Building bridges trough the arts
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Beitrag zu Tagung "Arts Education in Belarus". Wimmer, Februar 2011

Beitrag zu Tagung "Arts Education in Belarus". Wimmer, Februar 2011

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  • Woher der Titel kommt Nicht nur eine Vielzahl von Projekten machen, sondern auch in Beziehung zueinander setzen, darüber nachdenken, voneinander lernen
  • Zurecht große Bedenken Dagegen Kultur-Pisa Bewertet wird in jeden Fall Interviews Roundtables – SchülerInnen besonders ergiebig Dokumentationen/Forschertagebücher Teilnahme an Präsentationsveranstaltungen
  • Unesco Essen Große Vielfalt von Einzelaktivitäten Schwerpunkt vor allem von Seite der Kultur Wie kann Nachhaltigkeit gelingen Qualitätsentwicklung Professionalisierung Institutionelle Repräsentation
  • Mitglied der ExpertInnen-Kommission zur Neuen Mittelschule Viele Talente erscheinen in unterschiedlichen Altersphasen – Viele werden überhaupt nicht zur Kenntnis genommen – Das Problem der Diagnose Berufsbildung – Verhandeln in erster Linie einen angewandten Kulturbetriff – Traditionelles Angebot der Kunst- und Kultureinrichtungen geht an ihnen vorbei Klassendenken aufrechterhalten, die einen Kultur und die anderen nicht Faszinosium: Keine Daten zur Ressourcenlage, bestenfalls die eine oder andere Wirkungsforschung (education in the arts, through the arts,…) Unterschiedliche Systeme, Logiken, Sprachregelungen, Schwerpunkte und Ziele….
  • Mitglied der ExpertInnen-Kommission zur Neuen Mittelschule Viele Talente erscheinen in unterschiedlichen Altersphasen – Viele werden überhaupt nicht zur Kenntnis genommen – Das Problem der Diagnose Berufsbildung – Verhandeln in erster Linie einen angewandten Kulturbetriff – Traditionelles Angebot der Kunst- und Kultureinrichtungen geht an ihnen vorbei Klassendenken aufrechterhalten, die einen Kultur und die anderen nicht Faszinosium: Keine Daten zur Ressourcenlage, bestenfalls die eine oder andere Wirkungsforschung (education in the arts, through the arts,…) Unterschiedliche Systeme, Logiken, Sprachregelungen, Schwerpunkte und Ziele….
  • Mitglied der ExpertInnen-Kommission zur Neuen Mittelschule Viele Talente erscheinen in unterschiedlichen Altersphasen – Viele werden überhaupt nicht zur Kenntnis genommen – Das Problem der Diagnose Berufsbildung – Verhandeln in erster Linie einen angewandten Kulturbetriff – Traditionelles Angebot der Kunst- und Kultureinrichtungen geht an ihnen vorbei Klassendenken aufrechterhalten, die einen Kultur und die anderen nicht Faszinosium: Keine Daten zur Ressourcenlage, bestenfalls die eine oder andere Wirkungsforschung (education in the arts, through the arts,…) Unterschiedliche Systeme, Logiken, Sprachregelungen, Schwerpunkte und Ziele….
  • Reformpädagogik Systemische Zwänge – Industriezeitalter/Maria Theresia/Mit einem Fuß im Kriminal Abwertung kognitiver Wissensvermittlung – ergänzt um den ganzen Menschen Grundsatzerlass Gesundheitserlass Es mangelt an Implementierungsstrategien Individualisierung, Stärkung vielfältiger Begabungen
  • Wie steht der Rest des Lehrkörpers dazu? Wie steht die Schulleitung dazu? Wie kann die Zusammenarbeit gestärkt werden? Welche Qualifikationen brauche ich dazu? Jetzt kommt immer der Satz: Aber das geht nicht wegen Die heutige Schulrealität ist ein vielfältiges Nebeneinander unterschiedlichster Zugänge und Methoden
  • Aktuelle Hausse geht vom Kulturbetrieb aus Lernen in Kultureinrichtungen wurde von den jungen Menschen besonders positiv dargestellt Viele Akteure kennen die Schule nur aus ihrer eigenen Vergangenheit Sorgfältige Vorbereitung der Zusammenarbeit – Wertschätzung der jeweiligen Profession Kritik an Dialogveranstaltungen Schule als offenes Lernzentrum – Ganztagsschulentwicklung. Hat auch Auswirkungen auf die architektonische Gestaltung
  • Fachliche Aspekte Methodische Aspekte Management Aspekte

Building bridges trough the arts Presentation Transcript

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