Program of the Seminar
By InSEA President Teresa Torres de Eça and InSEA Vice Presidents Steve Willis and Samia ElSheik
Economic empowerment: The role of artists as contributors toward inclusive economic development
Christiana D Afrikaner, Min. of Education, Arts and Culture Namibia
This article 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
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
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.
Transition from Old Media Art to New Media Art and Technologies: How Prepared are Art Educators in Africa?
Azeez Wahab Ademola, Department of Fine and Applied Arts- Federal College of Education (Technical) Akoka, Lagos, Nigeria
Most art eductors in Africa were generally trained in the Old Media tradition and techniques of traditional art genres such as painting, ceramics, graphics, textiles design, sculpture and others. The introduction of New Media Arts has revolutionalised visual arts production processes with the introduction and merging of media and computer into one and the above mentioned media that include shapes, symbols, forms, images, pattern and moving images, sound, spaces etc become computable and are translated to numerical data accessible using single computer machine which make the media mentioned above to be disseminated to millions of viewers all over the world at fastest rate. Unlike old media, the New media are not processed manually but through a computer machine. The transition of art educator from old to new media requires special training, facilities, techniques and exposures. In order to completely transit to new media art educators, a lot needs to be done so as to meet up with the rest of the world in the area of curriculum input and manpower development. It is believed that residual knowledge of the old media is not enough but total transformation of the curriculum and personnel is required to teach the New media arts such as digital art, computer graphics, computer animation, virtual art, Internet art, interactive art, video games, computer robotics, 3D printing, cyborg art etc using the new media technologies. The time to train the computer and ICT-literate visual art teachers is no other time than now.
Keywords: Old media art, New Media Art, Curriculum, New media technologies, ICT, art educators
We are the visual and Creative World: An Art Workshop for the Physically Challenged Students .
Azeez Wahab Ademola, Department of Fine and Applied Arts- Federal College of Education (Technical) Akoka, Lagos, Nigeria
The theme: "We are the visual and creative World " is chosen to keep the hope of physically challenged students of Modupe Cole Memorial School, Lagos alive. As creative beings they can still influence the world if they are given the chance despite their situation. This is an Art workshop organised for students of Modupe Cole who are physically challenged and in order to make them believe in themselves and to bring out the best in them in terms of creativity and entrepreneurial skills and to know that all is not lost after all. The purpose of the workshop is to develop the students hidden and inherent talents and make them potential job producers and thereby encourage the public to support them in the area of visual art creation. The student-participants would be randomly selected among male and female students of Modupe Cole Memorrial Childcare, Lagos. The expected result of the training is to make the students to be Entrepreneurs by making them create for the world that has given them narrow space to operate from. Various art materials are to be distributed based on the students interest in both two and three-dimensional areas of visual art. The workshop is to make them create different art forms that would bring out the best creativity in them and make them job producers. The processes of producing the art work are to be recorded in photographs and video and the end products are to be properly packaged and exhibited for members of the public for patronage.
Keywords: Creative world, Modupe Cole Childcare Centre, Entrepreneur, Creativity, Physically Challenged
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.
The ART of becoming (P)ART: Establishing a participatory ART framework for pre-service art teachers’ professional development- Building social responsibility and citizenship
Merna Meyer, Creative Arts, Faculty of Education, South Africa
Most tertiary art educationists encourage a professional framework that focuses on a theoretical base, with personal values and critical reflective practices in classrooms, but neglect to explain how pre-service art teachers could take social responsibility and contextualize their subject knowledge in the lives of children from diverse backgrounds. This concerns me as the role of the art teacher is to help uplift the status of art education by projecting it as a subject that cultivates humanity and embraces differences. It is also a subject that is not only earmarked for the talented few but a learning tool to engage in meaningful interactions across disciplines and cultures. In an attempt to foster a professional framework that could guide students transition from tertiary training to 21st century professional workplace, I asked them to apply their values-embedded artist, researcher and teacher (ART) roles in more contextual and participatory ways. They engaged with youths through participatory action research activities (PAR) and reflected on all four cycles. The empirical evidence indicated that students became more resilient and understanding towards ‘others’ moving closer to a professional frame that is not only scholarly engaged but values relational leadership in their practices. They started to understand the ART of becoming (P)ART.
