Economic empowerment: The role of artists as contributors toward inclusive economic development
Christiana D Afrikaner, Min. of Education, Arts and Culture Namibia
This presentation displays how artists can impose artistic techniques on critical consciousness to build a local rural community toward social change. The Topnaar community, a previously marginalized and oppressed population, is still distant and lives under challenging conditions. The artists have the boldness to approach the rural community of the Topnaars with the opinion to contact juveniles with or without any art background, for financial empowering. The youth group varies between nineteen and thirty-eight years of age, of which the majority are women. The group consists of twenty members, from which some are staying in Walvis Bay.
The aim is to help propel the youth towards being active role players in social action. They firstly focus on fostering the awareness of social injustice and secondly, how the inequalities impact the youngsters. Thirdly, they look at approaches on how to overcome the social prejudices through the arts. Unemployed youth from the community serves as the working group with the artists. The artists approach the youth with the primary objective to cultivate their minds toward fighting deficiency. It is vital for the artists to use art as a mechanism to engage with social issues. Art as a thought-provoking tool of visibility is used as the sound ground for activating social change with the unemployed youth. The artists explored how the techniques can operate to propel social change. They further come to an understanding that the arts have often been the groundwork for social change. This study shows illustrations of how the arts can be utilized to promote social justice, alleviate inequalities, and help the youth to build themselves. Willpower is set for the youth as an evaluation instrument to first, define their cultural identity in their terms as a strategy for economic independence, and secondly strive towards overcoming the social injustices. As the artists see the art as a cooperative effort to defeat the inequity, they use music, dance and craft interpret the individual’s social change. The artists use their artistic skills to reveal the strengths of the youth to identify social differences in their community. They are lead to voice their challenges through the art, and thus improve on the achievements gained through the performances and product selling. While the performances, on the one hand, are applied as entertaining, yet the artists integrate the program with service learning objectives by engaging the juveniles actively. Emphasis is put on how they can implement the artistic skills to engage with other youths and share skills. The article reports on activities done during the program and further search for productive ways of enabling the community for social justice.
Keywords: social injustices, deficiency, unemployed youth, rural community
to social justice
Building a foundation for a sustainable Film and Television Industry in Botswana: The Experience of Awil College – AFDA Partnership
by Mothusi Phuthego
The ART of becoming (P)ART: developing socially-engaged art teachers: a practitioner self-study approach
Merna Meyer, Creative Arts, Faculty of Education, South Africa
The ART of becoming (P)ART: developing socially-engaged art teachers: a practitioner self-study approach
I regard art as a subject that can promote meaningful interactions across subjects around social issues that impact on the lives of learners. Yet the status of art education in schools is very low, and where it is taught, it is reserved as a specialist subject for the talented few. I thus wanted to find ways to assist art education students to acquire the skills and knowledge to promote socially-engaged art practices in schools and decided to use critical service-learning as a medium for this. Students engaged with children from a local home and reflected on their learning over five cycles. I generated evidence about student learning through observations, reflective notes and visual images. Qualitative analysis revealed that students became sensitized to learner contexts and experiences, which increased their empathic responses. They developed leadership qualities that will one day enable them to use art as a pivotal subject to increased social awareness among learners and involve them in addressing important social issues. The resultant pedagogical model serves as a praxis-orientated instrument to guide future trans-disciplinary engagements amongst pre-service art teachers and support my professional development in higher education teaching and learning.
Keywords: Action research, action leadership, critical service-learning, participatory strategies, professional development, socially engaged art (SEA), social responsibility
WORKSHOP: Integrated teaching approach of arts education in Namibian schools
Christiana D Afrikaner; Kamal Dollah; Roger Nautoro; Min. of Education, Arts and Culture, Namibia
This workshop will enable teachers of all phases (pre-primary, primary and secondary) responsible for teaching Arts, support subject, to teach the subject as a holistic approach. They will be guided to include three to four, or more disciples in one theme.
WORKSHOP:Reimagine Humanity ? Pushing Art Education towards a critical view of the Social Development Goals
By Teresa Torres de Eça and Angela Saldanha , Portuguese Art Teachers Association APECV, Portugal
The Sustainable Development Goals (SDGs) are a set of 17 goals decided in 2015 by leaders from 193 countries gathered at the United Nations (UN) . Each goal is divided into indicators to measure and drive progress. The SDGs were written as a roadmap to get from the world we know to the world we are supposed to want to have, with an ambitious goal of “leaving no one behind”. In this workshop we will use mapping stategies to develop critical reflection about the SDGs and art education after what the participants will be invited to create a collaborative action using art processes. We will bring theory of art and design to direct questions about learning to make arts, design; crafts and create relationships with others. We will try to discuss through art making how such practices in educational contexts can provoke discussion about the SDGs and raise awareness for individual and collective ways of transformation.
Keywords: : Art Education; Activism; Artivism; social engaged art education; Social Development Goals
Postcards from home: Inquiring through Art
Rita Irwin , The University of British Columbia, Canada
While embracing our artistic practices, art educators may work with students and colleagues to understand their own personal and cultural identities. Using the frame of a postcard, and the work of a Canadian artist, this session will share some ideas for identity exploration and creation among students and teachers, while also juxtaposing the use of a postcard frame for critical engagement. It is through this creative and critical approach that inquiring through art emerges and assists all those involved with evocative ideas worthy of further exploration. As this inquiry unfolds, the pedagogy/methodology called a/r/tography will be discussed. Emphasizing the practices of art making and teaching/learning, this pedagogy/methodology allows those involved to shift their perspectives toward an emergent potential for learning rather than focusing on a transmission model of learning. This is the power of art and education together to help all learners inquire into ideas and topics of deep interest to them. Moreover, there may be an opportunity to share postcards between Canada and Namibia!
Africa Peace Patchwork
Samia ElShaik; Egypt and Dalal Al Shareef, Um Alqura , Makkah, Saudi Arabia.
Keywords; Connecting Africa; Promoting Education For Peace Through Art; Arts For Peace In Africa
The African Union (AU) envisions a “… peaceful and prosperous Africa, integrated and led by its own citizens…” This quotation marks the importance of peace as a priority to prosperity.The AU Common African Position (CAP) on the development programme post 2015 is based on the following seven (7) pillars that meet the aspirations of the African people:1. Structural Economic Transformation and Inclusive Growth2. Science, Technology and Innovation3. People-oriented Development4. Environmental Sustainability5. Natural Resource, Risk and Disaster Management6. Peace and Security7. Funding and Partnerships
The Strategy Objective (SOIO) of the AU Continental Education Strategy For Africa (CESA, 2016-2025) has as its focus to Promote Peace Education and Conflict Prevention and Resolution At All Levels of Education and for All Age Groups. This could be done by capitalizing on ongoing innovative peace building experiences in various African countries and networks and disseminate lessons learned. We need innovative and creative interventions for building Peace in Africa.
