Book of Abstracts Updated 5th June 2012

InSEA 2012 European Congress

Lemesos, Cyprus

25-27 June 2012 NATIONAL ORGANIZING COMMITTEE: CySea Council Gianna Theocharous-Gkantzidou and Victoria Pavlou (Congress Co-Chairs) Kypros Pisialis (Congress Secretary) Efi Ioakim Fotini Larkou Ioannis Eliades Lakis Papadakis Maria Louka Tereza Lambrianou ORGINIZERS: CySEA (Cyprus Society for Education through Arts) CO-ORGANIZERS: Frederick University European Parliament Office in Cyprus GROUND HANDLING: CPC Events LTD ACKNOWLEDGMENTS: We would like to thank the following people for their contribution:

Costas Mantzalos Genethlis Genethliou Graham Nash James Sanders Marjan Prevodnik Nektaria Papadopoulou Rita L. Irwin Salvatore Benvissuto Sotiroula Palmyri Stefania Savva Teresa Torres Eca Vicky Karaiskou Zoe Hadjiyianni The following members of the Scientific Committee categorized the Abstracts into Sessions: Victoria Pavlou (Chair), Fotini Larkou, Ioannis Eliades, Vicky Karaiskou Editors of the Book of Abstracts: Gianna Theocharous-Gkantzidou, Kypros Pisialis Publisher: CySEA (Cyprus Society for Education through Arts)

ISBN: 978-9963-7491-0-2 Co-Orginizers: Ground Handling: Sponsors:

Insea 2012 European Congress / Lemesos Cyprus, 25 – 27 June 2012

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Welcoming Speech

CySEA PRESIDENT Honourable Minister, honourable Mayor, honourable Director of the Office of the European Council of Cyprus and dear conference participants,

I am honoured to have the opening statement, as President of the Executive Board of CySEA, the organizer of the InSEA European Conference 2012, entitled ‘Arts Education at the Crossroad of Cultures’.

I warmly welcome you with the defining verse of a Cypriot song, that is of a specific symbolic nature: ‘It is a good, golden and blessed time, which we have chosen to begin this undertaking’. Today’s gathering is truly a union of many cultures in harmonious co-existence, with participants from 56 different countries spanning all 5 continents.

CySEA, as a full member of InSEA and in recognition of this international organization’s vast contribution to the education of the arts and culture, applied at the 2010 European Conference in Lapland, and was awarded the honour of hosting this three day conference in Limassol. It is a great honour for CySEA, and it is of particular significance for Cyprus too, which in a few days shall accede to the presidency of the European Union council for the second half of 2012.

The title of our three day conference, ‘Arts Education at the Crossroad of Cultures’ emphasizes the importance that men of the arts assign to Culture. Culture and the Arts are the key components for a comprehensive education that leads to a multifaceted development of the individual. Allow me to use the words of the late Melina Merkouri ‘If a child is sensitized to culture, then a different society, a different mentality and a different direction will be created.’

Dear delegates, we live in a world undergoing transformation, subject to rapid changes and defined by globalisation, the mobility of Cultures, modern technologies and by economic upheaval. As such, the aims and practical procedures in the education of the arts must be in a state of continuous redefinition.

The main purpose of today's conference is to provide an environment for fruitful and constructive dialogue amongst delegates. To exchange ideas and experiences on new creative teaching methods and innovative approaches to research in which the Arts can shape Culture.

The artistic and scientific program of the conference focuses on social and cultural issues, modern technologies and environmental challenges that we face in the 21st century. The whole program is designed to help develop dialogue through different perspectives with the purpose of exploring ways through which, education through art can respond to the contemporary needs of students; to enable them as the citizens of tomorrow to function harmoniously both at the level of their local and global communities.

I would like to thank the World Council of InSEA, the European Council of InSEA, and all of you, who, in spite of the current global economic crisis have travelled from far and wide to make this conference possible.

I would also like to thank our co-organizers, the Office of the European Council of Cyprus and Frederick University. Special thanks to my colleagues from CySEA and the organizing committee for their tireless contribution, as well as to CPC Event Management for their superb contribution to the organization of the conference.

The Executive Board of CySEA and I, warmly welcome you to the city of Limassol. We are confident that your time here will be constructive and enjoyable and we hope this will be an unforgettable experience for all of us! Gianna Theocharous –Gkantzidou President, CySEA


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Welcoming Speech

CHAIR OF THE InSEA EUROPEAN REGIONAL COUNCIL

''If the only tool you have is a hammer, you tend to see every problem as a nail.'' Abraham Maslow

Dear InSEA/Cysea Congress delegates, WELCOME TO THE EUROPEAN REGIONAL CONGRESS OF INSEA, LIMASSOL, CYPRUS, JUNE 2012 On behalf of the European Regional Council of InSEA, it is my sincere pleasure to welcome you in the 2012 InSEA/CYSEA European Regional Congress in Limassol, Cyprus. This meeting of devoted and committed art(s) educators from all around is the largest visual arts education event in Europe this year. It is a first class chance to present and attend new discoveries in the art education field. We must use an opportunity to meet (new) friends and make networks during the Crossroads venue days of the Congress. Limassol is indeed a superb chance to throw a bridge across a river; to throw many bridges across many rivers, represented by us participants! Limassol is an excellent opportunity for not only realising the theme ''Art(s) educaton at the Crossroads of Cultures'', but also to prepare an additional firm ground for ''Art(s) education to be one of the key Crossroads in General Education, if speaking in interdisciplinary terms''! I would so much like to thank the organizers of this congress. It is through your hard work, motivation and creative efforts that we are able to benefit from this event. Here will be speakers, all kind of workshops and cultural events to peek our interest and broaden our experiences, knowledge and understanding. I hope you will find the Congress fullfilling, invigorating and renewing you as an art educator and artist. Let us make the art(s) education stronger in Europe and wider! Let us not forget to paint, to dance and to sing when an opportuny arise in the promising events! And - let us enjoy! Crossroads are waiting for us to explore and to give meaning and content! Marjan Prevodnik Chair of the InSEA European Regional Council 2011-2014


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Welcoming Speech

InSEA PRESIDENT

I want to thank each of you for attending this congress. It is always such a heart-warming experience to meet other arts educators from around the world. The International Society for Education through Art is a worldwide organization guided by the belief that visual arts in its many manifestations are essential to human life and learning. There are a variety of reasons. I believe the primary reason is that the visual arts foster local and global transcultural understanding and appreciation. Each of our countries has exemplary traditions in the visual arts and our contemporary artists are forging new directions in international visual arts practices. Learning in, through and from the arts provides an education that opens minds to alternative ways of thinking and being, to the processes of creating one’s self, to nurturing a sense of excitement and a passion for learning, and to appreciating the diversity of cultures in which we live. Developing one’s imaginative life through mindful awareness is a way for human beings to experience life in vivid detail and, arguably more important, to effect personal and social change. Maxine Greene, perhaps, says it best: “At a time of boredom, disenchantment, and passivity, few concerns seem as important to me as the concern for imagination, especially as that capacity can be released by encounters with the arts, and on whose release encounters with the arts depend.” The arts call us to use images, sounds, and movements, to think metaphorically about ideas in ways that may have previously seemed unconnected. This act of change, invention, metamorphosis, is what makes the arts so important to all learning activities. Learning in, through, and from the arts are important conceptions for the design of curriculum experiences in any learning environment at any age level. Our schools, galleries, musuems and other arts education centres are important learning communities for providing the conditions for students to experience the very best education by learning in, through, and from the arts. The arts belong to all of us, exist in multiple forms within our communities and our society at large, and should be considered essential to a balanced curriculum. After all, schools are places where students can flourish as they realize their full human potential to think, feel, intuit, imagine, and act, as they engage in an artful curriculum, a curriculum full of life, a curriculum that embraces what it means to be humanly present. To reinforce these ideas with the larger society I am thrilled to say that with advocacy efforts from InSEA, ISME, IDEA and WDA, and ultimately, WAAE (World Alliance for Arts Education) among other NGOs and arts education organizations, UNESCO has proclaimed the fourth week of May each year as International Arts Education Week. Let’s all make sure we are highlighting our arts education activities that week, securing media attention and sharing our important work around the world. Thank you for attending this InSEA European Regional Congress whether you are from Europe or abroad. We value your contribution to our discussions and look forward to learning alongside each of you. Lastly, I want to extend gratitude to several organizations and groups who have supported this congress. First of all, on behalf of InSEA I want to thank the executive board of CySEA, Gianna Theocharous and Frederick University for co-organizing the congress. What a powerful team. We are deeply indebted to their time and attention given to this immense effort. Working closely with them is the Congress Committee: we appreciate their commitment to making this congress a reality. It takes many long hours of volunteer work to make sure a congress comes alive and we are all indebted to their dedication and enthusiasm for ensuring the success of this amazing undertaking. In addition to this team of art educators, we are also grateful to the Cyprus Ministry of Education and Culture and Cultural Services for sponsoring the congress. We know there are many worthy causes and we greatly appreciate their support for ensuring European and international art educators have an annual event to discuss, debate and engage with innovative ideas. And


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lastly, we would like to thank the European Parliamentary Office of Cyprus and the Cyprus Tourist Organization for supporting our efforts. We are very grateful for their assistance. On behalf of the wider InSEA membership allow me to express our deepest gratitude to all of the organizers, sponsors and supporters of the Congress. Rita L. Irwin President, InSEA


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Welcoming Speech

CYPRUS MINISTER OF EDUCATION AND CULTURE It is with great joy and satisfaction that I welcome the InSEA European Conference "Education through the Arts at the Crossroad of Cultures". The presence of many distinguished guests and delegates from around the world reflects the importance and significance of the conference and I am sure that throughout its duration there will be ample opportunity for the exchange of ideas and perspectives, as well as for the drawing of valuable conclusions about the Arts and culture. One of the major goals of the cultural policy of the Ministry of Education and Culture is the development of intercultural dialogue, particularly in the current environment of globalization, where societies are increasingly shaped by the participation of people from different cultural backgrounds and where the urgent need for mutual acquaintance and understanding is exhibited. With the opportunity presented to our country for chairmanship of the EU in the second half of 2012, I believe that the Arts and culture in general, comprise, perhaps, the most important element of all events taking place. They are emphasized within the scope of intercultural dialogue, given that the Arts and their accomplishments, in their every facet, are the sharpest representation of the psyche of all nations and the most powerful manifestation of its existence. With these characteristics, the Arts are a means to self-knowledge and thus, a bridge of communication, as much between countries as between different groups living together within a given society. The Cypriot people have always turned to the Arts to express sorrow, pain or joy. Every significant event that has marked the history of Cyprus comes to life through the eyes of our artists. This is, in any case, the privilege of every great art; it is the irrefutable evidence of the era in which it was created. The pursuit of Arts is an oasis for people of all ages who live in society, where values are questioned and wealth is measured by material possessions. The Arts help to shape a rounded personality, equipping people with an appropriate aesthetic education, with sensitivity and imagination, leading to a rich and all-round experience that ensures intellectual enjoyment. The proclamation by UNESCO of May 21-27, 2012 as the International Arts Education Week, will undoubtedly help our children realize the importance of Art in the world through all time. It is therefore, understandable, why development of the Arts is one of the main goals of the Ministry of Education and Culture. Conferences such as this here today have the full and active support of the Ministry. I congratulate the Cyprus Society for Education through the Arts (K.O.E.T.) for its initiative in hosting the InSEA European Conference. Since its establishment, the Society, through its activities has been recognized both in Cyprus and abroad. It has developed significant activities with regards to the Arts and culture, organizing exhibitions in Cyprus and abroad, seminars with renowned speakers and whenever given the opportunity, has undertaken the organization of conferences such as the Sixth Regional Conference of Europe, Africa and the Middle East as well as this InSEA Conference. Dear delegates, the title of this Conference is ideal since it fits perfectly with the location and venue. Our country, Cyprus, has the privilege of being located at the crossroads of three continents and with its thousands of years of history has certainly much to show. I therefore believe that the outcomes of the conference, to which I look forward, will be a useful tool and opportunity for reflection. I wish every success to the work of the Conference and an enjoyable stay to all those who have come from abroad. I congratulate and express my sincere gratitude to the organizers for the invitation to welcome you. Giorgos Demosthenous Cyprus Minister of Education and Culture

ABSTRACTS Insea 2012 European Congress 25 June 2012, MONDAY Lemesos Cyprus, 25 – 27 June 2012

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Program

REGISTRATION: EXHIBITION AREA / 08:00 – 17:25

OPENING CEREMONY: GRAND HALL A / 09:30 – 10:30

MORNING COFFEE BREAK: EXHIBITION AREA - KOHILI GARDEN AREA / 10:30 – 10:55

BUFFET LUNCH: ANTHEA RESTAURANT / 13:20 – 14:40

AFTERNOON COFFEE BREAK: EXHIBITION AREA - KOHILI GARDEN AREA /15:50 – 16:15

InSEA EUROPEAN REGIONAL COUNCIL MEETING: ONISSILOS / 13:20 – 14:40

KEYNOTES: CHAIR: Fernando Hernandez

KEYNOTE 1: Rita L. Irwin GRAND HALL A / 10:55 – 11:25

KEYNOTE 2: Costas Mantzalos GRAND HALL A / 11:25 – 11:55

DISCUSSION / GRAND HALL A / 11:55 – 12:05

SESSIONS:

S1: GRAND HALL A / 12:10 – 15:00 (Chair: Lourdes K. Samson)

S2: GRAND HALL A / 15:05 – 17:25 (Chair: Kathy Mackey)

S3: GRAND HALL B / 14:40 – 15:25 (Chair: Martina Paatela-Niemen)

S4: GRAND HALL B / 15:30 – 17:25 (Chair: Victoria Pavlou)

S5: GRAND HALL C / 12:10 – 13:20 (Chair: Marian Strong)

S6: GRAND HALL C / 16:15 – 17:25 (Chair: Teresa Torres Eca)

S7: TEVKROS / 12:10 – 12:55 (Chair: Fiona Blaikie)

S8: TEVKROS / 13:00 – 15:25 (Chair: Emil Gaul)

S10: TEVKROS / 16:15 – 17:25 (Chair: Fotini Larkou)

S11: EVAGORAS / 12:10 – 13:20 (Chair: Marjan Prevodnik)

S12: EVAGORAS / 14:40 – 16:35 (Chair: Mirjana Tomasevic Dancevic)

S13: EVAGORAS / 16:40 – 17:25 (Chair: Glen Coutts)

S14: ONISSILOS / 12:10 – 13:20 (Chair: Li-Yan Wang)

S15: ONISSILOS / 14:40 – 15:50 (Chair: Jooyoon Lee)

S16: ONISSILOS / 16:15 – 17:25 (Chair:Fernando Hernandez)

‘Curating for Critical Mediation’: SALAMINIA A / 16:15 – 16:35 (Mello, P. & Fonseca, R.)

PANEL DISCUSSIONS: PD1: GRAND HALL B / 12:10 – 13:20 PD2: GRAND HALL C / 14:40 – 15:50

WORKSHOPS: W1 (1st Meeting): SALAMINIA A / 12:10 – 13:20 W2: SALAMINIA A / 14:40 – 15:50

SPECIAL WORKSHOPS: SW1: GARDEN A / 14:40 – 17:25 SW2: GARDEN B / 14:40 – 17:25


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A. KEYNOTES KEYNOTE 1 10:55 – 11:25

What does art education practice set in motion do? Presenter: Rita L. Irwin Chair: Fernando Hernandez

GRAND HALL A

Rita L. Irwin is Professor of Art Education, and the Associate Dean of Teacher Education, at the University of British Columbia, Vancouver. She is also committed to leadership in arts education and is the current President of the International Society for Education through Art and is on the Presidential Council of the World Alliance for Arts Education. Abstract: The presentation will explore moments of becoming a/r/tography. A/r/tography is a research methodology, a creative practice and a performative pedagogy that lives in the rhizomatic practices of the in-between. Resisting the tendency for endless critique of past experience and bodies of knowledge, a/r/tography is concerned with the creative invention of concepts and mapping the intensities experienced in relational, rhizomatic yet singular events. Considering several recent research projects, this presentation explores what it means to be becoming a/r/tography. Rather than asking what an art education practice means, the question becomes what does this art education practice set in motion do? There can be no being a/r/tography without the processes of becoming a/r/tography. KEYNOTE 2 11:25 – 11:55

ART CARES; promoting cultural awareness and understanding through art teaching Presenter: Costas Mantzalos Chair: Fernando Hernandez

GRAND HALL A

Costas Mantzalos is Professor in Visual Communication, and Dean of the School of Architecture, Fine and Applied Arts of Frederick University, Cyprus. Parallel to his academic career, Costas Mantzalos has been involved in numerous international art and design consultations. Since 1996 he is the cofounder of the TWO|FOUR|TWO art group, which has been actively involved in the international art scene. Abstract: The presentation focuses on the methods used for teaching art and design on tertiary level at an undergraduate cycle in the Applied Arts Department of Frederick University Cyprus. Teaching is mainly as well as primarily concerned with the delivery of visual, oral, and written intelligence. The Art and Design process is primarily concerned with the power and value of concepts and ideas in the dissemination of knowledge and messages, both persuasive and informative, to defined audiences. Visual intelligence, which is not easily assimilated as oral and written intelligence, is viewed as the acquisition of critical and intuitive visual discrimination in the process of mark making and the construction of imagery, the delivery of words and the underlying understanding of icons, symbols and visual triggers. Visual lateral thinking and appreciation of subliminal elements in Art and Design interpretation is seen in relation to how all forms of imagery are delivered, received, deciphered and understood by appropriate audiences and viewers. Students are introduced to Art and Design with two major objectives. The first is an emphasis


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on professional skill development. This objective emphasizes the techniques, skills, methodology, and vocabulary necessary for the student to take her/his place in the professional community as a productive artist, designer, scholar, or practitioner. The second objective, without which skill development remains only a narrow range of technical training, is the development of the critical judgement and historical perspective needed in order to become an effective problem-solver. Here, art and design history, together with studies in the liberal arts and sciences, provide the context for stimulating intellectual and creative inquiry. Furthermore an additional dynamism towards art and design education has been implemented in the department and has been practised for some years now. This is the introduction of cross-course as well as cross-discipline teaching and learning methods, where the student is projected to multi-disciplinary issues and problem solving. Art and Design education has been juxtaposed with socio-political issues, which in return have provided a new dimension into the teaching and learning process, allowing not only the instruction of visual aesthetics but also the promotion of social, political and cultural understanding. This has been a great effort in achieving a better understanding against forms of ethnic, social and gender racism. The presentation is illustrated with students' work, which serves the above statements.


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B. ORAL PRESENTATIONS

SESSION 1 (S1):

BUILDING PARTNERSHIPS BETWEEN THE WORLDS OF EDUCATION AND CULTURE

GRAND HALL A / 12:10 – 15:00

CHAIR: Lourdes K. Samson

12:10 – 12:30 S1.1 Parody and precariousness in Felipe Sobreiro’s artwork: A visual culture education practice

Belidson Dias, Universidade de Brasília, Brazil GRAND HALL A

This paper presents a critical development of Felipe Sobreiro’s artwork titled Destructions. It was developed at an undergraduate level at the University of Brasília’s Fine Arts program, between 2002 and 2008, and it shows its origins, evolution, and connections with Visual Culture Education. In Destructions Sobreiro aims to parody and question the way the rhetoric of official discourses and narratives combine with the apparatus of visuality to control and censor our everyday lives. In this case the subjects are seemingly unrelated to the mechanisms of power. In part, the ubiquitous presence of pop art in our everyday life and the anonymous iconography which imperceptibly dwell the visuality of official discourses and the art market, both, are the main sources of Sobreiros’s artwork as the targets of his criticism. Plates, instructional diagrams, labels, sign posts are the raw imagery from which springs his work. Sobreiro deals directly with issues of Visual Culture as a tool of ideology, since he inserts his visual art production not necessarily in the traditional art gallery space, but at the collective level of visuality, and at the same time, question the nature of instructional messages brought by those in power. During preparation of the Destruction series, and through his own work, he sought a transit point between visual appearance and the message itself to make the viewer realize the arbitrariness that permeates the formal discourse of normalized and displayed sign posts in public, but that go unnoticed as they are published. Taking advantage of the anti-hierarchical nature of Visual Culture, he locates his production in a space of criticism and thought, and by using the very flexible and drifting inclination of the cultural studies he points to the static and rigid mechanisms of official rhetoric that should be reconsidered and questioned. Initially, I present a brief course in which academic and artistic Cork passed the course, the poetic description of his vision in his own words, then I mention a number of artists that influenced his production. This paper associates Sobreiro’s artwork to the objectives and pedagogies proposed by the North American group called Vizicult in the consultative document suggested for the United States’ National Art Education Association for the subjects of Art Education and Visual Culture, in 2002. Finally, I associate the concepts suggested by the Vizcult with aspects of Destructions in order to contextualize them theoretically and leave open possibilities for new ways to further achievements through critical and reflective aspects of his artwork.


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12:35 – 12:55 S1.2

Paprika: A cross-cultural visual communication exchange project for teachers-in-training

Gabriella Pataky, ELTE TOK, Hungary Melanie G. Davenport, Georgia State University, United States

GRAND HALL A

InSEA members are open to opportunities to engage in intercultural education and involve their students in exploring the world through art. Recently, two professors, one in Budapest, Hungary, and one in Atlanta, Georgia, USA, decided to establish the groundwork for a mutually beneficial exchange involving future art teachers in both cities. Since meeting in Finland at the InSEA regional congress in 2010, Gabriella Pataky and Melanie Davenport recognized the many parallels in their professional activities and teaching philosophies and embarked on an effort to cultivate cross-cultural collaboration through art between their students. Beginning in Fall, 2011, our students have built greater understanding of each other and the world of art education through visual dialogue. The 22 art education students at Georgia State University exchanged artworks and ideas with 40 Hungarian Students of ELTE University Teacher Training College who have also produced art messages for students in Flensburg/Germany. Among other projects such as animations, photo galleries, collages, and postcard art exchanges, students have also created and shared personal map-based artworks showing their own communities from the perspective of a local, to communicate identity to other art students on the other side of the world with the help of visual language. This ongoing project is expected to build into a rich, mutually beneficial relationship between campuses so that students might gain intercultural professional understandings as well as shared respect and friendship. Of course this effort is fraught with challenges, as everyone engaged in cross-cultural work can appreciate. Besides language barriers, time differences, and limited funding, the demanding curricula already in place in each program leaves little freedom to add in other components, no matter how exciting. Despite these challenges, we are determined to work out ways for our students to share their artful perspectives on teaching, on life, and on the local-global connections that define our world. Various resources on the Internet have proven to be effective in support of our project, and we would like to share with others some of the ways we have been able to overcome some of the challenges of this international project. This presentation will also examine the students’ own experiences, analyzing how these students solved the problem of representing their own location or personal journey for someone they have never met, and sending the work for others for interpretation and response. The PAPRIKA project is a bridge between continents, students, cultures, and campuses, but is also an invitation for every InSEA member who would like a glimpse into distant classrooms, to learn new methods, to share ideas, get feedback, and broaden the global perspective of their own students.

13:00 – 13:20 S1.3 Bringing culture to the classroom (a program on cultural education for elementary and secondary teachers)

Lourdes K. Samson, Miriam College, Philippines GRAND HALL A

Bringing culture to the classroom is an in-service training program on cultural awareness for basic education teachers. The summer program aims to introduce the pedagogy of teaching art, history and management as well as promoting appreciation of one's culture among the teachers themselves as they relate to the community they serve. It runs for two summers in the months of April and May conducted from Monday to Saturday starting at eight in the morning and ends at five in the afternoon. The summer course provides


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opportunities for teachers to adapt to changes in teaching performances required for quality education. Focus of this paper is on training and development in art with emphasis on cultural education. This paper uses such an intervention approach in providing skills to thirty (30) pre-selected public school teachers in Metro Manila. In the course of studies, participants are given opportunities to conduct cultural mapping and practice cultural resource management. Planning for a trade fair is one of the culminating activities of the summer program. To implement the in-service program, a partnership is established between a government cultural agency, the National Commission for Culture and the Arts (NCCA) and a private school, the Miriam College (MC). Miriam college has been selected to develop and conduct courses on cultural education to pre-selected elementary school teachers. Teachers-participants come from various disciplines such as science, math and language and not necessarily from the arts. Thus, the course includes basic lessons in introduction to art, history and management. This is a certificate course that may be credited towards a master's degree in cultural education. Teachers-participants who pass the qualifying exam may proceed to take the additional 12 units (thesis writing) to earn a master degree in cultural education. The in-service summer program was a successful experiment in a public-private partnership.

14:40 – 15:00 S1.4 Contemporary art in secondary schools reflects the attitude of their creators towards the contemporary world and social issues

Nina Ostan, National Educational Institute, Slovenia

GRAND HALL A

Contemporary art is the art of today and that is our main understanding of Contemporary Art. It focuses on the present and contemporary social issues. It reflects our interconnectedness in the global world, and combines a local and a global perspective. The question is how to present contemporary social issues critically and interpret them in students’ own way (from their point of view?)? Not many secondary schools in Slovenia study, understand, and practice contemporary art. They promote it in a number of different ways: from organizing lectures, visiting contemporary art exhibitions and discussing them, to creating video works and performances and carrying out conceptual art projects. Juvenile art is specific because it reflects again and again the attitude of its creators towards the same issues that seem eternal and typical of each rising generation. It is a fact that every generation of young people is faced with the basic existential problems (Who am I? What kind of society do I live in? Where are the boundaries of my freedom? Who sets the boundaries and who guides me? What can I change and how can I rebel? What should I do not to follow in the footsteps of my parents? What should I do to make the world a better place to live in?). Since adolescents are preoccupied with these issues, the person who works with them must try to preserve and to emphasize their sincerity and the power of their expression. Youth art is and must be engaged; let it deal with very intimate or public affairs. Adolescents see art as a space of democracy and equality, a space of active resistance to globalization and capitalist omnipresence, media oversaturation and manipulation on one hand, and on the other hand a space of very intimate personal declaration. The presentation will be illustrated with secondary school students' work.


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SESSION 2 (S2):

CHANGING THE WORLD: GLOBAL VISIONS THROUGH ARTS PRACTISES

GRAND HALL A / 15:05 – 17:25

CHAIR: Kathy Mackey

15:05 – 15:25 S2.1 Joseph Beuys as art-educator

Carl-Peter Buschkuehle, Justus-Liebig-University Giessen, Germany

GRAND HALL A

Joseph Beuys, who is considered to be one of the most influential artists of the 20th century, stated himself that “educational elements are the most important” aspect of his art. With his famous expression that "everyone is an artist“, Beuys does not mean that every human being has the ability to be a painter, author or musician. Instead, he forms the equation that “human being = creativity”. That what every single human being designs is above all his/her life, personality and ultimately also society, on which he/she has an influence in one way or another. Human beings as artists or experts in the art of living are designers of what Beuys calls “social sculpture”. If this is indeed the case, the education of human beings, the training of their creative abilities and the development of their existential creativity are extremely important. So what role does art as art-education play in this concept, especially considering the use of terms such as the art of living and social sculpture? And with what challenges does Beuys confront the contemporary art-education? 15:30 – 15:50 S2.2

Promoting visual arts education in remote areas of the eastern Himalayas, India - Partnering with business

Marian Strong, Art Education, Australia

GRAND HALL A

The resolution adopted by the 36th Session of the UNESCO General Conference concerning implementation of the Seoul Agenda welcomed ‘the reinforcement of the position of arts education in schools and in societies’ and encourages ‘employing the strategies proposed in the Seoul Agenda’. Kolbung Primary School, in the tiny village of Kolakham, is situated in the beautiful but remote Neora Valley, North Bengal, India. Until December 2010, the 50 students aged 3 – 12, were taught in a wooden hut no larger than the average Australian garage. The school land and building, were donated by the village elder. Without this, students either stayed home to work on the subsistence farm, or walked up hill for 10 kilometres to the next nearest school, on mountainous jungle tracks. Because of this remote location and poverty, their curriculum was limited, resources minimal and the teachers underpaid and isolated. How could we help? What were the issues and concerns? Would we be imposing a ‘western’ perspective and in short a type of ‘cultural and educational colonialism? This presentation describes the project, explains the aims, achievements, future possibilities as well as discussing the problems of in ensuring continuity of support. I will outline how an educational support program for students and teachers in partnership with private companies was envisaged and developed. This model is one that others may be able to adopt in other situations, to support the position of arts education for all.


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16:15 – 16:35 S2.3 The role of cultural partnerships within pedagogy suitable for highly capable students in Queensland State Schools

Kathy Mackey, Queensland Academies, Australia

GRAND HALL A

The rationale of this presentation to explore pedagogical frameworks in museum education and those offered by other cultural and scientific organisations and align these with the remit of the Queensland Academies Young Scholars Program as a teaching/ learning strategy for highly capable year five to nine students within state schools across Queensland. The Young Scholars Program offers experiences in the International Baccalaureate and Australian Curriculum contexts to enhance outcomes via global understanding, unique industry partnerships and 21st century pedagogies -based not on “content” but rather pedagogical innovation based on tacit/experiential learning concepts including immersive /experiential strategies , creative , intellectual and social strategies .( Claxton ( 1999) in Hooper – Greenhill (2007) Museums and Education : Purpose , Pedagogy and Performance, Routledge, Oxon)This positions differentiation strategies for highly capable students centre around authentic opportunities, primary resources, transdisciplinary learning and relationships with likeminded peers including museum professionals. This research embraces how cultural Institutions are implicated in the generation of new forms of pedagogy and allow me to contribute to the field of educational research within the context of Education Queensland’s Framework For Gifted Education (Revised Edition 2011 (accessed Nov 19 2011) which emphasises:“Evidence-based practices – The schooling of students who are gifted must be informed by contemporary research-based practice and by ongoing evaluation and improvement and the importance of “Challenging students who are gifted to continue their development through curricular activities that require depth of study, complexity of thinking, fast pace of learning, high-level skills development and/or creative and critical thinking (e.g. through independent investigations, tiered tasks, diverse real-world applications, mentors)” (p:3) Involving students in real time, and online learning experiences that involve inquiry based challenges in the arts and sciences, mathematics, history, creative writing and other disciplines that draw from collections in the Gold Coast City Art Gallery through collaborations with the Queensland Writers Centre implicate student collaboration and creative production as methodology /data capture of action research Enabling conditions that focus on opportunities for learners to become peer mentors, in collaboration with cultural organisations, in the learning process are critical. This is implicated in the learning model valued by the International Baccalaureate Organisation as well in the trends of the Australian Curriculum that focus on explicit rigour in areas such as History and cross disciplinary priorities such as an understanding of Asia -Pacific, Indigenous and Environmental perspectives. 16:40 – 17:00 S2.4

ArtWorks

Melvin Crone, Amsterdamse Hogeschool voor de Kunsten, Netherlands Robert Smit, Amsterdamse Hogeschool voor de Kunsten, Netherlands

GRAND HALL A

This presentation is about the ongoing project Art Works: People Respond to Contemporary Art. The title signifies what it implies: works of art can be the source of inspiration for new ideas and new ways of thinking about the world. Works of art can help build communities of understanding. Works of art can be used as the basis for a new kind of art education that engages learners of all ages in an investigation of life through art. When we thoughtfully respond to art, we can learn about ourselves; we can also learn about how others respond to the same works. If we are generous of spirit, we can come to know that we can think differently from one another and take joy in our differences. Art Works contains responses from a wide variety of Dutch people to three contemporary works of art made in the Netherlands. Academy students showed the art works to young children, teens with


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autism, elderly people in an assisted living facility, three homeless men, lawyers and businessmen, a group of neighbors, dancers, handball players, and others. Three questions form a base: a. what do you see? b. what does in mean? c. how do you know? These questions start a conversation and keep the conversation going on about the work of art. The plurality of the answers show the differences between the viewers and the complexity of the work of art. Art Works also contains the thoughts of the artists who made the works, and thoughts by invited contributors including art critics, authors, and commentators. They all respond to the three artworks. The project consists of four sections: The works of art; responses to the works by a diverse Dutch public; reflections on the project by people within the world of art education; and photographs from the project. Art Works invites you to join. 17:05 – 17:25 S2.5

Re-defining city aesthetics and identity: A new approach to landscape restoration by creative class in the city

Chang Yaping, National Taiwan Normal University, Taiwan

GRAND HALL A

Re-creating cultural landscape through arts projects in the city has become an important issue in both city planning and contemporary art. More people have come to realize that art and cultural properties can help to re-define the identity of a place, a city, or a neighborhood. Art projects can magically turn desolate places into beautiful landscapes and draw crowds and make them become popular public spots in the city. Two famous examples are the Guggenheim Museum in Spain and British Tate Modern Art Museum. We have seen similar examples in Taiwan too. Through an art educational perspective, this research examines the CMP BLOCK (park lane by CMP “art/aesthetics/nature”) restoration. Discussions will be focused on its development and implications on cultural, artistic, marketing, commercial, and civil prospects. The research methodologies used are multi-dimensional: one is from the city Flâneur as the mentality of cultural participation and observation; another is from anthropological field study approach to experience the cultural changes; the other is from market research to interview city crowds about the resulting economic development. The city’s cultural and commercial texts—the occurring city landscape development—are the raw data. The research will then re-categorize and analyze the data and then draw comparisons and make interpretations. One can see from the research analysis that the CMP BLOCK example has successfully manifested how creative class is important city asset, because they restored the desolate school site and turned it into a popular city spot. People hang around the newly-restored spot with pride, comfort, and joy. Even though the capital corporation tried to raise the value of the city area by remodeling it through fashion, artworks, and exhibitions, this does not diminish its aesthetic value. If marrying economic development with artworks and cultural promotions can create new neighborhood and community spirit, we will see a win-win situation becomes reality. This example has proved that new city aesthetic development can actually brings about the increased value of social asset. Moreover, the creative class composed of architects, photographers, visual artists, art teachers have become a group of very important people in the city because they have the magic to re-create the city aesthetics, and therefore re-define the value of the city. As art educators, we need to take more serious account of such aesthetic development around our daily encounterings. To educate our students to become more aware of their daily life experience through becoming more artistically-sensitive to what they see should be incorporated in the art class. More community-based art learnings can achieve such goals. If art educational practice is to raise students’ aesthetic sense, the cultural landscape of the city will be a necessary and critical lesson for students to learn from. I believe that more well-developed cultural landscape in the city using arts projects will be the future trend in both Taiwan and worldwide. By then, Taiwan will re-gain its old reputation of Formosa back in the sixteen century, because the island of beauty will reappear in front of our eyes.


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SESSION 3 (S3):

INTERCULTURAL ART EDUCATION

GRAND HALL B / 14:40 – 15:25

CHAIR: Martina Paatela-Niemen

14:40 – 15:00 S3.1 Developing intercultural competence through intertextual art education by enhancing cultural awareness of intercultural differences

Martina Paatela-Nieminen, University of Helsinki, Finland

GRAND HALL B

In this presentation, I take the congress theme of arts and cultural identities and focus on developing intercultural understanding by enhancing cultural awareness through the arts. My purpose is to examine intercultural competence. In my licentiate (1996) and doctoral theses (2000), I developed an intertextual method for intercultural, intermedial and intersubjective art education. The background theory lies in various approaches towards intertextualities, specifically those of Gérard Genette and Julia Kristeva, whose viewpoints enrich each other. Since developing this intertextual method I have applied it in the practice of art education (for more than ten years and) in several different educational contexts, including art education in high school, art museums and also in a number of universities where the emphasis has been on classroom and art education students and artists. I have also applied the method in media and art education studies for studying local and global cultures. The main purpose of the intertextual method is to make current arts and surrounding cultures understandable. Understanding is gained by studying art open-endedly in relation to arts and cultures. Then it is possible find out cultural differences in order to discover the plurality of their meanings and create new ones. This method is based on a contextual and associative understanding of arts and cultures as well as on investigating and creating art. In this presentation I describe some of these different teaching cases in order to show how students have created intercultural understanding by studying, learning and producing differences and creating meanings in arts and cultures. I have used content analysis to find out how the different approaches use the intertextual method to promote intercultural understanding. The findings show that students produce differences and create understanding for plural intercultural meanings as well as creating new glocal meanings in art. Also, intercultural exchange between students promotes understanding between people. The differences are valuable because they show the essence of a culture as well as explaining cultural history and heritage. Global culture instead seems to soften the edges of cultural differences, making it easily understandable for all. I believe that by creating differences interculturally it is possible to understand the plural interpretations of different cultures. These differences also provide possibilities for creating new glocal interpretations in the arts. Understanding and appreciating the differences promotes intercultural competence.


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15:05– 15:25 S3.2 Cultural identity and intercultural adjustment: Responses to portrait paintings of the adolescents of immigrant families

Seungyeon Lee, Long Island University, United States

GRAND HALL B

This study qualitatively explores the manifestation of intercultural challenges and adjustments in adolescents of immigrant families through their verbal engagements with a set of portrait paintings. Data were collected from in-person interviews with four Korean-American fifteen-year-olds, two boys and girls, all from immigrant families. Participant observation and document analysis were also included as data collection methods. A close examination of the collected data provides insight into the multifaceted responses of these immigrant adolescents, who come from a community that is challenged and enriched by multicultural and urban experiences. Since adolescence is a critical phase in identity formation (Erikson, 1968, p. 128), this study’s findings suggest that the typical physical, emotional, and social role changes of teenagers are more complex and complicated in the context of immigrant families. Adolescents from immigrant families, whose numbers have grown rapidly in the American school population in last decade, face the additional task of developing a cultural identity that inculcates their traditional culture while accommodating the culture and values of the United States (Kiang, 1995). Most significantly, the responses of the participant adolescents to a set of five different portraits demonstrate that art plays a critical role in adolescent life. Their engagement with works of art can be a meaningful experience, as they ascribe their values, assumptions, and beliefs to specific images and objects in paintings. Their responses indicate that these youngsters devalue their traditional culture as they strive to fit into American society. The personal struggles and everyday experiences of young immigrants, such as uncertainty, ambiguity, and joy were identified and verbalized. Another finding suggests that their engagement with works of art provides a window onto their emotional and social lives, especially in terms of their adjustment and transition struggles. The study most importantly suggests that adolescents delve deeply into artistic images, expanding their interpretations and discovering new meanings. Further, these representations are an opening to the outside world and personal experiences.


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SESSION 4 (S4):

IDENTITIES AND TECHNOLOGY

GRAND HALL B / 15:30 – 17:25

CHAIR: Victoria Pavlou

15:30 – 15:50 S4.1 ICT, bilingualism and bidialectism in a multicultural society: Integrating the multimedia builder software as an education tool to deliver fairy tales

Simeon Tsolakidis, Frederick University, Cyprus Nikleia Eteokleous, Frederick University, Cyprus Victoria Pavlou, Frederick University, Cyprus

GRAND HALL B

This study examines the development of multimodal educational material for children having Standard Modern Greek (SMG) as second language (L2), through the use of Multimedia Builder (MMB) as a way to respond to contemporary challenges for promoting multiliteracy and multimodality (e.g. digital, art and linguistic literacies) in primary education. In Cyprus SMG is L2 not only for the immigrants’ children but also for the vast majority of the Greek origin population, who has the non standard Modern Greek Cypriot as their mother tongue (Greek-Cypriot bidialectism). It is generally acceptable that in multicultural, multilingual and bidialectal societies, such as the Cypriot one, the educational system should take into consideration these characteristics by integrating them within the educational material provided to students. To better achieve this goal it has also been suggested that the educational material developed by the teachers may better attract children’s interest and respond to their learning preferences when a) different modes of communication are integrated (e.g., digital, art, language), and b) children’s cultural origin is acknowledged (thus addressing contemporary social issues, such as multiculturalism). The current study aims to examine the development of educational material by pre-service primary school teachers based on elements of the different cultures existing in Cyprus. The population of the present study is consisted of 80 pre-service primary school teachers. Within the Educational Technology module, pre-service teachers are requested to find traditional fairy tales (either Greek-Cypriot fairy tales or related to the cultures of the immigrants living in Cyprus), and to transform them in e-fairy tales using the Multimedia Builder MMB software (Eteokleous, Ktoridou & Tsolakidis 2011). More specifically, they are expected to teach and deliver the messages of the fairy tale by integrating the MMB software. In other words, they are required to develop multimodal educational material combining the fairy tale’s texts (using SMG and the Cypriot dialect) with other semiotic modes such as images, music, etc. As an example of a multimodal traditional Greek-Cypriot fairy tale the books of the famous Greek-Cypriot engraver Hambis are given. The multimodal educational materials produced are evaluated based on criteria concerning the application and integration of digital, art and language elements (Eteokleous, Pavlou & Tsolakidis 2011). In addition the participants’ opinions regarding their e-fairy tale experience are gathered using a discussion forum of an e-learning system. This is an on-going research and we are still processing the data. It is expected that important conclusions will be drawn concerning the use of artistic and cultural elements and MMB as educational tools (in relation to the importance of cultural heritage, identity and intercultural understanding) as well as pre-service teachers’ attitudes towards multicultural and bidialectal education. Finally, the role of Schools of Education is discussed in appropriately preparing future primary school teachers for the needs and demands of a multicultural classroom.


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16:15 – 16:35 S4.2 Using technology and art for bridging the gap between "us" and the "others"

Ioannis Zenios, Human Resource Development Authority of Cyprus, Cyprus

GRAND HALL B

The paper refers to the contribution of art and technology, through film, technology and experiential workshops, for bridging the gap between "Us" and the "Others" in the case of young people (15-30 years old), members of the Greek Cypriot community. Specifically, the workshops begin by completing an online questionnaire with “bipolar” questions, in which respondents are asked to categorise a series of concepts such as 'cross', 'crescent', 'red', 'blue', 'economic migrants', 'illegal immigrants', 'Greek', 'Turkish', "Pope", etc in one of the following two categories: "We" or "Others". Then the participants are devided into two groups, one watching an American film about World War II and the other watching a Japanese film describing the same war incident from the Japanese point of view. The two groups are then brought together in a fruitful and constructive confrontation to each other, which activates processes towards understanding the "Others" and accepting diversity. At this stage, the results of the "bipolar" questionnaire are publicised and the participants are given, for each one of the questions, additional information through experiential workshops, which tend to change the perceptions of the participants, as reflected in the results of the questionnaire, automatically extracted by the computer. Finally, participants are asked to answer an online questionnaire, which in fact summarises the results of the workshops and illustrates the views and believes that have been transformed through the arts and technology workshops.

16:40 – 17:00 S4.3 Visual voices – power, subject positions and learning as performance. Visual methods in development

Annika Hellman, Göteborgs Universitet, Sweden GRAND HALL B

Contemporary research in the field of visual arts and education brings forward the studies of Visual culture and the ways visual culture contributes as a resource for subject positioning and construction of identity through different forms of seeing and regulations of looking; orders of seeing (Mirzoeff, ed. 2002;Öhman-Gullberg 2008; Lind 2010; Aure 2011). Focusing on the local arena at an upper secondary school, the study I am working with aims to put in perspective and make visible the ordinary day assumptions (what is “taken-for-granted”) in the everyday life of media education. A prominent feature of the study is developing visually based research methods. By constructing and applying visual methods, such as video diaries, I hope to explore important functions and elements in education, that otherwise wouldn’t have been made visible or noticeable. These elements concern for an example experiences, social and emotional aspects, and are associated with the term relational aesthetics (Bourriaud 2002). In this presentation I will focus on the visual methods used, and some interesting findings and developments using video diaries. A visual method that I am currently working with is the video diary (Holliday 2007; Noyes 2008). Making a personal video diary involves the students connecting individually to a webcam, and talking about their work in media classes. By using video diaries I am not trying to give a more true or reliable picture of reality than other techniques, video is not used to improve observation techniques. Video diaries are a cultural phenomenon that is often found in popular cultural context such as reality shows on television, but also in documentary film traditions and visual ethnography and anthropology. Visual diaries can be seen as staged performances or as simulacrum in Baudrillard´s sense; something that constructs content on its own terms, the hyper-real (Baudrillard 1983). Philosopher Gilles Deleuze sees simulacra as a phenomenon in which the normative ideal and privileged positions can be challenged and reversed (Deleuze 1993). Simulacra can be understood as a form of staged reality


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that offers students different camera identities, or subject positions, in front of the camera. Video diary is also used as a method for the informants to collect data to the study, and in this way become involved in the study (Thomson 2008). The theoretical tools I use belong to multimodal discourse theory, post structural feminism and the Foucauldian term governmentality (Foucault 2003b). A post structural feminist perspective contains the view of identity as something changeable and socially constructed. We learn to understand the world through the various positions and discourses that are at hand. We position ourselves, and are at the same time positioned by others within the different discourses we take part. Using this perspective the complexity and ambiguity in the world is accepted; positions are offered, accepted or resisted simultaneously (Walkerdine 1990; Rhedding-Jones 1997; Davies 2003; Lenz Taguchi 2004).