Zero Waste Zone- Promoting a safe and healthy environment
Minna Suoniemi, Finland
In my presentation I draw parallels between my artistic project Practical Ecology, the work of South African artist Pieter Hugo and Romuald Hazoumè, an artist from The Republic of Benin and the work of Finnish artists Kari Cavén, Kalle Turakka Purhonen and Anu Tuominen, who use recycling material in their practise. Pieter Hugo and Romuald Hazoumè are known to Finnish audience through ARS 11, the most important exhibition institution in Finland, then with the thematic focus on Africa. The whole settings of ARS11 seems problematic to me. Through this juxtaposition, I aim to look at these ecological artistic approaches from the perspective of unequal economic conditions, and how our relationship to objects is defined by those conditions. Practical ecology is a photography and video based contemporary art project studying my father's mission to live an ecologically sustainable life, and how that affects his relationship to objects, waste and consuming. Practical ecology depicts things, which he has created out of various broken objects, for example a wooden cutting board out of an old leather sofa or skates out of old skis. My father, now retired from paper industry, was born during the Finnish Continuation War in 1943, and raised during post-war depression in Finland, then a developing country. I look at his action as resistance towards consuming, which could be seen in the context of DIY culture and art, merely as a habit of repairing things or even as a reversing act in the context of consumer industry. His creations resample the artistic work of sculptors Hazoumè, Cavèn, Turakka Purhonen and Tuominen, who use abandoned objects and create their work around and of used material. The meaning-making derives from the contrast between the original objects and new connotations embedded in the artwork. Another ankle to look at Practical ecology appears when placing my father’s action next to the photographic series by Pieter Hugo, depicting young men in a waste land burning used paint cans to clean them and recycle them for income. Hugo’s photographic work, when shown in Finland, formed a reference to one of the most known paintings in Finnish art history, Eero Järnefelt’s Kaski (Burning of Brushwood, 1893) depicting a young famished girl working by burning ground to earn a living. This painting has been seen as an iconic image building the Finnish national identity in the turn of last century and can also be viewed as a document of man’s relationship to nature and its’ resources. Thus, questions of ecological sustainability and social justice become visible against a historical and global background. My study creates a map of intertwined questions through the artworks about capitalist consumerism and global inequality it creates. I look at what remains untold in these artistic approaches, and how art could reveal new openings towards a more equal and sustainable future.
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.”
We are the visual and Creative World:
Wahab Ademola Azeez- Federal College of Education (Technical), Akoka, Lagos- Nigeria
An Art Workshop for the Physically Challenged Students .
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.
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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(Hg.): Soziale Ungleichheit. Klassische Texte zur Sozialstrukturanalyse. Frankfurt/Main: Campus-Verl.
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In: Erol Yildiz (Hg.): Nach der Migration. Postmigrantische Perspektiven jenseits der Parallelgesellschaft. Bielefeld: transcript
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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.
Craig, C.J. & Orland-Barak, L. (2015). International teacher Education: Promising pedagogies
introduction. In In L. Orland-Barak & C. Craig (Eds.), International Teacher Education:
Promising Pedagogies (Part B) Advances in Research on Teaching,Volume 22 (pp. 1-5).
UK:Emerald Group Publishing Limited.
Denzin,N. & Lincoln, Y. (2005). The sage Handbook of Qualitative Research (3rd edition)
Thousand Oaks: CA:Sage.
Vygotsky, L. S. (1987). The collected works of L. S. Vygotsky. Vol. 1. Thinking and Speech.
(Eds.) R.W. Rieber & A.S. Carton, (Trans.) N. Minick. New York: Plenum Press.
José João Augusto Hoguane- Universidade Aberta (Portugal) and Universidade Pedagógica/CEMEC/ESTEC,; Marcos Bonifácio Muthewuye- Universidade Pedagógica/CEMEC/ESTEC, ;Rangel de Almeida Manjate - Universidade Pedagógica/CEMEC/ESTEC, Mozambique
Mozambique is a rich country in cultural diversity, externalized by the artistic manifestations and customs of local communities, that are transmitted from generation to generation, loaded with intrinsic values of various order that govern the way of artistic making and their meaning for the communities. However, research carried out by project proponents shows that there is a lack of local artistic activities registration, a lack of the cultural and artistic heritage knowledge in citizens, and a lack of activities leading to its dissemination and preservation in school and community environments. It is a concern of the project to survey, classify and catalog them for organize a permanent exhibition that will help to disseminate works from artistic manifestations of Local Communities. Participants in the project will be artists, artisans, plastic arts researchers, community leaders and other influential members. We will try to find artistic practices like musical instruments, traditional dance costumes, handmade fishing equipment, pottery, weaving, basketwork, sculptures, traditional architecture, pyrography, tapestry, among others. After a bibliographical research will follow the field work based on interviews, observation, visual and audiovisual records. The pilot project will be in three phases of three months each: the first phase will be in two districts in the Inhambane province; the second will be in two districts in the Gaza province and the third will be in two districts in the Maputo province. The results of the project will be presented as a permanent exhibition in a "Community Museum" that will function as an object for education, appreciation and learning of students, teachers, tourists, art researchers, artists, and other interested. We hope that it will help in valorization and preservation of artistic activities that identify the art-culture of the communities, their practices and traditions. The dissemination ways of the exhibited objects may include presentations, physical and digital media.
