The purpose of this paper is to present and discuss some of the findings of an ongoing research initiated in 2014 — centred on the Project 10x10 by FCG (Fundação Calouste Gulbenkian, Portugal), an innovative program of teachers´ continuing professional development. The innovative character of this program relies on its ability to work in-between spaces of art and education, of curricular subjects and artistic fields, of schools and art foundations, of teachers and students, of teaching and learning. This is so since “10x10” is grounded on cooperative work developed by teachers and artists and implemented in the classroom context. Although taking place between the art foundation and the school, and making use of artistic devices and rationalities, this is not an arts education program; rather it promotes teachers’ critical distance towards the classroom. By being grounded on cooperative and creative teamwork, the program aims to shed light to the emergence of particular pedagogical strategies – named as micro-pedagogies in the guidelines of the project “10x10” – derived from the confrontation of artistic strategies of work.

We had already the opportunity to share in ECER 2014 some of the preliminary findings of this project, based on data collected during the year of 2014. We pointed out to some particularities of the 10x10 program, at the level of its contributions to the teachers`professional development, not in a perspective of continuity between previous experiences, but as an interruption (Biesta, 2006) that allows them to experience different ways of working (with the artists, with the students, in the school and outside the school), and also different ways of understanding their professional practices and changing the conceptions about their work — related to inter-disciplinarity, to the pedagogical work with students and/or social-relational aspects (Gomes, Gonçalves e Pires, 2014).

It is our perspective that the pedagogical practices developed within 10x10 need to be analysed considering their distinctiveness (Thomson et al., 2012), intentionality or purpose (Biesta,2006; Thomson, et al., 2012) and the nature of the educational experiences they promote (Larrosa, 2014). In order to do so, it is important to understand the meanings that the different actors involved attribute to their practices (Gonçalves, Azevedo, Alves, 2013). We assume this approach as an attempt to inductively construct educational theory.

In this stage of the research we present some of the results of the questionnaire answered by teachers of the first and second edition of the program (data collected during the years of 2014 and 2015), focusing on the pedagogical practices developed by the teamwork teacher-artist.  The analysis will be oriented by the following research questions:

. What are the teachers´ perceptions of the pedagogical strategies constructed with the artists and named as micro-pedagogies?. What are the distinctive characteristics of the pedagogic strategies experienced throughout the project?

. What type of relationships can be established between teacher pedagogical practices and artistic practices? Is it possible to map the contributions of the confrontation between artistic knowledge and pedagogical knowledge?

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