17:05 – 17:25 S4.4 The importance of translation: Cypriot Literature and the contribution of the state

Niki Menelaou, Frederick University, Cyprus ONISSILOS

The importance of translation in education mainly as a bridge between civilizations and its effect in bringing different cultures together is highlighted in this paper. The serious thought given to the role of translation within the framework of the EU is also focused on. Access to the European Literatures of Languages ‘not widely used’ is additionally studied. The term ‘not widely used’ is preferred rather than the definition ‘small languages’. The use of language not only as a tool of communication, but mainly as a vehicle of culture is of utmost importance. Its code, apart from what it illustrates, is something more. The paper is subsequently examining the contribution of the state in Cyprus to the translation of works of literature written by Cypriots. Until very recently, very few publications of translated Cypriot poetry by local or foreign publishers had been sponsored by the Cultural Services of the Ministry of Education and Culture in Cyprus, the State’s Department that deals with cultural affairs. The proposal of writers themselves for their works to be translated into other languages coincided with findings in 2002 that approximately 400 poets’ works had never been translated and with the fact that there was no government budget to be spent on assisting translation projects. Also, the state lacked a policy for the encouragement of writers to participate in EU translation projects instead of such encouragement being a primary goal. Today the landscape has changed significantly. The Cultural Services of the Ministry of Education and Culture in Cyprus have introduced a budget that can be allocated specifically for translation projects. This budget has contributed enormously to the mobility of writers and their works and thus to the promotion and dissemination of the literature of Cyprus abroad, furthering the development of intellectual works as an aim.


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SESSION 5 (S5):

LEARNING IN AND OUTSIDE SCHOOL

GRAND HALL C / 12:10 – 13:20

CHAIR: Marian Strong

12:10 – 12:30 S5.1 Theoretical, methodological and political issues on visual narratives in arts and visual culture education

Fernando Hernandez, University of Barcelona, Spain

GRAND HALL C

Recently a colleague sent me a stop motion made by his 10 years old daughter with Playmobil and posted on YouTube. The title of the visual story she made was "the best video ever done”. In a Fine Arts degree course at the University of Barcelona, I explore with students the cultural and identity meanings of the Monster High dolls, because last Christmas they have been the most desired present by 6 to 12 years old Spanish girls. Reviewing the documentation about these dolls we found a stop motion on YouTube (http://www.youtube.com/watch?v=gBeVsMg5iU0&feature=related ) made by two little girls who narrated the relationships of these icons in a sexualized manner. This click has been viewed by more than one million people. In the last issue of The International Journal of Arts Education, Paul Duncum (2011) wrote an article about the use of YouTube by young people as a way of becoming prosumers and paying attention to the relevance of this creative practice for art education. Based on these and other contributions and exempla (Schirato & Webb, 2004; Lemon, 2006; Bach, 2007; Rifà-Valls, 2011) ) that illustrate the importance of visual narratives both in and out school, in this paper: (a) I discuss the significance of visual narratives as an arena where epistemological, methodological, political and ethical issues converge; (b) I present a case study, carried out at a university course on Contemporary Visualities, where students were asked to explore and produce visual narratives; and (c) I narrate this course experience from an Arts Based Research approach to understand and represent the theoretical and methodological implications arising from the variety of students visual narratives. The final purpose of this paper is to put on the arts and the visual culture education agenda the importance of students’ production of visual narratives from a theoretical and methodological position that has to be well founded, going beyond a celebratory attitude. Because it seems important to remember, as noted by the Spanish film maker Bigas Luna, that "Contemporary alliterate people will be those who will be not able to explain a story visually”. 12:35 – 12:55 S5.2

Making art in and out of school - The impact of context upon children’s aims and attitudes

Phivi Antoniou, University of Cambridge, Cyprus

GRAND HALL C

Children engage with art in a thoughtful way. They create and respond to artworks with a clear mindset regarding the reasons they do so and the way in which these activities are related to other aspects of their lives. The findings of a recent empirical project conducted in Cyprus reinforce these statements. The aim of this project has been to explore in depth elementary school children’s engagement with children’s art as creators and as viewers. More specifically, to acquire a good understanding of the ways in which different children think about, value and engage with art, through an investigation of the factors which influence their decisions when making and responding to art in different contexts. A comparison of the participants’ experiences and involvement in artistic activities in and out of school reveals interesting aspects of how the context shapes the children’s


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aims and concerns, and has a direct impact upon their art-making and their attitudes towards art in general. This talk builds upon the project’s findings and raises questions related to the implications of the findings for art education. More specifically, through allowing the children’s voices to be heard, it discusses the value of personal engagement, the importance of meaning-making and the consequences of the awareness of an individual’s potentials and limitations as a creator, especially in relation to the context within which the artistic activities take place. The children’s perspective, their descriptions and explanations of their experiences with art ought to be an indispensable guide for everyone interested in any way in children’s engagement with art. One of the main purposes of this talk is to shift the attention of art teachers and policy-makers to the focus of art education, in a way that it makes the children’s experiences at school meaningful and integrated with all of their other life experiences. 13:00 – 13:20 S5.3

Plane, image and space

Dace Paeglite, Pardaugavas Music and Art School, LATInSEA, Latvia Arta Dzirkale, Pardaugavas Music and Art School, LATInSEA, Latvia

GRAND HALL C

The research was made in the framework of the ECO workshop: Handmade Paper Casting – Paper Works in the Pardaugavas Music and Art School from 2009 through 2012. In this period in the school’s programme a special attention was paid on how to develop in students the understanding of the ecology and a friendly attitude towards the nature, how to find out the qualities of the naturally and industrially produced materials and to get acquainted with the responsible use of them, moreover to use all the previously mentioned in an attractive way for making the students’ works creative. Meanwhile an inter-subject connection was made between different school subjects like Drawing and Modelling, Small scale design and Composition, by exploring and depicting a united theme in the plane and space, however, using the different means of expression. The aim of the work was to do the cuts and folds of the paper/cardboard and to find out the transformations of the flat surface into the plastic image in the space. Students obtained the knowledge about the interaction of the plane and the space – about the simplification of the form, the stylization of the image and the usage of the details that creates the significance of the identification and impression of the silhouette. The practical work of the cutting of the image and the form, the folding, the sticking and putting together was done in the meantime of the studies of artists’ utopian ideas, experiments and art works. The result proved that the students’ understanding of the rules of perspective is improving; they spend more time on the making of the general image and together with that they learn and develop the skills necessary for realizing the construction and planned design works. We came to a conclusion which can be characterized by: • In the groups of 10 - 13 years – the transformations of the plane in the spatial, incredible images; • In the groups of 14 - 18 years – the dynamics of the working process, the diversity of the images and the realization of different layers of one topic; • In the audience of the teachers – the conclusions that the plane, the image and the space in one whole creates our everyday life and that it is worth to research and understand it in a creative way.


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SESSION 6 (S6):

NEW TECHNOLOGIES & ART EDUCATION

GRAND HALL C / 16:15 – 17:25

CHAIR: Teresa Torres Eca

16:15 – 16:35 S6.1 Children's electronic remix culture

Paul Duncum, University of Illinois, United States GRAND HALL C

In a networked, participatory culture children's unsolicited YouTube productions have far-reaching consequences for art education. Productions typically consist of mashups or a remixing of cultural sites. Examples are offered from parodical and socially transgressive videos, which are among the most common by youth on YouTube. Enabled by the technology, youth are engaging in creative activities that are changing the nature of learning in society in the direction of affinity-based, socially networked peer participation. Implications for art education include: acknowledging the developmental needs served by affinity based networks; teaching the skills of time-based media; and learning to negotiate between the demands of institutional learning verses the hedonistic, oftentimes transgressive culture of youth.

16:40 – 17:00 S6.2 AVATARS for artistic and tecnological learning

Angeles Saura, Universidad Autonoma de Madrid, Spain Amador Mendez, Universidad Autonoma de Madrid, Spain Rosario Naranjo, Universidad Autonoma de Madrid, Spain Cristina Moreno, Universidad Autonoma de Madrid, Spain

GRAND HALL C

This artistic research aims for the artistic and technological professional development of teachers of art. We have studied the theories of McLuhan and Marc Prensky. We have also reviewed literature about the development of artistic workshops with the theme of identity. We have focused on case studies conducted by Escaño, Zafra, Acaso, Agra and Eça, among others. We provide a new methodology in the field of art education using Internet and social networks for the artistic and technological professional development of Art teachers. AVATARS, international exhibition, has been organized by Saura Angeles from research group UAM : PR-007 "Digital Resources for Arts Education". It opened in June 2009. It is about the concept of network identity. AVATARS is a collective and itinerant exhibition of self-portraits. It has been put together at the teacher-artists's network www.arteweb.ning.com. Coordinated by teachers and artists, it comes in two formats: analog and digital. 120 participating artists from 12 Latin American countries sent their works to form part of a permanent virtual exhibition. The works chosen by the selection committee were printed on paper at Madrid and Colombia. Pedro Villarrubia designed a poster showing all participants' works and customized it


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depending on the context of each of the exhibitis wich continues its journey through different universities and galleries around the world. The exhibition is an excuse to have a workshop and a meeting of art teachers in order to start developing collaborative work online. Until December 2011, the exhibition was presented in Spain,Venezuela, Cuba, Brazil, Portugal,Colombia,Italy and USA at the following locations: Segovia, Caracas, La Habana, Madrid, Toledo, Río de Janeiro, Goiania, Coimbra, Bucaramanga, Rende, Orlando,Oporto and Viseu. Visual summary (4') at: http://www.youtube.com/watch?v=WpVXDmk73XY We have addressed a theme that, given the state of knowledge, is beginning to be investigated and they have scientific importance. Our sources guide the search and interpretation of results. The authors incorporate their own ideas, criticisms or conclusions regarding both the problem and the material collected. The outstanding issues range from general to specific. The research methodology is made by artistic procedures. We use photography and all kinds of artistic and technological resources. We conducted our review of the literature on this type of research focusing on the authors Marín and Hernández. The main conclusion of this research is that in the field of education research, artistic method is optimal for achieving the goal of professional art and technology update. 17:05 – 17:25 S6.3

Multimedia, Storytelling and Meaning

Vladimira Zikmundova, University of West Bohemia, Czech Republic GRAND HALL C

The author in this paper continues in examining specifics of multimedia artworks which main principals are multimodality and variability. These principles can influence a cultivation of visual literacy and cognitive processes on the basis of visual imagery. One from many features of visual literacy is special sensitivity for inner differentiation in multi-sensual experience. This is crucial when perceiving a multimedia artwork in which pictorial components can be changed. Multimedium is also dynamic nonlinear cyber-text and as such can provide variable stories. The question is: is there something special and new that ergodic forms bring to Art Education?


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SESSION 7 (S7):

ARTS IN COMMUNITIES’ CULTURAL DEVELOPMENT AND CAPACITY BUILDING

TEVKROS / 12:10 – 12:55

CHAIR: Fiona Blaikie

12:10 – 12:30 S7.1 Drama in primary schools for intercultural integration

Angela Christofidou, Cyprus Centre of the I.T.I., Cyprus TEVKROS

I have a dream that one day this nation will rise up and live out the true meaning of its creed: “We hold these truths to be self-evident, that all men are created equal…[ ] Their freedom is inextricably bound to our freedom. We cannot walk alone. ‘Martin Luther King, I have a dream’ To build a concept covering the various aspects of educating through art, for the promotion of Intercultural Dialogue between the children of different cultural background the foundation is simple and loud and clear. All men are created equal. Diverse communities have specific educational needs while new realities call for new approaches in order to create a homogeneous society on European and on national levels. In order to have the same opportunities within the educational system, there has to be an official recognition expressed by EU policies and on national level within the Ministry of Education and Culture. Different education skills present problems, which can be solved through the universal language of art which indeed has so many different forms of expression and shapes and meanings, but when we follow the thread in the labyrinths of the human soul they all end up in the archetypal myths of the soul and human existence. The goal has to be the transformation of European society beyond multiculturalism, a place where cultures met and created an amazing new space together. On political level these thoughts form some questions: ♣ The official recognition of intercultural art education on European as well as national level. ♣ The involvement of professional artists in arts education ♣ The reinforcement of the partnership between schools and outside arts and community organizations ♣ The creation of a new open multileveled educational system. ♣ The training of experts. It is essential that we recognize arts education’s capacity in contributing to lifelong learning and to European Union’s goal for Flexicurity. To reach a state of flexibility in the labor markets and systems the individuals must be able to be flexible in their way of political and social thinking, in order to be flexible in a continually changing environment. Intercultural education is an education for all children and not only for those of ethnic minorities.


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This implies mutual learning and joint growth and a process of acquiring, not only a set of basic facts and concepts about ‘the other’, but particular skills and competences which will enable one to interact functionally with anyone different from oneself regardless of their origins. Our experience with drama has proved that the children become confident after the conclusion of a set of drama sessions, realizing their competences and those of others. They bond with their drama team and they share emotions and thoughts more easily with each other. Drama is a powerful tool for social change and political intervention in the history of mankind and as Edward Bond has said: “In the end I believe that drama has only one subject: justice”. 12:35 – 12:55 S7.2

Drama and adolescents: Social issues focused drama workshops and performances in 21st century Cyprus

Andri Costantinou, Frederick University Cyprus TEVKROS

The presentation will firstly present and describe certain drama workshops as well as performances by teenagers that took place in Cyprus the last few years. The group work in research focuses on subjects such as tolerance, immigrants next door, coexistence of ethnic groups (Greek-Cypriots and Turkish-Cypriots) as well as everyday problems of adolescence, like school failure, family problems etc. The framework in which they are organized varies from secondary school drama clubs and teachers initiatives to urban out-of-school activities and summer schools in the countryside which includes the experience of the group living together for some days. They end up either in a devised performance or a short scale presentation/discussion of the results of the workshop and the experience. Their methods pay special attention to team and trust building and the content concerns a wide spectrum of drama in education techniques, devised theatre, creative writing etc. Also, in some cases, the use of art, music, dance and corporal expression broadens the horizon of these workshops. All these attempts, located in the social and political context of contemporary Cyprus, are related to goals such as the development of new attitudes concerning peace, mutual understanding, realizing human right matters and how every person is involved in these, empathy and creative use of differences, intervention to society, as well as self-esteem and self-awareness. Drama and other arts are used as means of creativity, free expression and deliberation of talents as well as a sharing procedure of what the individual can offer to the team and what he or she can gain out of the contribution. Secondly, these paradigms will be connected to internationally acclaimed theories, methods and techniques concerning Drama and Theatre in Education, Community Theatre and Augusto Boal’s Forum Theatre. Finally, the presentation will discuss how drama can be useful as a social intervention and a unifying means and procedure in contemporary Cyprus.


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SESSION 8 (S8):

VISUAL CULTURE AND SOCIAL ISSUES

TEVKROS / 13:00 – 15:25

CHAIR: Emil Gaul

13:00 – 13:20 S8.1 How might pedagogy and didactics for a visual culture education be developed? – An european version of visual culture pedagogy

Ingelise Flensborg, Danish School of Educational Studies, Århus University, Denmark Mie Buhl, Åalborg University, Denmark

TEVKROS

The society is orienting global and a diversity of different social systems using different visual signs are trying to communicate across cultures. The global network is demanding a common visual ground to stand on and at least a conscious use of visual communications. This makes visual culture pedagogy important in an educational perspective. We wish to introduce visual culture pedagogy to teachers who are working with pictures and visual phenomenon’s, to art historians working at the museums and to researchers in art, language, medias, drama, design and architecture as to educators related to other subjets where visual (re)presentations are part of the knowledge that the subject contains. Visual phenomenons are seen as potentials for learning in an educational and institutional frame, visual events as the interaction of a viewer and visual events can (with communication theorist Jean Trumbo) be divided in 3 kinds of events: Visual thinking, visual learning and visual communication. The visual cultural strategy of reflection is a didactic subject for the use of visual culture in a pedagogical practice. Visual culture is the construction of a gaze at the environment, the physical as well as the virtual and to pose questions to the conditions for what you see. The literacy’s in a visual culture pedagogy is consisting of two main parts: The decoding or analysis and the production of meaning, the representative and presentative process. The making of images is still important as the students hereby acquire insight into the creative thinking process of visualizing. Making images also allows the students in a visual culture subject to discover their own cultural positions. The lecture will outline some of the contents in a new education and give examples of practices developed with students at university level.

14:40 – 15:00 S8.2 Championesse - Women's boxing in the media

Helene Siebermair, Kunstuniversität Linz, Austrtia TEVKROS

The aim of the presentation is to show an analysis between gender and sport through the media. The presentation is connected to the subject of arts and society, and focuses on visual culture education pedagogy. As an art educator and filmmaker I want to give an example how students can find out more about the rules between media and reality and develop a broader view on women in sport in general. FOCUS WOMEN’S BOXING: Ever since women’s boxing first entered public awareness, the media have influenced its image. Ulrike Heitmüller could not have competed in Germany’s first amateur women’s boxing tournament if it had not been for the huge interest of the press. Professional fights of women would not have been broadcast on TV without Regina Halmich’s appearance in entertaining shows. In professional boxing especially, women are using the media – not to become famous but to be able to compete in the first place. Using the media means


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adapting to prevalent marketing strategies, which in many cases equals adhering to traditional role models. My presentation explores different types of media which create an image about women’s boxing: essayistic and academic prose, radio and print media, TV shows and movies. All the media’s attended to the construction of clichés and mystical views on women in this sport. The making of a separate constructing medium in its own right, the documentary film “championesse”, is also reflected. Along the way students could develop an entrance to a world we usually don’t have access, they could reflect artistic strategies (creating questions not answers) and filmic methods (direct cinema relating to concept, shooting and cutting decisions) and they could be sensibilized upon gender framing by analyzing role models, traditional prospects and courageous breakouts. Synopsis of the documentary “championesse” Seven women boxers. Seven strategists. Seven winners. For amateur boxer Maria, in the boxing ring and in real life likewise, everything is about learning not only to roll with the punches but to dish them out too. For two-time world champion Heidi from Lower Saxony, personal development is the overarching principle. In fights she gets to know her limits and learns to overcome them. Melanie is holding the title of Austrian champion, Raja and Maria are professional boxers based in Karlsruhe, Germany. For all three women, the reasons for which they are boxers are the same: a boundless joy of fighting and winning. Nicole has stood the test both physically and psychologically by winning the title of European champion. And for Heather from Canada, founder of the largest women’s boxing movement in the world, the real victory of women’s boxing is the fact that there is a close community of strong women. championesse takes viewers to Austrian and German gyms and boxing rings, showing women who fought their way into an archaic and male-dominated sport.

15:05 – 15:25 S8.3 Art educational and social communication - Review of pedagogies

Tania Callegaro, Fundação Escola de Sociologia e Política de São Paulo, Brazil

TEVKROS

Three projects of Art Education that took place at the Arts and Communication School from the University of São Paulo (Escola de Comunicação e Arte - ECA/USP) from 1994 to 2003 are reviewed from two perspectives: 1- mediation theory, in the Social Communication field, and 2- communication aesthetic, present at collaborative art, mediated by technologies of remote communication. Each project explored remote communication among groups of students from different cities through the Internet, a learning process and intercultural collaborative artistic production. The objectives of this article are: 1- to compose part of the art history education in Brazil, especially the one produced at ECA/USP, which distinctive feature lies in the development of an interdisciplinary academic production that makes Art and Social Communication get stronger; 2- to use the mediation theory to build a concept of political art educator, in local and global transit; 3- to describe an art education pedagogy in constant change, built from dialogical, interactive, collaborative and technological processes; 4- to discuss the art education and the art educator in Brazil and in the world, inserted in the great communication and information flows, and also in cultural, political and economic oppositions. Since de 1980’s, at ECA/USP, some art education researchers have become notable, such as Ana Mae Barbosa and Maria Rezende Fusari, together with the communication researchers Ismar de Oliveira Soares, José Manuel Moran Costas, and others, that have approached the language and mediatic production of TV, Video and Movie to the studying and understanding of art and art education in broad contexts of social and cultural communication.


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The art education experiences reported were developed in this academic environment and put into practice at the public schools in the State of São Paulo, Brazil, and also at schools in countries like Japan and the USA.The projects are: 1- Shodo Project, Brazil – Japan (1996/1997); 2- Water Pollution Project, Brazil and CA/USA (1997/1998); 3- Todeolho.Tv Project (2002), developed among youngsters from different cities in the State of São Paulo, Brazil. The developing of this article features some parts from the author´s PhD thesis in Art Education and Social Communication (1999); the analysis of the projects from the Masters dissertation of Isabel Leão, ECA/USP (2008); the article from Barbara Means and Shari Golan, Transforming Teaching and Learning with Multimedia Technology, related to The Challenge 2000 Multimedia Project, CA/USA, (1998); the report from Ismar de Oliveira Soares, postdoc in communication and education, developed at ECA/USP and Marquette University, Milwaukee, Wisconsin, USA, (2000); the article from Ana Mae Barbosa’s book “Inquietações e Mudanças no Ensino da Arte” (2008); current literature about art education and comparative reading of the three projects under the mediation theory perspective. Although it’s been more than ten years, the projects that were analyzed are also contemporary, showing possibilities that haven’t been much explored in pedagogies of art education and among art educators. In this article we state that, to study the contemporary artistic production and to learn how to teach it in a rich social and cultural context, full of cultural diversities, interaction possibilities, and great contrast in information access, the art educator needs to broaden his/her view and develop his/her work from the communication processes between global and local, and the relation and dialogue with the other.


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SESSION 10 (S10):

ART EDUCATION DEVELOPMENT - MOTIVATION & CHALLENGES

TEVKROS / 16:15 – 17:25

CHAIR: Fotini Larkou

16:15 – 16:35 S10.1 Concrete poetry and didactics of second language learning: The contribution of a literature genre to the development of language, intercultural, emotional-social and creativity skills of foreign language learners Eleni Kouvari, 2nd Experimental Gymnasium of Athens, Greece Maria Margaroni, Zentrum für Antisemitismusforschung-Technische Universität Berlin, Belgium

TEVKROS

One of the creative instructional materials in second language teaching is the use of literature and more specifically concrete poetry; a lyric form, in which the visual elements are used to enhance the meaning of text and are considered of equal importance to it. The fact that concrete poems make use of the typographical arrangement of words as a comment on the fundamental instability of language is an aspect which could be of pedagogical interest to foreign language learners. This notion plays a key role in our theoretical study, in which we aim to explore the specific features of concrete poetry in order to examine its contribution to the development of communicative language competence as well as the development of intercultural, social-emotional and creative skills of learners. Concrete poems as an authentic text are to be implemented in a project-based, communicative-pragmatic and student-oriented approach of language teaching. More specifically, using examples from teaching German as a foreign language we examine the contribution of concrete poetry in both receptive and productive language skills. Furthermore, learners have the opportunity to develop their literature competence, their ability to establish contact with a visual text, receive written speech carefully and effectively on a cognitive, as well as emotional-social level. This particular approach to foreign language teaching and culture through concrete poetry could encourage learners to use their creative potential more effectively and possibly facilitate foreign language learning.

16:40 – 17:00 S10.2 Ιntegrating young children with autism into a mainstream reception school through an art-based programme: an action research approach

Andriana Papachrisanthaki, Roehampton University, Greece

TEVKROS

The lack of effective inclusion for children with autism, in mainstream reception units in Greece, is accompanied by a deficiency in effective curriculum guidelines and collaboration between generalist and special education teachers. In the classroom, the generalist teachers occupy normal developing children with activities that fit in scope of combined learning themes, including


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expression and creation, while the special education teachers follow an individualised educational programme with each autistic child. Additionally, art lessons in reception units tend to focus on the individual child experimenting with different art media. The lack of structured joint activities impedes children with autism to develop their social interactions. Some scholars have recommended the modification of mainstream art activities, in order to facilitate reciprocal interactions among children with autism, their peers and teachers. Yet, the limited number of studies in this field stimulated this research about the potential of art education in teaching young children with autism. The presented research develops, implements and evaluates the effectiveness of an art-based programme for children with autism (aged four to six years old) at an inclusive reception unit in Greece. The educational intervention is guided by the following questions: • What kind of art based curriculum experiences do children with autism already have in this reception unit? • How do their teachers understand aims, methods and outcomes for art lessons? • What kind of art-based intervention might facilitate these children’s communication and social interaction with their peers and teachers? • Is collaborative action research an effective way of implementing this kind of curriculum change? The project’s scope is qualitative in nature and takes the form of action research. The researcher, a head teacher and two teachers qualified in special education needs and early years collaboratively define the problem, plan the solution, act and observe and reflect upon further development. Four children with autism are selected as main participants of the project and observed during their participation with their peers in visual art lessons. The research and data collection are currently in progress and organized into 5 phases: 1) researching autism and theory and practice of art education, 2) defining and analysing the practical problem, 3) developing an art-based programme, 4) piloting and modifying the programme, 5) implementing and evaluating it. The data collection instruments are researcher observation, using an observation checklist and video recording.The observations are taking place during two visual art activities per week, in a period of seven months and last 15 minutes each. Current observations reveal a succeeding interest of the children with autism in art making and participation in collaborative art activities. The modified art activities with short and simple instructions are a product of the teachers’ collaboration. When special education teachers advise and collaborate with teachers qualified in general education, children along the spectrum have the chance to be effectively included in joint activities. Further findings will unfold within the curriculum intervention and inform improvement of early years and special needs teaching practices through art education.

17:05 – 17:25 S10.3 As an illustrator-in-schools: Reflections on a personal itinerary

Vasiliki Labitsi, Greek Ministry of Education, Greece TEVKROS

Artists’ involvement in formal primary education has a long history internationally and accepted to benefit mutually the children, teachers and artists involved. Such involvement can vary from long residencies and establishment of art studios to schools to short visits. In Greece, artists-in-schools is not an established practice, with the exception of the National Book Centre of Greece (EKEBI) which organizes and supports one-day visits of children’s book illustrators to schools. The form of the visits and the nature of the activities are open to be negotiated by the involved teachers and artists and can include demonstration of the illustrator’s creative process and work, discussions and art workshops with the students. In this paper, I reflect on my visits as an illustrator to primary and pre-primary schools in Attiki, Greece during the school year 2011-2012. I present, inquire into and compare the form and types of activities taking place and their affect on children, teachers and myself. Also, I attempt to draw from, combine and challenge the compatibility of my complex professional identity as an art


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educator, educational adviser, researcher and visual artist. Given the autobiographical nature of this inquiry, I draw my conclusions from the analysis of the personal journal I keep for this purpose. Also, children and teachers are questioned about their experience and the art works made during them are studied. On the whole, I attempt to answer questions such as: In what ways children book illustrators can contribute to art and literature education in Greek primary and pre-primary schools? How the involved students and teachers can benefit? What forms can this interaction take? In what ways my educational background and my role as an illustrator-in-schools affect each other? What can I learn about my professional identities and practices through these visits?


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SESSION 11 (S11):

EDUCATION POLICY (I)

EVAGORAS / 12:10 – 13:20

CHAIR: Marjan Prevodnik

12:10 – 12:30 S11.1 What do secondary art teachers from Cyprus think of creativity - As expressed in 41 children's colour linocut artworks from Slovenia - During and after evaluation?

Marjan Prevodnik, The National Institute of Education, Slovenia

EVAGORAS

The purpose of this study was to find and to examine Secondary art teachers' from Cyprus – so called – ''working definitions'' of the criterion creativity, which they used when evaluating children's 41 art works (multiple colour linocuts prints from one printing plate) from Slovenia. The aim of this ''coincidental'' study was to see, if the definitions of art teachers from Cyprus are either similar or different from the definitions – from the same study – , given by art teachers/educators from all around the world in the past ten years. Further more, the motivation for this study was based on ''expected'' divergent art educators' concepts about what creativity in art education means. The paper firstly examines some aspects of creativity from the theoretical aspects and is giving some additional information concerning historical and recent views on creativity in art education. Regarding the method of the study, we chose a facet of qualitative (descriptive) method for gathering data (a questionnaire). It was expected to see a philosophy, which is behind the judges' evaluation of the concept creativity, and why they gave such grades/marks as they did to the criterion creativity, to evaluate 41 multiple colour linocut prints, made of 12-13 years old students from Slovenia. Location (Ministry of Education and Culture in Nicosia, October 2010), circumstances and procedures to gather evidence are described in details, with all written responses from all 44 Cypriot judges. It more than seems, that in ''changing their mind set'' regarding creativity, they followed their intiution, professional art pedagogy and general psychology knowledge and art education mainstream paradigm in their respective country. They followed creative experiences from their personal artistic practices. It is important to note that this task of evaluating ''creativity in students'' artworks required a very skilfull evaluator/judge. Finally, it was targeted to interpret gathered data – a very demanding task, comparing with resultus of the same study (with the same 41 linocut artworks of students from Slovenia) from different countries in last 10 years. Some conclusions and implications for art education and further professional development of art teachers, not only for Cypriot ones, but also for world ones, regarding evaluating of the criterion creativity, are presented. The findings expounded in the full paper suggested that the responses, gained by Cypriot secondary art teachers, are somehow similar to those gained by art teachers from other countries. However, according to the judges' written responses after evaluating the prints, it seems obvious that concepts, like ''elements and principles of design, composition, originality and uniqueness'' are the prevalent and dominating words defining the criterion of (artistic) creativity. More research is needed to understand this issue of evaluating ''children creativity'.


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12:35 – 12:55 S11.2

(Re)forming knowing: Reconceptualizing the role of creativity in innovation for knowledge-based economies

Teresa Tipton, Anglo-American University, Czech Republic EVAGORAS

In Adorno’s letters to Walter Benjamin concerning his Arcades study, Adorno critiques Benjamin’s treatment of the dialectical image, concluding that his study lay in the crossroads between magic and positivism, and only theory could break the spell of its bewitchment (Adorno et. al, 1977, p. 129). Benjamin’s dialectical image was invented with the intention of fracturing the phantasmagoria of capitalist ideologies from historical narratives in order to develop ‘the critical moment’ that would awaken the sleeping masses from their alienated subjectivity. Drawing upon this critique in relationship to art education’s dialectical image of itself at the cultural crossroads, if theory can break the spell of an image’s immanence, then only epistemology can break the bonds of its dialectical catastrophe. Addressing the dialectical crossroads in art education, this paper presents an epistemological case for the reformation of knowledge and how it is accounted for in the arts. While arts and cultural education has been extensively researched for more than fifty years, the arts remain educationally marginalized and the presence of arts education specialists and programs in western public schools have been reduced. In spite of the field’s sophisticated advances, there remains no major instructional systems design theory and models for teaching art. Yet, the expectations for knowledge-based economies in the US and the European Union, are driven by policies supporting innovation without addressing creativity’s fundamental role in its development. Arguing that creativity has been mystified as unteachable and thus neglected instructionally, this paper advocates reforming epistemology in arts education through the teaching of creativity and not solely the subject matter of art. By developing instructional-design theory and supporting models teaching creativity, knowledge-based outcomes are (re)cognized, establishing protocols for innovation without instrumentalizing the arts. 13:00 – 13:20 S11.3

Results and issues of “Art and Handicraft” class study system Focusing on case study analysis in the public elementary schools in Japan

Atsushi Sumi, University of Toyama, Japan

EVAGORAS

Japanese school education is stipulated by the education-related laws such as “Basic Education Law” and “School Education Act” issued by the government, and is required to use textbooks approved by the Ministry of Education. This is also true of art education, which follows the course of study set by the Ministry of Education, Culture, Sports, Science and Technology, "MEXT" ranging from coaching to evaluation and uses the Ministry-approved art textbooks. However, “Arithmetic” and “National Language” are considered as the center of teachers’ class study to improve the students’ basic academic ability. In particular, Japan is falling behind in the ranking of the International Academic Research conducted by Programme for International Student Assessment of PISA, as the result of which this trend is further strengthened. In Japan, on the other hand, there is a system of “class study” on which teachers work together for each subject. I, the author, have been involved in the class study of “Art and Handicraft” at public elementary schools since 2011. While I was assorting and analyzing the process, I got to know that public elementary school teachers without a qualification as an art teacher gradually acquired the skills of coaching and evaluation in “Art and Handicraft” class. I observed there teachers were giving classes based on the same study theme under the same guidelines with an aim to realize potentially effective classwork for children. They were also preparing necessary materials and equipment as well as learning environment such as display


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materials. It was the necessary process to make progress in “Art and Handicraft” similarly as other “Arithmetic” and “National Language” classes, but once it came to an end, it also turned out to be a problem how they should maintain the outcome. And finally we found out that fulfilled education would be necessary at universities. We should put emphasis on as to the expertise and skills required at “Art and Handicraft” class in elementary schools.


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SESSION 12 (S12):

EDUCATION POLICY (II)

EVAGORAS / 14:40 – 16:35

CHAIR: Mirjana Tomasevic Dancevic

14:40 – 15:00 S12.1 Students’ voice: The examination change of visual arts subject in Hong Kong

So-Lan Wong, Hong Kong Institute of Education, Hong Kong EVAGORAS

Portfolio assessment was first introduced into the senior secondary school public examination in Hong Kong by the Hong Kong Examinations and Assessment Authority [HKEAA] in1999 and subsequently implemented in 2003. An exploratory research on this issue was done by the researcher in 2007. The result revealed that using portfolio as a means of school-based assessment could motivate students' visual arts learning. By then, most students agreed to the change and expressed that portfolio as a school-based assessment really created a learning space for them. In the meantime, a holistic review of the new senior secondary [NSS] curriculum in Hong Kong was made by the Education Bureau [EDB], HKSAR. The Curriculum Development Council [CDC] of the EDB and the HKEAA jointly prepared a new Visual Arts Curriculum and Assessment Guide (Secondary 4-6) to be used by schools. The rationale of the NSS visual arts subject and the criteria of the portfolio assessment are thus changed. In 2011, I conducted another study on the same issue. In this paper, I will analyse and compare the different approaches of the two portfolio assessments used by teachers under the examination changes started to implement in 2003 and 2009 respectively. The result of the study showed that the students who had stronger passion for art had more challenging views on the NSS visual arts learning, especially on the research workbook [RWB] which emphasized presentations on art appreciation and criticism in context in relation to art making, critical studies, and research process. Some even questioned the need for such an examination change and the rationale of the NSS visual arts curriculum. The most significant query students raised was ‘what is the nature of visual arts learning?’ By hearing students’ voices, we could have a better idea and more indepth understanding of the implementation of the NSS visual arts learning and school-based assessment. To ensure successful implementation of the change, policy makers need to pay attention to students’ voices.

15:05 – 15:25 S12.2 A Study on the art education for the improvement of Korea's middle school evaluation system

Booyun Lee, Hanyang University KoSEA, Korea, Republic of EVAGORAS

In current education system, owing to the focus on college admission exam, Korea has underestimated the importance of art education. Therefore, it is crucial that art education be studied in depth and to apply the art education in school effectively, all key players from education administrator to art professors and teachers should continue with their efforts in researching a better educational system.

1. Korea's college admission system

In regard to Korea's college admission system, the test to gain admission was called preliminary


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college entrance examination from 1969 to 1981 and then changed to college national entrance examination from 1982 to 1993 and then from 1994 to present, it was renamed as college scholastic ability test.

Table 1: Korea's college admission system

1994~2004 Humanities Language, math, science, social science, foreign language Natural science

Fine arts and physical education

2001~2004 Humanities Language, math, science, social science, foreign language, 2nd foreign language

Natural science

Fine arts and physical education

2005~2011(Present) Language, science, social science, foreign language, 2nd foreign language, math (ga), math (na), vocation (vocational high school student)

2. Making a case for including fine art exam for college scholastic ability test and essay test In making the case for including fine art exam for college scholastic ability test and essay test, we propose the followings:

1) The importance of proposing proper direction for Korean education College scholastic ability test and essay test are critical determinants in getting into college in Korea and thus, the set test questions are crucial not only during three years of high school but arguably for entire middle school and elementary school as well. One could reasonably argue, then, that college admission system determines all educational aspects throughout elementary, middle and high school years. (Jung Jin-geon, 1999). Therefore, when educators are determining the details of college scholastic ability test and essay test, they should consider not only the senior year of high school but that determines the direction of entire educational policy and the value of students' academic endeavors.

2) The importance of developing left and right side of brain

The brain of human is divided into left and right and each side serves different functions. A child who shows marked superiority in left side should be assisted with developing the right side of brain. It is crucial that proper educational environment is provided for children to develop their brain more equally.

3) The importance of intelligence development

In the past as well as in the present, intelligence test was often used at a school to gauge the mathematical and linguistic ability. However, in 1980s, Howard Gardner of Harvard University proposed the theory of multiple intelligences. He emphasizes that each individual has distinctive intelligence and that education based on making the most of individual's intelligence is essential to the success of educational goals.

4) The importance of fine arts education and its effects

The proper teaching of fine arts in secondary school can have significant effect on the growth of students. This is even more so for students in pre-adolescent and adolescent years as the


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educational experiences during this time shape their attitudes toward subjects they were taught. As such, one should recognize that the majority of students get their art education in a school only and that special attention must be paid to art education where its teachings can have positive impacts on students' growths and lives. (Laura Chapman, 1978: 4) One should recognize that the leaning of arts foster all-around development and that more attention should be paid in order to maximize the positive educational impact.

5) The importance in modern society where visual aspect is increasingly stressed If the 19th century is known for industrial revolution, it will be not an exaggeration to say that the 21st century will be known for computer revolution. Korea, in particular, as one of the leaders in IT, has focused on developing technologies that will further cement their superiority. Consequently, Korea is experiencing rapid growth in image technology and visual arts that makes the most of computing technologies and is encouraging the general public and students to use the various visual medium. As such, education that ignores this important trend and that cannot go beyond the rote learning frequent in the past must face the trend directly and adapt to the new educational environment. Moreover, the study conducted by Gesell and Getman postulates that people learn primarily, 80% from visual and Telford and Sawrey also proposed that educational experiences are realized 85% of the time through visual as well. (Kim Jin-gyu, 2003: 193).

6) The importance of understanding Korea's and other cultures

Every civilization has its own authentic culture. Korea, for instance, has developed its own unique culture since the prehistoric time. To maintain and further develop its unique culture, Korea needs to offer educational program in related to cultures. Moreover, it is equally important for students to get to learn and understand the fine arts and cultures of other countries in line with globalization. Kendall postulated that each distinctive features of culture contributes to the strengths of community and multicultural education encourages the recognition and understanding of different cultures, which is essential in preparation for the future society, in particular in Korea where the number of multicultural family is undergoing steady growth.

7) The importance of nurturing students through creativeness

In the future, it requires people who can challenge fixed ideas through the development of new and creative ideas. Only through creativity education can one shape minds that are flexible and creative (Guilford, 1966: 290).

We presently live in a society where competition to gain information is fierce and where creativity is in short supply. Art education, in this regard, is vital as it promotes the all-around growth of students, not to mention the nurturing of creative mind so important in our modern society.

8) The importance of emotion development

In the past many people thought of IQ test as an ultimate indicator of students' ability but recently, the importance of EQ has come into the front as many came into consensus that emotional development plays even bigger role in our complex society. For complex matters EQ often trumps over IQ and where EQ moves the heart and mind of people (Daniel Goleman, 1995: 23). Art education has dramatic effects on the development of emotion and the education that can nurture all-around wellness of students is required.


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15:30 – 15:50 S12.3 Sustainable art education and teachers professional development: Creating communities of learning

Aravella Zachariou, Cyprus Pedagogical Institute, Cyprus Andri Savva, University of Cyprus, Cyprus

EVAGORAS

Professional Development of teachers in Sustainable Art Education is significant for creating the learning conditions, procedures and contexts leading individuals to the social and cultural change. Taking into consideration that Professional Development constitutes: a) a major challenge for effective implementation of Sustainable Art Education, b) a vehicle for establishing reforms in educational systems, c) the means for acquiring the competences that will enable learners to understand the complexity and the interconnectness of the world in which we live and act on it. Based on the above views we consider that Sustainable Art Education is a radical and deliberate area of learning which prerequisites reformation of the teachers’ professional development in order to be competent to: a) inquire, define and analyze the aims and purposes of various sustainable development issues through different perspectives (e.g. across their selves, students, other teachers, local and global/across social, cultural, environmental), b) employ pedagogical strategies in specific contexts, based on the sustainable development principles (e.g to use local communities as a framework of learning), c) interact with communities of learners (e.g share, act and collaborate with other teachers). Particularly, professional development of Cypriot teachers in sustainable art education is considered crucial, since we are in a stage of transmission to a new generation of art education and sustainable development curricula. These curricula based on a new frame mind require: a) open, democratic and participatory procedures b) teachers to function as leaders in an interactive community of learning. In relation to Cyprus context and taking in to consideration that teacher’s professional development in Cyprus is restricted to specific models of training, where teachers mainly are confronted as educators and not as learners, an n-service course based on a new frame of mind took place in Pedoulas Community and in urban area nearby Athalassa Environmental Education Center. The participants were teachers from all educational levels. The in-service training course based on the conjunction of art education and sustainable development in communities and other outdoor learning environments. The course developed following three stages and last for one year: a) Fist stage: Includes familiarization with theory and praxis of sustainable art education through local learning environments Participants introduced to theoretical concepts concerned with Sustainable Development and Art Education, experienced local community through workshops based on research inquiry and interaction with local people. b) Second stage: Encompasses opportunities for creating learning communities in order to encourage participants to interact with others and each other and to create examples of good practice. c) Third stage: Learning conditions were created for teachers and students in order to act as learners in outdoor environments and jointly present their outcomes. The present paper highlights the reorientation of professional development to child-centred approaches through interaction and authentic learning (outside the physical restrictions of classrooms). It also emphasizes the basic principles of Sustainable Development were teachers act for their selves, for each other (across distances, cultures, generations) and for the environment. .Professional Development of teachers in Sustainable Art Education is significant for creating the learning conditions, procedures and contexts leading individuals to the social and cultural change. Taking into consideration that Professional Development constitutes: a) a major challenge for effective implementation of Sustainable Art Education, b) a vehicle for establishing reforms in educational systems, c) the means for acquiring the competences that will enable learners to understand the complexity and the interconnectness of the world in which we live and act on it. Based on the above views we consider that Sustainable Art Education is a radical and deliberate


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area of learning which prerequisites reformation of the teachers’ professional development in order to be competent to: a) inquire, define and analyze the aims and purposes of various sustainable development issues through different perspectives (e.g. across their selves, students, other teachers, local and global/across social, cultural, environmental), b) employ pedagogical strategies in specific contexts, based on the sustainable development principles (e.g to use local communities as a framework of learning), c) interact with communities of learners (e.g share, act and collaborate with other teachers). Particularly, professional development of Cypriot teachers in sustainable art education is considered crucial, since we are in a stage of transmission to a new generation of art education and sustainable development curricula. These curricula based on a new frame mind require: a) open, democratic and participatory procedures b) teachers to function as leaders in an interactive community of learning. In relation to Cyprus context and taking in to consideration that teacher’s professional development in Cyprus is restricted to specific models of training, where teachers mainly are confronted as educators and not as learners, an n-service course based on a new frame of mind took place in Pedoulas Community and in urban area nearby Athalassa Environmental Education Center. The participants were teachers from all educational levels. The in-service training course based on the conjunction of art education and sustainable development in communities and other outdoor learning environments. The course developed following three stages and last for one year: a) Fist stage: Includes familiarization with theory and praxis of sustainable art education through local learning environments Participants introduced to theoretical concepts concerned with Sustainable Development and Art Education, experienced local community through workshops based on research inquiry and interaction with local people. b) Second stage: Encompasses opportunities for creating learning communities in order to encourage participants to interact with others and each other and to create examples of good practice. c) Third stage: Learning conditions were created for teachers and students in order to act as learners in outdoor environments and jointly present their outcomes. The present paper highlights the reorientation of professional development to child-centred approaches through interaction and authentic learning (outside the physical restrictions of classrooms). It also emphasizes the basic principles of Sustainable Development were teachers act for their selves, for each other (across distances, cultures, generations) and for the environment. 16:15 – 16:35 S12.4

Stories of Change: with twelve guiding principles of learning along the way

Adele Flood, University New South Wales, Australia EVAGORAS

As art educators we are given the difficult task of taking the important knowledge that has been assembled to date and translating it into situations and experiences that will bridge the learning and knowledge between one generation and the next. Narrative research has told us that people create and recreate the stories of their life or lives by attaching meaning to important, pivotal moments. The rest of the stories fall into place, fitting within those points of reference. However we do not remember everything in the correct or linear order and the brain; the ultimate filing cabinet or document folder opens up information when prompted by a stimulus in a non-linear and non-sequential way. This paper will in the first instance, consider the importance of hearing the stories of experience and the way these stories can inform us of how to review and change our beliefs and practice where necessary. It will then introduce a selection of changes in education experienced by the author and different generations of her family. Within the context of a narrative approach to find meaning; these small


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life stories will provide the opportunity for her to identify and make explicit 12 guiding principles of teaching and learning. These principles are presented for consideration and debate in terms of a teacher’s roles and responsibilities when educating the current and future generations of technologically able learners.