MAKING SENSE THROUGH MOVEMENT
Cecília de Lima- Faculdade de Motricidade Humana - Universidade de Lisboa
Target: In this workshop, we will practice diverse qualities of moving in order to perceive different bodily states and to explore how our grounding consciousness emerges through the active body. The workshop is directed to anyone who likes to move and to explore movement.
Duration: preferably 2h; minimum 1h
Maximum participants: 20
Since a few decades ago, Embodied Cognitive Sciences have been demonstrating that the mode we generate meaning, conceive thought and develop our cognitive foundation derives from our the kinaesthetic and sensory-somatic perception as well as from our interaction with the environment. For example, in his book - “The feeling of what happens”, the neuroscientist António Damásio, demonstrates that we gain a primary sense of self through our sensory-motor perception, and that emotions are, indeed, changes of bodily states, interpreted and named as specific feelings.These scientific evidences are corroborating something that artistic practices have been experiencing - artistic practices develop an intensification of sensory-somatic perception and, deriving from such intensification, they generate meaning and create a felt, incorporated relation with the world. By returning to the foundation of our cognitive nature, artistic practices deepen our perception of knowledge and our sense of thought.
Such thematic was part of my doctoral research*, in which I´ve developed a methodology entitled Physical-Mind Maps aiming to develop a deeper conscience of our embodied cognition. This methodology integrates movement practices grounded on dance release technique and contact exercises with exercises of creative writing.
In this workshop, we will approach one part of this methodology, which concerns the practice of how different modes of physicality can generate different sensations associated to bodily states and even emotional states. More specifically, during this session, we will explore the physical sensations and concurrent feelings deriving from - for example: surrendering in the fall, moving in great tension or completely loose, opening the chest to the world and closing in protection, becoming stuck and breaking through, suspending the body in an inspiration or grounding the body in expiration, shaking and throwing, etc. Based on these physical experiences we will perform some simple exercises of creative/ associative writing.
* Lima, Cecília de (2017). Pensamento Transversal: A Arte de Experienciar o Mundo como o Paradoxo de Movimento – PhD thesis. University of Lisbon – Faculty of Human Kinetics
Gisele Costa Silva, Aalto University, Finland
ePost-Nokia Finnish higher arts education: economic crisis, work relations and impact
In which ways an intense economic crisis affects the work in higher arts education? Internationally known for its excellency in education, Finland has been through a major overhaul in terms of higher education over the past decade. At the same time, the country has been struggling to recover from the collapse of Nokia, the company that inscribed Finland's entry into the global market, while it has been also dealing with the consequences of the financial crisis of 2007-2008. This article analyses the ways in which the work relations within higher arts education were impacted by this huge economic crisis, leading this Nordic country to the corporatization of higher education, as well as to the acceptance of the entrepreneurial university. An intense discourse regarding the societal impact of art and its teaching has permeated both artistic and academic practices recently. Aligned with this, associations with creative industries and entrepreneurship have been influencing the daily life of art within the university. The doctoral research that is the bigger frame to this paper up until now revealed the absence of publications that conceptualize, discuss and reflect on the artistic and academic practices from the point of view of higher arts education. From this gap came the need for conducting eighteen interviews with members of the faculty of Aalto University School of Arts, Design and Architecture, in a mix between an at-home ethnography and a case study. The article is organized in three major themes that emerged from the interviews. The research background is the first topic of discussion, highlighting historical context and the unique character of post-Nokia Finnish higher arts education. Secondly, the focus is shifted to what constitutes higher arts education, its relevance and how its academic work is perceived and performed. Finally, this paper offer details about the shifting scale of relations between a generic and abstract notion such as an economic crisis and the daily life and work of academics in higher arts education.
A suitcase for Europe - or how to trace (mark) culture!
INTERCULTURAL LEARNING AND WORKING AT SCHOOL) Tulla-Realschule, Kehl, Germany
Bernadette Thomas, Cultural representative NiKLAS-MODERATOR (NETWORK FOR; Andy Yeonsung Lee, Let’s Art Youth Art center, Seoul, Korea & Dr. Maria Letsiou, Adjunst assistant professor of Art Education, The School of Early Childhood Education, Aristotle University of Thessaloniki
Interactive workshop: up to 2-4 hours: maybe during the entire event!