Peace is at the core and is emphasized in the Agenda 2063. Education and peace should be the cornerstone for development in Africa. Guided by the above Aspirations, NEPAD in collaboration with the International Society for Education Through Art (InSEA) are embarking on a Continental Project, Connecting Africa: Promoting Education For Peace Through Art.
This Project is a call to African institutions, civil society organizations, non-governmental organizations, community based organizations, youth formations, teacher organizations and women’s organizations to participate in advocating for a lasting peace in the Continent.The major aim of this Project is Education For Peace through Art in Africa. The second aim is to advocate for Peace in Africa through art. We wanted to motivate artists throughout Africa to advocate for peace through their own artworks and to establish a network of African artists with a focus on Peace for development in Africa, so we started to compile pieces for an African patchwork after launching a call in InSEA and NEPAD. The ongoing Patchwork was presented in the InSEA Regional congress in Cairo, April 2018, and will be presented in other Workshops, Congresses and Conferences of Culture and Education. The second gathering of the African patchwork will take place during this seminar (Walvis Bay, Namibia) in a workshop to continue to build connections through art making using textiles.
Safeguarding our diverse cultural heritage
Jorge Gumbe, ISART, Luanda, Angola
This paper is based on the research carried out under a PhD programme, which sought to develop and test out new curricular content, teaching strategies and resources for the primary school art curriculum which would reflect the cultural make-up of Angolan society and internationalist goals. It scrutinised the theoretical underpinning of primary education in relation to the planning and teaching of ritual and associated arts to Angolan children. The conceptual framework for the curriculum was social reconstructionist (Stuhr et al, 1992; 1994) and drew on art education theory, in particular on McFee and Degge, (1977) and Allison (1972) and it tested out a combination of Allison’s (1972) strategy for analysing cultural objects and Feldman’s (1994) four stage model of art criticism with the aim of improving students’ understanding of the function and significance of selected artefacts in a specific cultural context. The version of action research used in this study was adapted from the model developed by Moura (2000) and Elliot (1991), and the data collection instruments were many and varied to enable the researcher and the teachers to gain closer contact with the reality of the pluralist art curriculum reform process. The teaching learning strategies the action team applied were cross curricula, in the sense that they drew on history and geography (Silva, 2006; Coelho, 1997), but were intended to motivate visual arts activities. The primary teachers who participated demonstrated strong motivation to collaborate. They were made aware of their own strengths and weaknesses through the researcher’s constant collaborative oral reflection and evaluation of their actions. In conclusion this thesis is the first study of its kind that was carried out by generalist teachers at primary education level in Angola. It is this researcher’s hope that this study can stimulate interest in a wide range of questions and problems concerning Angolan patrimony, its meaning, origins and application in general education and specifically in art education classrooms. The researcher is affectively attached to these cultures and sees it as his personal and civic duty to contribute to the current discussion about Angola’s post colonial educational situation.
ART FOR SUSTAINABLY AND EMPOWERMENT: A CASE OF WEARABLE ART FROM NIGERIA
Empowering artistic skills through economic emancipation and wealth creation
Olusegun Adeniyi, Teaching Visual Art, Nigeria
The study explored art for sustainably and empowerment: a case of wearable art from Nigeria. Wearable art is a fusion of art and fashion composed of the Adire background with the infusion of artistic hand-printed designs and patterns inspired by the African traditional cultural elements. It is a metamorphosis of the old tradition of tie and dye into a ready-to-wear outfits. It is a fashion concept that incorporated the traditional heritage with the embellishment of artistic cultural designs. It is about promoting peace and preserving the African cultural heritage through a fusion of ART and FASHION. The fashion industry generates up to $2.5 trillion in revenue a year. The fashion industry is huge and continues to grow rapidly according to current growth projections, it will double in the next 10 years, generating up to $5 trillion annually. Its not just big in terms of revenue it also employs 60 million people around the world. In the US, 4 million people work in the fashion industry. Clothing accounts for 88% of Haitis exports. 79% of Bangladeshs, 59% of Lesothos, 52% of Cambodias and 43% of Sri Lankas exports are related to the clothing industry. With the sector constantly reinventing and transforming itself, and the lines between fashion and technology becoming blurred, its an exciting time to be in the fashion industry. We can all be a part of the generation that revolutionized fashion and made it more sustainable. This study is to inform and also offer hands-on training for teachers in Namibia to venture into the lucrative business of wearable art. With the support of the government, it can be exported to other part of the world with the trade mark made in Namibia. Keywords: Wearable Art, Visual Arts, Fashion, empowerment, and sustainability.
ART COMPETITIONS AS A MOTIVATING FACTOR IN AIDING STUDENTS ACADEMIC PERFORMANCE IN VISUAL ART
Olusegun Adeniyi, Teaching Visual Art, Nigeria
Student motivation affects every aspect of school life, from attendance, to academic performance, to extra-curricular activities. Promoting the greatest student motivation possible is extremely important for every teacher in Visual Art. The study examined Art Competitions as a motivating factor in aiding students academic performance in Visual Art. Art competition as a means of arousing interest in learning and getting the learners excited about the learning activities. The researcher adopted descriptive survey design for the study. The target population for this study comprise a total of hundred (100) students which were selected randomly from ten (10) secondary schools in Ibeju-Lekki, LGA of Lagos. The research instrument used for the study was a self-developed structured questionnaire. The researcher examined the effects of participating in art competition on academic performance of students in Visual Art in selected schools, determine the sustainability of motivational factor on student academic performance in selected Secondary Schools in Ibeju-Lekki Local Government Area of Lagos State and also explored causes of poor academic performance in Visual Art in selected Secondary Schools in Ibeju-Lekki Local Government Area of Lagos State. Academic competition is a growing concern in our educational system. Our educational system fosters competition in students at a very young age. It teaches and promotes competition amongst themselves throughout their educational career. Many students become highly competitive. They feel pressure from both internal and external sources to perform well in school. In observation of the findings that the students need the pull to value art and to increase their academic performance, the researcher recommended that participation in Art competitions at both local and international level should be encouraged in schools. It was further recommended that the Ministry of Education should ensure that the winning students from the art competitions receive tangible prize awards such as scholarships, refurbishment of the art studios, art supplies as a means of motivating students for maximum academic performance in Visual Art. Keywords: Academic performance, Visual Arts, Motivation and Competition.