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SESSION 13 (S13):

ARTS EDUCATION AND CULTURE – PROGRAMS

EVAGORAS / 16:40 – 17:25

CHAIR: Glen Coutts

16:40 – 17:00 S13.1 Arctic Perspectives: Applied Arts and Visual Culture Education

Timo Jokela, University of Lapland, Finland Glen Coutts, Coutts Creatives Ltd, United Kingdom

EVAGORAS

In June 2011, the Council of the University of the Arctic endorsed a new ‘Thematic Network’ (TN) entitled ‘Arctic Sustainable Arts and Design’ (ASAD). The TN comprises two Special Interest Groups: Arctic Sustainable Design (ASD) and Arctic Arts and Visual Culture Education (AAVCE). The University of Lapland in Rovaniemi, Finland, is lead partner of both groups. The UNESCO goals for the Development of Arts Education contain a comprehensive plan of action for all arts education stakeholders. Among the resolutions the following two points are pertinent to AAVCE: o developing cultural well-being dimensions of arts education; o enhancing the role of arts education in the promotion of social responsibility, social cohesion, cultural diversity and intercultural dialogue. ASAD brings together over 20 universities and arts organisations from across the Arctic region to review and analyse practice through arts-based research methods. The background to ASAD, its aims and plans for the future will be outlined in the presentation. Artistic ways of knowing and making, as practised in the range of countries and regions covered by the TN membership are central to the group’s modus operandi. ASAD seeks to champion traditional and new arts and visual culture education practices across the Arctic area. While many modern indigenous artists have attended Western art schools, continuity with the past is realised by arts that either use traditional materials and tools, or reflect indigenous themes like subsistence and nature. New forms of art, such as media productions and fine arts, support indigenous people’s political and social identity, and intercultural dialogue. Trends in contemporary art underline the links of art to daily human experience, activities, events and places. The ASAD network will promote art, culture and education in which locality and the values and cultures of indigenous people are respected and highlighted. 17:05 – 17:25 S13.2

Alladin’s Lamp – The Finnish model for child culture policy

Tarja Paajoki, University of Jyvaskyla, Finland EVAGORAS

In Finland there has been going on for almost ten years a development project for arts education called Alladin’s Lamp. Leaded by the ministry of Education and culture this unique project aims to make art education more accessible in every part of the country. There has been set up a network of children’s and young people’s culture centers in various areas of our wide country in order to enhance the co-operation between schools and artists and art institutions, like art museums and theatres. The centers have developed both new kind of policy and pedagogical methods and have succeeded in bringing new groups like artists and teacher working together. Also the regional


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culture curriculum programs are developed as important tools for realizing the task of making culture services more accessible regardless of school children’s economical, social or regional background. As a researcher of art art education I’ve have had an opportunity to attend this development project in the beginning as an advice expert and later I have researched Alladin’s Lamp by carrying through the evaluation process of this project for the ministry of Education and Culture. One report was published on year 2008 and the next is coming out on 2013. My presentation is lightening up the policy practices and innovations in this project and gives ideas for art educators and policy makers about both challenges and achievements of certain methods and practices in art education policy. I ‘m approaching these themes with a case study of the practice of bringing artist to the school.


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SESSION 14 (S14):

CREATIVE COLLABORATIONS & PARTNERSHIPS IN ARTS EDUCATION (I)

ONISSILOS / 12:10 – 13:20

CHAIR: Li-Yan Wang 12:10 – 12:30 S14.1

Exploration of the thinking process by means of analogical performance in creative works

Jiin-Chyuan Lai, Transworld University, Taiwan Tsui-Lien Shen, NationalFormosaUniversity, Taiwan

ONISSILOS

Analogy technique is assumed as a tool for assisting in creative problem-solving. The researchers instructed the students to perform their creative works through the creative curriculum and instruction with analogy technique and by means of the NM Creative Ideas Transplantation created by Nakayama Masakazu, which emphasizes the four procedures of QA, Question Analogy seeking, QB Question Background thinking, and QC Question Conception discovering. The researchers analyzed the work makers’ thinking process of awareness, observation, strategy and reflection from the works design with creative conception by the students. The researchers found that the process of awareness and observation benefited the critical imagination of analogy, and the process of strategy and reflection benefited the design of background and conception. The findings and suggestions acquired in this research will be provided to the teachings in university as references with the creative design and monitoring learning in thinking performance.

12:35 – 12:55 S14.2 The social discourse of childhood and the children's notions for the childhood's characteristics

Anastasia Fakidou, University of Thessaly, Greece Apostolos Magouliotis, University of Thessaly, Greece

ONISSILOS

The need for education of critical thinking citizens is widespread. In order to develop critical literacy skills to primary students we need to study their preexistent notions in various issues and discourses. The aim of the research was the investigation of the position that 6th grade students take to the social discourse of childhood. Particularly, we studied student's notions as they revealed through (a) their verbal statements, (b) their idea's visualization by the creation of a visual artwork, (c) their responses to pictures with visual representations of children. The theoretical context consisted of (a) the concessions of Visual Culture Education Pedagogy for the development of critical literacy through the investigation and deconstruction of the discourses that hide into the artifacts of visual culture, (b) the theory of Cultural Studies for the potential positions of the viewer to decode the meaning of cultural artifacts, (c) the considerations of Childhood Studies that recognize the childhood as social phenomenon -namely that the various discourses of childhood depend on societal beliefs, values and historical context- and that the discourses of childhood are reflected through images.


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The sample was 112 students of 5 primary urban schools. Data had been collected through anonymous questionnaires and processed by ATLAS ti program. The methodological tools were critical discourse analysis and semiotics. We discovered that in their verbal statements the students attributed characteristics that refer to the child's nature, the sentiments, the interpersonal relations, the type and place of children's action. Their statements for the end of childhood vary from the 10th year of age to all life long. The representational content of their pictures for their own childhood, in contrary to their general statements for childhood focused to natural environments mainly, and to places specifically constructed for children secondarily. We observed that some students depicted landscapes without people, quite a few depicted lonely portraits of themselves, while the most students that depicted other persons they preferred friends and a few their parents. Their responses to images concerned the resemblance of the representational visual content to their own lived experience, their preference to colors and figures and, to the characteristics that are attributed to children broadly. Interrelating their verbal statements, their visual artwork and their responses to images of visual culture we concluded that most students espoused the dominant discourse for childhood in relation to categories of the child's nature, the sentiments, the type and place of children's action. Negotiated position took -through their visual artwork mainly- to the category of the interpersonal relations. Oppositional position took some students representing forms and actions that oppose the discourse of the "romantic child" that plays cheerfully into green fields and, they communicate their intention to enter in the urban social space challenging their presence and voice. We propose the development of critical literacy skills of primary students through the decoding and deconstruction of various discourses that are embedded in artifacts of visual culture.

13:00 – 13:20 S14.3 The reflections on the creative imagination examples from the university students and children

Tsui-Lien Shen, National Formosa University, Taiwan Jiin-Chyuan Lai, Transworld University, Taiwan

ONISSILOS

The university students and children are the various individuals on the creative imagination. Researchers attempt to explore the role and impact of creative imagination via the teaching reflections by the university students and the cultivating reflections on the guidance of cultural-environment design on story drawings by children. Case one: Works were completed by the university students via implementing the creative ways and imaginary innovations. The followings can be observed: when the university students integrated information and used horizontal and vertical creative thinking, the availability of the creative imagination industry can be gradually getting better; otherwise, the creativity might be easily lost and disconnected. Case two: The story drawing creations were created by the children. The followings can be observed: if children's enlightenments through play or games and the cultural-environment can be creative design, the novelty of their creative imagination in time and space will be constant. To sum up, if the role of creative imagination can be played and converted into the university students’ meaningful learning, it would benefit their applicable development in professional fields; if the children could be adapted and self-explored learning roles, the influences of multiple intelligences would be easily manifested.


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SESSION 15 (S15):

CREATIVE COLLABORATIONS & PARTNERSHIPS IN ARTS EDUCATION (II)

ONISSILOS / 14:40 – 15:50

CHAIR: Jooyoon Lee

14:40 – 15:00 S15.1 Creative assignments that stimulate imagination and personal expression

Marina Chernyavskayaa, volunteer-representative of the International Delphic Council, Germany

ONISSILOS

I would like to share the experience of creative assignments that stimulate imagination and personal expression. These assignments I was suggesting during the lessons in some Moscow-schools for students of different ages (6-7 and 12-13 years old) and for adult artist-teachers. The polymath of Italian Renaissance Leonardo da Vinci advised to behold clouds in the sky or spots on the wall, looking for and imaging different appearances. Task 1. The name of the first creative assignment is «art-graphic metaphor». I show on a screen one slide, for example, a huge rock in the sea. And I say to students or teachers: could you try to see imaginary objects or creatures in the form of a huge stone and to draw it so, that the audience also realized, what do you seen in this form of stone. Try to suggest a title to your drawing, which can explain what you saw in that form. Task 2. Here is one of another examples creative assignments, also usefull for stimulation of fantasy and imagination. From the beginning I am showing on a screen in classroom some slides on a particular topic, for instance: «Plant and animal life» or «Fairy-tale characters» . Then I give to everyone a sheet of papers, which has one or more the same spots. And I propose to think out a concrete subject for drawing, which will include these spots and impressions from slides. At the end of the session we are beholding and considering the results of this task, jointly emphasize the most unexpected and interesting drawings. Task 3. For the manifestation of personal impressions, I propose a task based on autobiographical memories. In this case, I do not show any slides. I am only explaining, that everyone has own personal course of life. Each of us must have been some life-events that left unforgettable thrills And I offer to draw something, that the most oft come to light and reveal itself in own memory. The results of these tasks will be displayed on the screen during my presentation (in PowerPoint). One example (to Task 2.) is here: The relevant materials on this subject were published only in Russian language in some articles (issues of the Academy of Pedagogical Sciences, Russia / Moscow).


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15:05 – 15:25 S15.2 Publishing your work in the International Journal of Education through Art

Glen Coutts, InSEA (Journal editor), United Kingdom Teresa Eça, InSEA, Portugal

ONISSILOS

The International Journal of Education through Art promotes relationships between art and education. The terms 'art’ and ‘education' should be interpreted in the widest sense, for example ‘art’ may include art, craft and design. Similarly, ‘education’ can include formal (school, college and university) and informal dimensions; community arts, environmental, ecological and voluntary arts. Each issue, published three times a year within a single volume, consists of peer-reviewed articles mainly in the form of research reports and visual essays, but may also include book or exhibition reviews and image-text features. Particular emphasis is placed on articles and visual essays that: o Critically reflect on the relationship between education and art o Propose original ways of rethinking the status of education and art education o Address the role of teaching and learning in either formal or informal educational contexts and along side issues of age, gender and social background o Adopt an open and inventive interpretation of research-based analysis o Promote and experiment with visual/textual forms of representing art education activities, issues and research The journal is interdisciplinary in its reflection of teaching and learning contexts and also in its representation of artistic approaches and practices. It provides a platform for those who wish to question and evaluate the ways in which art education is practiced, disseminated and interpreted across a diverse range of educational contexts. Potential topics include: Art, craft and design education Formal and informal education contexts Public, community and environmental art Pedagogy Policy and practice Research Comparative education Transcultural issues Delegates will be presented with an overview of the Journal, the type of submissions most likely to be published and the submission process. The session will include advice on preparing an article or visual essay for submission.


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15:30 – 15:50 S15.3 The billboard poetry project as a public pedagogy creative collaboration

Daniel T. Barney, BrighamYoung University, United States Ashley M. Hoiland, BrighamYoung University, United States

ONISSILOS

The Billboard Poetry Project is a public and pedagogical series of actions. These include (1) a call for a poem to be displayed on multiple billboards, (2) a series of free workshops taught by local artists and writers, and (3) a community arts event with poetry readings and a portable art gallery. This presentation will include our rationale for the project, the initial research questions, theoretical framework, methodology, and a summary reflection. Ashley Hoiland, an artist and poet, and Daniel Barney, an artist and educational researcher collaborated to create a community intervention, opposing the standard use of billboards to advertise in public spaces. Three billboards were rented and the traditional uses of a billboard were transgress through this project as poetry was placed on the billboards. Instead of simply protesting the billboards, this re-purposing or hacking invited others to participate in a creative re-imagining of community construction. We asked as artistic inquirers, using the methodology of a/r/tography, what if these billboards encouraged dialogue and interaction? What if the pedagogy of a billboard was subverted or challenged? And, how might we, as arts based researchers, construct a socially engaged artistic practice that is also pedagogically participatory? Funded by the Laycock Center for Collaboration in the Arts, the project was a transdisciplinary collaborative engagement. It included artists, poets, creative writers, graphic designers, photographers, and educators at the secondary and university levels. At the arts event, the poet whose poem was shown on the billboards talked about his work in relation to concepts of community. The poem was built from fragments salvaged from his friends’ unfinished poems. This method of poem construction paralleled The Billboard Poetry Project’s process of rethinking community spaces through iterations of creative negotiation.


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SESSION 16 (S16):

CREATIVE COLLABORATIONS & PARTNERSHIPS IN ARTS EDUCATION (III)

ONISSILOS / 16:15 – 17:25

CHAIR: Fernando Hernandez

16:15 – 16:35 S16.1 International visual literacy association: Its Conferences and Publications

Nicos Valanides, University of Cyprus, Cyprus Maria Avgerinou, DePaul University, United States

ONISSILOS

IVLA is a not-for-profit association for researchers, educators, designers, media specialists, and artists dedicated to the principles of visual literacy. IVLA was formed for the purpose of providing a forum for the exchange of information related to visual literacy. We are also concerned with issues dealing with education, instruction and training in modes of visual communication and their application through the concept of visual literacy to individuals, groups, organizations, and to the public in general. Our members represent a wide range of disciplines including the arts, sciences, education, communication, business, videography, photography, instructional technology, health, and computer applications. We invite you to join us in the lively debates of our field, and we look forward to forming lasting professional relationships. Conferences: The International Visual Literacy Association hosts an annual conference. This is an excellent opportunity to meet other visual literacy professionals and sustain personal friendships.

16:40 – 17:00 S16.2 The puppy project: An extension of the kaldor public art project from Australia

Jenny Evans, Arizona State University, United States

ONISSILOS

In October of 2010, I attended an InSEA conference in Melbourne, Australia. John Kaldor was one of the keynote speakers as well as some of the children that were influenced by the insertion of the public art lessons in their school. One particular project that caught my eye was the Puppy Project. The students I spoke with were so positive, happy to share, and curious about what would happen if I tried this in America? Inspired by this young bunch, I put together a proposal to do this at my own children’s school and was given the green light! The students here do not have a regular art teacher, but are supplemented with art from their teacher in various projects as well as the school sponsored Art Masterpiece program. Being previously included in both efforts, I hoped that this Puppy Project will not only meet the state standards, but encourage personal meaning making in art, creativity in problem solving/planning, team skills and pride for art and their contribution to their community. Using action research, a camera and a web page the entire program was documented.


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Adding to the excitement of the program all details, photos, plans were posted on a private web page. The Australian students viewed and emailed comments, as well as US students emailing them for support and answers. The opportunity to communicate across the pond was eye opening for the students, and a positive experience. http://www.jeffjennyemmaethan.com/index/Puppy_Project/Puppy_Project.html

17:05 – 17:25 S16.3 Severance: Class displacement for alternative paths of learning in a vocational graphic design course

Raquel Morais, FBAUP - i2ads, Portugal ONISSILOS

This paper intends to reflect on two projects of teaching art and design implemented in the vocational course of graphic design at Escola Artística e Profissional Árvore [Artistic and Vocational School “Árvore”] in Porto, Portugal. Those projects took place outside the regular class of graphic design: the first one was an interchange project between a German high-school in Zulpich; the second, named Tecer Outras Coisas [Weave Other Things] is an art and design ongoing project with unemployeds (volunteers), teachers, students and artists in a decrease textile factory (Coelima) in Pevidém (Guimarães, Portugal) built with the energy of Guimarães, European Cultural Capital 2012. The class displacement took place with the starting point established from the conviction that there is another way of teaching, which does not assume the border positions between subjects and pedagogy, teacher and student: a performative space of construction where students decide and build their own thinking and therefore their project. The ocularcentrism, the visual culture, or the mediated world aren´t exclusive phenomena nowadays. However, it becomes increasingly important to understand the paths in which today students are stimulated by multiple devices and interfaces, that operate directly in the modes of subjectivation and construction of knowledge. The projects presented here share this idea and assume themselves as learning experiences through visual projects where the design process is mobilized as a strategy for teaching and learning. In a school with three decades, born at late 20th century, grounded in a modernist tradition from Bauhaus school, there are signs of willingness shifting to a school of the 21st century, in a will to connect to the breathing of contemporaneity. Art and Design are eternal candidates to an experimental teaching, becaming a vast territory of essay where learn by doing can be applied. The proposal methology is an investigation based on action and pratice of a communication design project, inside a national curriculum and class program, which is being developed in Árvore School in last years. This change and knowledge mobility is the result of mandatory interdisciplinary and of the will of the artist-teacher that look reality in a critical way and wish to build a space laboratory and change their teaching practices. These projects aren’t limited in time, they are ongoing projects in a school and course that started five years ago. We consider two ways of reflexion: a) What means a 21st century school? What ideas, concepts, practices, pedagogies? Who are the professionals, what relations between school and “out of school”? b) The case study projects; Based on action, how the theoretical research in art education establishs connections to the will and the possibility of change?


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16:15 – 16:35 Curating for Critical Mediation

Paulo Mello, Universidade de São Paulo, Brazil Reinaldo Fonseca, Universidade de São Paulo, Brazil

SALAMINIA A

For the last five or more decades too many ideas have became rules. Art as science brought along some needs, like special roles to play by individuals. These roles set an out growing number of specialists defining right and wrong in art and its mediation. Actually creating mediation where there was none. Curators in the 60’s and 70’s, according to Obrist, developed an important role in arts as they were naming artist and somehow arts, overhauling the boundaries among artists, critics and art keepers. These very same curators set a way of mediating spectator and exhibitions, which is more than understandable, however it was the beginning, again, of setting rights and wrongs. The mediation processes gained a new direction – or not so new one – establishing ways of interpreting art. As usual, art has spread its tentacles towards different paths, different manners of interpretation. Art and education collapsed; aesthetics had now one, and only one, direction set in an exhibition. The pedagogical sense of mediation had then to work harder to leave also something to be thought about. Vigotsky, states that the mediation process of a child passes by an adult. Should the curators/pedagogical team be the adults and the spectators the children? Is this a formula? About the mediation process, it is commonly confused with the curating process. It is very expected to have, in a museum or an art event the curators team working, supposedly, along with the pedagogical team. The last one is entitled to deal directly with the spectators; facing all the doubts and discussing the impressions that the curators team had lead them to. Of course it is not set as a rule, there are lots of exceptions for example the team created for the last ‘bienal do mercosul’ in which was created a team of pedagogical curators that tried to minimize this distance between impressions and speeches. Part of the success was the ‘casa m’ a house where anything was possible, where the mediation was minimum and the interference was just about the common sense and preservation. Should this be interpreted as a way of mediation? Should space be part of the mediation? How about interactivity? This essay is the first part of a major research in curatorship in new media art, that is just as concerning as contemporary art and requires new thinking ways for mediation. Therefore this paper should pin point mediation as part of the curatorship, specifically over the so-called critical mediation in new media art curatorship.


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C. PANEL DISCUSSIONS PANEL DISCUSSION 1 (PD1)

12:10 – 13:20 The bank of Cyprus cultural foundation: 20 years of educational activity

Lefki Michaelidou, Bank of Cyprus Cultural Foundation, Cyprus Eleni Zapiti, Bank of Cyprus Cultural Foundation, Cyprus Christodoulos Hadjichristodoulou, Bank of Cyprus Cultural Foundation, Cyprus Maria Loizidou, Bank of Cyprus Cultural Foundation, Cyprus

GRAND HALL B

From as far back as the dawn of its foundation, in 1984, the Bank of Cyprus Cultural Foundation has been well aware of the significance of educational programmes as a basic means of initiating young people into culture, history and artistic creation. Therefore, it is only natural that the development and implementation of such programmes make part of its solid policy. A long series of educational programmes has been carried out since 1994. Either organized in the context of periodical exhibitions or incorporated in the activities of the Foundation’s two Museums – the Museum of the History of Cypriot Coinage and the Archaeological Museum of George and Nefeli Giabra Pierides (a collection donated by Solon and Clio Triantafyllides) – these programmes continue to enrich the Cultural Foundation’s educational activity. All of them have been implemented upon the approval of the Ministry of Education and Culture, to which we are grateful for the unwavering support. Such programmes are ultimately intended to cultivate a kind of education that is essential, and firmly based on the foundations of our cultural tradition – whilst being open to the contemporary world, modern technology and present-day forms of creativity. Educational activities of the BOCCF Museums The Cultural Foundation’s two Museums have been designed according to modern museological specifications, wherein not only researchers but also the wider public takes center stage. What is more, the use of new technology has enabled the Cultural Foundation to create innovative multimedia productions that are accessible both on the grounds of the Museum and on the Internet. Museum of the History of Cypriot Coinage The Museum’s educational programmes have been running uninterrupted since its foundation in 1995. Meant to stimulate children’s interest in coins, they approach coinage through a variety of themes, such as history, mythology, and art, but also explore their use as means of transaction. The George and Nefeli Giabra Pierides Archaeological Museum The general title of the educational programme is The dancing statue and features three different sub-programmes. The programmes aim for children to become acquainted with specimens of Ancient Cypriot Art by recognizing appealing shapes, sketches and forms they can identify with and which allow them to eventually grasp the common thread that runs through the island’s history. Educational activity in periodical exhibitions The Cultural Foundation has to date organized more than 45 exhibitions in Cyprus, Greece and other European cities. For the most part, these exhibitions touch on historical, artistic and environmental themes. In Cyprus, periodical exhibitions are always complemented by special educational programmes, which have been proven very popular among thousands of youth and children of Elementary and Secondary Education.


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PANEL DISCUSSION 2 (PD2)

14:40 – 15:50 Aesthetic literacy, towards a common European framework of reference for art education II: Expectations on a framework of reference on aesthetic literacy

Gabriella Pataky, ELTE TOK, Hungary

Ernst Wagner, Staatsinstitut für Schulqualität und Bildungsforschung, Germany

Gila Kolb, Promotionskolleg „Gestalten und Erkennen (doctoral certificate program: "Design and recognition – building competence in the artistic subjects and departments at school"), Germany

Katrin Zapp, Human Science Center Munich at the Ludwig-Maximilians-University, Munich, Germany

Claudia Birkner, Ludwig-Maximilians University or Human Science Centre, Ludwig-Maximilians University, Germany

GRAND HALL C

The presenters are representatives of a trans-European community consisting of mainly German speaking researchers and curriculum developers, working together since 2010. In this role, we have organized a successful symposium in Budapest last summer at the InSEA World Congress. Now we would like to present our intermediate results and to open our ongoing work to the European discourses at the InSEA Congress in Cyprus. Taking into account the “Common European Framework of Reference for Languages” (CEFR), our community has developed the idea of working together on a common, transnational framework of competencies, which can be acquired in art education. But what can be achieved by a framework of reference for aesthetic literacy? What are its characteristics? In our workshop we would like to discuss whether it is possible to develop a common understanding of aesthetic literacy and how this concept could be transformed into a model of visual competencies. The concept of literacy generally aims for skills of “reading” and “writing”. Transferring this concept to art education could mean that it is important to interpret (read) and to produce (write) pictures. [Pictures in our suggestions are not only all kind of art works (2D and 3D) but also all kind of visual designed objects like e.g. architecture, fashion, mass-media, landscape, industrial design.] Our workshop will start with two studies about curricula as well as good practice in two countries with different traditions, Hungary and Germany: Is it possible to distil a focused description of what is intended to be learned by the students? (We will present our overview in regard to two age groups - 10 years and 15 years old students.) Can we describe the outcome as competencies? In the second step we will compare the two different national concepts and discuss – on the basis of finding out differences and shared aspects – the possibility of a common framework fitting both countries. This framework has to respect the diversity of different experiences, traditions and situations in art education in Europe without losing the essentials, the core idea of art education that we are convinced of. In the third step we will invite the participants to share their own experiences with us and to discuss the possibility of a framework, which fits to more countries than Hungary and Germany.


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D. WORKSHOPS WORKSHOP 1 (W1) (1st MEETING):

12:10 – 13:20 Sharing artist books for arts education practice and inquire

Emilia Lopes, APECV, Portugal Petra Weingart, IA, Germany Maria Jesus Agra Pardinas, Inter-Action, Spain Cristina Trigo, Inter-Action, Spain Teresa Eca, inter-action, Portugal

SALAMINIA A

The purpose of this workshop is to develop awareness of the potentialities of artists books in educational and research practices. Through sharing visual notes in artist sketchbooks educators develop other forms of interactive learning processes, in the edges of identity and collective spaces. Participants will be invited to create collaborative artists books during the entire congress. Through a visual practice based experience we will discuss relational pedagogy strategies , collaborative and peer learning approaches to education. Sharing artists books is a practice which challenges the limits of individual appropriation and authorship. The Group will discuss these limits through making the books and reflecting upon the making process. WORKSHOP 2 (W2):

14:40 – 15:50 Communicating Identity: discourse and imagery in teaching citizenship through digital art

Susan Ogier, Roehampton University, United Kingdom Fiona Collins, Roehampton University, United Kingdom Mary Richardson, Roehampton University, United Kingdom

SALAMINIA A

Education must help those growing up in a culture to find an identity within that culture. (Bruner 1996, 38). Images and Identity (2008-10) was a Comenius funded project in which six European Union countries explored the cross-curricular links between Citizenship and Art Education with both primary and secondary age pupils. The aim of the project was to enhance and develop a sense of the pupils’ identity as European citizens using digital media as a means of expression and communication. As the project developed it became evident that there were several key elements that supported the pupils’ understanding of their European identity, these included: the role of talk, collaboration and artistic interpretation showing their self-perception as European citizens. This proposed workshop will offer participants ways to explore how identity can be conceptualized from their own perspectives alongside those of subject experts in art, citizenship and language education. The consideration of identity and, more specifically, the promotion of a European identity has been a Council of Europe priority since the mid 1990s; thus, Education for Democratic Citizenship is a significant goal for EU members. However, research which examines the notion of identity within and between European nations (see for example, Convery, 1999; Kerr et al, 2010) reveals a stream of stereotypical ideas in relation to Europeanness. It seems that such perceptions only serve to reinforce latent prejudice and atomised thinking with regard to broader conceptions of citizenship; those which are sited beyond our national boundaries. Images and Identity was, in part, attempting to engage with the European dimension in education by exploring innovative ways to interrogate young people’s understanding of European citizenship through art and digital media. The intention of this workshop is to discuss how planned dialogic interventions during art lessons


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progressed learning which specifically developed a sense of European citizenship. In the research schools children were able to investigate and express these notions through the processes and outcomes of learning in and through art and design (Hickman, 2005). The workshop will examine how stereotypical concepts surrounding European citizenship can be developed and challenged through talk and dialogue within a learning environment, or atmosphere, of trusting relationships between pupils and teacher (Zander, 2003). This way of working requires a commitment to collaborative practice on all parts but is essentially facilitated and led by the adults involved. During the Images and Identity project a collaborative model of working at all levels underpinned practice and this was to enable such relationships to build and develop during the action in schools. Through exemplar case studies from the original project it will be argued that children’s knowledge and understanding of Europe and its people, and their empathy for one another, is significantly enhanced by their participation in a language rich and emotionally intelligent environment: an environment in which children can express their ideas and thoughts confidently, both verbally and visually, and without fear of being judged.


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E. SPECIAL WORKSHOPS SPECIAL WORKSHOP 1 (SW1):

14:40 – 17:25 The traditional mosaic art as a common point of artists coexistence

Soula Christou, Mosaic Collective, Cyprus Soteris Phoraris, Mosaic Collective, Cyprus Kypros Pisialis, Mosaic Collective, Cyprus

GARDEN A

This special workshop aims to introduce participants to the Cypriot mosaic art, and to provide opportunities to practice mosaic making. The participants will come into contact with the historical evolution, mediums, and materials of mosaic making in Cyprus through the centuries, by studying designs, patterns and compositions of ancient, traditional, and modern mosaics. They will also be challenged to think outside of traditional mediums and materials and create their own mosaic. The participants’ work shall then be joined to comprise a single collective synthesis, which will be permanently exhibited in a public space in Lemesos, where the city is currently undergoing a significant regeneration. The Municipality of Lemesos has given permission for the artistic intervension at the particular space, and the collective artwork will remain an eternal creation reminding the InSEA 2012 European Regional Conference. Emphasis is on, inspiration, personal vision and expression, creativity, originality and collectiveness. The artist Soula Christou has great experience, both theoretical as well as practical and has created significant works, which decorate public and cultural spaces in Cyprus. She has more than 20 years of experience with Mosaic art and has taught Art in secondary school since 1980.


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SPECIAL WORKSHOP 2 (SW2):

14:40 – 17:25 The Creative Co-existence of InSEA and Cypriot Artists

Özgül Ezgin, European Mediterranean Arts Association (EMAA) Daphne Trimikliniotou, The Cyprus Chamber of Fine Art (EKATE) Gianna Theocharous, Cyprus Society for Education Through Arts (CySEA)

GARDEN B

Group work in Art is of great significance in our contemporary times and conversation and transaction between the Arts can lead to a new state of co-existence; artists have differing orientations and aesthetic pursuits, each expressing one’s self in their own unique way, using a variety of means and materials. Members of InSEA are called upon to come together at their common point of reference, in their professional capacity as teachers of the Arts to create on a collective level. Members of InSEA who are artists, alongside Greek-Cypriot and Turkish-Cypriot artists from the board of the European Mediterranean Arts Association (EMAA) will paint a common piece of work inspired through music. The music will be produced by a small group Turkish-Cypriot of musicians who will collect sounds from nature from all over Cyprus. Overcoming any obstacles and barriers created over recent years, the Nature Sounds will travel from Karpasia to Pafos, from Kyrenia to Limassol from Famagusta to Larnaca, from the mountains of Pentadaktylos to Troodos. All these sounds will be synthesized into music by the musicians in a unique way. The artists, in using a variety of materials shall be inspired to create various forms of art (painting and installation through the sounds of the music). Can this sort of music become an element strong enough to stimulate the imagination of the visual artist? Will the fact that this particular sound of music, which holds within its content a factor more than just melody or musical notes, arouse deeper emotions which are affected by our own deeper feelings and awareness of the situation? Furthermore, to what extent can a collective collaboration in the creation of a work of art become a powerful tool of communication and understanding between people and by extension between cultures?

ABSTRACTS Insea 2012 European Congress 26 June 2012, TUESDAY Lemesos Cyprus, 25 – 27 June 2012

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Program REGISTRATION: EXHIBITION AREA / 08:00 – 18:00


BUFFET LUNCH: ANTHEA RESTAURANT / 13:00 – 14:25

AFTERNOON COFFEE BREAK: EXHIBITION AREA - KOHILI GARDEN AREA / 16:00 – 16:25

InSEA WORLD COUNCIL MEETING: SALAMINIA A / 15:40 – 16:45

InSEA JOURNAL MEETING: ONISSILOS / 13:00 – 14:25

KEYNOTES:


KEYNOTE 3: Deborah L. Smith-Shank GRAND HALL A / 09:00 – 09:30

KEYNOTE 4: Robert Wagenaar GRAND HALL A / 09:30 – 10:00


SESSIONS:

S17: GRAND HALL A / 10:15 – 11:00 (Chair: Fiona Blaikie)

S18: GRAND HALL A / 12:40 – 15:10 (Chair: Ricardo Reis)

S19: GRAND HALL A / 15:15 – 18:00 (Chair: Stefania Savva)

S20: GRAND HALL B / 10:15 – 11:00 (Chair: Marlen Thiermann)

S21: GRAND HALL B / 11:25 – 13:00 (Chair: Deborah L. Smith-Shank)

S22: GRAND HALL B / 14:25 – 15:10 (Chair: Fotini Larkou)

S23: GRAND HALL B / 15:15 – 16:45 (Chair: Teresa Torres Eca)

S24: GRAND HALL C / 10:15 – 11:00 (Chair: Mousumi De)

S25: GRAND HALL C / 11:25 – 13:00 (Chair: Pierre Pepin)

S26: GRAND HALL C / 14:25 – 16:45 (Chair: Lourdes K. Samson)

S27: TEVKROS / 10:15 – 11:00 (Chair: Seija Ulkuniemi)

S28: TEVKROS / 11:25 – 13:00 (Chair: Mirjana Tomasevic Dancevic)

S29: TEVKROS / 14:25 – 16:00 (Chair: Venus Ganis)

S30: TEVKROS / 16:25 – 18:00 (Chair: Rita L. Irwin)

S31: EVAGORAS / 10:15 – 11:45 (Chair: Emil Gaul)

S32: EVAGORAS / 11:50 – 14:45 (Chair: Jooyoon Lee)

S33: EVAGORAS / 14:50 – 15:35 (Chair: Leena Hannula)

S34: EVAGORAS / 16:25 – 18:00 (Chair: Ademola Azeez)

S35: ONISSILOS / 10:15 – 11:00 (Chair: Carl Peter Buschkuehle)

S36: ONISSILOS / 11:25 – 13:00 (Chair: Li-Yan Wang)

S37: ONISSILOS / 14:25 – 16:00 (Chair: Jonathan Silverman)

S38: ONISSILOS / 16:25 – 18:00 (Chair: Victoria Pavlou)

PANEL DISCUSSIONS: PD3: GRAND HALL B / 16:50 – 18:00


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PD4: GRAND HALL C / 16:50 – 18:00

WORKSHOPS: W1 (2nd Meeting): SALAMINIA A / 10:15 – 11:45 W3: GRAND HALL A / 11:25 – 12:35 W4: SALAMINIA A / 11:50 – 13:00 W5: SALAMINIA A / 14:25 – 15:35 W6: SALAMINIA A / 16:50 – 18:00

SPECIAL WORKSHOPS: SW1: GARDEN A / 14:25 – 17:10 (DISCUSSION: 17:10 – 18:00) SW2: GARDEN B / 14:25 – 17:10 (DISCUSSION: 17:10 – 18:00)

WORKSHOPS: W6: SALAMINIA A / 09:45 – 10:55


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A. KEYNOTES KEYNOTE 3 09:00 – 09:30

Gender, girl power, and issues-based art education Presenter: Deborah L. Smith-Shank Chair: Marjan Prevodnik

GRAND HALL A

Deborah Smith-Shank received a Ph.D. from Indiana University in 1992, and is currently serving as Interim Chair and Professor of Art Education at The Ohio State University. She is also Emeritus Professor of Art at Northern Illinois University where she served as Head of the Art Education program and taught at all levels for over 20 years. Prior to her work at NIU, Smith-Shank taught art K-12. Abstract: Issues of gender can be part of a dynamic issues-based art education curriculum. This presentation will focus on gender as presented in a special, 2011 issue of Visual Arts Research called "Girl Power!" The authors in this special issue write about traditional feminist and neo- or post-feminist theories, as well as theories from Girls' Studies. Girls' Studies is a relatively new discipline that considers the cultures created by girls themselves, wherein girls become both the producers and the product. Girls' Studies also encourages theorists, teachers, parents, and others to consider how girls are presented in cultural media and how patriarchal attitudes often drive these representations. While some of the articles in this volume reflect the nature of Girls' Studies, others draw on more traditional feminist theories, and include both text-based and arts-based research. These critical discussions about the gendering of visual culture, identity, and girls' design and art issues are important for contemporary art education. Focusing on gender issues in art education helps to make the concepts of the gendered nature of culture relevant to students, facilitates critical responses, and assists students' understanding about the multiple ways people organize and make meanings about their worlds. It also brings art education into some of the most important discourses of contemporary life. This presentation will focus on cultures that create artifacts we see around us on a daily basis and the values that surround them, as well as their relevance to the lived experiences of students and teachers. The presenter will illustrate ways gender issues can be merged into art education curriculum at all levels.


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KEYNOTE 4 09:30 – 10:00

Strategies for demonstrating the relevance of Art education: the Tuning approach Presenter: Robert Wagenaar Chair: Marjan Prevodnik

GRAND HALL A

Robert Wagenaar is a historian and at present director of undergraduate and graduate studies at the Faculty of Arts of the University of Groningen in the Netherlands. He is an external Higher Education expert for the European Commission and has been involved in main initiatives to harmonize the European Higher Education Area. Together with Julia Gonzalez (University of Deusto, Bilbao, Spain), he elaborated, designed and coordinates the large scale innovative projects TuningEducational Structures in the World. In that framework he coordinates the Tuning Sectoral Qualifications Framework project Humanities and the Arts (HUMART), covering the performing and the creative arts. Abstract: Nothing can be taken for granted nowadays. Positions which were unchallenged yesterday are challenged today. The financial crisis developing since 2008 is affecting us all. It has also a tremendous impact on education as a result of a reduction of funding made available for it. Priority is given to short term employability strategies, to fields of which policy makers think can contribute significantly to economical recovery in the short run. Sacrificed in this endeavour are common good, personal well being and social inclusion. It is undisputed that these are the topics to which arts education contributes significantly. Group and personal identities are related and based on common historical pasts, shared languages and cultures. Due to large scale migration, social and cultural tensions have become apparent in all European countries. Finding ways to cope with today's' multicultural societies, to develop common understanding and appreciation for each other's cultures and its symbols should be paramount. Instead our political leaders have declared the multicultural society dead and are promoting the resurrection of the 19th century concept of the nation state. In a global society where everything is interrelated (as we are painfully experiencing with respect to the banking crisis) this looks as a road to disaster. It seems obvious that education, in particular in Social Sciences, Humanities and Performing and Creative Arts, should play a strategic role in counter forcing this development. If this position is accepted, this has far reaching implications for the ways we educate our students in these sectors. Today's tough world and the future require more. The more is related to the scope as well as the content of teaching and learning. This asks for effective strategies for reforming higher education in a highly innovative way. The staff driven Tuning Educational Structures initiative, which is strongly supported financially and morally by the European Commission (http://www.unideusto.org/tuningeu/) offers a global platform for and in international cooperation and educational innovation. In the last ten years Tuning has become a worldwide process. The Tuning student centred approach is now developed, tested and/or implemented in some 125 countries around the globe. Its main objective is to prepare the 21st century student best - in terms of employability, citizenship as well as social responsibility - for his/her role in society. Tuning has developed a common language understood by all stakeholders, shared reference points and descriptors at subject area level, and a validated methodology -to design and deliver high standard degree programmes on the basis of key competences and learning outcomes - which allows for flexibility and diversity and individual pathways. Tuning facilitates (inter)national cooperation and offers a reliable basis for mobility and recognition. Its approach has also been applied by the internal networks Architecture, Polifonia /European Association of Conservatoires (EAC) for Music and the European League of Institutes of the Arts (ELIA) for Dance and Theatre and Art and Design. At present experts of these organizations are developing - in the framework of the Tuning SQF for the Humanities and the Arts (HUMART) project - a qualifications framework based on agreed reference points to position their fields and therefore their graduates better


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in today's societies. This key note will address the relevance of the Tuning approach for higher education in general and the performing and creative arts disciplines in particular.


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B. ORAL PRESENTATIONS SESSION 17 (S17):

VISUAL CULTURE AND SOCIAL ISSUES

GRAND HALL A / 10:15 – 11:00

CHAIR: Fiona Blaikie

10:15 – 10:35 S17.1 Pinkalicious mean girls: A visual and poetic inquiry

Fiona Blaikie, Brock University, Canada GRAND HALL A

I examine the high school subculture of “Mean Girls” via arts-informed research (Blaikie, 2007 and 2009; Cahman-Taylor, 2008; Cole and Knowles, 2008) in which art forms and texts have inherent interconnected meanings. Inspired by Wiseman’s (2002) Queen Bees and Wannabees and the Hollywood movie Mean Girls produced in 2004, this issue is prevalent in high schools and beyond, world-wide. Notions of the body and clothing are associated with identity/identities, culture, gender, age, and a sense of belonging to particular groups (Coupland, 1991; Howe and Srauss, 2000; Jackson, 2010, Ulrich, 2003). Using poetry and visual images, the phenomenon of “Mean Girls” is presented through the lens of clothing as a negotiated expression of self and visual identity, with the body as mediator (Braziel and LeBesco, 2001; Holliday and Hassard, 2001; Butler, 1993, 1999; Davis, 1997). The study is situated in Bourdieu’s (1985) conceptualization of the body as a form of social and physical capital and Connell’s (2002) argument that bodies are agents of social process as much as objects of social process. Eisner played a significant role in laying out the theoretical framework for the various forms of arts-based educational research that are prevalent currently within educational theory and practice (Eisner, 1993; 1997, 2008). Arts-informed research (Cole and Knowles, 2008) provides the framework for this inquiry, drawing upon the idea that art forms (music, theatre, media, the visual arts, dance) and text have inherent meaning, individually and collectively. Data Collection My female participants were Mean Girls themselves, and/or were affected by the Mean Girl phenomenon by being bullied and/or excluded. My central research question was: “How are your clothing choices determined by your sense of self?” Throughout data collection, analysis and presentation, I was guided by the following questions: How do we dress to show we belong to or want to belong to certain groups? How do we dress to claim our gender or to disavow it? How do we dress to show what we value and believe? How does age play a part in how we dress? How do we reveal or conceal our own cultures in the way we dress? How does our hairstyle show others who we are, what we value, and how we see ourselves? How are clothes used to hide or reveal the body? How is clothing used to manipulate others? How is the body used to manipulate others? How do accessories (jewelry, shoes, purses, sunglasses, hats and so on) play a role in creating our personal, social and visual identities? How do people dress within subcultures in order to belong to particular groups? In the presentation of this work, I select and present artworks and poems that speak viscerally of human being-ness, providing a unique opportunity for audience/participant engagement in research-creation, arts-informed research, youth culture, and social theory on the body and clothing.