Material the participants need: Mobile (camera), Sketchbook, paper to draw and paint drawing material, painting material, glue stick and sticky tape
Keywords: Culture- Art-Expressions-personally/objectively-How to trace culture?
In this workshop we are going to present you the idea of the project “A suitcase for Europe-or how to trace culture!” We will present the first “ suitcases”of our students in Greece, South Korea and Germany. As participants of this workshop you will not only explore the suitcases but you will start to create your own suitcase-ideas too.
Some background information about the project:
Many people flee because of the war in their home countries and many people do not want these refugees to immigrate to their land for fear of losing the culture of their own nations ...But what idea of culture is behind this fear? And who raises this fear of foreign infiltration? At the moment, groups are gathering around the world who claim and occupy the concept of the culture of their own country. Terms such as home, people; Nation, tradition, language, art and music are ideologically captured and enriched with nationalist ideas.
But what characterizes the culture of a country, a people? Or in other words, can were reduce the culture of a country to some characteristics? If so, what are these characteristics?
To find out, to discover, we ( Dr. Maria Letsiou in Greece, Andy Yeonsung Lee in South Korea and Bernadette Thomas in Germany) went with the students on the tracks: We packed an old suitcase with the characteristics (ideas) of our culture! In the meantime this project is spreading worldwide : Australia, Egypt, Philippines, India, Finland, ...
Why a suitcase?
1. This idea was artistically influenced by Marcel Duchamp's "big box":
Since 1936 Marcel Duchamp worked on the realization of a "portable museum", which should contain his essential works on a small scale. In January 1941 he presented in Paris the first copy "Edition de ou par MARCEL DUCHAMP or ROSE SELAVY” This was a cardboard box that fitted a small suitcase and contained 69 miniature replicas, miniature models, and miniature reproductions.
2. Everyone connects with the suitcase the idea to travel!
We pack our suitcase to take the bare necessities on a small or large trip. Mostly we do this trip voluntarily! And in addition to our clothes, we sometimes pack souvenirs for the people we visit.
3. The involuntary Journey: For example, if someone is on the run, the belongings must be packed up very quickly: these are very personal things, such as memorabilia to the old homeland…
But sometimes everything has to go so fast that the above-mentioned mementos are missing or you have to disappear without any luggage!
4. The idea of using a suitcase includes the possibility of transporting the idea of the culture of one's own country to any desired place! And this possibility fits in with the idea of a transportable museum by Marcel Duchamp.
5. The possibility of transporting the idea of culture of one´s own country anywhere is like an open space for interactions and questions: “How to trace culture today?”or “How to describe culture today?”
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.
The role of Local Government in creating Inclusive Economies Study
Chantal Booyse, Valdenicia Norris and Rui Castro, Africa People Impact Initiatives, South Africa
In South Africa, municipalities are the third independent sphere of government and, are the closest to the citizenry. Municipalities are categorised into Metropolitan, Local and District, with each category carrying out distinct functions. However, all municipalities are tasked with the responsibility of providing sustainable means to address and meet business needs in order to improve the business climate in their area of jurisdiction. Municipalites have a duty to provide both hard and soft infrastructure to companies in their localities in order to benefit the larger community, retain and expand existing businesses and attract further domestic and foreign investments.
Since the dawn of the new democracy in 1994, the support for small, medium and micro-enterprises (SMMEs) in South Africa has been a theme of priority in National Government policy and planning processes. The great challenge is that most enterprises in the rural areas are still not fully benefitting from government policies. In addition to this the existence of TVET Infrastructure (Technical and Vocational Education and Training) is often non-existent in communities. Many communities have abundance of land but no skills or infrastructure to create a self-sustainable township or city where both the youth and the unemployed are well educated and given both soft and artisan skills in alignment with the development priorities of the area they reside in. This paper would thus aim to report on a study that critically examines the role of local government in the development of the artisan, performing arts and arts and craft sector as a Sustainable Local Economic Development (SLED) initiative. The study will employ a qualitative study design and will draw on interviews, on-site visits and participant observations so as to gain perceptions and understanding of the performing arts and arts and craft sector. Secondary data in the form of publications, government reports and policy positions will also be used during the analysis and interpretation of the data. The results of the study is targeted at demonstrating that Technical and Vocational Education and Training is vital for rural communities as it addresses some of the socio-economic challenges that communities face. Results will be further directed to suggest that without the assistance of all SLED stakeholders, especially local government, growth and development towards inclusive economic development will remain a challenge.