Towards Decolonizing Namibia’s Arts Education
Nashilongweshipwe Mushaandja , Namibia
This paper reflects on a 2017 two day workshop that took place at the John Muafangejo Art Centre in August 2017 titled Decolonizing Arts Education. This session was attended by artists, cultural leaders and educators from Windhoek, Swakopmund and Western Cape, South Africa. The two day workshop had the following objectives; to map/revisit the legacy of arts education in Namibia and Africa, its challenges and opportunities today. To highlight the importance of arts education and promote its implementation in formal and informal contexts. To continue reimagining networking, inclusivity, visibility, agency, decentralization, dialogue, access, and collaboration amongst artists, educators, cultural leaders, institutions and other relevant stakeholders. To create a documentation of the workshop process of suggesting and recommending decolonized arts education for Namibia.
What does a decolonized arts education for Namibia look and feel like? To respond to this, the workshop participants produced a vision for Namibian-African decolonized arts education. This historic document references a variety of ideas of a critical conscious education and principles of Paulo Freire’s Pedagogy of the Oppressed. It was established that Namibia has not yet committed itself to an education system that is anti-racist, anti-capitalist and anti-heteropatriarchal, and a lot of work is needed in this regards.
This paper will not just focus on the process and outcome of this workshop session, it will also critically reflect on the challenges and opportunities of this vision. Sustaining a project of decoloniality proves to be a challenge in many ways. This paper will there fore offer suggestions of how commitment, solidarity and trust can be built in order to build an arts education approach that contributes to an education system that has healing and transformation at heart.
Connecting Islands: Design Thinking in Teacher training, developing Visual competencies through art - Teacher training, art teacher training
Gabriella Pataky, ELTE TÓK University, Hungary
Design thinking is a new strategy of motivate creativity in every sector with difficulties. Let’s make a new language of it through art! The basic elements of this innovative way of seeing and problem-solving can be the key in transdisciplinary art education to develop essential competencies. Design, in the sense of product design, is developed from traditional craftwork. It is crucial for the everyday life for the individuals, the economic success of companies, for jobs and for the prosperity of societies. The competencies at work in the development of design are competencies of Visual Literacy. These always related to design and to manifestations of visual everyday culture. What kind of development is necessary during the first years of institutional education in order to optimally expand children’s visual knowledge? I would like to take unique examples of best-practices, original and low budget lesson plans from around world and the latest, most relevant research results related to it. As a starting point I would like to use diverse interactive methods to seek answers to the particular questions of visual education for young children, that can raise awareness of the planning of pedagogical processes for early childhood educators (kindergarten and elementary school teachers) who (also) teach visual arts. All this pursues one of the new objectives of InSEA: offering support to early childhood educators to get to know the most up-to-date trends in visual education (“Education through Art”). Kindergarten teachers, preschool teachers, elementary/primary school teachers, generalist teachers and in-service teachers all teach art passionately in their everyday lives, but this work is not appreciated enough, they need more help to develop themselves, especially in relation to the new concepts of early childhood education and elementary schools, which proposes a complex, transdisciplinary, competence-based curriculum. The role of visual competencies is growing with high speed, but children’s visual skills are less developed today than they were 40 years ago (Pataky, 2017). To contradict the over-emphasized presence of image making exercises we have to look after new ways to competence-development and here we are with three possible directions to improve teacher’s potentials in the light of design thinking: • Plastic skills development • Construction skills development • Built environment education With the metaphor of an island, I would like to find the right place of the art teacher training, while safeguarding our diverse cultural heritage in the world to build bridges to a responsible 21. century citizens.
Solidarity through art- Building social responsibility and citizenship
Tiiina Pusa, Aalto University, Finland
In this research project the political role of teacher is approached through art based research with phenomenological case setting. The question for the whole research project is: how and why a teacher took a radical position in the historical frame? In this particular presentation I reflect how art may offer a platform for solidarity. In my research there are structurally three parts: a background essay, art-based research (Suominen, Kallio-Tavin & Hernández-Hernández, 2017) part and a reflective essay. In the background essay, I open the reader to the starting points, the frame and the method. During arts-based part of my research, which is focus of this presentation, I traced the polyphony of happenings in Finland in 1918. Crocheter Alma (Virkkaaja Alma) is my performative project, which lasted same period than the Finnish civil war lasted a century ago. Starting point for the project was a portrait on my grandfather's mother Alma Gummerus painted by artist Kaarlo Atra (1879-1961) in 1929. In the portrait Alma is crocheting something. She is weared totally black including black scarf on her head. Position is profile, left shoulder towards a viewer. Each day, totally 109 days, I crocheted 50 white and 250 red stitches and asked someone to take a photo with my mobile phone to publish it in instagram. In the current emphasis to global social responsibility and justice for the teacher's work began to form since the 1970s. The ethical focus has continued to grow at the turn of the millennium. (Ahonen, 2002; Atjonen 2004; Tirri, 2002). This could be seen also deconstruction of superiority. When a teacher does not see her/himself as better knowing and better citizen, equally human dialogical setting is possible to build up and even strongly different political and religious views may encount. The results of my arts-based research are partly in visual form and partly verbalized experience. Radicalization can be seen as a serious lack of solidarity (Saari, 2011). This opens up the role of art and art education in creating solidarity. Crocheter Alma -project made room for encounters and political discus in everyday life. According to my arts based project, the material and performative nature of crocheting made room for the basis for solidarity. Preventive work against confrontation and radicalization may become part of teaching. That is base for the next turn and stage of my research.
Keywords: arts-based research, solidarity, education, societal, history
References Ahonen, J. (2002). Eettinen opettaja - eettinen vaikuttaja. In R. Sarras (toim.) Etiikka koulun arjessa. Keuruu: Otava, 65-73. Atjonen, P. (2005). Pedagoginen etiikka koulukasvatuksen karttana ja kompassina. Suomen kasvatustieteellinen: Turku. Saari, J. (2011). Hyvinvointia edistävät rakenteet. Lecture 25.11.2011, University of Eastern Finland. Suominen, A., Kallio-Tavin, M. & Hernández- Hernández, F. (2017). Arts-Based Research Traditions and Orientation in Europe. Perspectives from Finland and Spain. In Handbook of Arts-Based Research (edit. Leavy, P.). The Guilford Press. Tirri, K. (2002). Opetustyön keskeiset eettiset ongelmakohdat. In R. Sarras (toim.) Etiikka koulun arjessa. Keuruu: Otava, 23-33.
