democracy and art - etwinning...developing democratic citizenry: limits and potentials of art...
TRANSCRIPT
DEVELOPING DEMOCRATIC CITIZENRY: LIMITS AND
POTENTIALS OF ART EDUCATION IN CYPRUS
Dr. Tereza Markidou
Art Educator, Ministry of Education and Culture
Scientific Collaborator, European University Cyprus
Changing School Culture ・Towards a democratic school
16-18 May 2019
Limassol, Cyprus
DEMOCRACY AND ART
EDUCATION –A
PHILOSOPHICAL ENCOUNTER
• ‘A crisis in everyday democracy, manifested in the limitedopportunities for democratic experience and democraticpractice in the actual lives of many people that has broughtabout civic and political disengagement. If this is true, then itmeans that an effective response to the crisis in democracyshould not focus on more education, on more lessons in ‘good’citizenship, but should instead focus on the actual condition ofpeople’s citizenship. The only way to combat a lack ofdemocracy, to put it differently is with moredemocracy’.
Biesta, G. (2010) Learning Democracy in School and Society, p. 87
ART EDUCATION, DEMOCRACY
ANDSOCIAL JUSTICE –
A METAPHOR
They said “you have a blue guitar,
You do not play things as they are.”
The man replied, “Things as they are
Are changed upon the blue guitar.”
(Stevens 1990, p.165)
GREENE’S CONCEPT OF ‘AESTHETIC EDUCATION’
• It refers to ’an intentional undertaking designed to nurture appreciative, reflective, cultural, participatory engagements with the arts, by enabling learners to notice what is there to be noticed.
• "My vision […], is to generate inquiry, imagination, and the creation of art works by diversepeople. It has to do so with a sense of the deficiencies in our world and a desire to repair,wherever possible. Justice, equality, freedom these are as important to us as the arts, and webelieve they can infuse each other, perhaps making some difference at a troubled time.”
Greene, M. (2007). Foundations for Social Imagination.
EDUCATION AS A SPACE FOR POSSIBILITIES
• ‘[we must] make each one of our schools an embryonic community life, active withtypes of occupations that reflect the life of the larger society, and throughout permeatedwith the spirit of art, history, and science. When the school introduces and trains eachchild of society into membership within such a little community, saturating him [sic] inthe spirit of service, and providing him with the instruments of effective self-direction, weshall have the deepest and best guarantor of a larger society which is worthy, lovely, andharmonious’.
Dewey, J. (1999/ [1916]). Democracy and Education, NewYork: Free Press, pp.39-40
EXAMPLES OF PRACTICE: 1.DISCUSSING CRITICAL ISSUES IN ART EDUCATION
EQUITY AND EQUALITY (KRAEHE, 2017)
Principles for ‘Equity’: • Distribution: the material and cultural resources needed for a quality arts education.• Access: the availability of art education experiences and the ease with which members of any social,
cultural, or linguistic group could choose to participate.• Participation: actual presence and engagement, or, conversely, absence and disengagement.• Effects: the ways in which students are impacted as a consequence of education processes,
practices, program structures, or policies.• Recognition: how value and legitimacy is assigned within a system of meaning.• Transformation: refers to processes of change. Recall that equity of effects also concerns
change, but only insofar as it marks a finite outcome or summative endpoint. Transformation isdifferent. It is always transgressive, in process, and never compete.
Kraehe, A. M. (2017). Arts Equity: A Praxis-Oriented Tale. Studies in Art Education: A Journal of Issues and Research, Vol. 58, No.4 , p.268
2. EMPATHY, VOLUNTEERISM AND MULTIPLE PERSPECTIVES
1
1
Ποιο είναι το πρόσωπο της αγάπης ;
Μια εικαστική συνέργεια µε 17 καλλιτέχνες και τους Εθελοντές Γιατρούς - Κύπρος
Α .Π . Ε ι κ αστ ι κών Τεχνών
Σχολ ι κ ή Χρον ι ά : 2 0 1 4 -2 0 1 5
Ε ισαγωγή Η ενότητα «Ποιο είναι το πρόσωπο της αγάπης;» αποτελεί µ ία συνέργεια µεταξύ των παιδιών των Δ’ και Στ ’ τάξεων του σχολείου, των Εθελοντών Γιατρών - Κύπρος και δεκαεπτά καλλιτεχνών/εικαστικών δηµ ιουργών . Η εργασία υλοποιήθηκε τη σχολική χρονιά 2014-2015. Βασικός στόχος της ενότητας ήταν τα παιδιά να ερευνήσουν τον κοινωνικό ρόλο της τέχνης στη ζωή τους και να εµπλακούν σε µαθησιακές διαδικασίες µέσα και έξω από το σχολείο τους . Μέσα από την ενεργό εµπλοκή τους, τα παιδιά διαµόρφωσαν στάσεις και συµπεριφορές που αφορούσαν στην ατοµ ική και συλλογική τους ευθύνη ως πολίτες, απέναντι στην υποβάθµ ιση της ποιότητας ζωής των συνανθρώπων τους κατά την περίοδο της οικονοµ ικής κρίσης στην Κύπρο .