Key words: SLED, TVET (Technical and Vocational Education and Training) Local Government, Artisan, Performing Arts, Art and Craft, Unemployment, Youth, Collaboration
Behavioral technology in the treatment of problems and behavior disorders within the classroom.
José Alonso Aguilar-Valera, San Marcos National University/Kazan Federal University, Peru-Russian Federation
rom the behavioral perspective, the treatment of different problems and behavior disorders has been very effective over time, as a result of a successive experimentation, in addition to the constant updating that has been done in this applied field of science.
There is a clear difference between problems and behavioral disorders, which are mainly based on their incidence, in addition to their indiscriminate appearance and occurrence in different contexts, independently of 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 conduct disorder, among them: Severe rupture with the norms and an absent respect towards the rights and freedoms of others, affectation of other spheres related to human development-social, academic, work-and with a previous appearance before 18 years of age (if it occurs after this, it could possibly 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 -, then facing a complex reality, which has been necessary to study and develop, within this, technologies and parameters of great diagnostic utility, after a successive technological update, which has greatly benefited the intervention both individually and within the classroom.
For this, the technology of functional analysis has been developing traditionally under the parameters of operant conditioning, which have been based on principles that, under careful operationalization, have been efficient in the short term, although only providing generalities about the studied problem . The process of operationalization has given specialists the possibility of studying carefully the behavior-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 relationship at the level of behavioral disorders both in the specialists involved and in 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, what has resulted in a series of models that have allowed the specialists to perform a complete analysis of these, in addition to categorizing the variables depending on their functional characteristics; that is, independently of generating only a purely clinical diagnosis, it is 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 occurrence, with the purpose to improve 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.
Arts and Education
Shikha Jain. Plan International, India
ARTS INTEGRATION IN PUBLIC SCHOOLS
Imagination is more important than knowledge. For knowledge is limited while imagination embraces the whole world. (Albert Einstein)
Arts integration in formal schooling is essentially education in its holistic form. The use of arts both in form content and skills from the arts - dance, music, theatre and the visual arts provides an opportunity to use the arts as a means( to improve classroom pedagogy and hence better learning outcomes) as well as an end(artistic expression and skills) in itself. Arts Integration occurs when there is a seamless blending of content and skills between an art form and a co-curricular subject. This form of holistic educational experience is highly effective in engaging and motivating students. It supports academic achievement and improved social behavior of students while enhancing school climate and parental involvement. It is for this reason that Arts Education in schools has also been included in the National Curriculum Framework (NCF)-2005 by National Council of Educational Research and Training in India.
Arts integrated education: Plan approach
Plan believes that arts, in all its forms, is integral to the essence of education and hence formal schooling. The Education through , and of arts , adds to students outcomes , both in terms of relevant learning levels and skills , and also prepares them to use creativity ,imagination , awareness and tolerance towards diversity which are key to strong citizenship values and successful adults. Plan is initiating an arts integration program in a rural block of Bikaner, Rajasthan in India. The program is envisaged as a collaborative effort to infuse arts instruction across the curriculum through the various subjects that are taught in government primary schools. Through the program we seek to build inculcate a quest for lifelong learning in both, our teachers and the students. The schools become the center of community life, with children, teachers, administrative staff, education departments and parents becoming partners in learning and teaching with safe spaces to encourage dialogue on the many challenges as well as opportunities for teachers, students and the larger community. In specific the program will identify and collaborate local artists and artisans to train the teachers into understanding and using arts in their classroom. While teaching and practicing arts forms, it is expected that the teacher will help students in improving their learning outcomes in the classrooms, through imparting them with relevant knowledge, skills and attitude. Such a practice will further make the schools and classrooms, culturally rich, diverse and vibrant sites of collaborative learning amongst teachers, students and larger communities.
• Artists led teacher training programs on the approach and methods of the arts integrated programs through activity based workshops, videos and seminars.
• The School inspector training programs to raise their awareness and ensure skill building for participating in the monitoring and supporting the arts integration project in the field.
• Events at school and zone level to raise awareness and demonstrate the learnings on arts and education
• Community level events to take classroom processes within the community for close collaboration.
Specific program outcomes:
• Improved knowledge and skills of teachers and students on various kinds of arts.
• Improved school environment in terms of physical aesthetics and social inclusion.
• Improved pedagogical methods within the classrooms with age appropriate Teaching Learning Materials, self-generated learning materials and lesson planning.
• Improved relationship and communication between the Parent Teacher Association, School Management Committee and schools.