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Michael Wimmer   Building Bridges through Art Art and Art Education in Belarus 10th of February 2011 ©  ohneski/Photocase, daniel.schoenen/Photocase ©  Eva Lausegger
EDUCULT and its professional background ,[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object]
The Arts: It is the context, which counts ,[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],©  UNESCO World Conference on Arts Education
The artists: From genius to social worker Research as the main driving force: For whom and under which circumstances do artists produce art? The changing role of artists in society: In from the margins? New ways of professional realisation: e.g. Artists as cultural entrepreneurs The changing role of the state or Towards a transnational self-concept A particular focus on young artists (flexibility, mobility, creativity, …) ©  EDUCULT, pictures: Ronja Vogl
Art Education, Arts Education, Cultural Education, Creative Education ,[object Object],[object Object],[object Object],[object Object],[object Object],[object Object]
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
Elliot Eisner: What Education can learn from the Arts ,[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],©  Martina Gaigg ©  Martina Gaigg
Your questions ,[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object]
What approaches are developed by the leading and successful art education institutions/universities/schools in Europe today? Towards a new combination of practice and theory: Learning in the arts is about detecting, observing, imagining – and reflecting Broadening the range of qualification: From knowledge transfer to the acquisition of key competences The project “Cultural.Explorers!” and its aesthetic research approach: How to combine the arts with everyday life University of Applied Arts in  Vienna: The example of “missink_link” © PwC/DKJS – Kultur.Forscher!
What kind of problems do they see, and how do they respond? The traditions of the established institutions are (too?) strong What we can‘t measure is of no value: The utilitarian dominance The changing role of the state and the appearance of new players The changing expectations of the audiences The fears of professionalisation and the need of  a common understanding of quality
Which are the leading European institutions in arts education, and why? Changes in the profiles and provisions of art universities Leading institutions are prepared to cooperate. They have the edge over „lone fighters“ The new importance of cultural institutions as educators The new role of foundations compensating the state ©  Martina Gaigg
What does European society expect from future artists? On the political level:   to contribute to European integration, help solving societal problems, stimulate economic welfare (and help shaping public profiles of politicians) On the economic level:   to take part in the development of a new entrepreneurial culture, including the conceptualisation of new products and services On the social level:   to help solving social problems On the educational level:  to take part in the further development of the national educational systems On the level of the consumer:   to produce an attractive programme that meets the expectations of the audiences And on the aesthetic level?
What is the role of the arts teacher in arts education in Europe today? ©  www.kultur-forscher.de The long way from detecting weaknesses to fostering strengths The teacher as a facilitator The teacher as a co-researcher The teacher as a motivator The teacher as a trustful backbone in risk taking
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
What is the global tendency in art education today in comparison to post-war time? ,[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object]
What are sussessful education approaches to educate free artists? To learn what makes an artist not only fit for survival but successful in a complex, fast changing world The importance of „soft skills“: comunication, convincing self-portrayal, entrepreneurship, ability to cooperate, being creative, … To learn in and from different cultures To bear and learn from defeat ©  Elsabe/Photocase
How does the Eastern arts education system (current CIS) look from the point of a Western researcher? The professional discussion is influenced by the political context Moreover, the arts education system is mainly characterised by ignorance of the Western partners What Western researchers assume is the existence of individual, isolated actors They experience rare participation in the European discussion They wish to increase and improve personal encounters with artists from Belarus Make use of foundations like Erste Bank Foundation, KulturKontakt, European Cultural Foundation … ©  kallejipp/Photocase
Next steps ©  ohneski/Photocase, daniel.schoenen/Photocase Is there a centre of expertise in Belarus? What can we do to improve the chances to share information and experience; how can we cooperate? Is there something like a common agenda to be further developed? How important are transnational organisations like Council of Europe? ©  ohneski/Photocase, daniel.schoenen/Photocase
Thank you for your attention! www.educult.at [email_address] ©  Mages/Photocase

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Building bridges trough the arts

  • 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.
  • 3.
  • 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.
  • 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.
  • 8.
  • 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.
  • 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

Editor's Notes

  1. Woher der Titel kommt Nicht nur eine Vielzahl von Projekten machen, sondern auch in Beziehung zueinander setzen, darüber nachdenken, voneinander lernen
  2. Zurecht große Bedenken Dagegen Kultur-Pisa Bewertet wird in jeden Fall Interviews Roundtables – SchülerInnen besonders ergiebig Dokumentationen/Forschertagebücher Teilnahme an Präsentationsveranstaltungen
  3. Unesco Essen Große Vielfalt von Einzelaktivitäten Schwerpunkt vor allem von Seite der Kultur Wie kann Nachhaltigkeit gelingen Qualitätsentwicklung Professionalisierung Institutionelle Repräsentation
  4. 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….
  5. 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….
  6. 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….
  7. 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
  8. 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
  9. 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
  10. Fachliche Aspekte Methodische Aspekte Management Aspekte