FADS: Engaging Finnish Art education Doctoral Students in a four-year network, between three universities
Mira Kallio-Tavin and Kevin Tavin, Aalto University, Finland
Learn how doctoral students from three Finnish universities exchanged current research on art education with each other, their professors, and international scholars, throughout a collaborative and experimental network. Faculty from three universities in Finland collaborated over a four-year period in a network for doctoral students, whose work deals with art education. The network met in different location throughout Finland where doctoral students exchanged ideas on art education with each other from their dissertation research, learning materials, and advanced studies. They also presented their work to a panel of invited international scholars in the field of art education that facilitated dialogue and feedback. This presentation tells story of Finnish Art education Doctoral Studies (FADS), and explores individual dissertation projects, while bringing together collective voices of the students, faculty, and invited scholars, to advance current research topics in art education. The story of FADS is in the four parts. First, we provide a brief overview of the historical and current state of graduate research in art education, in Finland. Second, we discussion the objectives of the doctoral network, FADS, and ways the gatherings, assignments, and projects unfolded. Third, we share the collective work from the doctoral students participating in FADS, through their various assignments and working groups that focused on philosophical, methodological, and theoretical underpinnings their research. Lastly, we demonstrate how the story of FADS is more than a descriptive case study through multi-authored doctoral student projects, and collaborative and experimental texts between invited scholars and students, all of which helped to develop and expand doctoral research.
Performative Pedagogy and Gender in Art Education- Securing freedom of expression and basic human rights
Anniina Suominen, Tiina Pusa, Aapo Raudaskoski & Larissa Haggren, Aalto University, Finland
The proposed presentation explores how gender diversity is present in the policies and practices of Finnish art education. The authors first explore gaps between policy and practice through a close study and analysis of the Finnish National Core Curriculum for basic arts education as it relates to the broader Finnish culture of power and politics. Of special interest in this analysis of the core curriculum is how normative cultures continue to shape the articulation of this guiding document and how this policy manages to simultaneously advance and hinder equity and social justice in/through art education in Finland. The presenters endorse a turn towards an anti-oppressive education that acknowledges the need for an active stance in advocating gender equity. To frame this orientation, the proposed paper is framed more broadly by the study of the Seoul Agenda (unesco.org); the Universal Declaration of Human Rights; the Convention on the Rights of the Children; the United Nation’s sustainable development agenda as it is articulated in the “Transforming our world: The 2030 agenda for sustainable development and the broader culture politics” (sustainabledevelopment.un.org, 2015); and the Finnish National Core Curricula. Of special interest is to study how the global agencies governing the advancement of human rights continue to produce agendas and policies that are founded on the binary notions gender as well as how National Agencies for Education advance and/or dismiss gender diversity as a basic human right through written curricula and educational policies. The main focus of this presentation is to share public pedagogies and performances created by arts education students.
Arts education from the margins: Critical articulations of hope- Building social responsibility and citizenship
Anniina Suominen, Aalto University & Eeva Anttila, University of Arts, Finland
This presentation articulates marginalized arts education perspectives from various parts of the world. The presenters share their experiences of editing a collection of research- and practice-based projects that aimed to increase critical understanding and build a foundation for sustaining hope in areas of crisis and conflict. The presenters believe that participation in the arts is a basic human right and that diverse cultures and the arts are an integral aspect of healthy lives and societies. The presented collective effort is building on long traditions of arts education for social justice, critical pedagogy, and the pedagogy of hope. The arts education practice conceptualized this way is understood as a form of activism driven and guided by humane compassion. Original projects were created by educators, researchers, and artists who have devoted their research and practice in exploring how to utilize arts education to work toward justice, equity, sustainability, and hope when communities or groups of people are faced with most challenging and arduous situations, including forced migration, institutionalized discrimination, economic, ecological, and cultural oppression, hatred, prejudice, and violence. The contributors depict hardships, struggles and failures but also articulate through their shared stories the strength of individuals and communities that strive to make a difference and work towards fair and just cultures and communities. The proposed presentation provides a brief overview of the diverse projects included in this collective effort. However, the scholarly orientation of this presentation is to explore the process, ethics, pedagogical, and theoretical challenges involved in working with such challenging foci and content. The presented project is founded on multiple different methodologies and various research-practice emphasis. Altogether, 15-20 projects informed the authorship of 11 texts. Each contribution employed a different approach to critical pedagogy, pedagogy of hope, the understanding of marginalized arts education, and arts-based research or arts practice-based inquiry. The presenters share how their understanding of research and pedagogy were informed by the process of facilitating the creation of this collaborative effort. The presenters also share the methods that were employed within the process. The presentation focuses on furthering the discussion on arts education in the areas and communities of conflict, unrest, and violence as well as forced institutionalization and marginalization of individuals. The presentation also focuses on contemplating the ethics of arts practice and pedagogy in the context of marginalization. By presenting alternatives to normative education, the presenters aim to contribute to the research on arts pedagogy of hope.
On transculturalism in art education
Marc Fritzsche, University of Koblenz-Landau, Germany
Before everything else, I feel the need to name some traps: I am a white, male, European, even German professor of art education who offers a contribution to a conference in Namibia. The conference is titled “Building social cohesion through Arts Education”, and sub-themes include “Understanding identity – Safeguarding our diverse cultural heritage” and “Securing freedom of expression and basic human rights”. The historical relation between Germany as former colonial power and Deutsch-Südwestafrika/Namibia has many dreadful aspects, to say the least. So, with all respect, here is an outline of what I would like to talk about.My contribution is situated around the term and concept of transculturalism as coined by German philosopher Wolfgang Welsch in the late 1990s. This has become an important reference point in German art education since 2012. Discussions were accelerated by a large number of refugees coming to Germany especially since 2015. Museums and schools in Germany and Europe offer courses etc. in this context, but many questions are still unanswered. The public discussion here ranges from claiming that refugees pose a threat to our cultural heritage to the idea that Germany should keep its borders open to everyone.In all areas of life, the complexity of the cultural has become a major issue. An increasingly bewildering array of set pieces from different backgrounds with different meanings constantly remixes into new, highly complex and endlessly differentiating forms. Historically, this is nothing new – although the speed and depth of the process have grown remarkably in recent decades.With large numbers of refugees fleeing conflict and violence and reaching all the way to Europe, there is an urgent need to develop strategies that allow them at once to be included in European societies, while at the same time retaining a sense of their own identity, and a pride in their cultural roots. Cultural activities have proven benefits for refugees and migrants, in terms of providing enabling environments to express themselves, recover from trauma and share stories, participate in communities, and take positive action towards active citizenship. The cultural productions and expressions resulting from such cultural encounters and processes can and should inform the development of policy in broader areas including education, housing and social policy, employment, in the context of migration. In 2016, the European Commission called for experts from all over Europe to collaborate on a report to highlight key areas where cultural interventions lead to tangible benefits. Some of these are clear and immediate, in relation to language learning, social skills, therapeutic benefits, employability etc. But the experts also called for a wider cultural strategy to develop an open and equal dialogue between new citizens and their host cultures.This presentation highlights some of the results of the report and relates them to a theoretical framework that critically reflects on intercultural and transcultural (Welsch) concepts. It also points out the dangers of othering (Said, Adelson) and the challenge of the term hybridity by postulating a third space (Bhabha) and cultural remix (Schnurr et al.). Nationalist tendencies are criticised as globally popular yet inappropriate reactions to large scale migration. As Edward Said puts it: “All cultures are hybrid; none is pure; none is identical with a ‘pure’ people; none is made of a homogenous texture.”