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10:40 – 11:00 S17.2

How to communicate feelings in the medium of digital photography: JOY and PAIN in the artwork of students aged 12–19

Mirjana Tomasevic, DancevicHRV-InSEA; Education and Teacher Training Agency, Croatia

GRAND HALL A

In the project “How to communicate feelings in the medium of digital photo?” a certain number of questions have been raised for consideration. Some of the questions are as follows: How to communicate feelings in the visual arts, specifically in digital photography as a means of artistic expression? How important is the communication of feelings today? What is the role of art education/art educators/artist-educators in these issues? The aims of the project are as follows: 1) to encourage the recognition of one’s own/other’s feelings, the talk, both visual and verbal, about feelings, the expression and communication of true feelings in art/children and youth visual art/s activities, and finally, to help young people develop better understanding of one another, as well as solve their own problems more easily, 2) to do research on art forms used in expressing feelings, particularly the feeling of pain/joy in the digital photography created by students aged 12 – 19. The attached title and brief statement/verbal explanation of the artwork provide additional information for the research, including the possible evidence of students’ social and interpersonal sensitivity. Concerning the artistic medium of expression and communication, digital photography is selected as contemporary media, easily accessible to most teenagers through their cell phone or digital still cameras, also the easiest and cheapest way for international delivery of the images on a CD-ROM or via email, and preparation/implementation for an exhibition and catalogue. The project started by dealing with the feeling of pain in artwork of contemporary women artist-educators in 2010, and then in artwork of the 12 – 19 year-old students in 2011. Both subprojects ended with an international exhibitions held in Zagreb, each accompanied by a Croatian-English bilingual catalogue – printed and online. The call for entries for the third phase project, "The feeling of joy in the artwork of students aged 12 – 19 expressed in the medium of digital photo" ends at the end of February. The analysis and comparison of the two subprojects done by the students are planned to be presented at the Conference. Some hypotheses are as follows: the subproject on Joy will attract more students’ entries than the subproject on Pain; the topic of Pain will initiate more socially engaged artwork, in comparison with more aesthetic experiments connected with the topic of Joy; the subproject on Pain will prompt more powerful communication of true feelings and socially engaged messages, in comparison with more schematic and globally popular images and symbols connected with Joy. The project has been realised with the cooperation of the members of the InSEA and the Croatian Council of InSEA (HRV-InSEA). However, the competition is open to non-members as well.


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SESSION 18 (S18):

ART AND ENVIRONMENT

GRAND HALL A / 12:40 – 15:10

CHAIR: Ricardo Reis

12:40 – 13:00 S18.1 An investigation into integrated art and design in Public Space in relation to sustainable development for the 21st century city and its society

Anna Merry, Frederick University, Cyprus

GRAND HALL A

Integrated art and design as a specification for new public spaces is not an original concept, but in the 21st century, public spaces have begun to encounter endless problems. Research has shown that many have become unwelcoming, unusable and unapproachable. Problems can be linked to the complexity of modern society, spaces are no longer being used as they were in the past. When designed correctly and to the requirements of modern society, art in public spaces can create places of identity and areas of sociability, which in turn promotes our cities and communities. Sustainable Development for the 21st Century City is required to meet the needs of the present day without compromising future generations. By working productively and cohesively, public spaces can create sustainable environments to benefit the social and economic areas of society, which in turn promote the development of the 21st Century City. A discussion into the creation of new centres of attraction, movement and information will analyse whether we can provide the public with places for exchange, cohesion and communication as well as educating the public culturally. An examination of flexible and adaptable art and design integrated into public space will highlight the importance of public spaces in relation to sustainable development and the continued cultural education of society. Conclusions of quantitative data collection, design testing and case studies set the parameters and specifications to design solutions. This leads to the exploration of interactive art and design as a key aspect in promoting sustainable development for the city of the future. The final design framework will demonstrate key factors in reducing social divisions and boundaries, in addition to methods of engaging the public with both space and each other. New public space design needs to address, tackle and solve problems to promote sociability and educate our society. The presentation discusses both the theoretical and design research into: How integrated art and design can enhance the 21st Century City and its society. 14:25 – 14:45 S18.2

Performing experimental communities within art education - Ethic-aesthetic perspectives on community art and sustainability

Helene Illeris, University of Agder, Faculty of Fine Arts, Norway

GRAND HALL A

How is it possible to enact environmental sustainability not only through intervention in existing social and visual formations but also through the development of social and visual forms that challenges the kind of living that has actually led us to be responsible for environmental crises? The paper explores three empirical cases dealing with this question: 1) a social ecological


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community (performing life as ‘art’), 2) a community art project (performing art as ‘life’), and 3) an art educational project (performing community as ‘learning’). Theoretically the paper uses ethic-aesthetic philosophy (Naess, Guattari, Braidotti) and theories of community art (Gielen, Kwon, Kester). 14:50 – 15:10 S18.3

A portrait of a project: When volunteers take over

Jenny Evans, Arizona State University, United States GRAND HALL A

What happens when primary students do not get regular art classes? The volunteers take over. Twenty volunteers (plus one art teacher) take ten hours to teach one hundred sixth grade students to create self-portraits for their “graduating” project. As the research and art teacher, the challenge was not only teaching the students but the volunteers. Dual pre and post surveys reveal what worked, and what didn’t and if the standards were met. In a climate full of cutting arts programs it is vital to find other ways of getting arts to the students. Depending on volunteers is a common theme in primary schools today. Yet, what do volunteers need? Can we depend on volunteers to meet the needs and the standards? In the end, the success of this project guaranteed a repeat for future generations of sixth graders at one elementary school and a continued source of research.


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SESSION 19 (S19):

BUILDING PARTNERSHIPS BETWEEN THE WORLDS OF EDUCATION AND CULTURE

GRAND HALL A / 15:15 – 18:00

CHAIR: Stefania Savva 15:15 – 15:35 S19.1

Art as more than mere cultural frill: The rhetoric of Tom Hudson

Suzi Tibbetts, University of Huddersfield, United Kingdom GRAND HALL A

This paper presents Tom Hudson’s core ideas regarding the relationship between art education and society between 1958 and 1995, found in both published and unpublished papers from the Hudson collection at the National Art Education Archives, England. An artist and educator, Hudson expressed concerns that reached beyond art education into the wider society. Instrumental to the revolution in art education and establishment of the Basic Courses in the 1960s, he maintained a career as an educator until his death in 1997. He did not regard art education as simply a tool to produce artists; on the contrary, he felt it a fundamental right for all to understand the visual world. Hudson felt that if the consumerist society of tomorrow were to understand and appreciate their environment, important changes needed to take place, and visual literacy would need to be embedded within post-adolescent stages of art education (Hudson 1968). Driven by a Socialist agenda, Hudson believed that the creative disciplines had a responsibility towards the development of man and his consequent ability to cope with complex progress, in order to ensure that regulations would not be imposed from above (Hudson 1967). His ideas were influenced by many, including Herbert Read, who also recognised a neurosis within society and saw art as instrumental to a more civilized society. This paper reintroduces and analyses Hudson’s views of art education within society, determining the relevance of his ideas to contemporary opinion in the new millennium. Despite their age, many issues raised by Hudson can be seen to relate to our current situation. The debate regarding the relationship between art and society as a tool for change, has taken increasing prominence. Damasio (cited in UNESCO 2006) believes that an engagement with art brings about emotional development, crucial for a more balanced state and culture of peace. Delacruz (2009) also writes of art education as a tool for social reconstruction, necessary due to the globalisation brought about by digitalisation, and where digital technologies can also be seen as a potential aid. The necessary development of a visual literacy, as advocated by Hudson, is still argued by many, including Oring (2000), as being the first step towards a more engaged and cohesive society. The paper concludes that Hudson’s rhetoric continues to raise important and relevant questions applicable to the increasingly electronic media-dominated world we now live in. More importantly, I argue that Hudson’s ideas may have had a wider influence on art education pedagogy, both consciously and unconsciously, than previously acknowledged.

15:40 – 16:00 S19.2 Reflecting on artists in residence

Irene Amengual Quevedo, Es Baluard Museu d'Art Modern i Contemporani de Palma, Spain

GRAND HALL A

My presentation will be based on the research I conducted for the MA Museums & Galleries in Education, at the Institute of Education, University of London, during the course 2009-10. The research looks at the Artists in Residence programme, developed at The Whitechapel Gallery, which I had the opportunity to study whilst on a work placement.


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The research explores the gains of working with artists in educational projects such as the Whitechapel’s Artists in Residence, not by answering essentialist questions such as what does it mean to be an artist, but in a much more relational and contextual way. My aim was to reflect on, firstly, what an artist does in the school-gallery context where the project takes place and, secondly, how the different agents implicated in the programme understand its figure, relate to and use him/her. I looked at what all of this is, and is not, distinctive in relation to “being an artist”, in part comparing the emerging issues with my own experience as a gallery educator working on similar projects. My approach to the case study was from narrative inquiry (Conelly and Clandinin, 1995; Pinnegar and Daynes, 2007), as my interest was to look at the specific context of analysis –Artists in Residence– to see how the people involved reconstructed their experiences to answer the research question. Moreover, I related the findings about Artists in Residence to a broader scene, seeing how contemporary artists are defined in the field of theory and aesthetics as well as exploring other practices of artists in schools run by galleries in the UK. My dissertation is particularly relevant if we take into account that in the UK working with artists in education has become such a common and mainstream practice but sometimes lacks critical analysis. In my presentation I will expose some of the findings of my research. I will examine where the differences and similarities reside between working with an artist and working with a gallery educator, by discussing to what extent the artists shaped Artists in Residence, (in terms of the learning, strengths, problems and the structure that upholds this educational initiative). I will also address the conflicts arising from the different ways artists are understood by the diverse agents involved in the programme (the gallery, teachers and the artists themselves). Furthermore, I will identify “meaningful misunderstandings”, occurring partly as a result of failing to work with clearly defined notions of terms such as “education”, “critical” or “risk taking”. I hope to provide some recommendations, to encourage reflexive practice, to overcome some of the difficulties that artist residences entail, and to promote the potential that artists do have to contribute to public education programmes. 16:25 – 16:45 S19.3

Contemporary art, meaning making and competences

Lisbet Skregelid, University of Agder, Norway GRAND HALL A

What relevance does contemporary art have to young students and their lives? What competences might emerge when interacting with visual art in experimental art educational contexts? How does these competences fit or contrast already emphasized knowledge, skills and competences in a current art educational climate? This paper will discuss some of these questions and departs from an ongoing research project that explores students` complex meaning making processes when engaging with contemporary art. The project aims to unfold some of the possible potentials of including contemporary art and contemporary art practices into education in general, and in to a Norwegian art educational context in particular. The action based and longitudinal research design, carried out in a school – art museum context, stretches over three years (2008-2010). The design includes students from two secondary schools participating in three contemporary art exhibitions at Sørlandet Artmuseum (Norway) and related activities. The involved teachers, the educational curators and the researcher, form partnerships that collaborate on the didactic strategies. Relational perspectives inspire both the theoretical frame and the methods chosen. The term relational, in this art educational context, is adapted as a way of approaching artworks in general, and a way of arranging and researching art educational practice where mutual relations between the factors apparent in this practice are considered. The vast empirical material from the study reveals a range of possible competences at play in the students` meaning making processes. Competences that become apparent have reflexive, creative and communicative aspects, and to some extent they challenge and contrast what is outlined in the existing Norwegian curriculum Knowledge Promotion (2006) in general, and the subject Art and Crafts in particular. The study gives the opportunity to argue for a greater awareness about how we comprehend the notion of `competence` in relation to art education, and to suggest alternatives to traditional and more established interpretations.


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16:50 – 17:10 S19.4 Urban museums - more green steps

Sahar Khalil, lHelwan university, Egypt GRAND HALL A

From all gathered listed and documented resources scanned for museum data the researcher is going to use data gathered from recent research titled (urban Museums - go green towards a new century) to be applied in a second part research application place will be the museum of college of art education (MAE) included and presented in ( paint a tree – plant a picture 2011/2012) program. this research will be gathering data from visitors( school management) and (student visitor), workshop trainees( college students), college employees, and documenting steps of formatting a green exhibition and workshops in Cairo Egypt ,Helwan university, college of art education.

17:15 – 17:35 S19.5 Life as a work of art

Luísa Vidal, 2ADS (Instituto de Investigação em Arte, Design e Sociedade), Portugal

GRAND HALL A

No pessimism. No tiredness. Certainly not, any faithlessness inhabits me. Only, I have no illusions. Modern apparatus, still. Education as mechanism for normalizing and governing the society, still. And, still, arts education which, ambivalent towards the complex mesh of historical accumulations that came to weave its most naturalized dogmas, remains permissive before the powerful dynamics regulating what it means to be human. But I repeat: no pessimism or tiredness or faithlessness. I deeply believe that may, one day, arts education turn into something infinitely more ethical. This way, and in affinity with the text introducing the conference, which emphasizes, in a rapidly changing world, the need of a constant process of redefining our scope, our goals and our processes, this theoretical driven paper, based on a recent educational project developed with a group of high school students, proposes a moment of reflection both concerning the instrumentality of arts education, in the specific context of the visual arts, towards the fabrication of subjectivities convenient to controlling the individuals, and the consequent disinvestment in the privileged possibilities that, in a scenery where the organizing principle is no more the word but the image, it can perform as a place of resistance. Attentive and inquiring and critical and restless and irreverent to the hegemonic patterns of existence determined by the successive systems of reasoning. Crossed by difference and freedom and nomadism and inventiveness and authorship. Able, therefore, to experience with the students the violence of the containment, to understand with them the perverse seduction of the speeches, to clarify that, much more than we have ever imagined, all of us can travel over paths of our own, and to provide, each one of them, emancipated devices of self-representation within a post-identity and post-colonial context. The free use of one’s own or, perhaps, life as a work of art.

17:40 – 18:00 S19.6 Vasso Katraki: Giving life to stone

Georgousi, M, Greece GRAND HALL A

Through the art of Katraki , in some degree, we can partly follow the mobility of cultures. Katraki has been inspired from the ancient Greek heritage, especially the Cycladic figurines, while at the


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same time maintains her inspiration by use of expressionistic elements and other techniques that have reemerged in Europe. This, in the times of globalization and multiculturalism, helps her form her unique artistic identity. Katraki in her early days, depicts scenes from the life of the fishermen at the nearby Messolongi lake. Her homeland was the inspiration for a series of color woodcuts of landscapes of the Messolongi lagoon (Hours of Messolongi 1948-1952). The use of dark gray tones and the complete absence of black are typical of that period. In 1955, she is engraving on a sandstone block that has a relatively soft texture and can keep the ink on its surface. Because of the nature of the material and the tools that she was using, the process of drawing gets closer to the carving. This choice of material might have contributed to a change in her thematology. Expressionism and the revival of traditional techniques that occurred in Europe at that time are not leaving her artistic identity intact. She has been greatly influenced by ancient Greek art. She used to delineate the area in accordance with the aesthetics of the classical black-figured vases and friezes of austere rhythm and she transforms key elements from Cycladic figurines. Her dominant theme remains the human. The human, apart from a member of a social group, is also becoming a form, a symbol. At the work of larger dimensions dynamism is imbued. Although she seems to submit a social protest she maintains a calm Doric style. Her shading is focused on the contrast of black and white. The figures are schematic; the black and white contours become loose. The white background acts as a support without the use of unnecessary elements. During her exile in Giaros she expresses herself artistically on pebbles using black ink. Later still, her work is dominated by symbolism, through tree-shaped and cross-shaped forms that take clearly a declaratory role. She is deliberately omitting their essential characteristics. But after 1975, her shapes tend to recover their lost features; they become less angular and aggressive, finally getting almost emotional.


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SESSION 20 (S20):

HISTORY OF ART EDUCATION

GRAND HALL B / 10:15 – 11:00

CHAIR: Marlen Thiermann

10:15 – 10:35 S20.1 Beliefs of art education marked by culture

Marlen Thiermann, COEDUCARTE, Chile Marianne Beuchat, COEDUCARTE, Chile Andrea Maria Melendez Teutsch, COEDUCARTE, Chile Dora Aguila Sepulveda, COEDUCARTE, Chile

GRAND HALL B

Different art education beliefs, presented in the project named “Cartography of arts education in Europe and Southern Cone of Latinamerica”, made by A. Meléndez, M. Thiermann and D. Aguila, is the basis for this reading, which links the beliefs with their cultural contexts, mostly determined by geographic location, traditions from original population, cosmovisions, ideologies, and other cultural worldviews. There will be a comparative analysis of different views of art education based on videotaped interviews directly collected from experts who attended the InSEA Congress in Budapest, Hungary 2010 and others from the southern cone of Latin-America, with special emphasis among those that are different in the northern and southern hemisphere. The basic question for the interview was: “In your opinion, what is the most important thing about teaching visual art at school?”. Through an analytical study of the answers to this question, it was deduced that there are different points of view and multiple approaches to art education. Dots of different colors corresponding to the major axes in arts education clearly show multiple views. In a poster to be presented by D. Aguila the dots are arranged on the world map to better distinguish the geographical location of each experts opinion in order to know how are the subject of art education that underlies theories and practices of teaching and learning through art at school. It will be analyzed if they prefer a more analytical and intellectual approach in the northern hemisphere than in the southern, where a more practical-experiential is more likely to be successful. Perhaps the clearest evidence between the north and south can be read in the stars, leading to very different world views influencing without question, the beliefs and attitudes of people who have inhabited these regions. There will also be comparing images based on the influences emanating from geographical opposites, which in turn have been observed in the recovery process of feet and brain surgery. The rock art, architecture, crafts, painting, ceramics and contemporary art from North and South will be presented to visualize the differences that seem to emanate from the corresponding cultural environment. Some other aspects that led to the current multiplicity will be attended in order to demonstrate the validity of different points of view and its relevance to the educational reality of their respective cultural environment. This will be also usefully for teaching visual art in the future.


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10:40 – 11:00 S20.2 Developing the conceptual framework for a curriculum for year five art lessons in kuwaiti primary schools

Fatema Alajmi, Roehampton University, Kuwait

GRAND HALL B

The current art curriculum for elementary schools in Kuwait lacks any art history and no empirical studies have been made of it. I have been trying to develop a formal curriculum which gives Year Five students greater understanding of their own culture through lessons in art history in which they investigate traditional artefacts (here, Alsadu weaving). The action research that I am doing in three schools in Kuwait tests my experimental curriculum, which, over six lessons, focuses on Alsadu weaving, a traditional women's craft in Kuwait. My action research has four main cycles: researching art education theory, policy and practice in England, developing a curriculum, testing and evaluating the curriculum twice and drawing conclusions. I have completed two cycles at this time. The preliminary review of the literature which helped me to clarify the focus of the intended research and develop the research design. And I have implemented the curriculum once in a Kuwaiti school. Action research has been broadly adopted for the development, design and evaluation of the new curriculum. As a practising teacher and researcher, I welcome the model of the ‘teacher as researcher’ who collaborates with other teachers to implement and test a curriculum and analyzes and evaluates it with them. I have designed six lessons for the new curriculum and am collaborating with a small action team – three art teachers from different education authorities, an expert in Kuwaiti education, and a graphic designer –and planned to implement and evaluate it twice .The first time it was put into action I taught the curriculum and collaborated with one art teacher on formative evaluation. Then I improved and revised the curriculum and it was implemented and evaluated again by two other art teachers. The final step will be a summative evaluation of the curriculum model in preparation for publication and further dissemination. This conference paper will present the outcomes from the cycle when I implemented the unit myself and will discuss the formative evaluation.


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SESSION 21 (S21):

VISUAL ARTS

GRAND HALL B / 11:25 – 13:00

CHAIR: Deborah L. Smith-Shank

11:25 – 11:45 S21.1 Art education and capoeira (an intangible cultural heritage of brazil)

Flaviane Malaquias, E. E. Prof. Inácio Castilho, Brazil

GRAND HALL B

This presentation discusses the teaching practices in visual arts from an interdisciplinary educational perspective, focusing on capoeira and its benefits as a cultural practice in Brazil and its relevance for secondary school students. As a common thread, the art works of the French photographer Pierre Verger and the Argentinean painter Carybé are critically observed as to how they represent capoeira in the 1940s and 1950s. Their art works approach issues on black people cultural manifestations allowing dialogues between past and present of intangible cultural heritage of Brazil. This presentation promotes an interdisciplinary didactic proposal set by the theoretical and practical study in art education. It is founded by the need to implement the Brazilian Federal Law 10.639/03. Such a law makes compulsory the teaching of Afro-Brazilian and African history in educational institutions including elementary, high and secondary school levels. Considering the law it is important to develop educational practices focused on the cultural manifestations of the black ethnicity in Brazil. According to Ribeiro (BRAZIL, 2004) the institution of this law draw attention to the contribution of black people in the construction and formation of Brazilian society. Its main purpose is to promote positive change in the reality experienced by black people towards a democratic, just and equitable society. It intends to reverse the perverse effects of centuries of prejudice, discrimination and racism. Reflecting on the concepts in contemporary art education in Brazil, it is understood the range of issues and possibilities to be worked on interdisciplinary ways. Students can develop meaningful creations provided by interdisciplinary experiences. The production of art in this sense is capable of contributing to the communication, dissemination, and promotion of the Brazilian Federal Law 10.639/03. By looking carefully at the art works of Verger and Carybé, this presentation shows how the Brazilian Federal Law 10.639/03 can be implemented by teaching visual arts. The aim is that secondary school students realize they can transform their reality by recording their perceptions as represented images. This is a way in which enable them to understand their identity within Brasilian diversity. Their creation expression brings up awareness of their significance. This presentation therefore intends to motivate teachers to work through interdisciplinary practices in order to valorize Afro-Brazilian culture.


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11:50 – 12:10 S21.2

Visual multiliteracy and cultural understanding

Marjo Räsänen, University of Turku, Finland GRAND HALL B

In this presentation, I will approach visual arts from the perspective of cultural education. First I will introduce my model of visual multiliteracy. It is based on the broad view of cultural identity including micro cultures and ways of life (ethnicity, geography, religion, abilities, age, sex and gender, language, and class). Cultural identity is tied with the concept visual multiliteracy which connects visual culture with other forms of material culture and multiculturalism. Under the title visual multiliteracy, various methods of interpretation derived from art disciplines and cultural studies are applied in the framework of experiential art understanding. This means that art experience comes into being when the cultural identities of the maker and the recipient meet as the work of art is explored. I am asking, how a work of art can build a bridge between different times, cultures, and individuals. How can multicultural selves be understood and constructed through interpreting visual culture? In the second part of my presentation I will tell how I applied my model in a case study executed at the University of Turku. This study is a part of the research project in art teachers’ and art education students’ views of the role of art in cultural education. In this part study I explored first year class teacher students’ conceptions of multicultural art education using my model of visual multiliteracy. I explored which of the dimensions of cultural identity were included in students’ school-time memories of art and multicultural education, and in their definitions of multiculturalism. The results show that most of the beginning class teacher students have very narrow view on multiculturalism emphasizing ethnic diversities and problems of immigration. They recognize only few connections between their school-time visual arts education and multiculturalism. However, introducing the model of visual multiliteracy helps them to plan learning units based on interaction between personal and social aspects of cultural identity. I finish my presentation by discussing the art teacher’s professional identity as her role changes from a teacher of skills to that of a cultural worker capable of participating in interdisciplinary cooperation sustaining multicultural understanding. 12:15 – 12:35 S21.3

Body image, identity and art education - A case study in Hong Kong and London

Shukfan Wong, HKUSPACE, Community College, The University of Hong Kong, Hong Kong

GRAND HALL B

The impact of western cultural ideals of thinness as a sign of beauty has been proposed to cause dissatisfaction with body shape and weight concerns among many young people not only in western countries, but also many Asian countries. This paper explores how young people's personal and gender identities are influenced and constructed by mass media, in particular, through the production of body images. It employs semiotic theory from the work of Barthes and Perice to examine the symbolic representation of body and identities. The work of Foucault and will also be applied to discuss the relationship between gender identities and body images representations. The study will focus upon the relationship between body images and eating disorders among young people (age 11-17) in the UK and Hong Kong. A survey was conducted in 2005 to illustrate the correlation between a desired body image and eating disorders, as well as make a comparison of the behaviours among secondary students in Hong Kong and London. The findings indicate that the students in Hong Kong are more concerned with the perception of their body image when compared with the UK students. It also shows that Hong Kong students are more susceptible to peer pressure.


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On the whole, the aim of the study is to investigate the impact of cultural value enforced by the mass media on the desire for a slim physique and the negative stereotyping of obese figures among young people who are from different culture and ethic backgrounds (i.e. Europe and Asia). The other concern of the paper is to show the possibilities by introducing the concept of visual literacy in art education to help students to develop a sense of aesthetic openness, and also critically evaluate the production of standardized body images in the mass media. 12:40 – 13:00 S21.4

Children's depiction of symbols

Ava Serjouie, University of Erfurt, Germany GRAND HALL B

Research question: What are the cultural or social factors in children's drawings. Are symbols and motives presented or drawn by children culture specific and belong to a certain region, religion or maybe country or culture. Children's understanding of culture specific symbols and their ways of representing them.


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SESSION 22 (S22):

ART EDUCATION AND PEDAGOGY

GRAND HALL B / 14:25 – 15:10

CHAIR: Fotini Larkou

14:25 – 14:45 S22.1 Female clowning: The place of women at the clown world

Melissa Lima Caminha, Payasas Desagrupadas, Spain GRAND HALL B

This work is part of my PhD project in the Arts and Education program at the University of Barcelona, and it emerged as a result of my studies during the master degree at the same program. It consists of a brief state of the question about the recent history of female clowning on arts, entertainment, pedagogy and social intervention. A literature review about clowning and laughter was done, as well as a documental research on comedic performance of women clowns. What is the place of female clowning in the circus, theater and performance art? When and how women have been articulating themselves to visualize, legitimize and promote female clowning? What is the importance of female clowning on gender pedagogy and sexual politics through arts? How the discourse about difference is being constructed by clown women? With this work, it is possible to see a contemporary movement of women taking place in the “clown world”, which has been historically dominated by men and patriarchal traditions on laughter, parody and comedy. A type of feminist movement on clowning is being created and/or reinforced, especially in the last decade, through festivals, courses, discourses and performances on a variety of themes such as: female universe, gender roles, gender oppression, female identity and the woman’s body. But although female clowning appears with a strong potential to inquiry about gender and sexual discourses and politics, it seems it is loosing strength due to the historical isolation from feminist art, performance and theory. Because of that, this work also aims to contribute with a dialogue with some feminist artists and theorists, trying to build interdisciplinary bridges and fostering collaboration that can be powerful instruments to female clowning pedagogy and politics.

14:50 – 15:10 S22.2 Adult learning in entrepreneurship: Using traditional artifacts for designing cultural products

Mary Kampouropoulou, University of the Aegean, Greece Costas Tsolakidis, University of the Aegean, Greece Persa Fokiali, University of the Aegean, Greece

GRAND HALL B

This work presents an educational project titled “Traditional Artifacts and Cultural Products”, designed within the context of entrepreneurial training, addressed to adult learners who are interested in tourist souvenirs enterprise. The central research hypothesis is that adult sensitization on local art and cultural traditional production is a driving force for a cultural and artistic orientation in the souvenirs industry. In this project, typical designs of traditional east Mediterranean ceramic art were used as a source of inspiration for the production of objects that satisfy aesthetic criteria and are of interest to the souvenirs’ trade. Set aside their economic role, souvenirs are considered as part of the “tourist art system”. As such they have a significant artistic and social mission. They contribute significantly to the range, variety, authenticity and quality of the ‘tourism experience’, and are connected symbolically with feelings


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and memories that travellers bring home from the host country. Within such a context, souvenirs enterprises are expected to promote traditional local art and, through art, the region’s uniqueness and the place identity. This mission is rarely found in internationalized large tourism enterprises that promote souvenirs that are neither distinct nor recognizable. Despite the significance of souvenirs, nowadays souvenir production seems to have moved a long way from its original targets. Due to globalization and the consequent market internationalization, local vendors, instead of producing original and authentic artistic symbols of tourist destinations, associate souvenirs with items and crafts that are mass-produced, imported from other countries, easily found in other parts of the world –hence having no relation with art or the place identity . Taking into account the cultural and artistic mission of souvenirs, this work presents an educational project in which adult learners were introduced in the artistic design of souvenirs. They were taught to rely on the investigation of traditional endogenous cultural artistic inputs of their place ,and to take into account the need for the objects that serve as souvenirs to reflect the place cultural identity together with authenticity and quality. Within this framework the project was carried out with the following research questions: • Do traditional cultural crafts encourage the design of new souvenirs? If yes, what forms do the new products take? • Are the new objects authentic? • Do they represent the place identity? For the purposes of the project, pottery items of the traditional east Mediterranean ceramic art were selected as typical traditional artifacts that would inspire the participants to design new souvenirs. Pottery was selected because in the Mediterranean basin and more specifically in Rhodes the art of pottery is present in all historic stages and pottery items are highly indicative of the interaction of cultures in the area. The items that were studies belong to the so-called ‘Rhodian’ Nice (Isnik) ceramic art and include pottery objects that were incorporated in the everyday life of Rhodes. The project was implemented in five phases, as follows: (a) investigation on the role and meaning of souvenirs in travelers experience, (b) an insight in east Mediterranean ceramic art and craftsmanship, (c) artistic design of new souvenirs inspired from traditional ceramics, (d) pilot production of new products and (e) evaluation. The output of the project included the design of many artifacts, including products of domestic use, decorative items etc , potentially interesting the souvenirs enterprise. These reflect traditional art but at the same time deviate from it, so as to adjust to the present. In respect to the main research question “Do traditional cultural crafts encourage the design of new authentic souvenirs representing the place identity?” the overall impression is that old pottery products are confirmed as valuable source of inspiration for new quality souvenirs. With respect to the question “Are the new objects authentic?”, the answer is positive. Although the new designs do not reflect a sudden creative idea they are authentic since an important motive –in this case cultural wealth- has acted as stimulant of mind and emotions and consequently lead to high quality activities. With respect to the third question “Do the new designs represent the place identity?” again the answer is positive. The designs of the new souvenirs contained either typical symbols of Rhodes, such as the ibiscus flower and the dear, or other drawings, such as boats, fish etc., that reflect the geographic and socio-economic identity of the area. In conclusion, the project indicates that it is worthwhile to encourage adult learners to design souvenirs, well documented traditional art but also reflecting the perspectives and aesthetic values of their own generation.

SESSION 23 (S23):


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MUSEUM EDUCATION

GRAND HALL B / 15:15 – 16:45

CHAIR: Teresa Torres Eca

15:15 – 15:35 S23.1 Play, observe, create, reflect: A day at the Contemporary Art Museum

Sophia Rossidou, University of Cyprus, Cyprus Marianna Rossidou, School teacher, Cyprus Konstantia Vasiliou, School teacher, Cyprus Gabriella Pantela, School teacher, Cyprus

GRAND HALL B

This paper tackles the issue of art museum education for young children (ages 4-12). The theoretical issues underpinning the design and implementation of educational programs at an art gallery will be presented and compared with actual activities that took place at the Nicosia Municipality Art Center. Finally, a critical reflection of the whole process will be discussed. The paper aims to present certain issues that are important in the realization of art museum educational programs, deriving from the relevant bibliography as compared with empirical understandings; to share ideas and encourage educators to become more involved. The Nicosia Municipality Art Center has offered the opportunity for the implementation of educational programs for children, in regard to different contemporary art exhibitions that has hosted. The programs were designed and implemented by four educators. Children took part in the programs mainly at their own time but also as part of some organized school visits. The programs tackled were underpinned by the belief that appreciating art from an early age is an important quality that provides new paths of communication and an effective way for entering the rich art world (Epstein, 2001). We aimed in providing children with rich environments for learning and involvement; and in giving them the opportunity to be engaged in them according to their own understandings and ways of learning. The main goal of our programs was to provide the opportunity to children to extend their thinking skills and construct their own interpretations of art works. The activities were organized in order to coincide with the certain age groups needs and ways of learning. A multisensory and engaging approach was adopted allowing children to interact deeply with the art works and express their understandings in many different ways (Weier, 2004; Piscitelli, 2000; McRee, 2007). A playful atmosphere was intentionally created since play is considered to be an essential mediator to young children’s learning (Henderson & Atencio, 2007). Another important factor that was taken into account is the link between art – viewing and art-making activities, and reflection as a meatacognitive skill. Children had the opportunity to create their own artworks and reflect on them as well as on the creations of their peers (Eckhoff, 2008; Savva & Trimmis, 2005). In the implementation of the above, adult’s role was vital. Educators took the role of scaffolding children’s experience by helping them focus on certain elements of art works, providing an example with their behavior, actively listening to the children, participating in their play and exploration, making associations, triggering their imagination, curiosity, encouraging and motivating them (Eckhoff, 2008; Savva & Trimmis, 2005; Weiner, 2004). The implementation of the projects described gave us as educators some useful insights and the opportunity for critical reflection on the process. Issues, such as the importance of connecting educational programs with activities taking place at visiting schools; parents’ involvement; the need


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for a more child- friendly atmosphere and display; more power and choice given to children and the need for multiple visits, arouse and are being discussed. 15:40 – 16:00 S23.2

The guided visit in the museum: Experiences of people with visual impairments

Harikleia Kanari, University of Thessaly, Greece Vassiliki Vemi, University of Thessaly, Greece Vassilis Argyropoulos, University of Thessaly, Greece

GRAND HALL B

The guided visit remains one of the most common practices in museums and galleries, its main role being to help visitors approach exhibitions and objects in a meaningful and easy way. Regardless of the several types of guided visit and the different techniques used for its delivery, issues such as “what to say”, “when to say it” and “how to say it” are of primary importance in all cases; they concern both the design of a proper narrative and its face-to-face performance. For vision impaired people, the traditional guided visit - or in rare cases, at least in Greece, specifically designed ones - can be a very valuable and strong experience, if certain elements are properly taken care of. The access of people with visual impairments remains a challenge for the majority of Greek museums. Although important steps have been taken to this direction there is a limited number of specifically designed educational programs and a lack of relevant research. This paper refers to a research based on semi-structured interviews aiming to investigate the experiences of visual impaired visitors in museums and focuses on the guided tour as factor of access. The qualitative data obtained from the interviews point out the features of a guided visit that may impede or facilitate access to museum collections and thus determine the quality of contact with art and cultural objects, as well as the museum itself. This research highlights the specific needs of these visitors; it also identifies issues related to the appropriate training of guides and museum-educators, suggesting ways of enhancing their awareness in disability, thus preparing the future guides to be able to respond adequately to the needs and expectations of variable audiences. 16:25 – 16:45 S23.3

Museum-based literacies and learning in Cyprus for 21st century skills

Stefania Savva, University of Leicester, Cyprus

GRAND HALL B

Museums are sites for learning that are commonly visited by schools. However the act of visiting museums is complexly situated in broader social and cultural relations. This presentation argues that museum visiting as a cultural practice requires specific museum-based literacies that are rarely identified or explicitly taught by museums or schools. This is partly explained by a lack of relevant research in the field of museum studies or education despite an acknowledgment of its importance. Literature sustains that the lack of focus on literacy events and practices reinforces exclusionary perceptions that are supported by statistics that show museum visiting to be unequally participated in within the population worldwide. In examining preliminary findings of a doctoral research on the nature of museum-based literacies and their implementation in museum educational programmes for pupils aged 9-12 years old in Cyprus, this presentation explores what happens when young people engage with ‘literacies’ at museums/heritage sites. This investigation includes examining the relationship between educational theory and practice with regards to ‘literacies’ and learning at the museum. Research questions formulated are: What is the nature of museum-based literacies? How does engagement with literacies during a museum educational programme impacts pupils’ learning experiences in a museum? What sort of ‘literacies pedagogy’ instruction would empower museum visiting as a


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meaningful literacy event? A case study is privileged for this research as it allows triangulation by using multiple sources and techniques in the data gathering process while it is preferred for research/theory that are at their early formative stages. To elucidate data both qualitative and quantitative methods will be employed in the sites investigated including questionnaires to museum educators, semi-structured interviews with teachers, museum educators and focus group interviews with pupils, observations of museum visits, documentary analysis and collection of physical artefacts. The last stage of the research is participant observation: development, implementation and evaluation of an instructional development/design for a project based on multiliteracies pedagogy. Participants will be recruited through using a random probability sample of fifty pupil participants from five primary schools, two in the urban and one in the rural district of Limassol town. The ten museum educators working in accredited museum educational programmes in Cyprus will be asked to participate in a questionnaire survey. It is considered that addressing the knowledge, skills and attitudes for museum literacy will have significant implications for education in museums, and particularly for museum/school relationships, as it recognizes the particular demands of developing learning experiences in the museum setting that enable cultural participation. The complexity involved in modes, literacies, sign systems and the unique museum environment make this a challenging task. The long term aim of the study as a whole is to determine what kind of curriculum would enable museum professionals in Cyprus to integrate multiliteracies and increase children’s meaning making so that they can be empowered as cultured persons according to the new demands of literacy and education both in our world at large and in a transitional time for Cypriot education due to the new educational reform.


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SESSION 24 (S24):

NEW TECHNOLOGIES AND ARTS EDUCATION (I)

GRAND HALL C / 10:15 – 11:00

CHAIR: Mousumi De

10:15 – 10:35 S24.1 Orangisational principles for visual culture education

Paul Duncum, University of Illinois, Champaign Urbana, United States GRAND HALL C

Starting with the premise that technologically advanced societies have taken a visual turn, the paper examines key concepts to help develop an understanding of what is now called our visual culture. Visual culture encompasses all visual imagery and their circumstances. Conceived as starting points from which to organize curriculum, the key concepts are: power, representation, ideology, seduction, the gaze, multimodality and intertextuality.

10:40 – 11:00 S24.2 Using technology as a creative tool to enhance new means of expression at students’ artworks

Walaa Kassem, Faculty of Specific Education, Egypt

GRAND HALL C

This research addressed the ability of students to get benefit from using technology in their artwork through workshops, which took place in 2011, it has continued for 3 months with students from faculty of Specific Education, Alexandria University. Each Student had performed creative artworks that explore the concept of assertion of culture identity, they used digital technology as an approach to enhance new means of art expression, such as digital cameras to take photographs, color printers and scanners to create digital images, and software applications like Photoshop to edit and create digital designs with a creative insight, that allowed them to generate innovative solutions and opportunities in applied communications skills that are so important to the workforce of today.


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SESSION 25 (S25):

NEW TECHNOLOGIES AND ARTS EDUCATION (II)

GRAND HALL C / 11:25 – 13:00

CHAIR: Pierre Pepin

11:25 – 11:45 S25.1 Learning in and through arts in the 21st century: An aesthetic approach to new technology

Sol Moren, Umeå University, Sweden

GRAND HALL C

Is digital creativity affected by gender norms? The gender norms that prevail in society appear to be reflected in the net cultures of young people. The communication of girls and boys on the Internet is manifested in different forms of socializing, linked to homosocial gender norms, even though the net is a meeting place that is disembodied. Girls often choose to learn new technology because they want to use the technology in order to achieve something else, and their goal often have aesthetic preferences. One example is digital photos within the blog culture where young girls learn how to edit their digital images in order to make the pictures more attractive. As my working with questions of digital gender has progressed, a hypothesis has emerged, namely that girls frequently have an aesthetic approach to technology. The issue of girls learning technology, becoming technical, is complicated in relation to gender norms. In a learning situation, it is sometimes apparent that boys and girls use different strategies when it comes to learning new technology. Males tend to spend more time thinkering, as in playfully investigating new interfaces on their own, while females are more focused on learning through a dialogue. Expressions of technical knowhow or innovation that are not in line with the predominant male norm, easily become invisible. Girls who study within the field of creative digital technology are often forced to begin by working with equality instead of being able to practice their profession since it is hard for them to establish themselves in the existing male- dominated corporate culture. At best they become entrepreneurs who, together with other female creators, run innovative projects, which expand the field. My hope is that the result of this work will contribute to this new growing field of research where questions concerning gender and creative digital technology will be problematized.

11:50– 12:10 S25.2 Introducing global training web site workshop for art educators

Pierre Pepin, Nyit New York global program Amman Jordan, Jordan GRAND HALL C

Exploring Multimedia Interactive Process Development, using all Senses, Tools of Science, Media, Design, Animation, Performance, and Technology in Studio Art. Objectives Experimental Methodology, Experiencing Interdisciplinary, Culture and Language, Developmental and Social Psychology, Motivation, Sensation, Perception, Attention, Consciousness, Learning, Memory, Thinking Process, Cognitive Science, Organizational Learning, Instructional Design, Educational Technology, Classroom Management, Uses in Human-Computer Interaction. Research Methodology The Classic Approach of Teaching through Innovative Electronic Visualization


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This presentation is to introduce the site of Global Training Web Site for art Educator. The selection of workshop will be resented to art educators and the content of various strategies and orientation of each workshop available for training in class experiencing with the art educators various strategies of how to develop a Inter, Multi, and even Trans disciplinary process through, Media, Art, Science, Design, Performance and Technology. The strategic orientation of the Methodology that I propose is based on discovery by a classic approach of visualization using senses as a starting point for beginning a process of research and analysis through accessibility, flexibility, systematically with hybridity, by mixing media art, design, science and technology, and even performance through Electronic Visualization. In this context, the main role of the educator in terms of cyberspace (the Internet) should consist of providing students with an environment that modifies spatial and temporal phenomena of discovery, the emergence, and opening up places beyond the classroom. It is therefore, necessary to “conceptualize” essential knowledge, which is part of a problem solving solution. The experimentation of this strategic approach has been experienced many times with my students in class, on a different level of education, like High School College and even University, and through local, national and international workshops and seminars during my PhD research. This methodology, demonstrated the enthusiasm of educators and students through multicultural environment to the artistic learning process, discovering approach, as a starting of research and analysis by mixing science art, technology. The Classic Approach of Teaching through Innovative Electronic Visualization This educational approach explore Classic Electronic Visualization Through Art research providing students with a goal and a method of working within a group learning process ( two, three or four people per group and even more). Each individual can then enjoy the fruits of collective work: The human side with this method provides the student with challenges that increase the confidence in his abilities and autonomy in terms of learning. Some felt that more authentic contexts for learning were created. We were able to see students making links across subjects. It gave students a new vision for learning the language. It was quite different from what we have done in the past. Student input is changing the learning sequence and changing the direction! Encouraging student who pushed him or her more than they normally would. It was good to see it in a different context. Isolation and marginalization were reduced. It was the connective aspects of cultural analysis that engaged students. Teachers have a better understanding and knowledge of what their students were doing in the other subject areas and were able to make links across their learning. Greater student engagement resulted. There was plenty of evidence that students were taking more responsibility for their learning. There have been marked improvements …Educators focused on the part intercultural learning plays in helping students to know and understand their world and to understand difference and commonality. 12:15 – 12:35 S25.3

Art and digital communication - Training for art educators

Efi Ioakim, University of Cyprus, Cyprus GiannaTheocharous-Gkantzidou, Frederik University, Cyprus

GRAND HALL C

Art and Digital Communication- Training for Art Educators One of CySEA’s activities is the organisation of training programs for teachers aiming to provide awareness related to the modern tendencies in art education. These training programs give an opportunity to teachers to come in contact with new instructive approaches and methods, to be involved in practical applications, share ideas, and deepen their thoughts acquiring dexterity for new art expressions. This effort began three years ago and was supported economically by the


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cultural services of the Ministry of Education and Culture in the frame of financing artistic activities. This presentation refers to one of the subjects in the series of CySEA training programs undertaken in February 2011 with teachers participating from the four ranks of education (preprimary, primary, secondary and technical education). It took place in the art laboratory of the University of Cyprus in Nicosia and the Frederick University in Limassol. Its title was ‘The use of digital video as an instructive tool for communicating with the artist’s work’. The question which participants had to deal with was: how can we bring the artists work closer to children in the classroom and prompt their own free artistic creation by discovering new means of expression? Could the use of digital video be a supporting tool for teachers, contributing to the achievement of the above aims? The training program for art educators was based on three main aspects: a) Theoretical frame related to the significance, use and importance of digital video in art lessons, the approach of an artist’s work via digital representation with the use of communication models (Feldman's 1996 critical process) b) the viable entanglement of participants aiming at the experimentation and the discovery of new expressive ways of creating art (art installation and video art) c) transformation of participants’ artwork in digital representation combining music and modern technology (digital photograph, movie maker). The presentation will focus on practical applications but also on effective strategies which were used in the course to approach the above three stages. This presentation will also examine teachers’ experiences, problems and difficulties arising during the development of the three stages. Furthermore it will examine the exploitation of participants’ artworks with the use of various multimedia tools (digital photograph, movie maker, camera) restructuring multimodal forms of art (digital representation, art installation, land art, art performance and video art) to create intertextual forms of art. Is digital video a supporting tool able to strengthen a student’s ability to critically analyze art work, communication, and the creation of new ways of free expression in art? Come and share these queries with us through an optical trip. 12:40 – 13:00 S25.4

Tool, medium and interface: On the use of digital media in art education

Marc Fritzsche, Giessen University / BDK e. V., Germany

GRAND HALL C

Digital media in art education can be used either as a tool or as a medium. The tool use is often characterised by transferring non-digital principles or “Old World Teaching” (Delacruz) to computers. As an example, a collage would be made not with paper, scissors and glue but with digital images and “cut & paste” functions within image processing programmes. In contrast to this, the medium use employs new possibilities that have no direct precedence in older media, e. g. drawing on a virtual map by tracing the position of the actor via GPS. The boundaries between the two ways are floating. Following the distinction introduced above, this presentation starts with a comprehensive overview of relevant international literature on art education and digital media. Although concepts have been published worldwide since the mid-80s, there does not yet seem to be a fully grown global discourse in this field. In recent years, the EU funded “Images & Identity” project (http://image-identity.eu) has given a new impetus to the discussion. Focussing on the concept of identity, the project promoted a closer cooperation of art and citizenship education. Aspects from both fields serve as background for analysing the digital media use in some of the lesson schemes developed in the project. Finally, recommendations are offered for the use of digital media in similar collaborative projects.


