technology, and children not
having their own plants. Regarding the total school environment, most liked features were, school, green
spaces, free gardens, and low building heights. The most disliked features were school, dark colors used in
the interior, lack of hygiene in restrooms, playground full of stones or pebbles, and lack of spaces for sports.
According to the questionnaires completed by the Japanese design students during their visit to their own
elementary schools, the most liked features in the classrooms were, sunny areas in the classroom,
balconies and connections to the outside, high ceilings, easy access to the garden, bulletin boards, plants in
the classroom, variety in seating choices, carpet on the floor large windows, high ceilings. The most disliked
features were, difficulty in seeing the board from the back, seats by the window being cold in the winter,
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noisy doors, and dark classroom environment, insulation problems, hard floor material, small classrooms,
noisy chairs and furniture, lack of personal area in the classroom, and disordered arrangement of
classroom. Regarding the total school environment, the most liked features were the green spaces,
interesting connection of spaces, free gardens, low building heights, and variety in outdoor areas. The most
disliked features on the other hand were, floors being slippery on rainy days, problems regarding legibility of
the school environment, monotonous interior space, dark colors used in the interior, lack of social areas,
rigidity in terms of plan, lack of maintenance, and plainness. It was observed that, the needs were similar
according to the design students of both countries, and inclusion of children as well as teachers and
principals in the school assessment and school design stages was very helpful to the project (See Figures 3,
4, 5 and 6).
Conclusion
A participatory approach can provide a useful set of guidelines in beginning the establishment of children’s
environments as well as artwork for an inquisitive new generation. It is also believed that children who have
been involved in such participatory processes will be better equipped in dealing with future social and
intellectual situations. However, the first step is the clarification of the definition of participation, and
acknowledgement and valuing of children’s contribution. Naïve and tokenist approaches should be
prevented in order to contribute to the field as well as create quality spaces for environments that answer
the needs of their users.
The Kids’ Guernica mural and Peace Village design workshops that will take place at the Art and Design for
Justice Symposium, Tallahassee will carry the same objectives and it is believed that they will be
educational experiences for all participants. The children will have the opportunity to watch a presentation
on the focus topics of the workshop, discuss issues related to peace, collaborate for specific aims, and
finalize the designs. It is believed, this will be a platform to observe the practical side of the theoretical
background of participatory process.
References
Clark, A. & Percy-Smith, B. (2006). Beyond Consultation: Participatory Practices in Everyday Spaces,
Children, Youth and Environments, 2006, 16(2), 1-9.
Clark, A. & Percy-Smith, B. (2007, May/June). How Parent Explanation Changes What Children Learn
From Everyday Scientific Thinking, Journal of Applied Developmental Psychology, 28(3), p. 189-
210.
Hadjioannou, X., (2007). Bringing the Background to the Foreground: What Do Classroom Environments
That Support Authentic Discussions Look Like? American Educational Research Journal, 44(2), p.
370-400.
Hart, R. A., (1992). Children's Participation: from Tokenism to Citizenship, UNICEF International Child
Development Centre, Florence.
Hasirci, D. & Demirkan, H. (2003). Creativity in Learning Environments: The Case of Two Sixth Grade Art-
Rooms, The Journal of Creative Behavior, 1st Quarter, 37(1), p. 17-42.
Hasirci, D. & Wilson, S. G. (2009) Involving Children in Participatory Design: The Case of a Children’s
Museum in Izmir, ARCHILD: International Congress – Architecture and Children, The Chamber of
Architects, Ankara, Turkey, p. 101-103.
Kural, N., Ozaloglu, S., Tanriover, S., Ural Ertez, S., Hasirci, D. (2007). Bademlidere Child Attraction Center
Pilot Study, Published and distributed by the authors.
Sanoff, H. (1980). Methods of Architectural Programming, New York: Van Nostrand Reinhold.
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Sanoff, H. (1990). Participatory Design, Mansfield, Ohio: BookMasters.
Skivenes, M. & Stranbu, A. (2006). A Child Perspective and Children’s Participation, Children, Youth and
Environments, 16(2), p. 10-27.
West, A., Chen X. M., Zhou Y., Zhang C. N. & Qiang, C. (2007). From Performance to Practice: Changing
the Meaning of Child Participation in China”, Children, Youth and Environments, 17 (1), p. 14-32.

DENIZ HASIRCI'S WEBSITE

19 Mart 2010 Cuma

KORIDOR - Yeni Sayı

15 Mart 2010 Pazartesi

Izmir University of Economics - Chiba University, Japan (Workshop)

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Kids' Guernica Project - January 2010

Kids' Guernica Project - January 2010

14 Mart 2010 Pazar

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