Colours and Music. Different Approach. FLAGS
Tonu Talve- Estonia
One could look at the Live-Art show-lesson as a collage, that speculates with different social values and meets the viewer’s interest. While the postmodernist architecture is borrowing many different tricks from the entertainment, why cannot the art-lesson or painting do the same? The many-sided use of audio-visual means at the Live-Art-lesson, is certainly very inventive and inspiring.
Different arts approach each other actively?
Live-Art show-lesson maybe simultaneously perceived as film and live, which enriches the experience in many different ways: one could see the picture as a whole, and closeups of the texture at the same time, as well as other aspects. In a way, it gives the whole thing kind of a Pollockian spontaneity, a feeling that perhaps the process is sometimes more important than the picture, and a possibility to look at the picture like at a document registering everything, that the art-teacher has done in the process of painting.
Art-teacher uses the inspiration of music - cowork might do the trick or pilot the students mind so, that it involves all participants in creative process. Everything is open for feeling and recording as one´s own inspiration tells.
Art-teacher, together with the students, at the time, must be perfect psychologists and salesmen, making their work fascinating through the effects of light and shade, illusion, and the human body rendered in a variety of poses during the Live-Art show-lesson.
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Finding one’s voice through visual arts research and journal development
Steve Willis - Missouri State University- USA and Allan Richards- University of Kentucky, USA
This presentation will discuss finding one’s artistic voice through visual arts research and journal development because those who develop and understand their life narratives tend to be better human beings and better citizen. What do we value as art educators? How much have we been acculturated? Plato found a truth in shadows, Levi-Strauss in the jungles of South America, Derrida in text, Zachariah Rapola in his Johannesburg street awareness, and Fusco in her native culture. It is important to be aware of the subtlety and stratification of identity as defined personally, artistically, professionally, and communally.
Perceptual truths are embedded within the countless casual decisions made every day. What are we not seeing, not teaching, or not telling? Are we aware of what Eisner (1994) detailed as the null curriculum? What is evident in our daily pedagogical and curricular choices? Truths are not self-evident. Truths are multifarious, mercurial, and sententious. But, we find our own truths through our artforms, through our visual storytelling. Artists are storytellers who must tell their stories; we must find and amplify our stories.
We would have a better educational experience for our students if we created a sensitive and sensuous learning environment providing time for authentic and creative storytelling. We must expect that our students do have a story to tell. To support these stories and our students, quality time must be provided. As Elizabeth Gilbert (2015) pointed out in Big Magic, that the essential ingredients for creativity remain exactly the same for everybody: courage, enchantment, permission, persistence, trust—and those elements are universally accessible.”
Practical experiences for visual arts research and journal development
Steve Willis - Missouri State University- USA and Allan Richards- University of Kentucky, USA
Development of practical experiences through visual arts research and journal development investigates and excavates our resistance, agreement, or convenience, as we continually adjust to our environment (educationally, artistically, financially, socially, historically, spiritually). We may consider that we are individuals, but so much of our knowingness comes from our communal relationships whether it is from travel, environment, family, schooling, spirituality, or introspection. We are sensory beings, we must grapple with the challenging experiences we bring to the act of creation, the act of transforming, the act of finding our voice, the act of storytelling. Our identity, security, and confidence in our knowingness grapple with the consistent variations of our perceptions. These are our challenges that provide personal transformations as a person, artist, and educator.
Educational understanding must be comprehensive and concise, not superficial or anemic, not redundant and repetitive; knowledge, histories, and cultures must be rethought to determine and define contemporary values. It is through educational interactions in our classrooms, school, communities, and professional organizations that our experiences are shared, vetted, and employed.
Each of us is a product of our experiences and that each experience can represent one fiber in the tapestry of our personal identity. Then, in our personal tapestry, each moment, each tiny fiber, both positive and negative, in peace or conflict represents complex issues. Not only are we the woven colors and patterns, but as well, the tensions that move throughout the tapestry. Those challenges of acceptances or rejections, successes or failures, understandings or misunderstandings are consciously and subconsciously entangled in our personal identities – in our transformations - in our storytelling.
Visual arts research and journal development presents practical applications for the student, artist, and educator to investigate self, environment, identity, family, community, language, and culture. Through this, we can discover, and accept or reject the contributions to our tapestry.
Practical experiences for visual arts research and journal development
Steve Willis - Missouri State University- USA and Allan Richards- University of Kentucky, USA
Citizenship in Arts and Education Programs
Allan Richards- University of Kentucky, USA and Steve Willis - Missouri State University,USA
This presentation focuses on the knowledge and skills students need for the 21st Century, cultural diversity, variety of learner types, and developing pedagogical strategies to deliver these preparatory materials to different types of learners. Excerpts from our recently published book, Global Consciousness through the Arts: A Passport for Students and Teachers, will be interspersed throughout this presentation.
We will start the presentation discussing the issues facing the global society and the educational enterprise. This includes the coarsening of the sociocultural rhetoric, and the frequent physical altercations we see and hear about in the news. In a civilized society, education is intended to prepare students for their responsibilities as good citizens. Who is responsible for preparing them? There are many responses to this question but the one I like best is that it takes a community (including the education enterprise) to prepare students for their future and being good citizens. Parents cannot abdicate their responsibility to provide safe, caring, and rich learning environments for their children if they expect them to succeed. The Community, in the form of government, cannot shrink its responsibilities to provide adequate resources for K-12 schools to educate students rather than expecting teachers, who are already underpaid, to purchase materials they need for their classes. Many believe that educating students to be successful is a wise investment by the community—they will grow up paying taxes rather than the alternative. But it is not the only investment, because leadership matters. Leaders, whether they believe or not, set the tone for the society and should model the behaviors society expects of their citizens. What about art educators? What is our role? Spirituality is not about religious dogma, it is about how we treat our fellow human beings. Teachers should lead by example in this matter.
Participants in this presentation are expected to learn that the external conditions have significant influence on making learning relevant. Participants will also learn how to effectively address both internal and external influences in their teaching.