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SESSION 26 (S26):

NEW TECHNOLOGIES AND ARTS EDUCATION (III)

GRAND HALL C / 14:25 – 16:45

CHAIR: Lourdes K. Samson

14:25 – 14:45 S26.1 Exploring digital video potentials through arts-based educational practices and teacher training: The case of the Viducate European project

Nicoleta Avgousti, Ministry of Education and Culture, Cyprus

GRAND HALL C

Viducate is a three-year European Union funded project that has recently been concluded in January 2012. The project embraces the educational potential of digital video production across the curriculum at all levels of formal and informal education and in teacher training. It proposes a strategy for an increasingly necessary media literacy that corresponds to the objectives of self-improvement and social transformation through a critical citizenry. The content and competencies of Viducate focus more on developing attitudes than on acquiring conceptual knowledge about new media, as critical-reflexive approaches in media education are considered valid and necessary for digital literacy in the 21st century. The project initiated based on the following needs:

- to create more space for media education within the school curriculum, and across various subject areas

- to investigate a “pedagogy of production” in the context of critical media education - to increase student participation and involvement and prioritize critical-reflective content

over basic content - to teach media education as a prerequisite for active and critical citizenship - to investigate video’s role and potential in the context of Web 2.0 - to establish links and promote joint European action in the field.

This presentation introduces Viducate as a lifelong learning concept, and concentrates on arts-based best practices and teacher training within the project’s three main themes, that have been evolved from the cumulative experience of a wide range of educators in a number of different European countries.

14:50 – 15:10 S26.2 Model making: A tool for visualizing the built environment and how it continues to play a vital and increasing role as a teaching method

Anna Merry, Frederick University, Cyprus Stavri Daniel, Frederick University, Cyprus

GRAND HALL C

Computer design software is now readily available, making the art of physical model making a medium of the past. Students are now starting to lack the skill of physical model making which demonstrates space, form and scale. If physical model making skills affect the imagination and creativity of students: Can students continue to deliver original and successful solutions to contemporary design? We also question if


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students can develop creative and dynamic understandings as well as the potentials of 3D interior space. By learning through the model making process it enables students to have an enhanced interaction with their ideas, as well as allowing their concepts to be developed. By exploring the creative use of space and the development of practical skills from the initial concepts through to project presentation, allows students to have an independent approach to learning, designing and problem solving. An analysis will highlight the encouragement of research through design at all stages to demonstrate an understanding of the physical, functional and aesthetic relationship between humans and objects in space, in terms of their scale and proportion. Once students understand the basic principles of physical model making as a tool for visualization of the built environment, they will have gained sufficient knowledge to continue on to the technological environment of the recent decades. Model making does not only allow the student to explore their ideas, but also allows effective communication. The presentation aims to show that the methods of physical model making as a tool for visualizing the built environment have been successfully applied and how it continues to play a vital role in the design process despite the increased technology available to us. We aim to show stages and development in communicating the meaning of 3D space, through teaching experience, student examples and results through qualitative data collection, explaining how these basic methods can be successfully applied to young or new students.

15:15 – 15:35 S26.3 Directed clumsiness – Ambidextrous drawing as an exercise in art education

Gila Kolb, FAU Nürnberg Erlangen, Germany

GRAND HALL C

For my presentation I consider the exercise of ambidextrous drawing as an exercise in art class. First, I focus the history of this special exercise (See Kolb, 2011). In contrast, today ambidextrous drawing is not a big topic in art education, but considering the use of the so called new media, there is a practice in both handed drawing. Hand drawing, as a seemingly anachronistic medium which turns up in the contemporary practice of images only as a relic of a long obsolete culture of images, appears not only as a currently much followed artistic approach. Continuously, from the inception of the curricula up to today, drawing has been an inherent element of the state’s education plan and thus has a close to prototypical role for the learning content of art education (historical: drawing classes) for as long as it has existed. (Kemp, 1979) However, the ways how the competency related to drawing was acquired have always varied. These variations are to be highlighted with regard to the exercise of ambidextrous drawing, which has been used as a technique in art education for more than 100 years. There are many examples: From James Liberty Tadd’s work from 1899, translated into German in 1903, (Tadd 1903) which used the ambidextrous drawing of circles on a blackboard as an exercise to improve motor skills (Tadd 1903:22) for a later one-handed practice of drawing “according to nature”, to the rhythmic and likewise symmetrically arranged ambidextrous exercise of the Bauhaus preliminary course documented by Johannes Itten in 1963 (Itten 1963:135): and the art pedagogue Gert Selle, who in 1988 posits that ambidextrous drawing is a form of expressing physical senses. In today’s art education, ambidextrous drawing has a rather experimental character, said to serve the starting of processes that lead to the invention and formation of an image (Selle1988: 190ff). As Barbara Wittmann shows, neuroscience, its tenets developing at the end of the 19th century, had an influence on Tadd (Wittmann2009:175). Betty Edwards also refers to neurological findings, publishing drawing instructions in 1979 which are (ostensibly) based on insights from brain research. Here, she dismisses ambidextrous drawing as an exercise: “The visual impairments which inhibit a person’s attempts at drawing do not simply disappear because one is changing hands; the drawing only becomes more inept.” (Edwards 1982:75) In particular, the immediate creation of a trace has always made drawing a medium of learning by re-creating in the sense of demonstration and imitation. Drawing requires constant decision-making


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processes, which, during drawing, grow in intensity: Forms have to be grasped, understood, translated and finally find their expression. This applies especially to drawing with both hands, where motor processes may get out of control, but where also the motor processes of the “clumsy” hand may be practiced – and thus may become the playing field between automated dexterity and inept, casual playfulness. Consequently, ambidextrous drawing is subject to an oscillating movement between an exercise (in drawing), the awareness of the body, mimetic recording and individual expression, which – between the practice of visual arts, aesthetics, educational sciences, economic interests and neurosciences – also present themselves as the fundamental questions of art education. Based on this historic research, an evaluation on the actual practice of both handed drawing is in preparation.

15:40 – 16:00 S26.4 Blogging visual art - Social media as art education practice in comprehensive school and upper secondary school

Annika Meder Liikanen, Viikki Teacher Training School of Helsinki University, Finland Sirkka Laitinen, Viikki Teacher Training School of Helsinki University, Finland

GRAND HALL C

We will introduce a project realized in our school in 2011-2012. The essential goal of the project was to experiment and study utilizing blogs in art education. We tried out blogging in art classes in comprehensive school (grades 8 and 9) and upper secondary school. Our blog project is part of a larger scale social media study in our school; School 3.1 – trying out social media teaching methods in Viikki Teacher Training School. The idea was to examine the applicability of blogs as a visual arts teaching method through using blogs with different focuses. A blog can function as an interactive method in several ways. Before beginning the experiments we classified educational blogs in three categories according to their use, interactivity and given role as a part of a visual arts course. Our perspective of art education is social constructivism: the students build their knowledge of art in collaboration with each other. First blogs were used as individual students´ portfolios and ways of expression. Second, they were used as means of building and exchanging knowledge between the art teacher and the students and as tools of communication and evaluation. Third, blogs formed a medium of analyzing the students´ artistic learning processes. A goal of utilizing blogs as a teaching method was to increase the students’ knowledge as visual communication receivers and generators in social media. Readiness, skills and intelligence necessary in the social media scene were exercised in the process. The students acted as editors and publishers of their own blog content and therefore encountered the many challenges of visual communication and figurative narration. For example they encountered problems of copyright issues and giving and receiving feedback. The goal was to raise the students´ level of media awareness and criticism. One aspect of using blogs was to break the established conventions of individual performance in art education. The students very often focus on their individual work during art lessons. Visual learning is always also a social process: one makes images individually, but for others to view. Through making images the student builds his or her own identity in comparison with other students and their images. Blogging makes this social process more visible and enables examining it in detail because permanent trails, like images and comments, are preserved. The project aimed at more extensively improving the art teachers´ experience and knowledge of social media as a teaching method. The Viikki Teacher Training School is a part of the teacher training unit of the Department of Teacher Education of Helsinki University. In our project also art teacher students had opportunities to try out blogs in their teaching experiments. Our goal is also to


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raise discussion about social media based teaching methods among art educators. Blogs were used as portfolios and ways of individual expression in upper secondary school courses. For example, students posted images of their choice weekly in a collective blog on a compulsory art course. The blog resulted with over 250 Weekly images and commenting. Posting images of their choice gave the students a chance to articulate their visual point of view to other course participants and thus affect the course content. Blogs were utilized as a means of building and exchanging knowledge between the art teacher and the students and as tools of communication and evaluation. For example in an upper secondary school art course the teacher maintained a blog for sharing course tasks and materials and thus enabled upfront preparation for lessons and remote working. There was also a blog about a comprehensive school and upper secondary school art collaboration, the Masks project realized for the Helsinki City Art Festival. Through the project blog it was possible to share information and imagery between the artists, local newspapers, resident associations and the festival organization. Blogs formed a medium of analyzing the students´ artistic learning processes. Upper secondary school students blogged about their own design processes in a course concentrated on design, environment and architecture. Blogging enabled storing stages of the design process, viewing and commenting also in between lessons. Comprehensive school students assembled their course work and process descriptions in a blog during six months. During this period the blogs were viewed and commented on by other students. The blogs were used as tools of self reflection and evaluation at the end of the course. We will present the results of the blog project and analyze the process in spring 2012.

16:25 – 16:45 S26.5 The role of the Virtual Campus in the undergraduate course “Arts-Based Research”: A site for student experimentation and authorization

Rachel Fendler, University of Barcelona, Spain

GRAND HALL C

This paper reflects on the role of the Virtual Campus – the online platform that accompanies classes offered at the University of Barcelona – during the course “Arts-Based Research”, offered by Prof. Fernando Hernandez within the undergraduate degree program at the College of Fine Arts. This research contributes towards an ongoing national investigation of which I form part, titled: “Living and learning with new literacies in and outside school: contributions for reducing school drop-out, exclusion and abandonment among youth” (Spanish Ministry of Science and Innovation. EDU2011-24122.) By narrating a specific classroom dynamic that emerged over the course of the semester, from the perspective of my role as a Teaching Assistant, this paper will relate how the Virtual Campus became a site for experimentation, investigation and, ultimately, authorization among the students enrolled in the course. This research is contextualized in relation to the changes in degree programs as they are modified to adapt to the implementation of the European Space for Higher Education. The introduction this year (2011-12) of the first “Arts-Based Research” methodologies class marks a shift in the definition of research practice in the field of Fine Arts. For students, the course content marked a radical departure from their understanding of what it means to 'do research' as an artist. In response to the material they encountered, and with the encouragement of Prof. Hernandez, students initiated a semester-long investigation with the aim of implementing the research strategies they were learning about in class. By choosing to engage the material through collaborative research, the students began to re-situate themselves in relation to each other, to the teachers, and to the course content, modifying their role as students (and/or) artists and coming to inhabit newly-formed, a/r/tographic identities. The investigation that subsequently developed, which looked at the phenomenon of silence in the classroom, was initiated and carried out mainly in the forums within the class's Virtual Campus.


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Before the classroom lost its silence, the forums became a place of lively interaction and debate. By presenting a close-up of this classroom experience, this paper will reflect on the significance of the in-class / out-of-class dimension and narrate how the use of forums affected students' relationship with the course. This experience is then used to introduce a discussion on the nature of online learning and the potential it has for increasing student engagement. Ito, et al (2010) have argued that one of the biggest changes that ICT-use introduces to learning culture is the way it allows for new methods of participation. As this classroom anecdote successfully illustrates, this change is not superficial, but rather implies a significant shift in young people's identification as learning subjects. The paper will conclude by considering how such a productive in / out relationship can be fostered intentionally, looking at ways in which engagement was supported and addressed in the classroom. In this light, particular attention is paid to the impact the notion of A/r/tography had on Fine Art's students' understanding of their roles as researches and learners.


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SESSION 27 (S27):

INTERDISCIPLINARY LEARNING IN ARTS (I)

TEVKROS / 10:15 – 11:00

CHAIR: Seija Ulkuniemi

10:15 – 10:35 S27.1 Interaction of art and music: The contribution of music in constructing the meaning of a painting

Georgina Athanasiou, Frederick University, Cyprus Victoria Pavlou, Frederick University, Cyprus

TEVKROS

There is a growing need for art education to embrace current changes and to respond to contemporary challenges for promoting multi-literacy and multi-modality. The interaction of multiple arts for promoting multi-literacy and multi-modality has been studied in different areas. The present paper focuses on the interaction of art and music in constructing the meaning of art works, and in particular of paintings. For example, it has been noted that paintings’ visual elements are synesthetically linked to musical elements. Moreover, a large amount of studies worldwide has shown and confirmed the contribution of listening to music in expanding focus and concentration, inducing emotions and feelings, and enhancing imagination. Bearing in mind that focus, concentration, imagination, cognitive and emotionally responses are considered to be significant in constructing the meaning of artworks, we intent to examine whether listening to particular pieces of music while viewing artworks would enhance viewers’ ability to move to a more elaborate stage of responding to paintings. The target group of this study is pre-service primary school teachers. The reason for focusing to this target group is because we want to explore ways of enhancing their abilities to understand artworks having in mind that in many countries primary school teachers are not art specialists and are frequently required to teach art in primary schools. At the same time we want to investigate whether the proposed interdisciplinary approach for art-viewing could enhance their pedagogical content knowledge for teaching visual arts. We assume that: a) music helps the viewer / listener to anchor the meaning of a painting, and b) music enables the viewer / listener to focus on a painting for a longer period of time, and thus to offer a more meaningful interpretation. To test the parameters of the hypothesis of this study we employed a qualitative investigation. 60 student teachers (aged 20-24 years old) were asked to respond in writing (in a group setting) to four artworks without music stimulus and with music stimulus. All artworks were famous well-known works, two of which had a narrative representation with realistic elements while the other two were more abstract. Further, twelve student teachers participated in group interviews after the completion of the above task in order to have an in-depth understanding of their views. Content analysis of the participants’ written responses was performed based on the comments included in their statements (e.g., descriptive, analytic, interpretative and/or judgmental) as well as on the viewpoint adopted (non-reflective, beauty, realism, and skill, expression of feelings and ideas, etc.). Preliminary findings indicate that the participants were naïve viewers with limited experience on art viewing. When art-viewing was accompanied by musical stimulus, viewers/listeners were able to focus and concentrate more on the viewing activity. However, it was noted that participants were able to move to a more elaborate stage of responding only for abstract artworks.


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10:40 – 11:00 S27.2 The place of theater ensembles in Brazilian's pedagogy of theater

Melissa Lima Caminha, Payasas Desagrupadas, Spain

TEVKROS

This paper is the result of my course of Specialization in Art Education, held at the Faculdade Sete de Setembro, in the city of Fortaleza, Brazil. It aims to research the possible contributions of Brazilian theater ensembles to the teaching of theater art, as well as to theater based research in education. To do this, I studied the place of theater groups inside the disciplinary field of Pedagogy of Theater - or Theater Education - , in Brazil. The methodology was literature review on the following topics: historical overview about "independent" theater ensembles in Brazil; epistemological and methodological approaches in Brazilian’s Theater Education discipline. It was also conducted a documental research on the history, objectives and aesthetics of various Brazilian theater groups, besides a brief state of the question on the place of theater ensembles in theater pedagogy and educational research trough arts. What is “theater group” and how it changed theatrical principles and practices in Brazil? What kind of pedagogical practices exist in the dynamics of production of artists guided by the principles of Theater Group? Are these practices appreciated by Theater Pedagogy theorists and art educators working trough theater? With this work it was possible to reflect on the potential contributions that theater groups offer to theater teaching and arts based research, contributions that most of the time are not properly applied or appreciated. The emergence of a theater guided by the concept of “theater group”, resulted in a reformulation of principles and pedagogical practices related not only to artistic production, but also with a different social engagement and responsibility of theater artists, who became more connected with the cultural development of local and regional communities. On the other hand, contemporary research in art education also contributes to new educational paradigms that can be taken into account by Brazilians artists. These last contributions are related not only to pedagogical practices, but also to ontological and epistemological bases that guide teaching and research methodologies in theater.


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SESSION 28 (S28):

INTERDISCIPLINARY LEARNING IN ARTS (II)

TEVKROS / 11:25 – 13:00

CHAIR: Mirjana Tomasevic Dancevic

11:25 – 11:45 S28.1 The expression of scientific knowledge / information through art

Georgia Michaelides, Ministry of Education and Culture, Cyprus Freda Terzian, Ministry of Education and Culture, Cyprus

TEVKROS

This paper is about the collaboration between an art teacher and a biology teacher in order to explore interdisciplinary learning. Methods and language from more than one academic discipline were applied in order to examine a theme. Thus connections were created between traditionally discrete disciplines such as biology and art. The two teachers have been collaborating for a number of years and they have observed that the students enjoy this interdisciplinary approach. The theme this year was, Making sense of mental illness: biology, medicine and society. The students were very excited by this topic and they created, in their different disciplines, a number of exciting works in response to the theme.

11:50 – 12:10 S28.2 Children’s representations of the water surface in tilted containers: Educational implications

Nicos Valanides, University of Cyprus, Cyprus Anastasia Kanari, University of Cyprus, Cyprus Charoula Angeli, University of Cyprus, Cyprus

TEVKROS

Fifty 5 to 6-year old children (25 boys and 25 girls) were individually presented with a half-filled bottle of water closed with a tap, and a corresponding visual of the same bottle and the water inside the bottle. Then, each child was sequentially presented with drawings of the same closed bottle (with no water inside) in clock-wise tilted positions at 30o, 90o, 150o and 180o. A totally empty bottle was also used to demonstrate the position of the bottle in each of the four drawings and exemplify the task. Each child was then asked to draw the water inside the bottle in each one of the positions. The specific tasks are part of the water-level task (WLT) that was initially developed by Piaget to evaluate a child’s ability to perceive space within a Euclidean reference system. Similarly, the collected drawings of the children were also used as external representations of children’s internal schemata indicating their understandings about the independent movement of the water inside the bottle and its final position and shape inside the bottle. These drawings also provided indirectly additional information about children’s ability to conserve the volume of the water or the effect of gravity on the water inside the bottle. Careful analyses and comparisons among the collected drawings clearly demonstrated children’s difficulties to correctly visualize the water in tilted bottles despite their rich experiences from everyday life. The evidence also indicated specific differences in children’s understandings depending both on the different position of the tilted bottle and on their gender. The findings support the position that visualization is an important way for human beings to learn and perceive things (Dastani, 2002), and provide important insights of how different visual representations, or art


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education, can be employed for evaluating learning difficulties. The collected information also provide guidelines for appropriate educational interventions that can be tailored to individual needs and foster young learners’ development and construction of correct understandings and deep meaning, instead of the transmission of canned knowledge.

12:15 – 12:35 S28.3 Cross curricular programme in schools: Arts and Maths through Logo language

Eleni Grafakou, Haef Athens College, Greece Spyros Karyanos, Haef Athens College, Greece

TEVKROS

From the golden cut of the Pythagoreans to the linear perspective in the Renaissance paintings and from the motifs of the geometric jars ( pottery) to the clean-cut lines of Bauhus, the relationship between Arts and Math has its roots deep down in time. This presentation focuses on the goals, the methodology and the outcomes of a cross curricular programme which took place in the school class with 4th grade students in 12 teaching hours. The main goal of the programme is to approach and consider a topic / theme through the various perspectives and the different school subjects for a deeper understanding. Through the subject of Arts with references to painters such as Mondrian and Kandisky, Geometry and the Logo computer language, we aim at developing the following skills: • effective use of the math concepts in everyday life • ability to cooperate with other students in group activities • problem solving ability through the cultivation of the necessary strategies (information assessment and management, critical thinking, problem solving strategies)• ability to make rational choices • ability to have a creative imagination • ability to have a heightened sensibility of art and artwork creation • utilization of knowledge in decision making • recognition of the Math usefulness in everyday life We also aim at individual learning goals such as: • active participation of the students • participation in interesting and meaningful activities • targeting at comprehension and not memorization The process is interesting to the students as it combines the knowledge taken from Geometry, Arts (artwork, creators and theoretical knowledge) and the Logo computer language - a new tool for the kids, as well as their own creation, an artwork materialized on the computer, based on all the aforementioned knowledge.

12:40 – 13:00 S28.4 Intercultural innovation insight workshops

Bryan Temple, Glasgow Caledonian University, United Kingdom Costas Mantzalos, Frederick University, Cyprus

TEVKROS

A two-week international workshop was held in Finland during February 2010 and again in Glasgow in February 2011. A third workshop is to beld in Nicosia, Cyprus in February 2012. Entitled “Intercultural Innovation Insight Workshop” (3EYES), they were sponsored by the European Lifelong Learning programme. Students from Portugal, Cyprus, Czech Republic, Finland and the United Kingdom were placed in multi-cultural teams of five. Each team had two product designers, one graphic designer, one financial and one marketing student. They were set the task


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to devise new product ideas for a local company and they had two weeks within which to do it. These intensive workshops comprised lectures and practical tutorials as well as ideation sessions for the new product ideas and represent one way in which international issues may be appreciated and accommodated. This paper will compare the three events and discuss issues of social responsiveness, shared goals and identity and draw conclusions on the suitability and sustainability of this form of activity.


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SESSION 29 (S29):

LEARNING IN AND OUTSIDE SCHOOL

TEVKROS / 14:25 – 16:00

CHAIR: Venus Ganis

14:25 – 14:45 S29.1 The role of imagination in sustaining the “flow” experience in artistic engagement: Empowering immigrant children to escape from their boredom and anxiety

Seungyeon Lee, Long Island University, United States

TEVKROS

The purpose of this qualitative case study was to explore how school-aged immigrant children enter the flow experience and how it is sustained throughout art- making sessions. Specifically, this study explored the role of imaginative narrative and reciprocal interaction in facilitating flow in their artistic process. The impact of having flow experiences in their art -making and their ability to cope with immigration-related difficulties were also investigated (Kramer, 1993). This study used Csikszentmihalyi’s (1975; 1990; 2000) flow theory to explain the phenomenon of these young immigrant children’s engaged art-making experiences and to analyze his conception of the balance between challenge and skill. Data were collected from retrospective video-stimulated interviews with four immigrant children immediately after their art-making sessions as well as from interviews with their parents and with art therapists. Participant observation and document- and art-work analysis were also included as data collection methods. Close examination of the collected data suggests that flow in art was facilitated when the clients initiated an imaginative mode of engagement with the art materials. Their reciprocal engagements with the art teacher also contributed to the emergence of flow (Custodero, 2005a). These engagements were found to be personally meaningful to each individual (Custodero, 2005b). The most significant finding was the critical role of imaginative narrative in sustaining optimal artistic experiences (Greene, 1995). Imaginative story-making and story-telling about the created art works led the clients to a deeper level of engagement. Another finding was that the individual art making activity also functioned as a window to understand their home and school lives, especially in terms of their immigration and transition struggles (Suarez-Orozco & Suarez-Orozco, 2001) the flow that emerged in artistic engagement empowered the clients to escape their boredom, anxiety, and loneliness (Henley, 1989). Ultimately, this study suggests possibilities for creating a safe environment where art materials are accessible and reciprocal interactions are possible between teacher and students in order to empower these young immigrants’ artistic healing and growth. 14:50 – 15:10 S29.2

About the inherent potential of arts-based educational processes in the 21st century

Wolfgang Schreibelmayr, University for Art and Design Linz, Austria TEVKROS

This presentation will deal with the topic: Learning in and through Arts in the 21st century. You will see examples of learning in and outside school. In the beginning we ask the fundamental question: "What are the special needs and wishes of


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children and young people to manage their life in a not really predictable future?" This question circles among others round the promotion of their social competence, self- competence and relavant expertise. What contribution can we arts educators make to support children and young people? What can we do working inside or outside the school system? This presentation will give an insight into some methods of investigation we use in our department for Art Education. From the viewpoint of art pedagogy we investigate the inherent potential of arts-based educational processes. The basic structure of this examination consists of four questions: Which is the inherent potential of the materials used? Which is the inherent potential of design processes with this material? Which is the inherent potential of the design tasks in general and specifically? Which is the inherent potential of the exploration of art in the sense of self-reflection and analysis? (Biographies of artists and art works examinations). In this presentation will be shown a photographic documentation of our practical examinations. 15:15 – 15:35 S29.3

Possibilities for learning through painting in secondary schools: Embodiment and interpretation

Yiannis Hayiannis, Institute of Education, United Kingdom TEVKROS

In this paper I present a theoretical consideration of the educational significance of painting understood in terms of embodiment and interpretation in the context of secondary art education. The case for painting that I propose places emphasis on the potential of painting practice for transformative engagement with physical materials. While my argument is theoretical in tenor, my research interest in painting in secondary education has emerged from my professional practice as an art and design teacher in primary and secondary schools and my work as a painter. The case I present rests on two claims. First, that the crucial importance of painting can be identified in the embodied engagement that it permits the practitioner. With regard to embodiment in this sense, I make reference to the theories of perception developed by Merleau-Ponty (1973, 2002) and to the phenomenological appraisal of painting that he offers in a celebrated series of essays (Merleau-Ponty collected in Johnson [ed.] 1993). A renewed educational focus on painting as an embodied practice could serve to counter the preference in some secondary schools for forms of detailed visual realism, a characteristic of ‘school art’ identified by Hughes (1998). Narrowly representational work of this kind needs to be challenged by facilitating dynamic possibilities for learning through painting in schools; opportunities for pupils to realize symbolic or expressive aims that are informed by the material affordances of painting. Second, I argue that painting practice can be considered an interpretative activity in that it involves the practitioner in continuous interpretative engagement with a range of culturally evolved materials, tools, ideas and forms. I make reference here to aspects of Gadamer’s philosophical hermeneutics (1977, 2004) in an effort to signal productive correspondences between the interpretation and the production of works of art. I hold that the practice of painting can afford rich, explorative learning events for pupils in secondary schools, involving them in the interpretation and negotiation of physical materials and traditions of practice. Such an approach to practice could afford pupils greater confidence in and responsibility for their learning experiences.


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15:40 – 16:00 S29.4

In Search of empathy, respect and wisdom – Key elements for education the 21st century

Venus Ganis, The Gap State High School, Australia TEVKROS

Educating for empathy, respect and wisdom, through visual art Nature based experiences with young people has led to a transformation in my pedagogical practice and this paper will discuss the relationship of the teacher, the student and the environment in visual arts nature-based learning. A pedagogical praxis influenced by the work of Rinaldi, Plumwood, Davis, Carson, Bird and others brings together a relationship with Nature, Nature-based learning and aesthetics. What do I value and how important are these values in today’s world that underpin the ways of learning and the ways of knowing in the 21st century? There are many parts to the learning equation and there is a need to think holistically about the interconnected relationship in one’s life.


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SESSION 30 (S30):

MUSEUM EDUCATION

TEVKROS / 16:25 – 18:00

CHAIR: Rita L. Irwin

16:25 – 16:45 S30.1 Artists’ interventions in the pedagogic role of the global museum

Claire Robins, Institute of Education, United Kingdom TEVKROS

In the late twentieth century many traditional museum practices were destabilised, not only by diminished trust in meta-narrative and universal truth but by insecurities about representing ‘others’. No longer understood as a neutral site for presenting objective knowledge, the museum was recognized as a space of cultural production where choices had been made about the narrativisation of social perspectives (Bouquet 2001; Hooper-Greenhill 1992, 1995; Kirshenblatt-Gimblett 2002, 2006; Macdonald 1996; Ravelli 2006). Imperatives to reconcile past values with contemporary critiques necessitated recognition that museums were perceived, by some, as elitist and by others as intractably colonial in outlook with a record of dubious accession histories. In the reflexive turn that such perspectives precipitated, many museums felt an obligation to review their practices. Many significant interventions have been made by artists from sections of society and global culture once marginal to the museum’s concerns or, indeed, represented as an object of study. Artists such as Fred Wilson, Rene Green, James Luna, Yinka Shonibare, Maureen Landers and Christine Hellyar, and Lubiana Himid became perceived as part of a solution. Able to mediate between collections and audiences, to reconfigure and problematise collections and the construction of meaning, these artists have played a key pedagogic role in redefining museum culture for the 21st century. By giving voice to artists whose work has been centred on representations of difference the museum has found a way to renegotiate some of its past representations of cultural difference. In this theoretically driven paper I explore through example, what happens when a museum foregoes the aim of achieving a rational concensus in the public sphere in favour of more discursive cultural possibilities, opened up by artists’ interventions. I argue that such initiatives provide possibilities for antagonisms to be chanelled into the more productive realms of agonism. 16:50 – 17:10 S30.2

Cultural beauty and cultural identity: examining the outcomes of the education-focused exhibition “enjoy the beauty of taiwanese printed cloth”

Ching-Fang Lee, Department of Art, National Changhua University of Education, Taiwan Min-Chiao Chiu, National Taiwan Museum of Fine Arts, Taiwan

TEVKROS

This research study will examine museum visitors’ experiences of a nine-month educational exhibition “Enjoy the Beauty of Taiwanese Printed Cloth” at the National Taiwan Museum of Fine Arts in Taichung. This interactive exhibition featured traditional Taiwanese printed cloth, showing both its historical, daily use and its incorporation into contemporary artwork.


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The exhibition was designed using multidisciplinary teaching and alternative models of creativity. Though open to all ages, many creative activities and a guidebook were designed for children. In a non-traditional approach, the exhibition features visual arts, literature, documentary films, and computer activities—all to provide a unique experiential learning experience of Taiwanese cloth and art. Taiwanese printed cloth represents a simple aesthetic reminiscent of people’s daily lives while growing up in a simple culture when it was used for clothing and domestic items. Not only is this material an important element of Taiwanese local history and culture, but its designs have a unique cultural significance. However, in recent years, artists and creative designers have injected a new cultural spirit and appearance into traditional printed designs by interpreting and transforming them into contemporary artworks using this cloth, yet relating them to the familiar past. Printed cloth has never gone “out of fashion” from when farming was the primary way of life. As curators and educators, we hope that the “new thinking” presented in the cultural and creative elements of this educational exhibition of printed cloth will encourage dialogues between a traditional aesthetic and new interpretations of it. We also hope that the exhibition will enable the public to rediscover Taiwan’s cultural and historic richness, and continue to build a uniquely Taiwanese cultural aesthetic, extending and enriching local culture while related to daily life. This exhibition is unique because it displays many kinds of printed cloth in a fabric store setting; it introduces the manufacture, use, and development of these fabrics in daily life; and it explores the aesthetic and cultural significance of printed cloth with interactive multimedia installations, online learning, and a dress-up area for visitors to role play. We have tried to show the nostalgic value of printed cloth as well as its creative and cultural value in today’s Taiwanese society. The exhibition has stimulated popular on-site discussions and participation both in online learning and on-site activities. Thus, it is important to study the cultural and educational impact of the exhibition on our visitors. In this study, we ask: How do visitors reflect their experience of local culture and enhance their self-identity? How has the exhibition environment helped them recognize the beauty of Taiwanese culture, and the transformative roles of Taiwanese printed cloth? How has the exhibition changed/transformed their cultural awareness and identity through its educational activities? We will use mixed methods to collect our data, which includes a questionnaire and on-site interviews of different ages of visitors. 17:15 – 17:35 S30.3

Art trafficking and museum education. The example of the Byzantine museum of the archbishop makarios III foundation

Ioannis Eliades, Byzantine Museum of the Archbishop Makarios III Foundation, Cyprus

TEVKROS

This paper will present the multiple role of the Byzantine Museum of the Archbishop Makarios III Foundation. The Museum, as per definition (ICOM, 2001) is “a ‘non-profit making, permanent institution in the service of society and of its development, and open to the public, which acquires, conserves, researches, communicates and exhibits, for purposes of study, education and enjoyment, material evidence of people and their environment”. The Byzantine Museum is the second most important Museum in Cyprus with thousands of visitors every year. It constitutes part of the Cultural Centre of the Archbishop Makarios III Foundation established on 1978 next to the Holy Archbishopric of Cyprus in the historic centre of Lefkosia, the capital of Cyprus and has opened for the public since 1982. The Museum fulfills the necessary requirements of ICOM such as restoration, conservation and correct exhibition of its items. In the Museum are housed more than 600 artworks from which more than the 90% are on display. The Byzantine Museum hosts the biggest amount of Christian artworks which was repatriated from abroad after the looting of the churches in the occupied areas since 1974. Mosaics, frescos and icons can tell their own story which is connected with the turbulent history of Cyprus of the last 40


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years. In this paper will explain how this story can be explained to the visitors and subjects like cultural heritage, art trafficking, smuggling, looting, especially to the children who attend the educational programme of the Byzantine Museum “Journey to the Byzantine Art”.

17:40 – 18:00 S30.4 Discourses in the visual art teacher education in Finland

Pirkko Pohjakallio, Aalto University, School of Art, Design and Architecture, Finland

TEVKROS

There are two universities educating teachers of visual arts in Finland: Aalto University’s School of Art, Design and Architecture (former University of Art and Design, originally craft/sloyd school from 1871) and University of Lapland. In Aalto University’s earlier form art teacher education started in 1915 (some separate courses already in the end of 19th century), and in Lapland 1990. In my presentation I will analyse discourses in the art teacher education during the 20th century at the University of Art and Design in the context of the design university, specially in the end of the century (1970-2000). The presentation is connected to the history project of art education at this university.


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SESSION 31 (S31):

Customizing Art Learning Processes (I)

EVAGORAS / 10:15 – 11:45

CHAIR: Emil Gaul

10:15 – 10:35 S31.1 How does art build bridges? Introducing art and learning through art in varied audiences

Martha Ioannidou, Open University Cyprus/ "Didaskaleio Glinos", Department of Education, Aristotle University Thessaloniki, Greece

EVAGORAS

Consistently omitted in several countries from public education, generally ignored by the media except as the object of controversy, theft or the expenditure of large sums of money, art is rarely understood and enjoyed by general audience as it should be. Nevertheless, our experience in university level education is that more and more people seem willing and eager to engage and study art, its history and educational functions. Along with museums, higher education is where the great majority of people in the West today encounter art. Rightfully David Perkins has stated that "if most disciplines dig moats, art builds bridges". Plato was the first to point out that Art should be the basis of Education. One of the great discoveries of the 19th century was that Art and generally the whole process of expression is not a luxury but a necessity, our means of escape from the demands of highly diversified society and from the ‘nostalgia for a lost world’. While we can’t be sure of what the future will hold, the odds are art will survive and continue to attract audiences. History can change overnight. If we –as educators- want to make a change, it’s high time we take the bull by the horns and realistically address and debate current issues related not only to art context but to art pedagogy. We all know that quite a considerable number of our students may not have been to a museum or gallery before, while others may see works of art in a skeptical or even negative light. Today we have an understanding of teaching, learning, and the nature of intelligence ample to transform education into much more thinking-centered process than it usually is. We can organize education effectively for the enhancement of understanding and thinking. Central to such a vision is the cultivation of key thinking dispositions. In all this, art has a distinctive role to play, if we keep in mind that our aim should be to promote visual thinking and creative intelligence. The liberal borders of art help us to carry good thinking dispositions nurtured in the context of art to the wider world. This presentation will focus on results from recent experience-research in teaching varied audiences at university level (mature, undergraduate, postgraduate, teachers etc.) on how to look at objects, work confidently with the works of art, communicate art ideas more effectively and ‘use’ art as a means to education; A multifaceted, comprehensive, sequential education, that enforces them both to understand the aesthetic dimensions of works of art as well as to develop their minds. After all the multi-connectedness of art creates an opportunity to bridge thinking dispositions across to diverse other contexts explored in tandem with the work of art.


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10:40 – 11:00 S31.2

“‘How to explain Pictures to a Dead Hare’: the additional challenge of e-learning”

Vicky Karaiskou, Open University of Cyprus, Cyprus

EVAGORAS

The first part of the title, obviously taken from J. Beuys’ 1965 performance, deals with the question of ‘how’ to teach art today and what is there to be taught. More important, it gives the incentive to explore how to familiarize an adult, who has already formed hers or his beliefs and notions within a specific cultural mesh, to art. Possibly the “why is that art?” question reveal much more than a lack of knowledge. It corresponds to the fear of disputing very basic social principles which come down to identity issues and are closely connected to the mental flexibility and the learning procedures shaped in various cultures. Making adults approach and ‘understand’ a piece of art turns out to be a multi-level, interdisciplinary complicated task. Taken into consideration all the above, in an Open University environment, which is based on distance learning methods and is dependent on technology, the lack of eye to eye contact between the students and the professor, reveals unexpected advantages. This paper will explore I) the ways the above cultural patterns are detected in oral and written communication, II) the negatives and the positives of the seclusion of the students to their private space, instead of mixing together in a university campus, III) the ways the lack of real art spaces experience has an impact on understanding the true meaning of art works and IV) implemented methods of teaching art by actively involving the students. 11:25 – 11:45 S31.3

Public art and the Nigerian public: Between the creator and the audience

Babasehinde Ademuleya, Obafemi Awolowo University, Ile-Ife, Nigeria Yemi Olaoluwa Ljisakin, Obafemi Awolowo University, Ile-Ife, Nigeria

EVAGORAS

Public art in most countries of the world does not only add to the aesthetic of the built environment, when good attention is given to concepts that are site specific and culturally relevant to the place and the people who will use or visit the place, public art educates by creating an understanding of the place, its past, its physical environment and cultural fabric thus promoting a deep appreciation of the art and assuring its maintenance and preservation. Apart from affirming an educational environment, public art demonstrates unquestionable civic pride and confidence in citizenship and contribute to community cohesion. Before the emergence of a “new art” culture in Nigeria in the 20th century, only the kings’ palaces and shrines were the known public places to attract artistic embellishment, which were mostly for status enhancement and sacred functions. From the early 20th century to date, Nigerian architects, artists, designers and the government at various levels, have continued to pay attention to the adornment of public places and spaces with outdoor sculptures and mural paintings. The last four decades witnessed an upsurge in this direction, particularly in the urban centres and big towns, with a later addition of posters and advertising pictorials. A recent tour of public art in some part of the country however reveals public neglect and the deplorable state of the art projects in public places. That the art meant to inspire higher thought about the community, heighten public awareness, complement aesthetics of the community landscape could be subjected to deterioration, degradation and vandalism, requires an investigation. The preoccupation of this paper therefore is to examine how public art is perceived by its audience and its impact on them, using the six states of the South Western Nigeria as a case study. This is with a view to establishing the people’s reasons for the neglect and suggests ways by which individuals and entire community as well as their visitors could best achieve the full


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benefits of the art. The paper observes the absence of Public Art Policy in Nigeria and posits that this encourages unguided and unregulated making and siting of public art that people could not relate with. The paper recommends ways in which public art could be made to offer the expected educational, social and physical benefits to the host communities and their visitors.


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SESSION 32 (S32):

CUSTOMIZING ART LEARNING PROCESSES (II)

EVAGORAS / 11:50 – 14:45

CHAIR: Jooyoon Lee

11:50 – 12:10 S32.1 Discussions on biennial art exhibition and audience's response: A case study of Taipei biennial

Shuhua Lin, National Taiwan Normal University, Taiwan

EVAGORAS

In the age of globalization, the form of Biennial exhibition of contemporary art attracts vast amounts of audiences from various areas of the world in a short period of time when the exhibition is held. Biennial exhibition not only creates dialogues between local and world-wide cultural enterprises but also raises issues about power, races, gender, identities, etc. Theses issues and questions are most often thought by the author or the curator to be the core argument that the audiences are supposed to be aware of after a process of ‘reading’ the art work. Therefore, a good design of display and a clear guidance of an exhibition are very important, because they help to create good communications between art work and its audience. Although, historically and geographically, Taipei Biennial has not been as well known as the major Biennials and the other form like the Documenta, it is still one of the best exhibitions to observe the development of contemporary art. However, according to a survey index, seventy percent of the citizens of Taipei are not aware of the existence and purpose of the Taipei Biennial, not to mention the meaning of each work displayed. Given the goal of publicizing contemporary art, the Taipei Biennial apparently has room for improvement. This paper examines functions of communication of the Taipei Biennial, by comparing the case of Taipei itself with that of Gwangju Biennale, Korea and the Documenta, Kassell in Germany in the following aspects, such as the exhibition topic, the theoritical approaches, the purposes, the contents and forms of the exhibition, and the audiences among the exhibitions. This comparative study may bring fresh ideas to a future plan for Taipei. Based on the research work undertaken, this essay finds out: 1.The effect of Taipei Biennial does not meet the criterion of public’s expectation on the exhibition. 2. The curator should address to the audiences with a clear idea of art creation and the process of the curitorial practice. Types of different media and meaning of every single art work should be discussed. 3. The curator should try to create an interactive situation between the audience and the art work; the relationship between the content and the form of a specific art work should be properly illuminated. 4. Contemporary art as a subject in the field of art education should be taken seriously as a primary art curriculum in school education. For large majority of the audiences, finding ways of combination between art and live experience should be encouraged.


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12:15 – 12:35 S32.2

The philosophy of art: Fact, fiction or feeling?

Nathalie Kyrou, kyrou.com, Cyprus EVAGORAS

From the time of the ancient philosophers, art has been a topic for contemplation, conversation, collaboration and even conflict. But what actually is art? This omnipresent, significant and powerful thing we call art may be hard at times to define or interpret, but most believe that it does exist. If so, does it do so only in the mind of the creator, or merely in the eye of the beholder? Art is known to be subject to taste, but does it have a reality of its own, or is it just an abstract notion? Where do the boundaries between art, artist and audience start and end, and how is this affected by the creator or viewer’s interaction or participation? In contemporary society, art has taken on so many forms that it is hard to truly understand what the term encompasses anymore. Take the visual arts, for example: how do we even define what visual is anymore in a world, which is constantly changing and evolving, let alone what art is? Does art change along with everything else? Is it a form of education, an expression of knowledge, does it serve a purpose? Where should we look to find it… if it is even real? Is nature the best and purest form of art? Who is the ultimate creator? Are we all both artist and audience? Is art is an actual object or truth that exists independently, despite whether you yourself can see it, believe it or understand it i.e. is it a fact? Or, is it entirely subjective, and therefore more of idea or illusion: a projection of one’s experiences, thoughts and opinions upon an object i.e. more fiction than fact. Perhaps art does exist independently, but only in the mind of either the artist or viewer. Maybe it can only be appreciated or acknowledged by an audience, depending on the subject’s awareness, and how they feel about it. What if art is nothing more than a feeling? Following the views of philosophers and experts on the topic of aesthetics, we delve into themes of representation, interpretation, individualism, subjectivism, relativism, criticism and intentionalism, in an attempt to better comprehend art and figure out what it means to each of us individually. 12:40 – 13:00 S32.3

Understanding interpretation in art museums

Rajka Bračun Sova, University of Ljubljana Faculty of Education, Slovenia

EVAGORAS

Within the framework of the radical shift in the understanding of (Western) museums and their visitors in recent decades, called by the Slovenian museum specialist Lidija Tavčar »a copernican revolution in the understanding of the relationship between museums and their public« (Tavčar 2009), according to which interest and study is centred on visitors and not, as previously, on museums as institutions, new theories and practices of art museum interpretation have emerged. While earlier studies centred principally on museum visitors’ interpretive strategies and processes of learning in art museums (e.g. Hooper-Greenhill and Moussouri 2001; Hooper-Greenhill et al. 2001), new studies and discourses take a more holistic approach by examining also curatorial practices to art interpretation in museums (e.g. Fritsch 2011, Whitehead 2012). My PhD study seeks to understand the differences and similarities between the ways visitors interpret art and the methods and techniques of art interpretation practiced by curators. What is the relationship between curatorial interpretive practices and visitor interpretive experiences? I conduct my research at the Museum of Modern Art in Ljubljana which in 2011 put up a new permanent display of Slovenian modern art. It is arranged broadly chronologically with one integrated quasi non-chronological theme, and it has no interpretive panels in the galleries. The research adopts a qualitative methodology and consists of in-depth interviews with art specialist and art non-specialist adult visitors on one hand and discourse analysis of curators’ guided tours, the display and the guide book on the other hand. Since curatorial practices are an under-researched area, my presentation will show preliminary results of curatorial practices of explaining and presenting art objects and discuss these in the framework of specific typology pertaining to both, the museum (in


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this case the museum of modern art) and the art (in this case Slovenian modern art). 14:25 – 14:45 S32.4

Highlights in museum education

Leena Hannula, Sinebrychoff Art Museum, FNG, Finland EVAGORAS

Sinebrychoff Art Museum has done projects with all ages. The youngest are 4-year old children and there's no limit with the age. I shall give some examples made by school teachers and students. Students have literally worked at museums, made projects with drama and exhibitions. I will show how in Garderobe –project they have learned and seen much more than before of the area they have lived at. Suddenly the old mansion house in Turku has become a scene for a family story or back ground for vivid fashion story. Along the Street learned us to understand people and life of past –how the Boulevard Street was full of different nationalities selling ice-cream or special fruits and spices. Now we are making a project called From Home. It tells about different homes with documents and fantacy, drama and films. The students will work in Helsinki and Turku and finally go to Stockholm to present their work. We also will have two exhibitions here in Helsinki.


