building bridges trough the arts
DESCRIPTION
Beitrag zu Tagung "Arts Education in Belarus". Wimmer, Februar 2011TRANSCRIPT
10th of February 2011
Michael Wimmer Building Bridges through Art
Art and Art Education in Belarus
© ohneski/Photocase, daniel.schoenen/Photocase© Eva Lausegger
EDUCULT and its professional background
Research and Development: EDUCULT as a player in international cultural and education policy research
Studies, Evaluations, Consulting and Projects:
Diversity and Cooperation Arts Count! European Arts Education Fact Finding
Mission
Cultural Education in Europe Multi lingual rhetoric competition:
Sag´s multi Cultural.Explorers!
The Arts: It is the context, which counts
„The never ending story of the end of the arts“From the aesthetic to the institutional paradigmFrom form to contentFrom material to immaterial From a narrow view on diffferent art subjects to interdisciplinarity
Context:Politically – Economically – Socially - (Multi-/Inter-/Trans-)culturally
© UNESCO World Conference on Arts Education
The artists: From genius to social worker
Research as the main driving force: For whom and under which circumstances do artists produce art?
The changing role of artists in society: In from the margins?
New ways of professional realisation: e.g. Artists as cultural entrepreneurs
The changing role of the state or Towards a transnational self-concept
A particular focus on young artists (flexibility, mobility, creativity, …)
© EDUCULT, pictures: Ronja Vogl
Art Education, Arts Education, Cultural Education, Creative Education
The difficulties to define what we are talking about The „German approach“ and the „Anglo-American approach“ Why Europe is broadening the concepts of arts education Towards a new wave of hope production: creativity and innovation What the context tells – at least – some arts education researchers:
Forget about the Arts at all: From Art Education to Picture Education
Learning
Education is important but learning even moreThe changing role of education institutions or Where and in which context do we learn?The what and the howLearning is a creative process. What we learn depends, for the most part, on how we learn.Learning by means of art-based methods opens up specific spheres of experience and development.Learning in the arts – Learning through the arts
© Martina Gaigg
Elliot Eisner: What Education can learn from the Arts
There is more than one answer to a problem
Form and content interpenetrate The importance of imagination The importance of relationships The importance of intrinsic
satisfaction Learning is not just about literal
language and quantification The importance of being flexibly
purposive The importance of a flexible time
regime to relish the experience that one seeks © Martina Gaigg
© Martina Gaigg
Your questions
What approaches are developed by the leading and successful art education
institutions/universities/schools in Europe today?
What kind of problems do they see, and how do they respond?
Which are the leading European institutions in arts education, and why?
What does European society expect from future artists?
What is the role of the arts teacher in arts education in Europe today?
How do arts education processes look like for children, youth and students?
What is the global tendency in art education today in comparison to post-war
time?
What are successful education approaches to educate free artsists?
How does the Eastern arts education system (current CIS) look from the point
of a Western researcher?
What approaches are developed by the leading and successful art education institutions/universities/schools in Europe today?
Towards a new combination of practice and theory: Learning in the arts is about detecting, observing, imagining – and reflecting
Broadening the range of qualification: From knowledge transfer to the acquisition of key competences
The project “Cultural.Explorers!” and its aesthetic research approach: How to combine the arts with everyday life
University of Applied Arts in Vienna: The example of “missink_link” © PwC/DKJS – Kultur.Forscher!
What kind of problems do they see, and how do they respond?
The traditions of the established institutions are (too?) strong
What we can‘t measure is of no value: The utilitarian dominance
The changing role of the state and the appearance of new players
The changing expectations of the audiences
The fears of professionalisation and the need of a common understanding of quality
Which are the leading European institutions in arts education, and why?
Changes in the profiles and provisions of art universities
Leading institutions are prepared to cooperate. They have the edge over „lone fighters“
The new importance of cultural institutions as educators
The new role of foundations compensating the state
© Martina Gaigg
What does European society expect from future artists?
On the political level: to contribute to European integration, help solving societal problems, stimulate economic welfare (and help shaping public profiles of politicians)
On the economic level: to take part in the development of a new entrepreneurial culture, including the conceptualisation of new products and services
On the social level: to help solving social problems
On the educational level: to take part in the further development of the national educational systems
On the level of the consumer: to produce an attractive programme that meets the expectations of the audiences
And on the aesthetic level?
What is the role of the arts teacher in arts education in Europe today?
© www.kultur-forscher.de
The long way from detecting weaknesses to fostering strengths
The teacher as a facilitatorThe teacher as a co-researcherThe teacher as a motivatorThe teacher as a trustful backbone in risk taking
How do arts education processes look like for children, youth and students?
In schoolTowards a new culture of teaching and learning:cooperative, project-orientated, interdisciplinary
Out of schoolProvision of a new generation of education programs in cultural institutions;increasing importance of informal arts education provision
© VS Radweg
What is the global tendency in art education today in comparison to post-war time?
Research is the trend! Across traditional institutional boundaries Global trends are discussed
UNESCO Declaration for Cultural Diversity (propagating a broad definition of culture, which
goes beyond the classical art forms) Road Map for Arts Education Agenda for Arts Education What really counts: enabling not only quantity of activities but quality and the
central role of the teacher
Council of Europe Culture, Creativity and the Young Compendium Initiative
European Commission Agenda for Culture in a Globalized World Cultural Awareness and Expression as a key competence
What are sussessful education approaches to educate free artists?
To learn what makes an artist not only fit for survival but successful in a complex, fast changing world
The importance of „soft skills“: comunication, convincing self-portrayal,entrepreneurship, ability to cooperate, being creative, …
To learn in and from different cultures
To bear and learn from defeat© Elsabe/Photocase
How does the Eastern arts education system (current CIS) look from the point of a Western researcher?
The professional discussion is influenced by the political context
Moreover, the arts education system is mainly characterised by ignorance of the Western partners
What Western researchers assume is the existence of individual, isolated actors
They experience rare participation in the European discussion
They wish to increase and improve personal encounters with artists from Belarus
Make use of foundations like Erste Bank Foundation, KulturKontakt, European Cultural Foundation …
© kallejipp/Photocase
Next steps
© ohneski/Photocase, daniel.schoenen/Photocase
Is there a centre of expertise in Belarus?
What can we do to improve the chances to share information and experience; how can we cooperate?
Is there something like a common agenda to be further developed?
How important are transnational organisations like Council of Europe?
© ohneski/Photocase, daniel.schoenen/Photocase