Global Awareness: Transforming Otherness into Educational Assets through Art Education
Allan Richards- University of Kentucky, USA and Steve Willis - Missouri State University, USA
This workshop discusses the conceptual pedagogical approach to engage students socially through art education and to promote cultural diversity that could transform the classroom. The conceptual pedagogy consists of two parts: current –events and a problem to be resolved. Current event: Cultural diversity can strengthen communities but fear of otherness could prevent this from taking place. A problem to be resolved: Fear of otherness seems to manifest itself when there is a lack of knowledge about the individual or group that represents “otherness.” Art educators can address this matter very effectively, but to understand it, we must first understand that the classroom can and should be a vehicle for change that influences the social, economic, political and judicial consciousness of students. To this end, the art-room can be an academic venue and at the same time, it can be a social venue that engages students in verbal, narrative, and pictorial dialogs through communication and collaboration that seamlessly promote cultural diversity and convert otherness to educational assets. Participants in this workshop is expected to apply the conceptual pedagogical approach model to a situation of their choosing and after, discuss it in the group where questions and responses will be entertained.
REFORMULATION OF INTERCULTURAL COMPETENCE IN THE CONTEXT OF A DIVERSITY-CONSCIOUS TEACHER EDUCATION AND PEDAGOGICAL SCHOOL DEVEL
Sylvia Esser- Germany
The relevance of this area of research is based on the increasing importance of globalisation, mobility, migration and super-diversity (Vertovec 2002), as well as the associated responsibilities of the education system – and hence also on educational institutions. It is postulated in this context that intercultural skills are needed as core qualifications and professional competence within schools and universities (e.g. KRÜGER-POTRATZ 2010; AUERNHEIMER 2013).
With reference to current scientific discourse and based on personal experience with regards to the operationalisation of education concepts for (further) development of intercultural competence, it is hypothesised that the concept is in part focused on lines of discourse based on a more traditional understanding of intercultural paedagogy. Many concepts are founded on the presentation of stereotypes and culturalisations and (artificial) homogenisations can be generated based on attributions.It is also highlighted that even in practical situations with a focus on intercultural competence, culturalisation is facilitated since determination through culture is suggested, hence there is orientation based on the model of national cultures and a unilateral and short-sighted focus on foreignness and (cultural) differences suppresses existing balances of power. MECHERIL clearly demonstrates that concepts must be fundamentally rethought and reformulated (MECHERIL 2013:16). This is precisely where my thesis work comes in.
The core question of this dissertation is as follows: How should a concept for further development of intercultural competence be formulated such that culturalisations and stereotyping, as well as exclusionary practices, are counteracted in social settings and in educational institutions?
The guiding objective and interest is thus to reformulate a concept of intercultural competence that targets the further development of individual competence profiles and the professionalization of teachers which is to be implemented in the context of organisational processes with the goal of dissemination that is conscious of diversity. To achieve this, this research deliberately appeals to the critical school of cultural studies. The generation, (socio)genesis and construct of (discriminated or segregated) social groups and exclusionary practices by and within educational institutions are reflection in this context, while addressing the relations among social practice, power and culture and their production through the behaviour of social players. Based on this perspective, it appears possible to reposition the traditional models of intercultural competences, which are largely essentialist and culturalised.
I first carried out a document analysis (Flyer; Online-Publications). Few of the findings: Sociostructural and migrational relationships remain unaddressed and much more focus is placed on apparent conflicts that arise due to diverse cultural patterns (approaches are highly culturalised and oriented on or even create lines of differences based on nationality and culture; other dimensions of diversity remain largely unaddressed).
The new concept comprises a didactically-prepared certificate of apprenticeship in which the relevant new topics and content have been implemented with the goal of initiating processes of self-reflection.
The development of a specific competence profile plays a significant role. It will propose a systematisation for a competence profile so as to make clear which requirements have to be met. The competence profile will clarify which fields of and requirements for action are important for the professionalization.
The key skill reflective competence with regard to personal interpretative behaviour will become a relevant key area in the reformulation of the concept of intercultural competence, that can be described as reflexive, diversity-conscious intercultural competence.
The relevant key skill area of reflective ability, which is being developed in the new concept, therefore relates to:
a) the ability to critically self-reflect
b) a critical understanding of structure and society in the context of migration
c) the ability to contextualise in situations which are flux or hybrid
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Art as provocation for English language teaching: Releasing students’ voice
Tara Ratnam; Independent Teacher Educator; India
The purpose of this paper is twofold: one, to analyze a case of an inclusive pedagogy that uses art as a provocation for students’ active involvement in an English as Second Language (ESL) classroom embedded in its particular sociocultural setting and two, to offer this case as a ‘contextualized artifact’ (Craig & Orland-Barak, 2015) to trigger a dialogue on its transferability to other contexts.The learning needs of individuals are not uniform and cannot be subordinated to the idea of input equaling output—an assumption that has enshrined ‘standardization’ as a value within contemporary public discourse about education. The plurality of learners and their differentiated needs are more pronounced in the growing multicultural classrooms around the world. However, the common standards and high stakes tests compel teachers to rely on traditional knowledge transmission approach to teaching. This one size fits all teaching fails to answer the needs of diverse learners in the classroom. If the diverse experiences that these students bring to class are not acknowledged as a valued resource, they lose their voice and fail to connect to school knowledge that is transmitted to them in a one-way teaching. The students are made to take the blame for their failure in school. They are labeled as 'dull', 'unintelligent', ‘not interested’ or ‘motivated’ to learn. These students have to bear the shame for a fault that is not theirs but of the pedagogy. We need to change the approach to teaching in order to make it suitable for the diverse needs of children. It is here that I see the potential of art as a means to engage ALL students diversely in promoting their voice, their potential to contribute to the process of learning.
In this presentation, I provide an illustration of how art can be used as a resource in engaging students subjectively in classroom from their cultural and experiential location. This enables the teacher to follow learners’ orientations and build on their contributions from their life’s experiences and languages while introducing them to the expectations of successful participation in school learning. The data from the classroom, which was recorded and transcribed, is analyzed qualitatively (Denzin& Lincoln, 2005) within an interpretive paradigm. My classroom practice as well as its analysis is informed by a sociocultural perspective (Vygotsky, 1987). It sees learning as an active reconstruction by the learners of the knowledge or skill that is presented based on their “living knowledge”, i.e. what the learners bring to bear on it from their sociocultural location. The findings offer for discussion how art facilitates in establishing the interface between what students bring with them to learning and the new learning offered in class.