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SESSION 33 (S33):

TEACHER TRAINING

EVAGORAS / 14:50 – 15:35

CHAIR: Leena Hannula

14:50 – 15:10 S33.1 Against the odds? Developing effective teachers of art

Peter Gregory, Canterbury Christ Church University, United Kingdom

EVAGORAS

This individual paper presentation will be of interest to those involved with training pre-service teachers, developing qualified teachers or concerned with the quality of art experiences offered to children and young people in schools. It is both theoretically and research informed and positioned in the post-posivitist paradigm. Over twenty years have passed since an important survey of teacher training in the arts in the UK (Sharp, 1990) highlighted the challenges for producing knowledgeable, confident and competent teachers in order to inspire future generations. The UK government inspection agency reports of visual art in schools (OfSTED, 2009 and 2012) indicate minimal improvements have been made and indeed, several areas of concern which still remain. The technological advances made in western society during this period and the apparent fixation across education with the market economy as well as the growth of managerialism (Abbs,2003) and educational reform have all contributed to the current situation. This paper considers again the factors identified in 1990 and seeks to identify which have been addressed, if any have been ignored or perhaps in some cases, made worse. The expectations of schools’ curricular design and teachers’ abilities to meet them are questioned at the level of training courses offered by universities. Using recent surveys of the experiences of groups of pre-service and practising teachers, the argument is made that the task of developing effective teachers of visual art does not rest solely on the shoulders of those who train them but across a number of inter-related aspects of UK society. Consideration is also given to whether the task of developing effective teachers of art can only ever be seen as against the odds. There could be similar themes evident in other countries and the author would be pleased to hear from colleagues exploring these.

15:15 – 15:35 S33.2

Playing the angel - The cite experience

Antti Lokka, Jyväskylä University, Finland EVAGORAS

WHAT IS CITE? The CITE –critical integrated teacher education- group and its research and education emerged from a need to develop teacher education in Finland. Over the years, it has extended to cover teacher education from student selection to the eventual work of teachers in schools. While problems encountered in the research have made it necessary to think about the system of teacher education as a whole, the focus of the studies remains nevertheless on the working methods with the student group. CITE TASKS AND GOAL Traditionally, the curriculum splits the phenomenon of learning into distinct parts that are loosely


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connected to the individuals’ everyday experiences or, in other words, their life-worlds. Learning happens in everyday experiences, but these experiences are infrequently encountered during studies in the university. Knowledge can be perceived as either a product or a process. The educational tradition has prioritized the former: knowledge has been interpreted as something you can find in a textbook. The CITE education ignores knowledge construction as a collaborative, social endurance. It is CITE view that knowledge construction should be seen as both a personal and a social process. Therefore, in CITE approach knowledge construction through three domains of knowing: 1) factual knowledge, 2) contractual/conventional knowledge, and 3) aesthetic knowledge. ART EDUCATION IN CITE The task is to first consider - even by everyday experience - the presentable subject and only after that find the suitable way of self-expression. In addition the target is to think about the relationship of the selected language to the presented information. The need to self-expression may be in processing different presences to concrete forms, releasing silent information and inner experiences. Approach to aesthetic knowledge in human, curiosity in finding new way to expression. In the second hand, the point of view is to find connections between common education and art education inside the 21st century primary school curriculum. In the academic year 2009-10 the art education project (3 ects.) was carried out as part of studies of the CITE group in the Department of Teacher Education, University of Jyväskylä. The aim is to study the usefulness of the traditional art education curriculum of elementary school and to find connections of different disciplines. My presentation includes the theoretical framework of the art education in the CITE, images of 2nd year teacher education students ( N=12 ) including assignments and finally some results of the study and assessment as well.

15:40 – 16:00 The concept of visual literacy behind visual arts education

classroom practices: A study on images, activities and strategies used by teachers

Ricardo Reis, APECV, University of Barcelona, Portugal EVAGORAS

This communication is integrated in the Ph.D. in Arts and Education (University of Barcelona) in which I investigate on “the role of schools in the development and social appreciation of visual literacy". I intend to report on the results of a study conducted during the school year 2010/11 which was attended by 61 teachers / educators from pre-school to 9th grade. The sample was intentionally constructed and data were collected over the internet. Teachers / educators sent, throughout the school year, the pictures displayed to their students in the classroom while responding to a questionnaire where they were asked about the objectives, activities, strategies, content and feelings associated to the work developed with each image or set of images. Knowing this information is especially relevant in the context of my research as the pictures, being the main vehicle of learning and construction of subjectivities within the school environment, have predictable implications in the development of students’ visual literacy, as well as in their conception of art and visual culture. The results are intended to provide a perspective on three main points: i) what are the most recurrent images, activities and strategies inside the classroom? ii) What do the teachers want the students to learn throughout their scholarity? iii) What literacy notions are enhanced by the data collected and to what referential are they attached to? The analysis of these data, when adopting the perspective of the so-called new literacies studies and the one of the studies on visual culture while simultaneously putting in contrast the scholar universe with the visuality of "youth cultures," will allow to enclose teaching practices, to find their main referentials and to discuss the possible effects that images, discourses and practices have on the development of student’s visual literacy throughout their scholar years.


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SESSION 34 (S34):

EDUCATION POLICY

EVAGORAS / 16:25 – 18:00

CHAIR: Ademola Azeez 16:25 – 16:45 S34.1

Art education in Slovenia between policy and practice

Rajka Bračun Sova, University of Ljubljana Faculty of Education, Slovenia Metoda Kemperl, University of Ljubljana Faculty of Education, Slovenia

EVAGORAS

The paper aims to discuss the discrepancies between policy and practice of (visual) art education in Slovenia in order to contribute to current discussions and actions within the framework of national and European policy initiatives in arts and cultural education (e.g. Arts and Cultural Education at School in Europe, The Education, Audiovisual and Culture Executive Agency 2009; The White Paper on Education, Slovenian Ministry of Education and Sport 2011; Primary School Curriculum: Visual Art Education, Slovenian Ministry of Education and Sport 2011). By critical analysis the authors wish to point out two issues. Firstly, art is an under-represented area in Slovenian school curricula, whereby reading, writing and numeracy are prioritized. Secondly, art education is imbalanced in terms of making art and responding to art. Certain art curricula are centred principally on art-making activities, with an obvious neglect of appreciation. Visiting art museums, experiencing works of art, and understanding art remain an under-recognized area within art education. Although European countries today share similar policy initiatives in education and culture, they differ markedly in how they conceptualise and realise arts and cultural education.

16:50 – 17:10 S34.2 Categories of teaching through the arts activities in elementary school

Marina Sotiropoulou-Zormpala, University of Crete, Greece

EVAGORAS

It is observed that when the current curricula of Greek elementary school include or suggest “teaching through the arts”, the role ascribed to the arts is usually that of a teaching medium. The characteristics of such activities and the benefits from their implementation are specific. The aim of this research-based study is to consider alternative approaches to teaching through the arts in which art is not treated as a tool. To this end, a set of musical, theatrical, kinetic and visual-art activities were designed and experimentally implemented in nursery schools on various curricular subjects (national days; the animals; the letters), so as for art to function as a teaching mode rather than a teaching medium. The findings of the study resulted from the researcher’s observations, from questionnaires filled in by the educators who carried out the activities, from interviews with the children who participated in those activities, and from the art projects of those children. The findings indicate that the activities of teaching through the arts can be divided into categories depending on the educational roles attributed to art. In addition to its role as a teaching medium, it was observed that when art has the role of a mode of approaching the taught subject (the aesthetic mode), a highly beneficial teaching environment is created. Indeed, some of the observed benefits are overlooked in today's school. A comparison between the two categories of teaching through the arts activities revealed differentiations in terms of the structural characteristics of the activities, their method of implementation, the attitude of the educator who implements them, the educational objectives, and the educational results. Based on these differentiations, the new category of arts


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activities, in which the arts are treated as a mode, constitutes a new type of teaching, which is named "aesthetic teaching". Briefly, it was shown that "aesthetic teaching" could be seen as a specialized type of "teaching through the arts", in which children do not only learn the taught subject, but also produce new knowledge concerning this subject. The processing of the findings of this study may help shape a new spirit of action with regard to teaching through the arts and update the policy of arts education in elementary school.

17:15 – 17:35 S34.3 Challenges of art, design and aesthetics tastes in the academic environment: A case study of three higher institutions in Lagos, Nigeria

Ademola Azeez, Federal College of Education (Technical) Akoka, Lagos, Nigeria

EVAGORAS

The roles of art, design and aesthetics are germane to the continuing appreciation, sense of beauty and adornment of our environment. Art education instils a sense of organisation and attraction and equally add to economic incomes of our institutions. If there are different disciplines in the School’s curriculum calling for the administrators’attention, art education ought to be among the ones to be given high priority due to various opportunities it might attract to our academic institutions if they are well channeled. This paper therefore would probe at level of art education awareness and appreciation among the School administrators and non-art students especially in three higher institutions in Lagos-Nigeria, namely: University of Lagos, Yaba College of Technology and Federal College of Education (Technical) Akoka where Art Education is being offered in the their Curricular. The paper intends to raise art education consciousness of the non art students and School Administrators especially the Vice Chancellor, Rector, Provost and Registrars in the three institutions mentioned who are the policy implementers and see how art education can maximally benefit from public spaces in their institutions by using art to create attention to increase the appreciation of visual environments and projects that may include art galleries, waterfalls, art gardens, cafetaria, public reading room, sport centres, council chambers etc with attraction for art studios and art shops that encourage created objects of art that can increase the revenue base of the institutions. The paper would rely on primary sources of data collection that would include Questionaire and Oral interviews. It is expected that the outcome of this study would definitely enrich the support for art education, increase the art, design and aesthetics tastes using the three institutions as Pilot case and equally promote the cultural value of art education in our schools.

17:40 – 18:00 S34.4 Dialogue of the deaf? Art education and national policy in a time of restructuring

Gary Granville, NCAD, Ireland

EVAGORAS

This paper is derived from the author’s engagement in current education reforms at primary and secondary levels in Ireland. Three constituencies of influence are identified: a strong policy orientation towards a renewed focus on literacy and numeracy, an ambitious curriculum reform plan for second level schooling, and an increasingly confused arts education sector. The central concern of this paper is to examine why apparently congruent policy proposals in terms of rhetoric appear to have no substantive relationship in the field of policy. Art and design education is at the confluence of many conflicting currents of discourse. Probably the most pertinent confluence is among the discourses of creativity, innovation and enterprise, which dominate 21st-century education policy debates in Ireland and elsewhere in the world and that of art and design education. The contemporary rhetoric of education policy is replete with references to established features of art and design education – problem-solving, divergent thinking, learning from and through failure, risk-taking, to mention but a few. Yet the connection between the ‘new’ rhetoric of education policy and the established language of art and design is


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rarely made. Art and design education remain relatively marginalised in Irish education as elsewhere, and the capacity of arts education in general or art and design education in particular to serve as a model for general education practice has not been recognised. Perhaps the truth is that much of the rhetoric of education policy is presented in a deceptive discourse of criticality that masks an essentially different policy orientation, a ‘command-economy’ model of education. This is evident in the prevalence of highly structured models of education practice, as exemplified in curricula defined only by learning outcomes, in the modularisation of teaching and learning, in programmes defined by a hierarchy of levels and in frameworks of qualifications that equate credentials with learning. Educationists generally and art and design educationists in particular have been weak in challenging or at least questioning the new orthodoxies. There is also a state of churn in the space where art and design practice meets art and design education. This churn is visible for example in the perceived gulf between contemporary art practice and the conventional art curriculum of schools, or in the limited range of qualities assessed in most school examinations compared to the qualities that designers value. Furthermore, the pedagogical turn in contemporary art practice has awoken an interest in radical education positions variously propounded by figures such as Freire and Illich nearly half a century ago (Bishop 2006; O’Neill and Wilson 2010). This repositioning or reinterpretation of the meaning of art making seems to be following an orbit tangential to that of formal education practice. The paper identifies the faultiness between these fields and suggests some options for art and design education.


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SESSION 35 (S35):

THE ROLE OF THE LEARNER AND THE TEACHER (I)

ONISSILOS / 10:15 – 11:00

CHAIR: Carl Peter Buschkuehle

10:15 – 10:35 S35.1 Using the critique process to enhance learning in visual arts

Kheng Kin Yap, School of the Arts, Singapore Libby Cohen, James Cook University, Singapore Xueyan Yang, National Institute of Education, Singapore

ONISSILOS

Introduction and Literature Review Critiques, consultation and documentation of students’ works are pervasive in visual arts classrooms and studios (Krechevsky, Rivard, and Seidel, 2007; Turner & Wilson, 2010; Yu, 2008). Although the critique process is used in visual arts classrooms, little is known about how critiques are conducted, the influence of critiques on students’ development as artists, the evolution of students’ creative thinking in visual arts, and how the critique process informs teaching. Research Methodology This study was conducted in the Republic of Singapore which has strategically linked growth in the arts to a creative economy and national identity. In 2004, the Singapore Government established the School of the Arts (SOTA). SOTA has a 6-year progression from grades 7 through 12. The students are ages 13 through 18. The rationale for this study emerged over time as the researchers were immersed in a larger study of arts education in Singapore. As the visual arts teacher and researchers collaborated on the examination of teaching approaches for visual arts students, the following research questions were developed: (1) How effective are critique and consultation for enhancing learning of visual arts students? (2) In what ways can the processes critique and consultation lead to deepening of learning in visual arts? Results The results shed light on how students’ thinking and art works evolve over time through the consultation and critique process. Consultation served as a platform for students to meet with the teacher and refine their ideas and concepts as well as their art work prior to the actual critique presentation. During consultations, students articulated their ideas and intent to the teacher who would then give his feedback and suggestions. Critiques have essential aspects that enhance students’ learning. The critique sessions also provided an informal platform for students to give and receive feedback from not only the teacher but also their peers, developing their ability to ask, and reply to, critical questions and building their confidence in speaking about their art work. Using critique, as a process in the visual arts classroom, can enhance and deepen students’ understandings of visual arts and their art works.

10:40 – 11:00 S35.2 Learning art and culture through dialogic pedagogy

So-Mui Ma, Hong Kong Institute of Education, Hong Kong ONISSILOS

This paper presents an examination of the learning of pre-service Visual Arts teachers through dialogic pedagogy. I arranged a dialogue between pairs of participants prior to teaching concepts


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about art. In the dialogue, each member of the pair presented his/her favorite artwork and the other member responded. The data reveal that the participants learned by repeating their partners’ answers, providing supplementary information and giving critical responses. The participants’ feedback on this pedagogy was positive. They indicated that they had learned from one another and increased understanding between them. In addition, as a teacher I also came to know more about my students, their perceptions of art and their way of thinking about art.


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SESSION 36 (S36):

THE ROLE OF THE LEARNER AND THE TEACHER (II)

ONISSILOS / 11:25 – 13:00

CHAIR: Li-Yan Wang

11:25 – 11:45 S36.1 A pedagogical framework for understanding art: Promoting aesthetic inquiry, possibility thinking and creativity with children

Victoria Pavlou, Frederick University, Cyprus ONISSILOS

Art education in primary education is frequently associated with developing children’s artistic skills and enabling the expression of their emotions in art forms. A neglected aspect is that of providing opportunities for viewing and interpreting art works and dealing with issues related with cognition and comprehension. This presentation suggests that there are a lot to be gained with the study of artworks as a way to foster the development of the aesthetic inquiry, of possibility thinking, and of creativity within a content-centered/child-initiated pedagogical framework. Within the pedagogical framework proposed, it is illustrated how teachers by using a formalistic approach to talk about art can enable children to undertake an aesthetic form of inquiry and offer meaningfully interpretations of artworks. The aesthetic inquiry also enables the development of possibility thinking skills. Giving opportunities to children to realize their ideas through creating art compliments the art talk and sets the pre-requisitions for innovative solutions and development of creativity. The selection of artworks and art materials are also discussed in the context of teaching for creativity and learning creatively in primary education. Furthermore, connections are made with the context of pre-service teacher training programmes which aim to promote generalist teachers’ pedagogical content knowledge in art education by building their confidence in understanding art and teaching with art works.

11:50 – 12:10 S36.2 Collective memory and personal development: a narrative inquiry into university students’ k-12 art learning experience

Li-Yan Wang, National Changhua University of Education, Taiwan ONISSILOS

Dialogue constitutes a major part of human experience. Through dialogue we share with each other our experiences and learn to understand the world and ourselves through the narratives we tell. This study invited fifty-eight undergraduate and graduate art (education) students to reflect on their past art learning experience. Stories and images were collected and analyzed to answer the following questions: What are the memorable moments or key events of students’ prior art learning experience? What do students remember of their art teachers and art lessons? What can students’ collective memory inform us about art teaching and learning? Research findings indicate that students’ collective art learning experiences reveal similar patterns as well as unique personal stories. Generally speaking, students speak most positively about their childhood art learning experience. Winning competitions, encouragements from their teachers, classmates, or parents leave a strong impression and help to build students’ confidence in their art ability. The junior and senior high school years are periods of exploration and for some leading to the decision of attending special arts programs. College and graduate school years provide chances of exploring new mediums, learning theories and concepts, as well as deciding on future career paths.


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Reflecting on their past art learning experience, many students vividly described key events and their memorable art teachers. Although memorable teachers are of different teaching styles, many teachers share similar personal traits – open-minded, supportive, passionate about art, and dedicated to their work. These teachers were able to make personal connections with individual students and influenced them by changing students’ perceptions, beliefs or attitudes on art and life. In most cases, students described more of their teachers’ personal traits and actions by recalling the moments of teacher-student interactions rather than outlining specific curriculum content that teachers taught. Narratives link the past to the present. As students share interesting stories of personal growth, overcoming self-doubts, or process of learning, the telling and listening process provided a chance to reflect, “pause”, and reevaluate personal goals and aspirations. In sum, this research based presentation will describe the rationale of the research, the research questions, theoretical framework, methodology, and report findings of the research study that (1) analyzes students’ narratives of their past art learning experience; (2) reflects on issues pertaining to art instruction; and (3) evaluates possibilities and limitations of narrative inquiry. In addition, it is argued that the telling and retelling of personal stories allow students’ “lived experience” to serve an important role. A narrative-based curriculum may help pre-service students to negotiate the meaning of art, the interrelations between the past, present and future, helping their formation of personal and professional identities. 12:15 – 12:35 S36.3

The school art classroom: Where needs and approaches meet

Anat Bader, Democrati School, Israel ONISSILOS

The research I conducted as part of my MA program in Art Education, supervised by Dr. Nurit Cohen-Evron, explored the school art Classroom as a learning environment. My research included observations of art Classrooms in schools in Israel as well as photographing and interviewing teachers working in these workshops. My research seeks to discuss the set of considerations constructing the art Classroom and examine the way in which this unique environment conveys different aspects. In my presentation I would like to show pictures of past and present school art Classrooms, in order to learn about the correlation between the learning environments and theoretical pedagogical principles. I will examine the art classroom's uniqueness and its characteristics, and the various ways in which it embodies the interrelations between different realms: the school, the art world, the student's private world, cotemporary culture and new technology. Different paradigms may be observed at the art classroom: the school and the art field, as well as the students' cultural world. This combination leads, at times, to collisions between different needs, approaches and perceptions, and thus constructs the art classroom as a multi-branches complex junction. This charged meeting point allows for an empowerment of both teacher and student, and has a major role in the multi-layered interrelationship between art, art education and education as a whole. Students' cultural world and environment have changed radically in the last decades, due to their exposure to varied and complex visual information, and to a plethoric media and information sharing technology. Dealing with contemporary learning environment, education professionals seek to organize a highly intense visual and technological environment. In art education there is a growing tendency toward teaching art as Visual Culture Art Education, including skills such as: response, thinking, discussion, critical thought and analysis. The lack of theories and literature dictating the organization and design of the school art classroom signifies openness to changes, flexibility and adaptability, typical of school art education. Awareness of the importance of the learning environment and its depth of influence, as well as of the theoretical aspects and the physical components of that environment is the key to organizing a 21st-Century school art classroom. Therefore, one can say that the interrelationship between all


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these aspects stand at the heart of the art classroom. A physical space always exists within a certain context, containing historical and cultural references. During the observations I held in school art classrooms I felt many times, as if I stood on top of an archaeological hill, comprised of components originating in different approaches and times. Art teachers' guidance and awareness may allow the students to live with this eclectic sense, and realize the art workshop's potential in recovering the foundations of art education. Not knowing, doubt and the search for meaning are embraced in this process.

12:40 – 13:00 S36.4 Art education and contextual information: Organising art education instruciton to enhance learning among elementary students

Hazel L. Bradshaw-Beaumont, Delaware State University, United States

ONISSILOS

The purpose of this presentation is to conceptualize a curriculum for art education that does justice to diverse instructional approaches. Activities were designed based on contextual information presented to student in a sequential manner. Throughout each activity documentation examined students’ abilities in comprehension and application of art content knowledge that includes their logical reasoning and ability to transfer information from one activity to the other. In addition, the instructional strategy implemented, highlighted student’s ability to recall, interpret, while giving meaning to selected works of art during the period of instruction. Documentation of each activity was carefully analyzed and compared to several traditional methods of instruction.


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SESSION 37 (S37):

THE ROLE OF THE LEARNER AND THE TEACHER (III)

ONISSILOS / 14:25 – 16:00

CHAIR: Jonathan Silverman

14:25 – 14:45 S37.1 Design capabilities in pupils pictures about a visual competencies research for practising teachers

Emil Gaul, College of Nyíregyháza, Hungary ONISSILOS

In the past two years a team of teachers and academic researchers developed a framework for the evaluation of visual skills and abilities, in a project done in Hungary in 2009-2010. The outcome of the research is the framework made of 19 measurable skills and abilities. As a part of it among other visual abilities we tried approach design skills as well. We were interested in the reliability of measuring tasks, the level of works done, the interrelation between different items, the difference among boys and girls, schools, and so on. The statistical analysis showed us reliability of measuring tasks, interrelation among items, and other valuable information, but they did not contained, the unique and tacit quality of visual information, and mean time these data were abstract and not plausible for practising teachers. To unify verbal, quantitative and visual information we decided to build a network of complex information. So we dig in depth, in detail, and built a map of abilities, their level on diagrams, and visual quality on illustration by some worksheets of pupils, showing how the tasks were solved by girls or boys, younger or elder, more or less gifted. In the paper we are going to show you how look like the following capabilities: Sensitivity to design problems, Orientation skills, Imagination, Judgment, Communication skills in detail on the drawing and writing of 6-12 year old pupils. The examples were selected from a wide variety of 90 tasks, made in 35 schools in Hungary, by 3400 pupils.

14:50 – 15:10 S37.2 Collaborative professional development: Monitoring change and development of a community of art teachers learning together

Jayne Stillman, personal organization, United Kingdom ONISSILOS

This paper is a part of a broader research study that follows a group of teachers partaking in a professional development opportunity in art education in the UK. It was cross phase and took place over a period of time and it also involved an international trip.

The study monitors and follows personal development, individual professional learning and collaborative learning in art and education. The work created is largely image based. This is used to help analyse and reflect on the virtues of the ‘community practice’ (Wenger 1998). The rationale of the research was to evaluate the changes in knowledge and understanding of the group of teachers experiencing the professional development opportunity together. Analysing teacher’s voice from written, visual and an exhibition enables the consideration of the professional opportunities and impact on the classroom, wider community and the individual. In broader terms the data enables contemplation of how visual material can be used to assist with theorising.


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How the contents of evidence data are interpreted and analysed contributes to this study and also informs the process of evaluating professional development and collaborative cross-phase working.

The methodology used for the research is divided into 4 stages. This particular paper will concentrate on Stages 1and 2. Stage 1 is the initial planning and preparation for the collaborative journey. This is the process of the learning opportunity where the group of teachers are identified and say that they are willing to record their learning journey in the way of visual diaries and alternative approaches (Eisner 1985). Periodic questionnaires and interviews chart understanding and knowledge. Stage 2 is follows the actual trip abroad to Milan to visit schools and galleries. Meetings over an 18 month timescale were used to review the collaborative learning and initiatives (Heron &Reason 2006). Teachers kept a visual journal/diary to record their experience. Thematic analysis of sample pages from the teacher’s visual diaries was conducted for initial stages of the data analysis of this project (Emmison 2004) (Question 2).

The paper considers how the learning is enabled in and outside the teacher’s schools with this collaborative model of practice. Is it a valuable approach to contribute to the landscape of professional development in art education?

As the research progresses it is intended to develop a model for monitoring change and recording the nature of collaborative professional development of art education (Shulman 2004).

15:15 – 15:35 S37.3 Sustainable art and design in UK universities: Why, how and to what extent

Nicholas Houghton, University for the Creative Arts, United Kingdom ONISSILOS

This paper reports and analyses how UK universities are teaching about sustainability in their art and design courses. Many UK universities have accepted that one of their roles is to take a lead in trying to bring about a sustainable future, although they differ about their definition and interpretation of what sustainability means. All the same, there are clear common threads around enhancing ‘environmental literacy’ in students and through promoting engagement with the wider community. Sustainable behaviour is often referred to as being ethical in that it is about not harming individuals or the environment and is seen as a means of promoting social and environmental responsibility and justice. One consequence has been for sustainability to become an element of the art and design curriculum in many institutions. When including sustainability in the art and design curriculum, it is necessary to turn these lofty ideals into concrete learning opportunities. This means helping students to be more aware of their social, ethical and environmental responsibilities and to develop a sustainable practice in their discipline. This descriptive paper will present case studies of how various course teams have set about teaching about sustainability through their art and design discipline. The common way to incorporate sustainability has been to introduce a specific project on this topic, for example designing a product out of recycled materials which could itself be easily recycled at the end of its life, or designing a low-carbon building. In thinking how to do this, some have been able to build on a legacy of teaching about design ethics in their course. Some art and design courses and disciplines have traditions of social engagement on which they can build. Others are taking their lead from the slow design and slow craft movements. By embracing this ethical framework it should be possible for sustainability to eventually move from being one token project to becoming a key skill which informs every facet of learning.


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Having presented case studies, this paper analyses how sustainability fits with other university priorities. It asks whether sustainability is a utopian fad or a valid means of moving art and design away from introspection to engagement with local, national and global communities. It concludes by showing that sustainability presents a challenge to those who see the purpose of education as being an instrument which serves the needs of the markets. Sustainability in this context not only builds on the legacy of the Arts and Crafts Movement and the Bauhaus, but also on the tradition of critical pedagogy. It is therefore both highly relevant to the present day world and in danger of being marginalised if perceived to be radical. Yet if it is not radical, it becomes little more than tokenism. 15:40 – 16:00 S37.4

Art and sustainability: The effectiveness of place-specific education

Asthildur Jondottir, Iceland Academy of the Arts, Iceland ONISSILOS

I will discuss how art teachers and artists can make their education and teaching practise relevant to sustainability in place-specific settings. It defines the concept of education for sustainability and analyses the opportunities that education offers in this regard, with particular emphasis on place-specific education, democracy and critical pedagogy. It discusses the potential of using art and the creative process of artists as a source for research on sustainability. It searches how art can be designed to incite transformative knowledge of the dominant culture by using place-based critical education? When talking about sustainability it is important to keep in mind that education for sustainability has to involve understanding of different disciplines that enables adapting holistic approach. The environment will not be protected unless people are living in adequate economic and social conditions, based on the culture of society. The social welfare of a community will be strengthened if students receive training in democratic approaches with awareness of the importance of social equality. This includes working on social and communication skills and critical thinking. Such training has an effect on all decisions. Social status concerns also tolerance for human diversity. Some Icelandic art teachers have been active using out door classroom. Some of their learning sequences are great examples of education for sustainability. The role of the art teacher in a place based education for sustainability is to support students, encourage and guide them through the program. The art teacher does it by creating a good learning environment focusing on critical and creative thinking. He/ she has to show good professional behaviour and attitudes toward learning as well as the practice so students can learn from him/ her.


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SESSION 38 (S38):

THE ROLE OF THE LEARNER AND THE TEACHER (IV)

ONISSILOS / 16:25 – 18:00

CHAIR: Victoria Pavlou

16:25 – 16:45 S38.1 The global stage: Networked meaning in 21st century art education

Shyla Rao, Maryland Institute College of Art, United States Matthew Sutherlin, Maryland Institute College of Art, United States

ONISSILOS

21st Century educational environments create challenges and opportunities for globalization for art education. Dr. Shyla Rao and Dr. Matthew Sutherlin present a theoretical dialogue, grounded in local case studies of program sustainability, technology, and globalization through an investigation of 21st century skills in institutional and classroom (con)texts. Sustainability and globalization in relation to art education has the potential to become a package sold under the guise of a singular discipline. Too often educators and institutions try to find a model for art education that distills its complexity into something that can be reproduced in every (con)text. Multiple paradigm shifts have left the field with various “-isms”. Rao and Sutherlin problematize the bricolage as a model for engaging complexity within art eduction. In 21st Century learning environments, tools “at hand” may relate to both global and local (con)texts. Instead of producing a prepackaged outlook on art education that adheres to one discourse specifically; this presentation seeks to illuminate the possibilities for a global art education through the introduction of communities of practice and Actor-Network Theory as a mode of describing the bricolage. Through this description, several patterns of factors emerge as being essential to the development of a sustainable, dynamic, and culturally relevant art education practice. Through an on-going, iterative process that supports collaboration, shared meaning is able to emerge. “Shared meaning” includes context-specific and context-inclusive dialogue. These concepts are exhibited most explicitly in the rise of sub-cultures that are not based on geographic proximity. Rao and Sutherlin propose platforms within which shared meaning is produced through a global community of practice. Relationships between participants in a community of practice become the means by which the community sustains itself. Relationships created from “shared meaning” are described through the lens of Actor-Network Theory. This presentation provides concrete and theoretical constructs for sustaining an evolving vision of art education attuned to both local and global factors of individual and intercultural understandings. 16:50 – 17:10 S38.2

Using comics for developing sustainable development values

Chrysanthi Kadji–Beltran, FrederickUniversity, Cyprus ONISSILOS

Sustainable Development is a pattern of growth in which resources are used in a way that can satisfy the needs of both present and future generations. In order to achieve that it ties together the concern for the carrying capacity of the natural ecosystems that support life, with the contemporary social and economic challenges. Therefore Sustainable Development is founded on three pillars of equal importance: Environment, Economy and Society. For its achievement, the three pillars must operate without limiting one another. Managing the equilibrium between them may raise conflicts and moral dilemmas. Education for Sustainable Development seeks to impact people’s way of thinking and behavioral patterns in a way that will bring about the changes needed to achieve high standards of life quality


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and sustainable future for all. In order to address Sustainable Development issues people need to solve problems and make decisions based on critical, informed and systemic thinking, directed by their values systems. Therefore Values Education is a key part of Education for Sustainable Development. Values are the beliefs we collectively or as individuals hold and which determine a permanent, fundamental, intellectual orientation, according to which we act. In our daily lives we are all exposed to messages and stimuli forming our values framework and therefore determining our way of being. The received stimuli have to be received critically, be evaluated and reflected upon before they become integrated. Children are more receptive to the messages and values emitted by their surrounding environment without questioning what they receive. Values Education uses different educational approaches, the most elaborated ones being values analysis and values development, where the students need to discover, discuss, reflect and develop their personal values. In the process they confront ethical dilemmas and scrutinize values through role plays, debates, problem solving, reflection etc. The same approaches are used within Education for Sustainable Development for developing SD values and encouraging SD life styles. As an educational tool, Cartoons hold all the attributes required by Education for Sustainable Development. By definition, they present a situation in a humorous, satirical and caustic way, using symbols and exaggerations in order to make a statement. Within social sciences they have been used to help students analyze different issues, identify values and reflect upon what is presented in the picture. Cartoons always integrate direct and indirect messages. Even missing elements in the picture might send important messages to the viewer. Through caustic humor, Sustainable Development themed cartoons can be used to trigger students’ critical thinking for the identification of direct, indirect and missing messages and enhance students’ reflection and critical thinking. The entire process of scrutinizing SD cartoons can provide opportunities for values analysis and development. The current paper reflects upon cartoons’ value as a teaching tool for discussing sustainable development issues and explores their potential for values analysis and development. 17:15 – 17:35 S38.3

General and sustainable learning through craft education

Ulla Kiviniemi, University of Jyvaskyla, Finland ONISSILOS

Our children are nowadays open to huge number of external impulses and stimulus. However, to be able to initiate and plan one’s own activities and perform accordingly enhances private enterprise and autonomy. This is why the school should provide for such learning opportunities which create generic learning which is applicable also in the world outside the school. Teacher controlled versus learner independent teaching form the two opposite ends of everyday craft teaching practises. In many countries using your own hands and body purposefully is not taught at schools – technologies have replaced it. However modern brain research has shown that practicing manual skills is relevant to the individual's brainwork and overall development. Teacher’s involvement in arts and crafts enables the feasible teaching objectives which create multisensory learning objectives for children. Teacher controlled learning produces mechanic and repetitive learning, which at its best ends up mastering the separate technical skills well. Yet this teaching strategy enhances the student’s dependence on guidance and tries to suppress the student initiated experimental activities. Teacher’s narrow technical management of the subject substance is sufficient. In student centred learning the objectives are experiential and creative and the tuition emphases solving problems created by the learners. Independent craft projects highlight the learners’ own ideas, meanings and goals, and the guidance tends to tutor the student-driven actions. Teacher's deep understanding of the substance allows personalized learning goals and differentiation. Developing thinking skills to steer the working, alike with the skills to manipulate and control


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concrete material and environmental issues are more vital than coincidental subject specific contents of the craft courses. Thus teaching craft is balancing between the different teaching strategies with the aims to pass technical learning with producing applicable skills which enable to make general conclusions and acts in the real world. This presentation examines craft teaching and tries to figure out what kind of teaching approaches would offer applicable learning. 17:40 – 18:00 S38.4

A celebration of Monet’s ‘In the Norwegian’

Maura Sellars, University of Newcastle, Australia ONISSILOS

This paper discusses one aspect of a course provided in an Australian university to prepare pre service primary school teachers to teach the performing and visual arts to school children aged 5- 12 years in increasingly multicultural classrooms. This component of the course illustrates one means by which teachers can not only integrate visual and performing arts in their classrooms, but also use common understandings and experiences to bridge cultural differences, to promote student learning and understanding in the arts and to integrate the performing and visual arts. The example that is examined in detail and that provides a model for further curriculum planning is an integrated, differentiated program planned on the matrix that results by combining the two typologies of Gardner’s Multiple Intelligences Theory (Gardner, 1983) and The Revised Bloom’s Taxonomy (Anderson & Krathwohl, 2000). The example provided focuses on the Monet painting ‘In The Norwegian’ and is designed for implementation with 5-6 year old students. Whilst students in this course have often initially suggested this particular art work may not be an obvious, or even a suitable choice for an arts study with young students, the subject matter crosses the boundaries of time, language and culture and provides a perfect vehicle through which to support the development of age appropriate skills, techniques and concepts as described in the prescribed syllabus documents. Importantly, this perspective of planning for teaching and learning in the performing and visual arts is non prescriptive. It can be implemented in various ways in different classrooms by different teachers and with diverse groups of students without compromising any of its potential.


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16:50 – 18:00 Visual and written narratives from the borderland: Research team

Rachel Kroupp, Kaye Academic College of Education, Israel

Georgia Kakourou Chroni, Coumantaros Art Gallery-Branch of the National Gallery of Greece, Greece

Mousumi De, Indiana University, Bloomington, United States

Teresa Torres Eca, Research Centre on Child Studies - University of Minho, Portugal

Jose Martins, Research Centre on Child Studies - University of Minho, Portugal

Ava Serjouie, University of Erfurt, Germany

Cathy Smilan, University of Massachusetts Dartmouth, United States

Codrina Ionita, University of Arts "G. Enescu", Iasi, Romania

GRAND HALL B

The current study wishes to expose the characteristics of the self-image of children belonging to minority groups from the borderland, i.e., groups that differ from the majority groups in cultural, linguistic, religious, national or ethnic characteristics. These will be exposed through an analysis of visual, written, or spoken narratives of the subjects. The purpose of the study is to know, understand, publish, and try to improve the living conditions of minority groups, wherever they are. For this study we, researchers from different continents, came together in order to study the minority populations in our individual countries and gather the visual and written findings in one book, which will tell the story of the population without a voice. The purpose of our presentation today is to present findings and questions regarding the different studies in order to get a feedback and also to invite other researchers to join us. In the current presentation we will introduce the purposes of the research, its methods and our work methods. We will also introduce the studies of the following researchers: Georgia Kakourou-Chroni from Greece looks at the identity of immigrant children in Athens, mostly from Pakistan and Afghanistan. Research methods include visual and textual narratives and museum visits. Ten different activities have been planned, which will last from November to the end of April. Mousumi De looks at the Identity of immigrant children, mostly from North Eastern parts of India, now living in Delhi, and the Indian-ness or Indian-less-ness of children, youth and young adults of North Eastern origin in India. Research methods include visual and textual narratives and conversation analysis. In Portugal, Teresa Eça and José Alberto Martins work with a Gypsy community. Children are invited to make a drawing on the following question: Draw a story about your life, dreams and fears. After they draw, kids will answer two simple questions: i) What did you draw? ii) Why did you draw this? Their stories will be recorded and further processed using content analysis. Rachel Kroupp from Israel is working on the subject of social identity in Bedouin children living in Israel. In her study she uses visual and written narrative tools. The work of Ava Serjoie from Iran work is a comparative study of Iranian children living in Iran with Iranian children living in Germany. She examines how children of the same nationality interpret emotions in pictures, their inference making and depiction of emotion in their own drawings, and the influence of the two different living environments on the children’s' drawings and their articulation of happiness and sadness.


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The research of Cathy Smilan from USA focuses on upper Elementary and middle school children in at-risk communities, using Arts-based research methodologies. She looks for themes and codes in the visual work to initiate discussion in order to develop community. Codrina Ionita from Romania is interested in the Ukrainian ethnic community living in northern Moldavia, Bucovina: How the Ukrainians from the ethnic community in northern Moldova see their nationality and to what extent they retain their traditions and customs, language, stories, legends, pictures, and decorations. The study meets the goals of the conference since on one hand it deals with a multicultural population, and on the other hand the researchers come from various countries and cultures. PANEL DISCUSSION 4 (PD4)

16:50 – 18:00 Tailormade! Action research as an example of continuing professional development in an interdisciplinary teacher training programme

Elisabeth Huij, Artez Institute of the Arts, Netherlands

Jose Huibers, Artez Institute of the Arts, Netherlands

Nicole Martinot, Artez Institute of the Arts, Netherlands

Anneke Meijers, Artez Institute of the Arts, Netherlands

Margreet Luitwieler, Artez Institute of the Arts, Netherlands

GRAND HALL C

Apart from becoming competent in their chosen discipline of Theatre, Dance or Visual Arts, students of the Interfaculty at ArtEZ Institute of the Arts are trained to gain competency in delivering interdisciplinary art projects to pupils in secondary schools. In the interdisciplinary component of the teacher training programme students work and learn in a multidisciplinary group. This approach to teacher training is directly related to changes in the field that make more and more use of various forms of expression to shape the imagination. Because of the multidisciplinary make-up of the student groups, this interdisciplinary approach poses different requirements for the teaching institution. Individual courses are taught by teachers who themselves were once trained in one discipline but have, over the years, adapted their teaching practice to this new environment. The continuing professional development of teaching staff offers both an opportunity and a challenge. As the profession of teaching becomes more complex, we may ask ourselves which teacher competences are required for this current education. Teacher trainers must adopt an investigative attitude and be encouraged, and given the opportunity, to use research as a tool in improving their own professional practice. Practice based research offers the tool to methodically review the full scope of their current professional practice and teaches them by means of self-reflection, to continue to develop. Within the Interfaculty 4 teachers have taken up this challenge by following a Master of Education in Art programme. Using the master programme as a vehicle, the four teachers are taking a critical stance regarding their own working practice as a means of improving that practice. By enabling their studies, we hope to gain enriched professionals and an improved programme. In 2010 Anneke Meijers, Nicole Martinot, Margreet Luitwieler and Jose Huibers initiated an action research project to examine and evaluate the effectiveness of teaching methods and work forms used in the interdisciplinary component of the bachelor teacher training programmes. This presentation examines the four key areas of their research that have a direct impact on teaching and learning: • Perceived and actual differences in approach and language in the creative processes of each art discipline


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• Working in teams (cooperation, communication, shared goals/objectives) • The assessment of an artwork created by a group working through an interdisciplinary process • The development of a staged model of interdisciplinary learning The research they are conducting in these four areas will not only result in a proposal to strengthen our educational practice but also act as an example of Continuing Professional Development within our institution. During the panel discussion we would like to discuss these issues further and exchange CPD experiences with other professionals.


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D. WORKSHOPS WORKSHOP 1 (W1) (2nd MEETING):

10:15 – 11:45 Sharing artist books for arts education practice and inquire

Emilia Lopes, APECV, Portugal Petra Weingart, IA, Germany Maria Jesus Agra Pardinas, Inter-Action, Spain Cristina Trigo, Inter-Action, Spain Teresa Eca, inter-action, Portugal

SALAMINIA A

The purpose of this workshop is to develop awareness of the potentialities of artists books in educational and research practices .Through sharing visual notes in artist sketchbooks educators develop other forms of interactive learning processes, in the edges of identity and collective spaces. Participants will be invited to create collaborative artists books during the entire congress. Through a visual practice based experience we will discuss relational pedagogy strategies , collaborative and peer learning approaches to education. Sharing artists books is a practice which challenges the limits of individual appropriation and authorship. The Group will discuss these limits through making the books and reflecting upon the making process. WORKSHOP 3 (W3)

11:25 – 12:35 W3 Mobilizing our cultural identities through art: Communicating at the crossroads

Jonathan Silverman, Saint Michael's College, United States

GRAND HALL A

A 21st century world that consists of many intersections of diverse culture and communities and an overabundance of screened images demands aesthetic sensitivity and the creative process as vehicles for intercultural understanding and literacy. In this interactive workshop an arts education professor models a curriculum where InSEA Cyprus participants representing various cultures, ethnicities, religions, and race examine and reflect on their own cultural identity and mobility. Our sequence of activities begins with conversation generated by observing a few images that convey culture. As we exchange perspective on these images we note how we use words to describe elements, gestures, and intent. The goal is to examine our individual assumptions and habits when communicating about culture. This quick warm up leads to a reflection on our individual cultural identities. A variation on George Ella Lyon’s poem Where I am from inspires us with words and images to share our cultural heritage. We build on the warm up activity to compare common cultural vocabulary that often have different associations such as line, texture, and space as well as tradition, narrative, and visual culture. Then, we move from individual reflection to community. Consistent with the InSEA Cyprus objectives to demonstrate awareness of multicultural identity in an ever-changing world participants will use the intersection of images, movement, and words to collaboratively and artistically respond to the question How might art education create environments that help cultural identities cross roads and live together? The focus for groups can range from habits of mind and heart to physical spaces to the creative process and critique; the collaborative expressive “narratives” may be symbolic, realistic, or nonrepresentational. The creating and then sharing of these intercultural narratives will ideally provide a “hands-on” experience that will generate discourse throughout the conference on current and future practice of art education at the crossroad of culture.