ΒΑΘΜΙΔΑ
Η εργασία ανταποκρίνεται στην 3η Βαθµ ίδα των Α .Π
ΤΑΞΕΙΣ
Συµµετείχαν τα παιδιά των Στ’ και Δ ’ τάξεων του σχολείου.
ΔΙΑΡΚΕΙΑ
Η εργασία διήρκησε από τις αρχές Φεβρουαρίου µέχρι τις αρχές Ιουνίου 2015.
ΕΚΠΑΙΔΕΥΤΙΚΟΙ
Τερέζα Μαρκίδου (PhD)
Κυριάκος Παστίδης
ΚΓ’ Δηµοτικό Σχολείο Λεµεσού, Αγίου Σπυρίδωνα (Β’) http://dim-lemesos23-lem.schools.ac.cy/
Ταχάρ Μπεν Τζελούν 1998
3. ART AND THE UNEXPECTED –COMMUNITIES IN THE MAKING
PROJECT ‘COMMON GROUND’ 2016
BI-COMMUNAL
PROJECT: COMMON GROUND
4. INTERVENTIONS: ART FOR PEACE
CYSEA’S INITIATIVE ‘DOVES’
A RT A S AC T I V I S M
5. ‘THE ALIEN TRAIL’ A PROJECT MAPPING THE REFUGEE CRISIS IN
CYPRUS
Bieke Depoorter©The Alien Trail 2017
Nikos Economopoulos © The Alien Trail 2017
Nicolas Iordanou © The Alien Trail 2017
Antoine D’Agata
COLLABORATIVE DRAWINGS
PUBLIC PEDAGOGY:CREATING SPACES FOR LEARNING
‘OTHER’
• In the beginning, participants preferred working with peers that they felt more comfortable with (i.e. girls with girls, boys with boys, Greek speakers vs Arabic speakers)
• Even though very strong at the beginning, the language barrier became less of an obstacle as the sessions progressed
• Children were feeling comfortable to use their mother tongue and switch between tongues (Arabic, Bulgarian, English, Greek)
• The participant felt more comfortable sharing their personal narratives with others via filmmaking
• Sharing this experience and videos with the school community during the Children’s Human Rights Day, organized by the schools administration
• Eager to follow up on other sessions of filmmaking and art at the center
5 . RELEAS ING THE SOCIAL IMAGINATION: A GRADUATE ’ S STUDENTS INTERVENTION TO
M IDDLE STUDENTS ’ ENCOUNTERS WITH SUMI - E
Papoutsi, A. (2019.) The concept of Cosmic Self through the traditional Japanese INK-drawing Sumi-e: A teaching intervention to middle school art education. Unpublished MA dissertation, European University Cyprus.
DEVELOPING EMPATHY: SOCIAL ISSUES AS INSPIRATION FOR ART MAKING
The artwork of Lenia Georgiou (2017), Poxias
https://city.sigmalive.com/article/2017/6/20/i-27hroni-lenia-koyvala-enan-terastio-poxia-me-viomata-ton-prosfygon/
George Butler (2015) Syrian Refugees Illustrated Stories
REFLECTIONS
On social imagination
On aesthetic education
On dialogue
On the role of the educator as ’reflexive practitioner - learner’
A FINAL THOUGHT
‘No tradition should ever be seen as received, because when it is received it becomes sacred, in terms suggest reverence, silence and passivity. Democratic societies are noisy. They are about traditions that need to be critically re evaluated by each generation’.
Giroux, H. (1992). Border Crossings: Cultural workers and the politics of education, New York, London: Routledge, p. 156
THANK YOU!
Tereza Markidou (PhD)
Scientific Collaborator, European University Cyprus
Contact:
Alfredo Jaar, Other People Think, 2012 Light box with Black and White Transparency