This paper is a Central European contribution to the current knowledge of Erasmus students' motivations. It takes as its starting point the fact that one of the reasons for studying in a foreign country is learning about different cultures. 30 Erasmus students from 8 European countries, enrolled in Museum Education course in two academic years at the Faculty of Education, University of Ljubljana, participated in the research. The analysis of qualitative data, collected by individual interviews, a focus group and written personal reflections, revealed that, when making specific country and study decisions, students are driven by three motivational factors: discovery, change and curiosity. The research, done from the perspective of cultural heritage, additionally indicated how geography shapes the cultural experience of Erasmus students and what role museum and heritage site visiting play in it.

V prispevku je predstavljena kvalitativna empirična raziskava o odnosu starejših odraslih do sodobne likovne umetnosti, ki je bila opravljena z analizo odzivov na razstavo del umetnika Jožeta Baršija v Muzeju sodobne umetnosti v Ljubljani spomladi 2013. Izpeljani sta bili dve fokusni skupini – pred ogledom razstave in po njem, ko so starejši prišli v neposreden stik z umetnikom in njegovimi deli. Rezultati kažejo na odnos starejših odraslih do sodobne (slovenske) likovne umetnosti in potencial ustrezno zasnovanega izobraževanja pri razvoju zmožnosti za doživljanje in estetsko presojanje likovnih del. Analiza, ki je temeljila predvsem na teoriji kulturnega kapitala in na s tem povezanem konceptu estetske kompetence, teoriji izobraževalnih potreb starejših in teoriji likovne umetnosti, je pokazala na pomen družbenega in kulturnega konteksta. Avtorica raziskave ugotavlja, da mora izobraževanje starejših na področju sodobne likovne umetnosti ponuditi starejšim odraslim več raznolikih možnosti, pri čemer imajo muzeji kot družbene institucije posebno vlogo. Če z izobraževanjem zgolj sledimo že razvitim potrebam (osebnim zanimanjem) starejših odraslih, jih v doživljanje sodobne likovne umetnosti ne privabimo.

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One of the important positions of the last curricular reform in Slovenia, which included systemic issues of education (White Paper on Education, 2011) and curricula for compulsory subjects in primary school, is the fact that Slovenia has been integrated into Europe, and thus education should also include the development of core European competences. One such competence is cultural awareness and expression, which until now has been an issue more in the context of cultural policies than school policies in Slovenia. The purpose of the present article is to critically analyse the curricular reform of art education (i.e., visual art education), through which, in terms of certain components of the competence of cultural awareness and expression, it is foreseen that the student will gain a knowledge of art, develop an ability to experience works of art and develop a creative attitude towards art and heritage.Because the starting point and goal of curricular change is the curriculum, our analysis is derived from curriculum theories, and not from the art theories and pedagogical theories that have predominantly framed previous attempts at curriculum analysis. Critical consideration of the curricular reform of art education in primary school in terms of certain components of the competence of cultural awareness and expression was undertaken by comparing curricula in the field of aesthetic education. We compared art education with music education and literature within the Slovenian language curriculum. Qualitative analysis showed that, despite the reform, the curriculum for arts education does not realise selected components of the competence of cultural awareness and expression, largely due to the curriculum’s conceptual structure. Art education is centred principally on art-making activities, with an obviousneglect of appreciation. The integration of arts subjects at school, as proposed by the White Paper, is therefore not possible, due to the existing model of art education. From a practical point of view, the analysis also raised the question of the knowledge and competences of teachers.

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