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Throughout, the workshop leader models sequential strategies that promote intercultural communication and aesthetic sensibility by examining language and art content goals, using multiple methods to engage in creative and critical thinking, linking concepts to cultural background, and building a community that embraces trust, risk, and support. He applies his own background creating interdisciplinary curriculum that links content of art, social responsibility, and cultural sensitivity as well as his work with art and classroom teachers from an arts magnet school that has a high percentage of students who are immigrants and English Language Learners. As art educators, we are compelled to extend the language and conceptual knowledge necessary to empower people affected by cultural mobility. By building a case of how literacies connect across disciplines and instructing through multiple artistic modalities this workshop offers a timely and meaningful examination of how globalization, mobility, and communication technologies influence and shift perspective on daily practice. This workshop welcomes all art education practitioners who believe that the arts provide cultural voice in the 21st century. The materials needed for this workshop are a computer, projector, and a space to work collaboratively. WORKSHOP 4 (W4)

11:50 – 13:00 Feeling a success in one’s own drawing improvement as one of the key factors influencing a motivation of elementary teachers of art

Marjan Prevodnik, The National Institute of Education, Slovenia

SALAMINIA A

The ''underlying'' content of this workshop is based on the motivational concept of “Self-efficacy beliefs” by Martin Bandura, one of the leading social cognitive theoreticians. One of the purposes of the workshop is to see the benefits of the Self-fficacy beliefs theory to be applied in the context of professional training of elementary/classroom teachers of art. We aimed too, to (actively) include participants in the 10 short drawing assignments in order to show them one method and one content of motivating elementary teachers of art from Slovenia. This method – a drawing assignment, is one of the methods used in the professional development of above mentioned teachers. It was, and is still targeted at raising their motivation for art practising through their personal involvement in art activities in order to be more skilled and confident for their art teaching. The target audience in the workshop are elementary teachers of art, art consultants, policy makers, art teachers trainers and motivated secondary teachers of art. The participants wil be given ten sheets of A4 size papers and a pencil of softness B2 - B8. They will follow the author's instructions in order to create short drawing assignments (either 40 seconds or up to 3 minutes maximum for each of the tasks). The purpose of the workshop will not be revealed at the start, but at the end of workshop, within the group evaluation, based on observing/interpreting drawing collections of volunteers. The workshop participants will have an excellent opportunity to test themselves in a series of short drawing exercises/tasks and then (voluntarily) evaluate their drawings, with regard to the progress they made (if they did or not!). They will have an opportunity too, to discuss the usefulness and (possible) applicability/adaptability of this task in the real school art drawing practices with students. Art consultants may have found this drawing method (of motivation and raising skills) as a challenging for their work with elementary teachers of art. The participants volunteers will be at the end of the workshop kindly asked to give their collections of 10 drawings to the workshop presenter for further analysis and possible (inter)national comparative study. The collections of drawings will will be later returned to participants - artists by post. There are three ways of learning to draw and to self-motivate, but, (un)fortunately, they have not yet been discovered.


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WORKSHOP 5 (W5)

14:25 – 15:35 Let’s set up together the 'e-mates' art exhibition!

Anastasia Zoi Souliotou, AMPASTASIA, Greece Amparo Latorre Romero, AMPASTASIA, Spain

SALAMINIA A

In this workshop we will set up a painting exhibition along with the audience. The subject of the exhibition relates to distance communication. Nowadays it frequently happens that beloved persons live and work far from one another. However, internet communication helps to keep in touch no matter how long the distance between them is. As AMPASTASIA will need to do preparatory work before the workshop takes place, we invite people interested in this workshop to send an image of a person with whom they communicate or collaborate in distance, an image of their “e-Mate”. The image can be taken from skype, facebook, flickr, twitter, personal webpage or any other online source, depending on the means of communication they use. It can be sent at [email protected] no later than 31st May 2012. We will be in touch through emails with image contributors and discuss with them the progress of painting. At the beginning of the workshop, half-finished canvases will be hung on the wall. In the paintings we will use painting media (oil colours, acrylics) as well as new media (prints of the images, electronic painting, digital image editing). When the workshop takes place, we will finish off canvases and set up the exhibition. We will encourage: • dialogue, through questions, suggestions, ideas, even criticism; • participation, invite the audience to paint with us, opinion on curation; • interaction, take pictures of the event and participators When the exhibition set up is finished, a discussion between AMPASTASIA and the audience will be fostered. TIMETABLE The workshop will last 60 minutes. • First 15 minutes: Introduction to AMPASTASIA workshop In this section we will clearly state why we are doing this workshop and what we will ask the audience to do. • 15 minutes – 45 minutes: Main Part of AMPASTASIA workshop In this section we will get to do the workshop. • 45 minutes – 60 minutes: End of AMPASTASIA workshop In this part we will set up a discussion. We will encourage audience to ask questions and make comments on the experience and impact this workshop had on them. This workshop will (re) examine the social position of the artist and show the transversality of arts with regards to society and culture within the contemporary global condition. The main objective of AMPASTASIA workshop is to blur the boundaries between the artists/creators and the audience. We will be in a continuous dialogue with the audience about their images (source of painting inspiration) and the progress of painting. During the workshop we will promote interaction with the audience and this will be followed by a discussion on the overall experience.


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As far as the target group is concerned, AMPASTASIA workshop will be open to all people of InSEA congress. It is open to all nationalities and specialities. WORKSHOP 6 (W6)

16:50 – 18:00 AVATARS workshop: reflection on the artist teacher's identity through the creation of small self-portraits in the form of metal pins

Ángeles Saura, Universidad Autonoma de Madrid, Spain Amador Mendez, UAM, Spain Rosario Naranjo, UAM, Spain Cristina Moreno, UAM, Spain

SALAMINIA A

Workshop for the development of small self-portraits in the form of printed art sheets prepared by a special machine. The artist-teachers will make collages, drawings or paintings adapted to this small format, as an exercise of reflection on their identity. This workshop aims at the artistic and technological professional development of teachers of art. We have also performed a review of the literature on the development of artistic workshops with the theme of identity by focusing on case studies conducted by Maria Jesus Agra and Teresa Eça, among others. We provide a new methodology in the field of art education developing this workshop for the artistic and technological professional development of teachers of art.


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E. SPECIAL WORKSHOPS SPECIAL WORKSHOP 1 (SW1): (Garden A)

14:25 – 18:00 The traditional mosaic art as a common point of artists coexistence

Soula Christou, Mosaic Collective, Cyprus Soteris Phoraris, Mosaic Collective, Cyprus Kypros Pisialis, Mosaic Collective, Cyprus

GARDEN A

This special workshop aims to introduce participants to the Cypriot mosaic art, and to provide opportunities to practice mosaic making. The participants will come into contact with the historical evolution, mediums, and materials of mosaic making in Cyprus through the centuries, by studying designs, patterns and compositions of ancient, traditional, and modern mosaics. They will also be challenged to think outside of traditional mediums and materials and create their own mosaic. The participants’ work shall then be joined to comprise a single collective synthesis, which will be permanently exhibited in a public space in Lemesos, where the city is currently undergoing a significant regeneration. The Municipality of Lemesos has given permission for the artistic intervension at the particular space, and the collective artwork will remain an eternal creation reminding the InSEA 2012 European Regional Conference. Emphasis is on, inspiration, personal vision and expression, creativity, originality and collectiveness. The artist Soula Christou has great experience, both theoretical as well as practical and has created significant works, which decorate public and cultural spaces in Cyprus. She has more than 20 years of experience with Mosaic art and has taught Art in secondary school since 1980. SPECIAL WORKSHOP 2 (SW2): (Garden B)

14:25 – 18:00 The Creative Co-existence of InSEA and Cypriot Artists

Özgül Ezgin, European Mediterranean Arts Association (EMAA) Daphne Trimikliniotou, The Cyprus Chamber of Fine Art (EKATE) Gianna Theocharous, Cyprus Society for Education Through Arts (CySEA)

GARDEN B

Group work in Art is of great significance in our contemporary times and conversation and transaction between the Arts can lead to a new state of co-existence; artists have differing orientations and aesthetic pursuits, each expressing one’s self in their own unique way, using a variety of means and materials. Members of InSEA are called upon to come together at their common point of reference, in their professional capacity as teachers of the Arts to create on a collective level. Members of InSEA who are artists, alongside Greek-Cypriot and Turkish-Cypriot artists from the board of the European Mediterranean Arts Association (EMAA) will paint a common piece of work inspired through music. The music will be produced by a small group Turkish-Cypriot of musicians who will collect sounds from nature from all over Cyprus. Overcoming any obstacles and barriers created over recent years, the Nature Sounds will travel from Karpasia to Pafos, from Kyrenia to Limassol from Famagusta to Larnaca, from the mountains of Pentadaktylos to Troodos. All these sounds will be synthesized into music by the musicians in a unique way. The artists, in using a variety of materials shall be inspired to create various forms of art (painting and installation through the sounds of the music). Can this sort of music become an element strong enough to stimulate the imagination of the visual


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artist? Will the fact that this particular sound of music, which holds within its content a factor more than just melody or musical notes, arouse deeper emotions which are affected by our own deeper feelings and awareness of the situation? Furthermore, to what extent can a collective collaboration in the creation of a work of art become a powerful tool of communication and understanding between people and by extension between cultures?

ABSTRACTS Insea 2012 European Congress 27 June 2012, WEDNESDAY Lemesos Cyprus, 25 – 27 June 2012

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Program REGISTRATION: EXHIBITION AREA / 08:30 – 14:45


CLOSING CEREMONY: GRAND HALL A / 12:35 – 13:30

FAREWELL BUFFET LUNCH: ANTHEA RESTAURANT / 13:20 – 15:00

KEYNOTE / PANEL DISCUSSION GRAND HALL A / 09:00 – 09:40

CHAIR: Rachel Mason

KEYNOTE 5: George Gavriel

KEYNOTE 6: Genethlis Genethliou

KEYNOTE 7: Tereza Lambrianou

KEYNOTE 8: Tatiana Soteropoulos


SESSIONS:

S39: GRAND HALL A / 11:20 – 12:05 (Chair: Kerry Freedman)

S40: GRAND HALL B / 09:45 – 10:55 (Chair: Andri Savva)

S41: GRAND HALL B / 11:20 – 12:05 (Chair: Marlen Thiermann)

S42: GRAND HALL C / 09:45 – 12:05 (Chair: Diederik Schönau)

S43: TEVKROS / 9:45 – 10:30 (Chair: Vicky Karaiskou)

S44: TEVKROS / 10:35 – 12:05 (Chair: Aravella Zachariou)

S45: EVAGORAS / 09:45 – 11:40 (Chair: Marjan Prevodnik)

S46: ONISSILOS / 09:45 – 10:30 (Chair: Glen Coutts)

S47: ONISSILOS / 10:35 – 12:05 (Chair: Seija Ulkuniemi)

PANEL DISCUSSIONS: PD5: GRAND HALL A / 09:45 – 10:55 PD6: SALAMINIA A / 09:45 – 10:55

POSTER PRESENTATIONS: SALAMINIA B / 11:20 – 12:30

ART EXCHANGE: SALAMINIA C / 11:20 – 12:05


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A. KEYNOTES KEYNOTE / PANEL DISCUSSION 09:00 – 09:40

Reforming the curriculum of art education in Cyprus Presenters: Genethlis Genethliou Tereza Lambrianou George Gavriel Tatiana Soteropoulos Chair: Rachel Mason

GRAND HALL A

Genethlis Genethliou is Inspector of Art in Primary Education in the Ministry of Education and Culture of Cyprus. He studied at the Pedagogical Academy of Cyprus and at the University of Athens. He also studied painting and sculpture at the Athens School of Fine Arts. He has postgraduate studies in Art Education (Roehampton University, UK) and in Educational Leadership and Policy (Open University, Cyprus). He worked as a teacher in Primary Education, as a museum education officer, as an art counselor and as a head teacher as well. Tereza Lambrianou has been a Primary School Inspectress of Art at the Ministry of Education of Cyprus since 2007. She gained the title Master's degree in art education. She is responsible for the smooth running of the course of art, through the guidance and evaluation of teachers employed in primary schools. She is also responsible for the implementation of the educational programs of art and museum education. She has contributed to the promotion of children's art through various exhibitions and publications with works of art of primary school students. George Gavriel received a B.F.A and M.F.A degree from the Surikov Academy of Arts in Moscow, Russia. He has exhibited his artwork in many solo and group shows in Cyprus, Moscow and at the Beijing Biennial 2010. Since 2008 he's been the Inspector of Art at the Ministry of Education and Culture, in Nicosia Cyprus. Tatiana Soteropoulos received a B.F.A. degree in the field of Illustration from Columbus College of Art and Design, in Columbus Ohio. She has illustrated over 20 children's books and has exhibited her artwork in many solo and group shows in Cyprus, Spain, Slovakia, Italy, New Jersey, Slovenia, New York, Los Angeles. She is currently the Art Counselor of the Inspector of Art at the Ministry of Education and Culture in Nicosia, Cyprus. Abstract:

The presentation will focus on the art curriculum reform in Cyprus, which followed a wider reform of the primary and secondary school curricula. Issues discussed will show how the curriculum reform aimed at responding to the challenges and opportunities of living in the 21st century (i.e., developing a coherent and adequate body of knowledge, critical thinking and key competences, promoting teamwork, participation, active citizenship, multiculturalism, environmental and cultural awareness etc.). Additionally, the main purpose of the new curriculum is the creation of conscious viewers - creators who actively contribute to improving the quality of life. While the first step of the curriculum reform focused on the formation of the wider context (main objectives, content, pedagogical approaches and evaluation), the second step - which is currently in progress - focuses on the implementation of the new curriculum in teaching practice. Within this process one of the most important issues is teachers' professional development. Different strategies are used, such as conferences, seminars, training at schools and self training through the Ministry website. Examples of projects undertaken by teachers and their students within the framework of the new art curriculum, will be presented, illustrating both the procedure followed and the final result.


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B. ORAL PRESENTATIONS SESSION 39 (S39):

TEACHING HUMAN RIGHTS THROUGH ARTS EDUCATION

GRAND HALL A / 11:20 – 12:05

CHAIR: Kerry Freedman

11:20 – 11:40 S39.1 Art Education situated within nationalistic and militaristic educational system

Nurit Cohen Evron, Beit Berl Academic College, Israel

GRAND HALL A

Nel Noddings, (2007) explains that in times of national conflict, universal sympathies are condemned and are regarded as dangerous. Opposing war is acceptable, even admirable, so long as war is not threatened. The Israeli-Palestinian conflict is an ongoing conflict since the state and its educational system were created. The threat is one of the main ideas, which carve the structure, goals, content, and discourse of the Israeli educational public system. The militaristic and nationalistic massages are part of the explicit curriculum as well as the hidden curriculum, both combine the threat of the Holocaust with the fear of the ongoing war and the national conflict. These massages affect the society as a whole; they encourage the Jewish students not only to serve their duty as soldiers when they turn 18 years old, but to become the next heroes who are ready to scarify their lives. They also affect the Arabic students who not only belong to the 20% minority in Israel, but also to the illegitimated, dehumanized and fearful enemy. How does the art education, which is situated at this context deals with this ideology? Should it confront the militaristic norms and promote a more peaceful society? Can the art teachers work against the grain? Can they create a change from their margined place? How can they promote cultural understanding which is necessary for reducing the flames? The presentation is based on partial outcomes of a research conducted during 2007-2010. It studied art teachers who did not have the privilege of ignoring these questions, because they taught at four out of five bilingual schools, which exist in Israel. Rejecting the segregations between Jewish and Arabic students, which exist at the rest of the public educational system, the bilingual schools are also bi-national and multicultural education institutes. The most challenged situations at these schools were the days which are dedicated in Israel for commemorating the nationalistic events: The Memorial Day for the Israeli soldiers, and the Independence Day of the Israeli state, which is regarded as the Nakba, The Day of the Catastrophe, by Palestinian minority. The art teachers' practice and solutions for their part at these events, facing the questions above will be presented and analyzed.

11:45 – 12:05 S39.2 New information concerning the cultural and individual identities of the Cyprus inhabitants with westerns, particular from Florence in Tuscany of Italy, in the medieval Kindom of Cyprus (12th-16th ce.) Which let to a cosmopolitan culture

Christiana Philippidou-Ioannidou, Teacher at Lyceum, Cyprus

GRAND HALL A

Through unpublished and mainly published sources consisting of notary documents and referring to commercial transactions mainly between Venetians, Genoas and Tuscans, we draw on


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inirect and dispersed information for the cultural and individual identities, the intercultural understanding and the cosmopolitan spirit of the Westerns in Cyprus, especially the Tuscans. The favorable privileges of the Francs kings of Cyprus, especially of Henry II to the Westerns led to their fast incorporation to the Cyprus society. These conditions consisted of the imposition of low taxes to the above merchants on the products of importation and exportation and in sequel to the release of the taxes to the above merchants. Another important element was the Westerns incorporation to the feudal class of combination with the good quality of life, the low cost of living and the low cost of the merchandise led to their fast incorporation to the higher classes ot the Cypriot society. Furthermore, this is revealed from the influences that the island had to the literature production of Florence. Many of the inhabitants of the latter that had visited Cyprus had included their experience that had lived to the island in their works, mainly literal and travel.


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SESSION 40 (S40):

EARLY CHILDHOOD

GRAND HALL B / 09:45 – 10:55

CHAIR: Andri Savva

09:45 – 10:05 S40.1 Images of the orient, images of the primitive

Tereza Markidou, Institute of Education-University of London, United Kingdom

GRAND HALL B

When increasing immigration and cultural diversity lead to alterations in a nation’s demographics, then the national/ethnic myths of homogenisation and uniformity are threatened. Simultaneously, issues of ‘Otherness’ are foregrounded as sub-products of an identity-in-opposition, and are realised basically as boundaries of inclusion and exclusion from the individual or group (Berry et al., 1992). Cyprus is currently at such a transitional point of its societal history, due to rapid demographic alterations alongside other economical and political changes that inexorably affect the country’s educational system. Within this context, the present research explores the meanings and cultural values that are currently reproduced, negotiated and transformed within art education in contemporary Cyprus. This project is grounded both in Lev Vygotsky’s (1896-1934) cultural-historical theory and in his conception of meaning making as an amalgam of the personal and the environment and Kress’s (2007) theory of learning as a multi-modal and transformational activity. The methodology of this qualitative study is based on cultural ethnographic principles and interpretative traditions (mainly hermeneutical and semiotic). I specifically draw on the work of Peirce (1955) and Barthes (1972) because I consider that they provide two of the key theories of semiology. Particularly, these theories enabled me to distinguish children’s visual products (i.e. drawings, paintings or otherwise) as not only being exceptionally interesting and informative but also as being complex and personal visual acts, as well as legitimate social and cultural practices. Taking into consideration the aforementioned, the present paper focuses on the analysis of an art lesson, which was observed in a primary school in Nicosia, Cyprus during April, 2010. In this lesson, the theme of multiculturalism was introduced in a mono-cultural classroom through a series of images that perpetuated primitive and oriental myths. Based on Said’s (1978) Orientalism and Hiller’s (1991) collection of essays around Primitivism, I analyse a series of visual materials shown to the children only to emphasise the transformation presented in their individual art work. My discussion points out issues of relevance and recognition, as the children appear to move away from festive multicultural and cosmopolitan imagery and incorporate images drawn from contemporary popular culture and their own lives. In conclusion, the findings of this analysis show that popular culture, when used critically, and for very specific purposes, can enhance opportunities for meaning making, which promotes the development of literacy skills, motivated learning, and understanding of values such as justice and peace. Popular culture and art education should thus work to complement each other in order to make ‘new’ traditions and improve recognition of the children’s cultural values and interests. In that way, teachers and children can transform their classrooms into collaborative learning environments without missing valuable educational opportunities.


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10:10 – 10:30 S40.2

How might pedagogy and didactics for a visual culture education be developed? – A European version of visual culture pedagogy

Ingelise Flensborg, Danish School of Educational Studies, Århus University, Denmark Mie Buhl, Åalborg University, Denmark

GRAND HALL B

The society is orienting global and a diversity of different social systems using different visual signs are trying to communicate across cultures. The global network is demanding a common visual ground to stand on and at least a conscious use of visual communications. This makes visual culture pedagogy important in an educational perspective. We wish to introduce visual culture pedagogy to teachers who are working with pictures and visual phenomenon’s, to art historians working at the museums and to researchers in art, language, medias, drama, design and architecture as to educators related to other subjets where visual (re)presentations are part of the knowledge that the subject contains. Visual phenomenons are seen as potentials for learning in an educational and institutional frame, visual events as the interaction of a viewer and visual events can (with communication theorist Jean Trumbo) be divided in 3 kinds of events: Visual thinking, visual learning and visual communication. The visual cultural strategy of reflection is a didactic subject for the use of visual culture in a pedagogical practice. Visual culture is the construction of a gaze at the environment, the physical as well as the virtual and to pose questions to the conditions for what you see. The literacy’s in a visual culture pedagogy is consisting of two main parts: The decoding or analysis and the production of meaning, the representative and presentative process. The making of images is still important as the students hereby acquire insight into the creative thinking process of visualizing. Making images also allows the students in a visual culture subject to discover their own cultural positions. The lecture will outline some of the contents in a new education and give examples of practices developed with students at university level. 10:35 – 10:55 S40.3

Promoting cultural awareness through art in early childhood settings

Maria Vassiliadou, Frederick University, Cyprus Chrisa Nitsiou, Frederick University, Cyprus

GRAND HALL B

As the world becomes increasingly multicultural, and migration is evident around the globe, schools in Europe, and in Cyprus in particular, are faced with new and complex educational challenges. Alongside the traditional aims of Arts Education, such as providing students with opportunities to express feelings and emotions and appreciate and understand works of art, essential and contemporary aims that pertain to the development of cultural awareness and the understanding of cultural diversity among students at schools have been receiving much attention lately due to the increasing globalization. Recent research suggests that European countries generally share a common set of Arts Education aims and objectives, which include both an understanding of cultural heritage and an understanding of cultural diversity (EACEA P9 Eurydice, 2009). At the same time, educating students through the arts has always been a favorable practice in early childhood school settings. Young children learn better when using all their senses and when they actively explore the world around them. Arts education may cultivate the child emotionally and mentally, especially during the crucial age of the early childhood, when identity begins to shape within the social context of both the child’s family and school.


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In this paper we are going to present the results of a short scale investigation which took place in different nursery schools in Nicosia among children of various ages with the purpose of promoting cultural awareness through art. The activities were carried out by students of Frederick University under the guidance of the writers and a qualitative analysis of the results was conducted. Another aim of this study was to identify the extent to which both practicing early childhood educators as well as students of early childhood education in Cyprus are ready to help raise their students’ cultural awareness through the arts and thus provide them with the skills to become competent members of the multicultural society of Cyprus. Thus a questionnaire was developed in order to measure early childhood teachers’ readiness towards raising students understanding of cultural heritage and cultural diversity, and a quantitative analysis of the results was conducted. Finally we will demonstrate children’s drawings based on the activities that were performed in their classes and we will discuss the need for intercultural education and specifically the promotion of cultural awareness in early childhood especially in our times and since Cyprus became even more multicultural over the last years.


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SESSION 41 (S41):

UNDERSTANDING IMAGES

GRAND HALL B / 11:20 – 12:05

CHAIR: Marlen Thiermann 11:20 – 11:40 S41.1

Temptations of the imagination. Crossed views

Maria De Lourdes Riobom, Museu Nacional Arte Antiga / IADE, Portugal

GRAND HALL B

At the two previous congresses in Rovaniemi and Budapest I presented two papers showing the experience we had at the Education Department of the National Museum of Ancient Art, working with young offenders. Now, I’d like to present the last part of this project of our work with two groups of young offenders witch we concluded realizing a small exhibition at the museum. The different activities we realized, have allowed us to better acquaint ourselves with these young people and their difficulties. All have committed various crimes and as such are serving a sentence determined by a court where the “education sentence” is the most serious sentence, according to Portuguese law, which can be handed down to these teenagers who committed their crimes before the age of sixteen but can remain interned until the age of 21. They are all from dysfunctional families where the problems of domestic violence, alcoholism, prostitution and others are mainstay. In the words of the director of one the centres we worked with, these young people are survivors living in “self-management”, they are not used to any kind of supervision or any kind of rules. Additionally the majority are adolescents with all the usual issues that age entails. At the detention centres, all activities have an educational aim. Therefore, at the museum, and specially because it is an art museum, we aim to give these people an opportunity at self-discovery, of world and realities distinct from their own so as to attain the positive motivation for a different way of life. This time, and as usual, because not all of them are allowed to leave the detention centre, we started by analysing, with a small group of boys, one of the most important paintings displayed at the museum “The Temptations of Saint Anthony” by Hieronymus Bosch. Secondly, we went to two detention centres we work with and showed the young offenders and their teachers, a film, made at the museum some years ago, about this same painting and discussed with them about it. The third part of the project was their work done at the centres in collaboration with teachers and artists invited to help them writing or painting their personal vision on Bosch’s painting. Finally, we made an exhibition at the museum with the works they painted and texts they wrote and called it: “Temptations of the Imagination. Crossed Views”. We presented it to the public exactly at the same moment we had at the museum anl exhibition called “Comparisons: Bosch and his Circle”. The aim of this paper is to show the development of the project and especially how art museums can contribute to teach looking and hearing, to teach people to be aware of the infinite varieties of things, to stimulate confidence in oneself and in one's emotions.


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SESSION 42 (S42):

LEARNING IN AND THROUGH ARTS

GRAND HALL C / 09:45 – 12:05

CHAIR: Diederik Schönau

09:45 – 10:05 S42.1 Developmental self-assessment: Ways to make it work

Diederik W. Schönau, Netherland GRAND HALL C

This presentation is based on the concept of developmental self-assessment in visual art. In education teachers are in charge of what students will learn, how they will learn and when. This is based on the experience that clear instructions and well-structured learning goals will make learning for students in schools more effective as both teachers and students know what is expected from them. This approach is also helpful to make the education system efficient, transparent and accountable. Generally speaking the arts as school disciplines, adhere to these practices. One could ask, however, if these practices are to be preferred in the (visual) arts, where divergent thinking, individual and personal development and actual relationship with the world surrounding the students are advocated. The concept of developmental self-assessment helps to approach the way students learn to develop their skills in giving form to meaning, in a new way. The idea of ‘development’ is connected more closely to the students’ own motives and ideas to make studio work. The concept of ‘self-assessment’ gives more responsibility to students to take charge of their own learning. Next to an introduction to ‘developmental self-assessment’ the following aspects will be discussed: - how to make students arrive from a pre-defined goal to relevant criteria for (self) assessment; - how different formats of assessment can be used; - the role of the teacher as instructor, advisor and assessor in the learning process. 10:10 – 10:30 S42.2

Virtual reality and multi-sensory stimulation: A joint method of teaching art history

Themis Veleni, Aristotle University of Thessaloniki, Greece Orestis Kourakis, Anatolia College of Thessaloniki, Greece

GRAND HALL C

The paper will present a research project that initiated by the need to come up with a playful and pleasant approach to teach art history and theory to students. The project explores the way students could be able to “feel” the artwork in an unforgettable way thus making their learning experience more meaningful and exploring. This project involves specialized photography techniques, such as rotating, infrared/ultraviolet, macroscopic, or even photos with interactively modifiable lighting or camera’s angle, in order to enlighten different aspects of the artwork. The photos will be projected on screen. Along with other stimuli like sounds, odors, textures, or even gravel and leaves on the floor, wind, moisture etc will create a multi-sensory environment adapted to the individual characteristics of each artwork. Art is usually experienced in the sterilized environment of museums or schools using old-fashioned teaching methods. Young students are very familiarized with modern technology. This modern technology, which allows interconnections between sound, motion, visual, could be implemented with every type of artwork. Therefore, integrating technology to enhance the sensorial perception of


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art has emerged as an unresistable challenge. Technology could create an all-over experience that will enchant all sensory apparatuses in order to drag and highly keep the interest of young participants. The role of the senses in art has caused a diachronical aesthetic debate from Prosocratics and Plato to 20th century phenomenology and from ancient Greek art to 20th century modernism. The senses of hearing, touch, taste, smell and sight are present in art from antiquity to the 20th century either iconographically or in structural or conceptual framework. Especially the history of the relationship between color and sound has followed the expansion of space from abstract two-dimensional paintings to immersive three-dimensional environments. The emerging of new more complex art forms questioned traditional schemes and concepts regarding all art and it’s didactics. These near limitless frontiers offered a broadening of definitions and thematic fields of art as well as new curatorial and educational practices regarding the presentation of artworks. This is an attempt to highlight the role of the senses in understanding art, reducing the visual domination in the interpretation of artwork. The proposal is an initiative of the photographer Orestis Kourakis (www.orestiskourakis.gr), and the Art Historian and musician Themis Veleni (PhD). An experimental implementation with diverse groups of people (different ages, cultural background, professional profile etc) it is planned to take place on March. The project will act as a pilot program in collaboration with Stevens Institute of Technology (www.stevens.edu/sit/) in New Jersey. The research results will be recorded and systematic analysed in order to form a database that will act as guidelines in designing pilot interactive multimedia for use in museums and schools. 10:35 – 10:55 S42.3

The main findings of the action research project Anchors of Youth Well-Being in Lapland: Challenges and potentials of art based actions for early intervention to minimize the risk of social alienation of the youth

Mirja Hiltunen, University of Lapland, Faculty of Art and Desing, Finland

GRAND HALL C

Department of Art Education at the University of Lapland realized in cooperation with social work a project called the Anchors of Youth Well-Being in Lapland (financed by ESR). The purpose of the project was to plan, implement and evaluate art based actions, which could minimize the risk of social alienation of the youth. The project was organized in four different municipalities in Finnish Lapland. Students of art education and students of social work were working together with youngsters and the local youth workers and partly with schools, too. The project produced information of youth experiences in present-day Lapland and developed art-based, innovative and functional models for early interventions. Important part of the project was also youth workers further education, they took part to the workshops. One of results of the project was a handbook of the artistic methods published for further use. The aim of the project was to increase the understanding of how youth interact and construct their identity through art. Youth experiences were reflected in the context of participation and well-being. The project included also a study about the state of the wellfare of the young in Lapland. The project paid attention especially to time after a comprehensive school and support the young people in their process of independency and growing up. For young people in sparsely populated, remote area like Lapland, that time means big changes and challenges. In my presentation I will evaluate the main results of the project and especially draw a comparison between the findings of three different action research projects made by participating art education students in this context: Ulpi Riikonen & Viena Rissanen (2010): "Action Research of Community-based Metal Sculpture Project in Ranua"; Henriikka Kolari &Lotta Linnamaa (2011): "From the roots to the wings – an action research on photography-based art action facing the well-being of


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the ninth-graders" and Sanna Ahola & Elina Koivula (2011): "Tässä ja tulevaisuudessa - Digital Photographing Workshop as an Anchor of Youth Well-Being". 11:20 – 11:40 S42.4

Effect of Kolb’s experiential learning theory and model (KELT&M) on learning of fine art and praxis in Uyo secondary schools, Nigeria

Anthony Okonofua, University of Uyo, Akwa Ibom State, Nigeria Comfort Ekpo, University of Uyo, Akwa Ibom State, Nigeria

GRAND HALL C

The prevalent rate of poor academic performance of secondary school students in Fine Art subject in Uyo, within the context of empirical evidence and government official records, is very high. This has become great concern to Art Educators. The reason for this poor performance has been attributed to lack of specific learning theories and models for Fine Art instructions and the ineffectiveness of conventional expository instructional strategy among other variables. Against this background, this paper examines the academic relevance of the concrete-abstract-continuum concept of Kolb’s Experiential Learning Theory and Model (KELT&M) to learning and praxis of Fine Art at secondary level of education. Based on the assumption that by integrating Kolb’s theory into the artistic process, a new paradigm in Art Education might evolve, having potency of stimulating greater cognitive, psychomotive and emotive development among students, the study adopts a non-randomized pre-test, post-test, control group quasi- experimental design. In order to test the efficacy of Kolb’s theory and model on learning and praxis of Fine Art in secondary schools, two groups; experimental and control, are exposed to the same instructional treatment. The study reveals that students in the experimental group performed better than those in the control group. 11:45 – 12:05 S42.5

Learning through visual praxis in the post-literate age: an Australian pre-service teacher education case study

Kathryn Gruska, University of New Castle, Australia Nicole Goodlad, University of New Castle, Australia

GRAND HALL C

Within our growing knowledge economy, students are increasingly encountering visual media images as knowledge representations. Education now intersects with new media technologies and visual popular culture in the reproduction and manipulation of knowledge. We live at a time when students prefer to engage with visual media rather than written text. In the ‘post-literate’ age (Rosenstone, 2001) everyone can read but no one will. Because of this, there has been debate about whether due to this preference; teacher education programs are producing sufficiently visually literate teachers (Lea & Jones, 2010). There appears to be the need, therefore, to further explore issues relating to the knowledge and beliefs of pre-service teachers in order to inform effective visual pedagogy practice in the classroom. This paper reports on the findings from an Australian University research project for pre-service teacher educators. The results of the case study indicate on the impact of visual digital technologies in presenting new ways of representing and working with knowledge, beyond the illustrative. The survey, learning outcomes and interview findings of the study, will be used to elaborate on an innovative pre-service teacher-training course in which a cross-curricula cohort of secondary teachers employed visual performative competencies to produce inter-textual narratives using Adobe Photoshop. The pedagogies employ visual culture references and demonstrate that the manipulation of image and text offered by digital technologies, builds new meaning strategies and awakens latent creativity. Such findings argue that the skill of visuality and the use of images for meaning making are relevant to the contemporary learner and essential for the teacher.


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SESSION 43 (S43):

THE ROLE OF THE LEARNER AND THE TEACHER (V)

TEVKROS / 9:45 – 10:30

CHAIR: Vicky Karaiskou

9:45 – 10:05 S43.1 Holistic Learning for students and teachers in Bangladesh as an Art Education Project 2009 – 2011

Michaela Vamos, Private University of Education of the Dioceses of Linz, Austria

TEVKROS

Pre-service teaching students from the Kindergarten Teachers Training College in Vöcklabruck, Austria created and developed in their Art Education classes learning materials for a primary school in the Satarkul slum area of Dhaka, Bangladesh. While their focus was on exploring a holistic learning approach, as compared to the didactic model more typical in this program, a significant outcome was a teaching package that was subsequently provided by a selection of these students, as an in-service development tool for Bangladeshi teachers. Both cohorts of teachers learned how important visualisation, playing and interaction in the classroom are for successful learning.

10:10 – 10:30 S43.2 Science, Art and Evolution

Antri Kafa, Lykeio Agiou Ioanni, Cyprus Maria Loizou – Theodosiou, Lykeio Agiou Ioanni, Cyprus Maria Panagiotou, Lykeio Agiou Ioanni, Cyprus

TEVKROS

The primitive man perceived science and art as means towards the same goal, the discovery of the truth and the laws governing nature and life. Both science and art were identified with the desire to evolve and escape ignorance. Mythology constituted man’s very first effort to interpret the world, and it was depicted through painting as well as oral speech, the primal form of literature. We may thus deduce that the incessant combat between science and art is nothing but a delusion. Charles Darwin is the most representative example of the unity between science and art. Darwin greatly esteemed art; he believed that it offers the ideal balance between reason and passion, and considered that to confine oneself solely to science has highly negative moral and intellectual consequences. His own words describe the ideal man as the one who does not separate science from art, and function as evidence of the ignorance of the contemporary scientist who defies the value of art, as well as that of the contemporary artist who refutes the significance of science. Darwin himself was a skilled artist who derived inspiration from both art and poetry. He managed to record his scientific activity with remarkable eloquence in his writings, and masterfulness in painting. In fact, the theory of evolution was formulated by his grandfather, Erasmus Darwin, a poet. It is even said that a statement by his favourite poet, Samuel Coleridge, during a lecture on philosophy, is what inspired Darwin to develop the theory of evolution. Apart from being influenced by literature, the theory of evolution had a powerful impact on literature in itself. Its contribution to the formation of Naturalism was immense. The important role of heredity in the theory of evolution drove the Naturalists to exhaustively analyze the environmental and


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hereditary factors which define their literary characters. The theory of evolution also had a significant effect on Greek authors such as Alexandros Papadiamantis, Kostis Palamas, Emmanuel Rhoides and Pavlos Nirvanas. In painting, central concepts of the theory of evolution were outstandingly depicted largely through the Impressionists. The Impressionists, due to the education which their social position allowed them to acquire, followed closely the scientific theories of their era. Like it is mentioned in a letter of the Impressionist Edgar Degas towards a friend of his, the Impressionists anxiously anticipated Darwin’s theory of evolution to be translated in French. Moreover, they had close social interactions with scientists of their time and their progress was, by some, even assimilated to that of scientists. It is therefore easy to conclude that science and art are inseparably linked, and even identified, since together they constitute the means to achieve man’s most ambitious and highest goal: the discovery of the truth and the laws which direct nature. Today, the clash between the two is sadly owed to the disorientation of man from these noble and superior goals and the replacement of those goals with vile and ephemeral motives. In his effort to comprehend nature, man destroyed it. Since the cause of the conflict between science and art and the environmental problems threatening the planet is the moral degradation of man, the sole solution to these problems is moral improvement and the return to his initial goals; only thus can visions concerning sustainable development be realized.


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SESSION 44 (S44):

PROMOTION OF CULTURAL UNDERSTANDING THROUGH ARTS EDUCATION

TEVKROS / 10:35 – 12:05

CHAIR: Aravella Zachariou 10:35 – 10:55 S44.1

Transmission of fine arts from a children's lesson to a wider society: Workshops at buddhist temple as a bridge between school lessons and lifelong learning

Shimpei Takeuchi, Bukkyo University, Japan

TEVKROS

In Japan, the fine arts, unlike music or sports, exist separate from everyday life, and according to certain reports based on opinion polls, they are judged differently. Therefore, we must recognize the importance of any attempt to make the fine arts more a part of the mainstream society in Japan. This research analyzes the process and effects of the transmission of the fine arts into a wider society by children who had learned fine arts through a lesson at an elementary school. A Buddhist temple was chosen as the site for the social experiment of this research. The workshops in the temple were conceptualized as a bridge connecting the elementary-level fine arts education and a lifelong learning of fine art. The procedure of this research was as described below. First, I gave fine arts lessons at an elementary school, teaching fifth graders the art of Japanese ink painting. Japanese ink painting is a classic mode of expression that employs various graphic motifs using sumi, water, and Japanese paper. After the lesson, I conducted a workshop at a Buddhist temple near the elementary school. The intent was for both parents and children to experience Japanese ink painting firsthand. Children of various grades and their parents participated in the workshop. Since the fifth graders already had some experience in and knowledge of Japanese ink painting from the lesson at the elementary school, they taught the parents some of the techniques that they had learned. To investigate the effects of the transmission of this fine art to the adults from the children, follow-up interviews with the parents were conducted. Further, text mining (IBM SPSS Text Analytics for Surveys 4.0) was performed on the interview content. Before performing the text mining, oral comments were converted into text data and were somewhat refined through rational judgment. The following three trends were observed after the analysis of the keyword maps obtained through text mining. (1) Although they were not familiar with fine arts, the parents participated in the workshop because the children had asked them to join. (2) The parents readily agreed to participate in the workshop because it took place in a religious institution in a local-area and the elementary school had cooperated. (3) The parents enjoyed themselves not only in techniques of painting but also while receiving the knowledge as an outcome of the transmission of the fine arts through the children's learning. Judging from these three findings, the transmission of fine arts to a wider society was effectively done through the use of the children's learning while utilizing a religious institution in the local area.


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11:20 – 11:40 S44.2 The social discourse of childhood and the children's notions for the childhood's characteristics

Anastasia Fakidou, University of Thessaly, Greece Apostolos Magouliotis, University of Thessaly, Greece

TEVKROS

The need for education of critical thinking citizens is widespread. In order to develop critical literacy skills to primary students we need to study their preexistent notions in various issues and discourses. The aim of the research was the investigation of the position that 6th grade students take to the social discourse of childhood. Particularly, we studied student's notions as they revealed through (a) their verbal statements, (b) their idea's visualization by the creation of a visual artwork, (c) their responses to pictures with visual representations of children. The theoretical context consisted of (a) the concessions of Visual Culture Education Pedagogy for the development of critical literacy through the investigation and deconstruction of the discourses that hide into the artifacts of visual culture, (b) the theory of Cultural Studies for the potential positions of the viewer to decode the meaning of cultural artifacts, (c) the considerations of Childhood Studies that recognize the childhood as social phenomenon -namely that the various discourses of childhood depend on societal beliefs, values and historical context- and that the discourses of childhood are reflected through images.The sample was 112 students of 5 primary urban schools. Data had been collected through anonymous questionnaires and processed by ATLAS ti program. The methodological tools were critical discourse analysis and semiotics. We discovered that in their verbal statements the students attributed characteristics that refer to the child's nature, the sentiments, the interpersonal relations, the type and place of children's action. Their statements for the end of childhood vary from the 10th year of age to all life long. The representational content of their pictures for their own childhood, in contrary to their general statements for childhood focused to natural environments mainly, and to places specifically constructed for children secondarily. We observed that some students depicted landscapes without people, quite a few depicted lonely portraits of themselves, while the most students that depicted other persons they preferred friends and a few their parents. Their responses to images concerned the resemblance of the representational visual content to their own lived experience, their preference to colors and figures and, to the characteristics that are attributed to children broadly. Interrelating their verbal statements, their visual artwork and their responses to images of visual culture we concluded that most students espoused the dominant discourse for childhood in relation to categories of the child's nature, the sentiments, the type and place of children's action. Negotiated position took -through their visual artwork mainly- to the category of the interpersonal relations. Oppositional position took some students representing forms and actions that oppose the discourse of the "romantic child" that plays cheerfully into green fields and, they communicate their intention to enter in the urban social space challenging their presence and voice. We propose the development of critical literacy skills of primary students through the decoding and deconstruction of various discourses that are embedded in artifacts of visual culture.


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11:45 – 12:05 S44.3

Durga Puja Installations in Kolkata, India: Public art as social responsibility and resource for art education

Mousumi De, Indiana University, United States

TEVKROS

The Durga Puja Installations are thematic art installations created by masses of artists and organizers during the Durga Puja festival in the city of Kolkata, India. These artists seek to engage, inspire and influence the general public who come from diverse backgrounds to experience the artistic, spatial and temporal aesthetics of the environment created by these installations. While the concept of public art in India is still nascent and burgeoning, with little understanding of public as audience and receptors of art in the public domain, these installations can be seen as a form of public art that serve as socio-cultural, artistic and educational resources for the public. Based on an ongoing research project since 2008, this paper presents various aspects of Durga Puja Installations and provides insights into how this practice is redefining the notion of public artist and the concept and functions of public art. In particular, this research contributes to the growing body of literature on visual culture, especially in non-Western cultures, the impact of globalization on art and public art in non-Western cultures.