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introduction. In In L. Orland-Barak & C. Craig (Eds.), International Teacher Education:
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The Wishing Tree
Paulo Cesar da Silva Teles; Rosana Bernardo; Gabriel Neto- University of Campinas - UNICAMP , Brazil
A tree-shaped structure is built out of rubbish and attached with proximity sensors. According to people's movement around it, wishes expressed by 9 - 14 years Namime students are triggered on a screen projection and sound speaker.
This interactive touchless sensorial installation is the result of a workshop which took place at !nara Primary School in Walvis Bay one week before. It combines a fusion of handcraft hi-tech, traditional (drawing, collage, painting, assemblage) and media expressions.
That sculpture, once made by teachers and students from that school with the recycled material, promotes the ecological and anti-consumerism and ethics discussions by a transcultural set of activities.
Behavioural technology in the treatment of problems and behaviour disorders within the classroom
José Alonso Aguilar-Valera, San Marcos National University/Kazan Federal University, Peru-Russian Federation
From the behavioral perspective, the treatment of different problems and behavior disorders has been very effective over time, as a result of a successive experimentation, and the constant updating that has been done in this applied field of science. There is a clear difference between behavioral problems and disorders, which are mainly based on their incidence, and their appearance in different contexts, independently from the presence of other control agents. In the latest edition of the Diagnostic and Statistical Manual of Mental Disorders, we can see the different indicators that describe punctually a behavioral disorder, among them: Severe rupture with the norms and the absence of respect towards the rights and freedoms of others, connection with other spheres related to human development - social, academic, working - and with a previous appearance before 18 years of age (if it occurs after this age, we may be talking about an antisocial personality disorder). This issue has been addressed both by specialists in the field of Psychology and by others related to this discipline - educators, counselors -when facing a complex reality. For this, the technology of functional analysis has been designed under the parameters of operant conditioning. The process of operationalization has given specialists the possibility of studying carefully behavioral problem over time, thus establishing the limits between what is considered a problem and a disorder itself. Likewise, this has generated a greater understanding of the complex and intricate understanding of behavioral disorders by both the specialists involved and the users of the service. As a consequence of the evolution of the behavioral approach, and of the evidences found after a successive experimentation and careful study of the existing relationships among the complex variables involved -before difficult to manipulate-, for a better study of these it has been proposed to perfect the functional analysis. This resulted in a series of models that have allowed the specialists to perform a complete analysis of these problems, in addition to categorizing the variables depending on their functional characteristics. Independently of generating only a purely clinical diagnosis, it was also proposed to develop a functional technology that defines and clarifies the complex network of variables that determine the current condition of the problem, as well as its antecedents and its future occurrences, with the purpose of improving the individual and group intervention in the classroom, thus facilitating the work of the different specialists involved in this field at the moment of administering the different behavioral-cognitive technologies, respecting both their principles and laws, facilitating the management of these problematic conditions, regardless of the context where they are carried out.
Keywords. Behavioral disorders. Evaluation. Differential diagnosis. Executive functions. Scales and instruments for detecting behavioral problems. Educational field.
Community Batik - Experiencing Cultural Diversity of Singapore
KAMAL DOLLAH, Singapore
An art practitioner's account of adapting traditional batik making process into an art making package for experiencing the unique cultural diversity of Singapore.
Batik is a Javanese craft for decorating textile, utilised across South East Asia it is inherently accepted as a cultural symbol of Singapore's diverse multi-cultural makeup. This technique was adapted by artists for pictorial expression during the nation's pioneering era and since then batik-painting claimed its place as a cornerstone of Singapore art history.
'Community-batik' is an art engagement system created by Singaporean artists Kamal Dollah in 2009. A mobile assembly system that is easy to set-up, it enables an activity that embodies the wealth of cultural diversity and togetherness in creating a collective work of art. It rekindles the spirit of ‘gotong royong’ - A Malay term for community spiritedness. This process, involves trained artist(s) facilitating the co-creation of a large scale painting by a group of people large or small. The activity is highly engaging that today, community-batik has become a popular feature in community events across Singapore for public gatherings and corporate team-building activity. It is applied for education purposes at many levels in schools for art-making and cultural experience. The completed paintings are treated for colour-fastness and displayed permanently as proud reminder of a successful group effort.
Kamal Dollah collaborated with Nanyang Academy of Fine Arts to make the longest-batik painting record of 300-metres in nine-hours on 15th September 2018.
Singapore artist Kamal Dollah will demonstrate the art of batik painting. Hands-on experience for participants in using the 'Tjanting', a traditional batik tool for drawing with wax. Co-create a large batik painting to celebrate our togetherness.
Note: A two-hours session. No pre-requisite or limit to number of participants.
WORKSHOP : UNIVERSAL DESIGN FOR CLASS ~Inclusive education~
Yoshiya Iwatsuka (JICA volunteer)
I worked special school 6years, child consultation center 2 years in Japan. I learnt about inclusive education for 8 years. Now I work in education office in Namibia as a volunteer. I observe lessons at school and conduct workshops for Namibian teachers.
JICA Volunteer Program
JICA volunteer program is one of the principal activities of JICA as part of its international cooperation carried out on behalf of the Japanese Government. It was established in 1965 to provide official Japanese technical assistance programs abroad at grassroots level. Program aimed at supporting activities by young Japanese citizens in their 20's and 30's who aspire to cooperate in the social and economic development of developing countries for their regular term of 2 years
Why Universal design?
Learners can understand easily and remember easier.
It said students keep concentrate only 20-30 minutes, so Materials help them.
Learners obvious instruction and short instruction is easy to understand so when put Universal design teachers instruct easier at class.
Effective TIME TABLE
Learners know schedule and have outlook a day.
Learners become check the time.
It is possible to act in looking at the clock, so TIMETABLE makes punctual person.
Learners understand what they should prepare next.
Let’s Make a Spinner (Top)
I conduct a session on how to make Spinner (Top). This is suitable to play with for normal children and challenged children. Arts is possible to work regardless of whether disability exists this is Inclusive education. Inclusive education means creating conducive learning and teaching environments for all children in regular schools. (Reference: UNICEF)
WORKSHOP :Dreams and Inner Images.- Recreation, self-knowledge, creativity.
Pilar Pérez Camarero; Universidad Autónoma de Madrid, Spain
For this symposium, I propose a three hours workshop, adaptable to more or less time. Depending on the time available, I'll tailor the different activities.
Regarding the materials, we'll adapt ourselves to the available items.
If we can't have plastic materials, we'll look for simple systems we can easily find.
The approach consists of paying attention to the enormous symbolic and creative richness of our inner imaginary.
Every participant will write a personal oneiric story, from wich we'll develope a number of techniques, mainly the recovery of symbolic images and their embodiment through plastic materials, in bidimensional or three - dimensional way, recycling in that last case.