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SESSION 45 (S45):

CURRICULUM DEVELOPMENT

EVAGORAS / 09:45 – 11:40


09:45 – 10:05 S45.1 A comparison of art education curriculum policy: Ireland and the United States

Richard Siegesmund, Northern Illinois University, United States

EVAGORAS

This paper reflects on the author’s engagement with the current reappraisal of the Irish Leaving Certificate for secondary art education and his efforts to reform the Georgia Department of Education’s curriculum standards for art education in the United States. In both Ireland and the U.S. state of Georgia, educational policy is faced with the dilemma of what innovations in contemporary practice to incorporate into teaching while critically appraising which aspects of the existing curriculum to preserve. Art education is challenged to maintain a vigorous Janus vision. In the past, the paradigm of education that the United States has worked under is based on the content of the discipline. This paradigm requires a curricular focus on the acquisition of skills and demonstrations of core knowledge. An emerging paradigm of education is based on navigation of information. This requires students to demonstrate skills in critical assessment of information and application of information to appropriate contexts. Similarly, Irish art education curriculum, as presently realized in its Leaving Certificate, is rigorously focused on skills and knowledge. In fact, the art examination is so difficult that many students who would consider taking art in secondary education eschew this choice out of fear that they will not make high marks on the Leaving Certificate. The current shifts in our paradigms of how we think about the learning outcomes of art education create a historical opportunity for change. If art educators will make the effort, a more authentic alignment of policy to practice may be possible. Policy could more accurately reflect the learning aspirations that we, as teachers, hold for our students. An example of this conceptual redirection is in the new Georgia Visual Arts Performance Standards that allows the teaching of aesthetics to be interpreted as the teaching of five levels of care: the care of materials, the care of self, the care of others, the care of school, and the care of the community. The new standards do not mandate that aesthetics be taught through this lens; they allow more traditional views of aesthetics — aesthetics as judgments of beauty and aesthetics as cultural practice — to be taught. Nevertheless, the Department of Education has officially allowed an alternative view of visual art curriculum to emerge. Another example of a challenge to existing curriculum policy is presented with the shifting conceptualizing art education curriculum as navigation of information. This change opens art education to more inquiry-based curriculum. In Ireland, tertiary curriculum has already made this shift as demonstrated by the admissions brief to the National College of Art and Design(NCAD)in Dublin. However, the Irish Leaving Certificate does little if anything to prepare students for the expectations of study at NCAD, and thus creates a disconnect between the learning objectives of secondary education and entryway learning expectations of tertiary education. Such a widening disjuncture is also present in the United States.


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10:10 – 10:30 S45.2 5 X 5 ¿25? Research activity for personal inquiry in fine arts

Rocío Arregui Pradas, University of Seville, Spain EVAGORAS

This paper tries to describe an activity in a Fine Arts subject called “Life Drawing. Composition.” and exposures the results. The practice of the subject is mainly based on the practice of drawing with nude human models but it also includes theory lessons and some extra-school works. When we first had to teach this subject we thought students are not encouraged enough to personal inquiry so we decided to change the way to carry it out. So we made a proposal to the students to work outside the class with this main objective: to look for themes and ways of expression. We couldn’t changed the curriculum, so the work was included in an activity called “Expressive and dynamic line values” and it consisted on: They had to choose five themes and work up them in five different procedures using lines only. Them they had to create five drawings mixing procedures and developing a personal interested topic. Each drawing might be adjective with five words and the five final ones might be argued with a longer paper. Students, working topics with not chosen procedures, are driven to find new ways of expressions. Reflecting about each drawing forces an analysis of the results. So that, students are introduced in personal inquiry in a gradual way. We think a lot of Fine Arts Schools or Faculties still remain old objectives. They are mainly based on procedures and techniques development, and the University of Seville has been a typical example of this. When Seville students goes out other foreign Schools discover they have no resource to create without models or guides, but they also found they have more ability to draw. We’ve tried, trough this workshop, to reflect about some questions: Is it useful for a contemporary artist to get a high ability to draw? Is it necessary to keep on drawing nude human models to get this ability or is it more important to encourage personal inquiry? Must we do both things at one? Of course, we don’t have got firm conclusions and this topic is usually ignore by both parts: actual art based curriculum defenders and traditional techniques based curriculum ones. We think is time for us, Seville teachers and, we hope, similar school teachers too, to discuss and, if necessary, change.

10:35 – 10:55 S45.3 Intercultural art education a dialogue between the members of the society

Ava Serjouie, University of Erfurt, Germany

EVAGORAS

Even though immigration has long been part of the human history, however, the state and situation of immigrants has been a theme of study for only a few decades. It has only been in the recent years that the importance of an education system that would facilitate and assist the children of immigrants, to assure them a better future and help them to integrate into the society and help to build a more successful multicultural society has been realized.


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11:20 – 11:40 S45.4 Developing an arts curriculum for a bilingual school through a collaborative action research project

Alfredo Palacios Garrido, E.U. Cardenal Cisneros. Alcalá University, Spain Noemí Peña Sánchez, Faculty of Education. Valladolid University, Spain

EVAGORAS

Bilingualism in public schools in Spain has become more than a linguistic challenge. It also constantly requires from the teachers an attitude of developing methodological improvements that could meet all those needs that arise within the context of teaching through the CLIL approach. In this presentation we show an initial phase of a collaborative action-research project that aims to develop teaching materials that would guarantee the development of artistic competences throughout the six years of primary education. This project is carried out by the Federico García Lorca public school in Camarma de Esteruelas (Madrid) and the Teacher Training College Cardenal Cisneros, in Alcalá University (Madrid). We also have collaboration with other universities timely. From the very first moment, we have conceived this project as a learning partnership of equals between school and university. This collaboration finds its motivation in the awareness that no materials available in the market were truly able to lead a student from first to sixth grade through learning Arts with consistency. Avoiding the use of a class book was the initial goal in the primary school. However, there was also a conviction that the class book had to be replaced by an alternative project. We must highlight the fact that this project requires a tight school-university collaboration through team work based on a constant flow of proposals and feedback guaranteed by fluent communication that would deal with a wide range of aspects going from the most theoretical such as curricular issues through methodological issues on teaching of Arts to dealing on how to use/teach English in this process. First steps that have been taken in this project have been: •The writing of a document that draws up the curricular guidelines for the area. This document has been agreed by both university and school teachers. •Holding meetings with the teaching staff from the school and the university to deal with general aspects that define the outlines of the project. •The creation of a virtual space for collaborative work to offer a resource centre as well as forums to discuss a variety of issues. •First contacts with students to have an initial assessment through an observational approach. Some experiments have been carried out with some groups already with the presence and collaboration of university teachers. •An implementation calendar has also been established, with the first didactic projects that will be piloted during this academic year and that will later be discussed and analysed by the teamwork. We must say that the beginning of this project has shown to be both challenging and encouraging for both sides. We are aware that new challenges are ahead of us that will require some collaborative skills from us as well as the need to adapt to each other’s needs and to develop a fluent and effective communication. These factors can only enrich the project with a wide new range of experiences which will also raise awareness of the importance of Arts in schools as well as raise awareness of the reality of educational experiences in our primary classrooms at university.


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SESSION 46 (S46):

PROFESSIONAL DEVELOPMENT

ONISSILOS / 09:45 – 10:30

CHAIR: Glen Coutts

09:45 – 10:05 S46.1 Personal and professional development through dramatherapy with the use of modern British drama: A pilot study with social work students

Anastasia Karantzi, Democritus University of Thrace, Greece

ONISSILOS

This presentation focuses on the idea that Dramatherapy with the means of theatrical texts drawing from Modern British Drama may be used to support personal and professional development within life-long learning education. In order to explore whether Dramatherapy techniques may be a useful tool to assist the development of professional self-awareness, sensitivity to diversity and anti-oppressive practice among future professionals who are bound to be involved in counseling with marginalized, oppressed and discriminated people an action research was introduced. The paper is based on the qualitative analysis of the pilot study which was conducted in Democritus University of Thrace with Social Work Students during the school year 2010-2011. The pilot study entailed a Dramatherapy group of third and fourth year Social Work students that used original textual excerpts from theatrical plays of Modern British Drama as a main dramatherapeutic tool. The topics of the particular texts were chosen specifically to reflect the theoretical issues being dealt with at the same period of time during formal lecturing. The pilot study was concluded with personal interviews of the Dramatherapy group members in order to evaluate the overall experience and estimate whether Dramatherapy with the use of Literature can be of any assistance to experiential learning, personal and professional development and whether it would be useful to be implemented in the study curriculum.

10:10 – 10:30 S46.2 Visual journals and trainee teachers’ professional development

Emese Hall, University of Exeter, United Kingdom ONISSILOS

This presentation will discuss the findings from a small-scale, interpretive study focusing on the use of visual journals with trainee primary teachers in a UK university. The rationale for the research is driven by three interrelated areas of interest: the value of reflection in teacher training (e.g., Hatton & Smith, 1995), the use of journals as reflective tools (e.g., Moon, 2006), and the power of visual images (e.g., Berger, 1972). The aim of the research is to explore the trainees’ use of visual journals and understand how images can support professional reflection. The main research question is: How do visual journals support trainee teachers in reflecting upon their professional development? Sub-questions include: • What do participants choose to reflect upon in the journals? • How are images used in the journals? • To what extent is the journal viewed as an art object? • What types of reflection are evident? • Does the use of the journal change over time, either in content or form?


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The visual journal - an A4 sketchbook - was conceived as a creative space for expressing experiences, ideas, and feelings using images. The trainees were told that they would be free to use the visual journal however they liked, but ideally they should make at least one ‘entry’ (e.g., a page or double-page spread) per week during the taught course: a Primary Postgraduate Certificate in Education [PGCE]. All the trainees in my tutor group (31 art specialists) were given a visual journal and five female trainees agreed to take part in the research. Qualitative data collection is planned to include two individual, audio-recorded, interviews - in terms one and two of the course. In addition, photographs will be taken of all visual journal entries. Following data-driven analysis, using member-checks to ensure meanings are ethically interpreted, the findings will be used to construct case studies of individual participants to allow for inter-case comparison. At the time of writing, the research is at an early stage: the first set of interviews has been conducted, and the related photographs collected, but without full analysis. However, emerging findings show that the visual journal is valued by all the trainees as a personal - and often therapeutic - space for reflection on a variety of topics related to academic and social concerns. Additionally, in terms of form, there is considerable variance in individual preference for image making and image-selection based on the trainees’ particular artistic interests.


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SESSION 47 (S47):

ART EDUCATION AND CULTURE

ONISSILOS / 10:35 – 12:05

CHAIR: Seija Ulkuniemi

10:35 – 10:55 S47.1 Exploring the relationship between environmental and art education in the context of pre-school education

Marianthi Kalafati, National and Kapodistrian University of Athens, Greece Maria Daskolia, National and Kapodistrian University of Athens, Greece Evgenia Flogaitis, National and Kapodistrian University of Athens, Greece Titika Salla, Athens School of Fine Arts, Greece

ONISSILOS

Natural environment constitutes not only the life support system for human beings, but also a source of inspiration that challenges human inventiveness and leads human creativity. The relationship between art and the environment has been always very close and complementary as people have been using the arts from the early beginnings of history to represent nature, express their awe for the surrounding world and describe their visions for their existence within this world. Environmental education is an innovative educational movement that made its appearance in the late 60s in order to pedagogically address contemporary environmental problems having been caused by the unlimited technological and economic development that triggered environmental imbalance and social inequalities. Environmental art was introduced as a parallel expression of current environmental movement aiming also to raise awareness through various art forms with regards to environmental degradation and lowered levels of life quality in our planet. A combined version of the above-mentioned movements known as art-based environmental education or eco-art education is based on the belief that art can make a difference in raising environmental awareness among people. In this presentation we discuss the relationship between environmental and art education having as a point of reference the design and implementation of a pedagogical project which focuses on the enhancement of critical and creative thinking among preschool children in relation to an environmental issue. We aim to explore creative ways in which these two fields can be combined to develop a curriculum which promotes the values of sustainability and uses art as the main pedagogical tool. More specifically, our discussion is centered on how environmental and art education can be integrated in a new type of learning about the environment and sustainability in the context of preschool education. 11:20 – 11:40 S47.2

Doctor of arts (art & design), master of education, photographer

Seija Ulkuniemi, University of Lapland, Finland ONISSILOS

BORN TO BE A TEACHER? – a narrative of becoming an art educator-artist-researcher This article deals with a way one may end up being an art educator-artist-researcher. I reflect on my on my whole life – a period that has lasted almost half a century. Using my own experiences I


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figure out which and how various things have influenced my career choices, way of thinking, and my art. Childhood surroundings had a great impact on my valuing the nature, which can be seen both in my work and my art. Both my mother and father were being teachers, which partly affected my career choice. Being the eldest made me to be the good girl and to achieve the goals with good results. I lost my mother when I was 20. This gave me understanding of life’s fragility and put me ponder about its meaning. My home religion was Christian; I try to find out what it means to me and how to put it in practical level in my daily life. I reflect on my schooling from elementary to university level: why I chose to continue studying art after having become a classroom teacher. I also ponder about my thoughts concerning research from the first step, the master’s degree in Education to the last, Doctor of Arts: how and why my thinking has changed during the twenty years between these. Feelings of oppression, especially at work, have led me to create art that deals with ways of self-healing and ways of isolating people. Also the strange logic of working places has given me a feeling of living in a surrealistic world, which I have also dealt with in some of my works. Arts, especially some paintings and books, have had a great effect on my thinking. In general, I find myself being extremely physical person, and this has impact on my teaching practises. But music has made me even to consider an alternative work as a sound/voice therapist. I find family and friends important co-creators and by-standers for whom I want to be faithful. But to be true, becoming a mother gave me in the first place insecurity and lots of questions concerning education. International encounters with colleagues via participating teacher exchange have made me appreciate education in various cultural settings. InSEA-community has helped me to trust in that crossing the borders – sometimes even without words – can be possible 11:45 – 12:05 S47.3

Enhancing Cultural Education to Students of Different Ethnic Minorities: A Path to Achieve Individual Identity and Multicultural Understanding among the Students in the Primary Education

Konstantinos Kalemis, NATIONAL CENTRE FOR PUBLIC GOVERNMENT AND PUBLIC ADMINISTRATION, Greece

ONISSILOS

In our days, everybody can easily see that humanity is facing multiple, complex problems that are interdependent at all levels: local, national, regional and global. Every problem or issue has multiple interlinked dimensions that may be political, social, economic, technological, environmental or cultural, and cannot be solved simply from one perspective. With the advent of globalization, economic, political and technological considerations have mostly dominated, while socio-cultural and environmental implications have received a lower priority. We are now experiencing the consequences of this imbalanced approach, in terms of environmental degradation and increasing social conflict, both within and beyond territorial borders, accompanied by economic turmoil due to greed and excess. With no doubt, culture is reflected in our language and colloquial expressions, dress, food, laws, heritage, history, technology, and the values or attitudes that are reflected in our conversations and relationships, in the ways we relate to each other as family and friends, and in the way we do things. It is also expressed in the arts, music, dance, theatre, architecture, literature and in the festivals we celebrate. Many of these determine the face of sustainability in each society, and therefore also form the basis for the content of a curriculum in intercultural understanding. In the past, it may not have been as important to foster intercultural understanding or to affirm, strengthen, celebrate and develop pride in one’s own cultural identity and heritage through schooling, because learners were surrounded by their culture in every aspect of their lives. Standards of behavior were well known and were transmitted


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consistently to children both at home and at school; the situation is very different today, as children are exposed to other cultures constantly within their own community and through the presence of the media, necessitating education in intercultural understanding to strengthen their own culture and to gain deeper understanding of others. The kindergartens and schools must change. For example, if the minorities in a country are defined by their crime statistics, it is difficult to demonstrate that one of the most important values in the country is equality. Or if minority groups are set up against the other groups in vulnerable situation, or society is divided into “us” and “you”, then it will affect the attitudes of both minorities and the majority population. There are many ways in which to understand culture and diversity. Kindergarten and schools must reflect on what they mean by being an intercultural institution. If a teacher or an educator has negative attitudes towards children or people from other cultures or religions, or the diversity between children and parents are not appreciated, then no national action plans or laws have a real effect to make this kindergarten or school an intercultural institution. Social changes such as economic globalization and international mobility have led to an increase in the number of people who spend substantial periods of time in more than one cultural context.


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09:45 – 10:55 Curriculum connections with Visual Culture: Meaningful, interactive and contextual learning in art education

Nicoleta Avgousti, Cyprus Ministry of Education and Culture, Cyprus Doug Boughton, Northen Illinois University, United States Kerry Freedman, Northen Illinois University, United States Andri Savva, University of Cyprus, Cyprus

GRAND HALL A

Recent curriculum reform in Cyprus brought to attention many aspects of learning and teaching art in schools. The discussion will attempt to identify and elaborate upon the theoretical, philosophical and practical issues of structuring a quality art curriculum as a necessity for the creation of learning conditions, contexts and procedures that lead individuals to social and cultural change. Considerations for a 21st century curriculum and its implications for learning and teaching the visual arts will be discussed emphasizing art as an open concept and art education as a field incorporating contemporary discourses. The dialogue will draw on references from the Visual Arts National Curriculum in Cyprus and the inclusion of Visual Culture and critical theory. Practices and strategies important for contemporary art education will be addressed. The issues that have been immerged include the following questions: Why elements and principles of design should be reconceptualised in curriculum and art learning? Why a focus on provoking and authentic issues and practices is critical to contemporary art education? How we construct knowledge in art and what is the role of Visual Culture? What is the role of visual technologies in viewing and making art? How we understand art in relation to cultures and histories? What is the role of environmental contexts and “situationality” and how this influences curriculum praxis? Panelists: Panelists: Nicoleta Avgousti will discuss theoretical and practical issues concerning the role of technology as part of Visual Culture in Cyprus schools, and how this is affecting curriculum praxis in relation to the Visual Arts National Curriculum. Professor Doug Boughton will emphasize aspects of curriculum policy, practices and alternative forms of assessment in the light of students´ learning and engagement in Visual Culture. Professor Kerry Freedman will focus on the relationship of curriculum to art, culture and technology and discuss issues concerning students´ learning and engagement with Visual Culture surrounding curriculum change. Dr Andri Savva will discuss how Visual Culture is placed in Cyprus society and education and how it affects students´ art learning. She will refer to the role of Visual Culture and its influence on Visual Arts National Curriculum in relation to Cyprus context,environment and culture.


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PANEL DISCUSSION 6 (PD6)

9:45 – 10:55 Teaching Controversial Issues

Rachel Mason, University of Roehampton, United Kingdom

Fotini Larkou, Ministry of Education Cyprus, Cyrpus

Nurit Cohen Evron, School of Art Beit Berl College, Israel

Carl Peter Buschkuehle, Justus- Liebig-University, Giessen, Germany

Mousumi De, Indiana University Bloomington, United States

SALAMINIA A

Social conflict is a global phenomenon although the form it takes varies in different places and at different times. The participants in this panel discussion all believe that schooling should address and not deny situations of human conflict. The session will commence with brief presentations of art based curriculum strategies designed to address situations of conflict in Israel, India, Cyprus and Germany. This will be followed by a critical discussion of these strategies by panel members. Then the audience will be invited to participate. The focus of the session throughout will be on the challenges and ethical dilemmas educators and students face when they engage with controversial human issues and on identifying the strengths and weaknesses of using visual arts education as vehicle for social change. Each panel member will submit a background paper for the conference report.


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D. POSTER PRESENTATIONS SALAMINIA B / 11:20 – 12:30 P1 Dances of life: Art and music co-work videos from 2001-2011

Tonu Talve, Laulasmaa Kool, Estonia Anne Aaspõllu, Märjamaa Music- and Art School Teacher, Estonia I have been teaching art and woodwork almost 25 years. Belong to InSEA and EstSEA from 2003. Worked at ordinary schools since 1985. Worked as an artist from 1989 and had art exhibitions almost every year since. Been a founder/member of Fragile professional Live art-and-music lessons project at 1995. Done quite many videos on DVD-s since 2001. Been a founder/member of Aerosfaer Live prof art-and music project at 2009. Participated with videos and Live presentations at InSEA-s 2003 Stockholm-Helsinki-Tallinn, 2004 Istanbul, 2005 Barcelona, 2006 Viseu, 2007 Heidelberg-Karlsruhe, 2008 Osaka, 2010 Rovaniemi, 2011 Budapest. At Cyprus InSEA there will be Live action-painting performance with cypriot musicians. Also the presentation of Live art/n/music - rock, jazzrock and etnorock music DVD- s, done 2001-2011. http://talvetonutd.blogspot.com/ Works http://www.youtube.com/ENMuseum#p/a/u/0/3ehC-IwNeCE Aerosfaer http://www.areng.ee/?id=12708 Fragile P2 Watch the recorded interviews!

Dora Aguila Sepulveda, COEDUCARTE, Chile Andrea Maria Melendez Teutsch, COEDUCARTE, Chile Marlen Thiermann, COEDUCARTE, Chile Experts opinions collected from the InSEA World Congress 2011 in Budapest, Hungary and others in the Southern Cone of Latin America are shown as a random sample. The basic question for interviews was: “In your opinion what is the most important thing about teaching the visual arts in the school?” Through an analytical study of the answers to this question, it was deduced that there are different points of view and multiple approaches to art education. This exploratory study will be displayed on a poster artwork built on video recordings. Images showing the geographical origin and the portraits of the interviewees, their names are inserted on the poster. Dots of different colors corresponding to the major axes in arts education show different points of views, experts’ opinions about educational theories that underlie the classroom practices. P3 Teaching aesthetic literacy in primary school: Between preconditions and standards

Claudia Birkner, Ludwig-Maximilians University or Human Science Centre, Ludwig-Maximilians University, Germany In 2000, the surprising findings of the PISA-study highlighted a noteworthy gap between teachers’ assumptions regarding German students’ literacy skills and their actual test results.


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Consequentially, the conference of German cultural ministers agreed on the necessity of a definition of precise educational standards for school education based on empirical research. However, essential research is lacking for many subjects, especially for the domain of the fine arts (art, music, theatre, creative areas of languages, in sports and dance). This aspiration is addressed by the doctoral program “Kompetenzbildung in den künstlerischen Fächern und Fachbereichen der Schule" (Creation and recognition – building competencies in the artistic subjects and departments at school). Within this framework the following poster presentation will introduce a project, which focuses on children’s preconditions regarding the attainment of visual literacy. A qualitative-empirical research design is used to explore the heterogeneities in first-graders concerning their visual and aesthetic experiences and abilities. The design provides for a triangulation of different tests and interviews. For the purpose of gaining the data a board game is designed. Focal points of the exploratory study are metacognition and motivation. The poster of the project will depict the concept of the board game, which is modeled according to preliminary tests and the results thereof. Furthermore, a few findings of how children learn to see pictures will be formulated. In 2000, the surprising findings of the PISA-study highlighted a noteworthy gap between teachers’ assumptions regarding German students’ literacy skills and their actual test results. Consequentially, the conference of German cultural ministers agreed on the necessity of a definition of precise educational standards for school education based on empirical research. However, essential research is lacking for many subjects, especially for the domain of the fine arts (art, music, theatre, creative areas of languages, in sports and dance). This aspiration is addressed by the doctoral program “Kompetenzbildung in den künstlerischen Fächern und Fachbereichen der Schule" (Creation and recognition – building competencies in the artistic subjects and departments at school). Within this framework the following poster presentation will introduce a project, which focuses on children’s preconditions regarding the attainment of visual literacy. A qualitative-empirical research design is used to explore the heterogeneities in first-graders concerning their visual and aesthetic experiences and abilities. The design provides for a triangulation of different tests and interviews. For the purpose of gaining the data a board game is designed. Focal points of the exploratory study are metacognition and motivation. The poster of the project will depict the concept of the board game, which is modeled according to preliminary tests and the results thereof. Furthermore, a few findings of how children learn to see pictures will be formulated. P4 Narratives in visual arts teaching graduation

Flavia Maria De Brito Pedrosa Vasconcelos, Federal University of San Francisco Valley, Brazil Sebastiao Gomes Pedrosa, Federal University of Pernambuco, Brazil Erinaldo Alves Do Nascimento, Federal University of Paraiba, Brazil This research is focused on how the teacher can work with narratives in Visual Arts teaching Degree Course. First, it is explained this way of investigation in Art Education to my students, showing the differences between oral report, life histories and narratives. Having this difference made clear it follows a discution about Visual Arts teaching and didatical procedures upon some contemporary theoretical views: Triangle Approch, Visual Culture Education, Interculturalism and Multiculturalism, Interterritoriality, A/r/tography and Art and the enviroment. We sugested the students to research teachers actuation on different stages of education in Visual Arts at schools and also in non-formal spaces of education, with two main question: how the teacher teaches? What the teacher uses to teach? The results are very similar, they found teachers with no formation, acting in the field of Art,


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teaching and using views that cames since the begin of the 20th century, some of them still in the Renaissance ideas. The practice of many Art teachers must have revisited. Now, we are in review of the results, exchanging this reseacrh with other reseachers that works with narratives and reflecting about some main points. P5 ‘Interpreting voices’

Teresa Eca, ESAM, Portugal Ana Teresa Lobo Soares, ESAM, Portugal Paula Soares, E.S. VIRIATO, Portugal ‘Interpreting voices’ was an arts education project hold during the IDEAlAboratoires Comenius Project in Viseu , Portugal, during 9 and 10 November 2011. Teachers, local artists and students from 4 countries participated. The aims were to introduce concepts of dialogic art to students by doing a community art based project in the host city with local artists from different fields of arts. The topic was social issues and acceptance. ‘Interpreting Voices’ purposes was to reflect upon the experience of the region of Viseu by local people mixing it with the touristic experience of the foreign students who arrived in the city. During October students from Viseu collected stories and images with people who usually do not have a strong voice in the society. During two days in November the foreign students with local students interpreted the stories with the help of local artists ending up with final products such as: a drama performance; an installation in an empty store of the old city, street art in the city park, a modular object , prints and drawings. P6 A trip into the world of Byzantine art: an educational program in the Byzantine museum of the Archbishop Makarios III Foundation, in Lefkosia, the capital of Cyprus

Efi Ioakim, Ministry of Education and Culture, Cyprus Christiana Matsoukari, Ministry of Education and Culture, Cyprus Tzoulia Eliadou, Ministry of Education and Culture, Cyprus The Byzantine Museum of the Archbishop Makarios III Foundation hosts the richest and most representative collection of Byzantine artworks from the 6th until the 19th century that originate from all over Cyprus. In the Byzantine Museum children have a chance to take a trip into the world of Byzantine Art through an educational program entitled: “A trip into the world of Byzantine Art”. The program is organized and run with the cooperation of the Ministry of Education and Culture of Cyprus and the Byzantine Museum of the Archbishop Makarios III Foundation of Lefkosia. It refers to the fifth grade primary school children (10-11 years of age). The program aims to help children get a deeper knowledge of the Byzantine Art, which has a central place in the cultural and social life of Cyprus. Its basic methodology is a viable approach aiming to cultivate children’s observation, exploration and creativity. The program also aims to help children understand, appreciate and respect their cultural heritage. The program is supported with the use of audiovisual material and activity book for students. Through a pleasant and a fun way of learning, the children stop at ‘stations’ where they approach the chosen icons and communicate with them by taking part in various activities such as puzzles, theatrical games, completing mosaic icons, and drawing. With this presentation we are going to describe how the specific art program introduces children to the artistic heritage of their country and into the world of Byzantine art, helps them appreciate and respect both their own culture and others’ and gives them inspiration for their


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own artistic work in order to gain a more comprehensive, aesthetic education. P7 The Dancing Statue educational programme: Bank of Cyprus Cultural Foundation

Lefki Michaelidou, Bank of Cyprus Cultural Foundation, Cyprus Christodoulos Hadjichristodoulou, Bank of Cyprus Cultural Foundation, Cyprus Eleni Zapiti, Bank of Cyprus Cultural Foundation, Cyprus Maria Loizidou, Bank of Cyprus Cultural Foundation, Cyprus The programme has been especially developed for children of Elementary and Secondary Education, with the aim of enabling our young friends to get to know specimens of Ancient Cypriot Art in the context of a private collection. By recognizing shapes, sketches and forms that touch a chord and leave room for identification, children will eventually grasp the common thread that runs through the history of a land. The programme persistently reserves the leading role for the child, with the aim to command their attention for a fair amount of time that is both pleasant and effective. P8 Cyprus gallery art education

Fotini Larkou, Cyprus Ministry of Education and Culture, Cyprus This poster focuses on Cyprus Gallery Art Education. It aims to present the context of gallery art education in Cyprus by discussing some general trends within gallery art education in Cyprus, the programs and activities offered, the roles of gallery educators and school teachers. Educational programs in art galleries have been given a high priority during the last ten years by the Department of Primary Education. There are two art gallery educational programs that have been designed, developed and run by a group of people working for the Ministry of Education and Culture of Cyprus including inspectors of art and advisors of art education. This poster presents their context by discussing some general trends within gallery art education in Cyprus, the programs and activities offered and the roles of gallery educators and school teachers. They are designed to meet the outcomes of the national art curriculum adopting an interdisciplinary approach. Through wide ranging educational activities, gallery educators aim to provide relevant information and experiences that stimulate and broaden interest, enjoyment and understanding of the works of art. The educational program at the National Gallery of Contemporary Cypriot Art was the first program to be implemented in a gallery by the Department of Primary Education in collaboration with the Cultural Services of the Ministry of Education and Culture. The program was designed around the theme of "Motherhood." It aimed to introduce children to their artistic heritage, helping them appreciate and respect both their own culture and others. The educational program at the Limassol Municipal Art Gallery has the same aim with the above mentioned program which is to promote access, enjoyment and understanding of the visual arts through gallery education. The program entitled “Our Island through the Artists’ Pallet”, gives children the chance to meet the work of recent and older Cypriot artists. During these two programs gallery educators encourage students to get engaged and be inspired by the relevant artworks. Specifically, students have the opportunity to look at more closely and communicate with artworks and explore ideas, concerns and messages they


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convey aiming to promote visual literacy. Through a pleasant and creative way of learning, children have the opportunity to adopt roles, get involved in discussions and playful activities. Emphasizing the role of the senses, mediated by dialogue with others, is an approach that encourages alternative ways of thinking. Gallery art education in Cyprus today is on an exciting path. Children and teachers have spread creativity in learning, boosted visual literacy, and adopted social skills through art programs in galleries. However there is a need for more training and research, and there is still room for innovation. Gallery art education continues to develop and redirect its role in response to changes in art practice and society, students’ needs, and changes in formal and informal education. P9 A study on curriculum development for clay art education to create a peaceful society: Concentrate on 'Wee project' of the Ministry of Education and Science and Technology in Korea

Booyun Lee, Hanyang University, KoSEA, Republic of Korea In accordance with the policy of the Ministry of Education and Science and Technology in Korea, they are building six major tasks for 2011. Under it, they build a category 'Happy schools that build better character.' They listed three major categories comprising of 'Facilitate democratic education,' 'Step up support for students in need of extra care,' and 'Free schools from violation and safety accidents.' The Korean Ministry of Education and Science and Technology, following the 'Step up support for students in need of extra care' policy, is emphasizing 'Strengthen support students with adjustments issues'. For this purpose, 'Expand programs for students' mental health,' and 'Expand Wee project' have been set. The word 'Wee' is derived from two concepts: we +education and we + emotion. Planned by the Korea Ministry of Education and Science and Technology, Wee project is a support program to help students gain confidence and stabilize their emotions. In line with this program, they are running 'Wee class,' a program that fosters communication and close friendships. Through the regional educational bureau, they built 'Wee center,' a supporting system for students' personal, educational and social life. They built a professional diagnostic, therapeutic, and counselling programs with the support of governmental. Through this program that foster strong relationships, as well as support by schools and regional educational bureaus, we expect better students' emotional development and help them to communicate with society in a positive manner. Wee project is a program that aims to open students' emotions to the world. Through this study I'll investigate how 'Wee' project in Korea runs in educational field and schools and develop art educational curriculum in accordance with the spirit of 'Wee'. Especially, I'll use clay art which is creative material to follow 'Wee' project in Korea to make peaceful society. P10 Museums and learning in Cyprus

Diamanto Solomonidou Zisimide, Cyprus Ministry of Education, Cyprus Eleni Manoli, Cyprus Ministry of Education, Cyprus The Museum’s potential as a lifelong learning resource has increased as a result of


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changing perspectives of the museum’s role and the importance of museum education. Museums are a major expression of cultural identity in every society. A museum is only alive when it is open and visitors are present. Children’s visits to these treasure houses give them a special opportunity to spend time in rich learning environments, get up close to things they usually see in books and also to enrich and broaden their cultural experiences. This presentation aims to discuss the context of museum education in Cyprus. New and innovative museum educational programs have been designed specifically for young learners of primary school with fun learning activities introducing children in museums by stimulating their curiosity and thus making their visit more comprehensible. Through these programs the Ministry of Education and Culture aims to achieve education’s primary objective which is the holistic approach to child’s development through cultivating multiple forms of knowledge, attitudes and skills needed for the society of the 21st century (development of critical thinking, imagination, teamwork, interpersonal communication, creativity and sensitivity towards art and culture). The design of all the programs was made by teachers-counselors of museum education in cooperation with the primary education inspectors and the museums’ curators and was based on experiential learning and the cross curricular approach with a variety of activities. Children make imaginary trips in the ancient times of Cyprus pretending to be...... ......workers discovering copper, .....artists making beautiful statues and idols, .....sailors in the blue Mediterranean sea where the Cypriot Godess of beauty was born.... Recognizing the important role of museums in education we are going to present how valuable collections and archaeological treasures in our museums inspire and amaze children extending teaching and learning outside the classroom setting. P11 Mental balance in ancient Greece

Georgia Michaelides, Laniteion Lykeio A', Cyprus Freda Terzian, Laniteion Lykeio A', Cyprus The poster deals with the beliefs that the ancient Greeks had as concerns mental illnesses. It traces the gradual development of their ideas and how they eventually formed the basis of modern psychology. P12 Art Education and Art Therapy: Exploring strategies for supporting children’s emotional and social development through art

Chrystalla Pafiti, Cyprus Ministry of Education and Culture, Cyprus This study concerns the use of art therapy elements in art education as an attempt to explore strategies for supporting children’s emotional and social development through art. Based on the researcher’s background and teaching experience, it was observed that there are a large number of students, in Cyprus’ public primary schools, with emotional and social problems. Since a main goal of education is to address such problems, strategies for supporting students’ emotional and social development is essential to being explored. The use of Art Therapy elements was chosen since the main aim of art therapy is to enable people to change and grow on a personal level. So, this research concerns an action research (and a case study that emerged) that was conducted in a sixth grade class in a public primary school in Cyprus in the form of eight art lessons conducted by myself as an art


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educator, using elements of art therapy. This research was based on qualitative methodology. The sample was made up by 18 students aged 11-12 years old. Three data – collection tools were employed, including observation, interviews and artworks interpretations. In order to analyze the data the thematic coding approach was applied. Four major findings emerged from this piece of research. First, three art therapy elements (activities, materials, circle discussion) seemed to be relevant and accessible. Second, there was strong evidence of students’ social development through a case study. Third, there was evidence that some students benefit regarding emotional development. Last, no risks were evidenced while using art therapy elements in art education. This study also offers recommendations for further research. P13 Archive of Cyprus Child Art (ACCA): Its contribution and utilisation in art education

Kypros Pisialis, Cyprus Ministry of Education and Culture, Cyprus Stella Pavlou, Cyprus Ministry of Education and Culture, Cyprus This poster presentation focuses on the operation and utilization of the Archive of Cyprus Child Art (ACCA), established in 1968, where selected children artwork from various public primary schools of Cyprus are classified and maintained. Its collection is housed in public primary schools in three different towns of Cyprus (Lefkosia, Lemesos, Pafos). The ACCA belongs to the Ministry of Education and Culture of Cyprus, and the persons in charge for the management of the overall organization and utilization of the archival material are the Inspectors of Art in Primary Education. The collection includes numerous artworks from 1968 to today and is a priceless source of evidence regarding the evolution of child art in Cyprus, and the socio-cultural scene through children’s eyes. The aim of the ACCA is to preserve children’s artwork, study and promote child art, develop children’s aesthetic culture and creativity, and provide opportunities for acquaintance and engagement with various art forms. Every year new children’s artwork contributes to the growth of the collection. The archival material is utilized in various forms: for exhibitions in Cyprus and abroad, participation in island-wide and international art related competitions, and as source and as source of evidence for comparative study and social, psychology and art research. Over the last decade the digital technology is used to digitize the existing archival material, which is photographed and classified by art teachers in charge to complete the digitization of ACCA. Digitization, the process of converting documents, text, images, and objects from analog to digital form, is probably the most appropriate way to address problems of conservation of cultural heritage, since it ensures access to it, by protecting the archival material from the ravages of time. The ACCA digitization will also provide audiovisual material, which will be used in schools as educational resource in the art classroom and for interdisciplinary approaches as well. P14 Mail art network: Participatory art practice

Fabiane Pianowski, Universidad de Barcelona, Spain Breaking away from the official circuits of art galleries and museums, mail art heralds a new era for the circulation of artistic work, which focuses primarily on the collective. This alternative means of circulation for artistic proposals and ideas brings forward the concept of network that would later, with the birth of the Internet, become a highly significant issue for contemporaneity. The use of mail in the 1960s and 1970s as a tactical instrument in the field of art relates to the appropriation of the means of communication by the period’s artistic


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manifestations – a period in which establishing networks and communicating were crucial cultural elements. Mail art is a collection of varied aesthetics, whose means of expression is through official mail. Mail art appropriates this means of expression in a subversive manner to configure an alternative cultural channel for the exchange of artistic messages. In the 1970s, some critics and art historians considered mail art as one of the great phenomena of the international avant-garde. In its broadest sense, its actions enabled the new artistic languages to trigger communicational and structural situations, such as for example the anonymity. The goal of the mail art community was to break away from media’s one-way sender-receiver flow, through the spectators’ active participation in the piece itself. That would socialize authorship and dilute the borders that divide the artist and the public. In so doing, mail art democratizes art. Unfortunately, there are few academic studies about mail art, probably because that field of study is obdurately complex, the information is difficult to obtain. It is difficult to accurate facts and datas. The documents and works were frequently intend as ephemera. In spite of that, in this study we analyse in depth mail artists’ publications and interviews to build a mail art database that serves to map those artists’ network and to understand their communicational connections and strategies. The historical approach we propose intends to recover the memory of this sort of art-communicational production, in order to understand and also spread this artistic phenomena. The present study makes part of a doctoral research in History, Critic and Theory of Art at Barcelona University. P15 School chairs transformations to reflect the economic crisis: An attempt to assimilate with the objectives of the new curriculum in art education in Cyprus

George Savvides, 4th Primary School of Aradippou, Cyprus One of the aims of the revised curriculum in Art Education in Cyprus is to help students identify crucial socioeconomic issues which affect aspects of people’s everyday life and to communicate them through the creation of artifacts. The purpose of this study is to demonstrate a school-based art project as an example of successful instructional practice, designed on the grounds of one of the benchmarks of the new curriculum that relates to Sustainable Development and Social Life. The project aimed to foster children’s awareness of the global economic crisis phenomenon through the creation of a modern collection of art pieces which illuminate children’s understanding and concern on specific aspects of this major socioeconomic issue. The participants were the 75 6th grade students of the 4th Aradippou Primary School in Cyprus. The project lasted 2 months and it was organized in 3 phases. During phase 1, the students were engaged in group discussions based on various printed material about the economic crisis and made a list of the various aspects of the phenomenon (e.g. unemployment, poverty, etc.). They chose the “classroom chair” as the medium of the visual representation of their subject; they agreed that the chair symbolizes Power as the main reason for the economic situation. Of course, the fact that there were a lot of unused chairs, which needed to be recycled, in the school warehouse strengthened their choice. Each group chose an aspect of the crisis and determined the artistic intervention to be applied on the chair. During phase 2, the students used their creativity to transform the chair into a piece of modern art. They were encouraged to select materials that would better reflect the anticipated results. In many cases the students revised or improved their initial plans as new ideas were born during their interaction with the chair. During the final phase, students organized an Art Exhibition at the school to present their artifacts. The exhibition, apart from the 18 chairs, included a live performance by the students (interaction with a chair and use of their body and face to express a variety of emotions that people who are affected by the economic crisis experience). The data collected throughout the project (e.g. students’ ideas, artifacts, group discussions, visitors’ feedback and evaluation) revealed that the project had a positive impact on both the students who were involved and on the rest of the school’s students and staff. The students appeared to be able to express creatively their concerns and feelings on a major problem that affects the society they live in, they enjoyed the whole procedure, and at the same time they realized that there is a new approach to the art lesson


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which goes beyond the traditional method of using only a piece of paper to communicate ones ideas. Finally, the teachers of the school gained a positive outlook of how the Arts course could be approached through children’s eyes to communicate their ideas and emotions about major socioeconomic issues. P16 Art and the construction of their plastic perceptions in juazeiro - Ba

Euriclesio Barreto Sodré, Federal University Of San Francisco Valley, Brazil The Sub-project "Art and the construction of their plastic perceptions" has built na experimental methodology, which hás as guiding actions the Transversal Themes and the Contemporary Art. During the year of 2010, the students of graduation that participate of the project are developed a variety of activities such as: studies, classroom observations, seminars, workshops and improved concepts of Art Education for students in two secondary schools, Paulo VI and The Educational Center Argemiro Jose da Cruz, in the city of Juazeiro, Bahia. In the year of 2011, different cross-cutting themes were in a organized unit with Ethics, Cultural Plurality, Art and Enviroment, Technology and Consumption. The themes are suitable as a essential knowledge in the formation of the citizen, thus creating a dialogue with Contemporary Art and some of its fundamental characteristics: participation, the use of new materials, the change of scale, repetition, appropriation, deconstruction. Each school developed different proposals, which search to integrate the students of graduation that participate of the project and the students of schools, to the concepts of Visual Arts, producing installations, performances and artistic actions in general. P17 The protection, rescue, evacuation and aftercare of cultural heritage collections in accident and disaster situations

Heidi Wirilander, PhD student, University of Jyväskylä, Department of Art and Culture Studies, Finland The central topic discussed in my doctoral research is the protection, rescue, evacuation and aftercare of immovable and movable articles as well as documentary heritage collections in accident and disaster situations. The study examines 19 different incidents resulting in need for protection, rescue work, evacuation and/or aftercare of the cultural heritage collection. The researched incidents have occurred in Finland between 1990 and 2010 and they represent both museum safety and museum security categories. The main goal of my doctoral research is to develop general guidelines on how to apply preventive conservation theories in accident situations to prevent or minimize collection damages in the rescue, evacuation and aftercare working methods. The concept of cultural heritage is approached from the procedural viewpoint. The survey has a strong arts educational and cultural heritage educational orientation. These educational theories are utilized to develop processes that could be used to prevent accidents and disasters that may damage or destroy cultural heritage objects. The educational objective of my study of cultural heritage is to identify the aspects that could be used to prevent accidents and disasters threatening cultural heritage: 1. to whom education should be directed (public authorities, policy makers, the general public) 2. the circumstances in which the education is most effective (prevention work, rescue work and after-care) 3. methods of education (information, education, learning by doing, sharing of gained knowledge


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My study provides general information about how and with what type of mechanisms damage collections in accident situations. The research data makes it possible to recognize the primary and the secondary collection damages in researched accidents. Through the analyzed data it is also possible to name potential working methods to minimize damages to cultural heritage collections in accident situations. P18 Body image, identity and art education - A case study in Hong Kong and London

Shukfan Wong, HKUSPACE, Community College, The University of Hong Kong, Hong Kong The impact of western cultural ideals of thinness as a sign of beauty has been proposed to cause dissatisfaction with body shape and weight concerns among many young people not only in western countries, but also many Asian countries. This paper explores how young people's personal and gender identities are influenced and constructed by mass media, in particular, through the production of body images. It employs semiotic theory from the work of Barthes and Perice to examine the symbolic representation of body and identities. The work of Foucault and will also be applied to discuss the relationship between gender identities and body images representations. The study will focus upon the relationship between body images and eating disorders among young people (age 11-17) in the UK and Hong Kong. A survey was conducted in 2005 to illustrate the correlation between a desired body image and eating disorders, as well as make a comparison of the behaviours among secondary students in Hong Kong and London. The findings indicate that the students in Hong Kong are more concerned with the perception of their body image when compared with the UK students. It also shows that Hong Kong students are more susceptible to peer pressure. On the whole, the aim of the study is to investigate the impact of cultural value enforced by the mass media on the desire for a slim physique and the negative stereotyping of obese figures among young people who are from different culture and ethic backgrounds (i.e. Europe and Asia). The other concern of the paper is to show the possibilities by introducing the concept of visual literacy in art education to help students to develop a sense of aesthetic openness, and also critically evaluate the production of standardized body images in the mass media.


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Book of Abstracts Updated 5th June 2012

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