WHERE FACTS AND FIGURES LOSE INFLUENCE: ART can STILL LEAVE an IMPACT
Fran E. Wright
Programme Director, UNESCO Club Vienna, Austria
Art as a tool for emotional expression and personal development
Regine Gillmann, Namibia
In form of a video presentation: Art in schools is often assessed, evaluated, or graded according to some set standard, or creative competencies which have to be achieved. This, structures a kind of benchmark of what ‘good’ or ‘bad’ art is. Instead, art should be expressed as a form of exploration, a mode of communication, and most of all a tool for personal expression. If we do not have the opportunity to express ourselves in our unique and authentic ways, or we do not have the means to express what we are dealing with emotionally, it hinders our emotional and psychological development. With personal demands and pressures increasing in all aspects of life, finding a suitable method for emotional expression presents numerous challenges. However, engaging in creative expression and non-evaluative art making offers increasing evidence that the process of creativity bears with it numerous positive outcomes. Research, personal observations, and experience demonstrates that free creative expression positively influences cognitive, emotional, and psychological development. Henceforth, creative expression/art can be used as a tool to benefit children to cope with challenging personal circumstances, assist them with emotional exploration, increase self-awareness and strengthen inner resources and skills to deal with life more effectively.
Traditional Crafts Communities in the Amazon, Designers and Art Educators
Ana Mae Barbosa, Full Professor Universidade de São Paulo- Brasil and Universidade Anhembi Morumbi
The group of designers Piracema work with traditional craftspeople without any imposition and any directiveness, looking towards the development of the creative process. Of course the presence of the designers is already an intervention but their relations are based on dialogue. The process initiates by workshops to make the craftspeople aware of their personal history, of each other’s experiences and local history. A local historian is always invited to talk about the town. The education process is based on research of the materials from the region for economic reasons and on the development of visual perception. The designers stimulate the participants to look around at local things like patterns and forms in the architecture in the surroundings to be used as visual motives of the products to be created.First, my focus will be on the cooperative work among designers, art educators and craftswomen from Benevides, in the Amazon Region a place where survival is at risk.The second group I’ll analyze is from Marajó Island, Pará. It includes men who are mostly unemployed or under-employed and some are the husbands of craftswomen. Observing that the work of their wife was getting recognition and making good money some men decided to learn to make lace, embroidery, ceramics, basketry and different ornaments. I interviewed the designer Mary Maués and the art educator Ida Hamoy about the process of work and several craftswomen and men who participated in the workshops. All of them talked about the freedom they had and all of them recognized the higher quality of the products made by them after the workshops.
Key-words: Design, Crafts, Amazon, Art Educators.
We are ArtNautas with Namíbia
Amilcar Martins & Teresa Alexandrino, Portugal
Overflowing curiosity is the raw material and vibrant spirit that helps mapping our Namibian journey in this preliminary period of an African and cosmic ritual that gains body and voice, which draws reinvented projections of moving shapes and dreams. With tangible and/or subliminal signs for intense experiential openings, we wish to engage in a meeting ofArteNautas with Namibia, with its spaces and people, with its landscapes and its animals, with its ancestry and modernity, with its own life and plural identities.
We are, after all, ArteNautas-Travelers aspiring to be touched by the powerful energy of Mother Africa. In the luggage we will take with us the arts of the body and of the singing, the arts of the tale and the iconographic images of ArteNautas of the World. We are, after all, potential mediators of (im)probable contacts of imaginary and human experiences, of discoveries and possibilities, of constructions and of sharing, of connections and of multi and intercultural creations marked by the one and the multiple, by utopia and by infinite.
The epicenter of our proposal - WE ARE ARTENAUTAS WITH NAMIBIA - should have the inductive form of an installation-performance, which invites all participants to enter it and continue the journey, mobilizing their means of expression and creative identities of ArteNautas, through a situation pedagogy with the inspiring dna of poetry and art.
WORKSHOP : Title: Reflection as a means to identify teacher blind spots
Teachers are intuitive persons. Their practice is driven by their own set of tacit values, beliefs and purposes. Very often teachers are not aware of the tacit beliefs and assumptions that guide their action. This causes a split between what they believe they are doing and their actual practice and, as a result, the quality of teaching and learning suffer. These spontaneous theories guiding teachers’ action are not amenable to change in their tacit form and therefore the key to teacher learning lies in holding them up to scrutiny. The workshop session will take teachers through illustrative examples of inconsistencies between teachers’ espousals and action. These examples will be used as a trigger for teachers to examine their own values in teaching and how close or distant their actions are to the values they hold. It will help teachers examine the challenges they face in bringing their practice closer to their explicit beliefs and reclaim their space to be agents of their learning and change.
WORKSHOP: Classroom management: reaching out to ALL students
“I went in there [the classroom] thinking I’ll impress those students, but I couldn’t stand being there even half an hour…” (The first day teaching experience of an ESL teacher)
Classroom management seems to be the most challenging aspect of teaching for teachers generally. The term classroom management conjures up images of teachers struggling to quell students’ (mis)behavior that disrupts the delivery of instruction. Aggressive (corporal), rote (writing imposition) and assertive (compliance based) disciplinary approaches are widely seen as a means of controlling disruptive behavior. The imperative of maintaining discipline in the classroom seems to drive teachers to embrace these disciplinary measures although its effectiveness is not proven. On the contrary, research findings point to a strong association between inclusive classroom settings that foster students’ physical and emotional well being, good behavior and learning (Sodak, 2003; Mansor et al., 2012).
This workshop is premised on the principle that supports a view of classroom management practice that, while eschewing abuse, promotes students’ sense of belonging. The sense of belonging is provided by creating an inclusive classroom environment where the teacher ‘knows’ every child, acknowledges the child’s potential as well as its struggles. Every child’s identity of participation is fostered by using the diverse cultural lens, with which it views the world, as a resource. This alternative way of addressing children’s disruptive behavior is mediated to teachers through hands on awareness raising activities that enable them to take responsibility for educating themselves about the needs of individual child, so that every child feels welcome, safe and supported and develops the intrinsic desire to learn .
Azlin Norhaini Mansor, A.N., Eng,W.K., Rasul, M.S., Hamzah,M.I. & Hamid, A.H.A. (2012) . Effective classroom management. International Education Studies,5 (5), 35-42.
Soodak, L. C. (2003). Classroom Management in Inclusive Settings. Theory Into Practice, 42 (4), 327-333.
MOBIL FABRIC – CILIA: A PROJECT FOR HAND WEAVING ART WORKS
GHADEER ELMAYAH, 6 October University , Cairo, Egypt