Teresa Eca Waae


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Teresa Eca Waae

  1. 1. WWA Meeting, NEWCASTLE OCTOBER/NOVEMBER 2009 Literacy, Transculturalism and Interculturalism and Zero- Poverty and Sustainability. Teresa Torres Eca InSEA/ APECV Abstract After the UNESCO Road Map 2006/7 art education has been under debate. Cultural diversity, creativity and innovation where emergent themes in education around Europe since 2008 . But in formal education arts education are still under threat viewed as minor subjects in the curriculum by educational policy makers head teachers, teachers, students and parents. On the contrary informal education is giving more attention to art education and successful examples are pointed out in many educational events . Art education in its many functions can be used for sustainable development, education for citizenship , education for values and environmental education. Arts, arts education and the role of arts and art education in society are changing and are challenging us to reframe our beliefs in a pos digital age. New technologies are now available to almost everyone , the world shortened in this decade with the accessibility of web 2.0 and the increasing developments of social networks ad open educational resources (OER) . These developments may have impact on the practice of at education in the world. It is worth to find out how are professionals of art education reflecting and discussing their problems, what are the used channels for reflecting about theory and practice? What is their impact on art education?
  2. 2. This is a crucial time for us to establish links and partnerships not only within disciplines but across the broad field of arts and learning involving stakeholders from communities aiming art education for all in formal non formal contexs of learning and art practices. Networking seems to be a good strategy to build links and partnerships. It is important to link organisations, institutions, social groups and individuals who are already interested in the benefits of art education for sustainable development, citizenship , values and environmental education. It is of utmost importance to build new and rhizomatic process of sharing ideas , discuss experiences and create new environments for art education. Such environments might not be constrained by boundaries between subjects, specialisms, art forms or areas of knowledge. And the organisations who are now building this new linkages might be multidisciplinary and located in both physical and virtual spaces. The internet brought us an incredible tool for fast communication and access to contents and other networks were created using this technology growing and spreading links between individuals, institutions and organisations very quickly , this forum is an example of its potentialities. We may consider that new technologies are reshaping the way we are making collaborative projects, links and partnerships. We never had such easy and fast access to educational resources, artists, museums, cultural centres, art educators and potential partners in different parts of the world, even thought the information we are sending digitally might be under surveillance it is tempting to believe that building networks is now an easy thing to do. And the interesting feature about it that they are non static, interactive and rhizomatic building links between pre- existing gaps between nodes. New technologies are now available to almost everyone , the world shortened in this decade with the accessibility of web 2.0 and the increasing developments of social networks ad open educational resources (OER) . These developments may have impact on the practice of art education in the world. Just have a look of some existent ones at different levels of organisation : National Networks • Encourage active and sustainable partnerships between educational contexts (formal and non formal) and the wider community; • Facilitate participation in learning contexts by local arts practitioners and the inclusion of local art forms and techniques in learning processes in order to strengthen local cultures and identity; • Facilitate cooperation between schools and parents, community organizations and institutions, and mobilize local resources within communities to develop Arts Education
  3. 3. programmes, so as to enable communities to share transmitting cultural values and local art forms…. ( UNESCO Road Map, 2006. Recommendations for Institutions: Partnerships and Cooperation, p. 17 ) There are many small and not so small nodes or networks working for similar art education goals. Some networks are driven my national or local powers, from governmental WebPages (e.g. http://www.educart.culture.gouv.fr/ in France) aiming to implement cultural education involving parnersips between teachers, artists, schools, communities and cultural centres . Another interesting governmental initiative generated by the English national organisation Creativity, Culture and Education and supported by the Arts Council , is the Creative Partnerships ( http://www.creative- partnerships.com/) . Creative Partnerships is a creative learning programme, designed to develop the skills of children and young people across England, raising their aspirations, achievements, skills and life chances. It fosters innovative, long-term partnerships between schools and creative professionals, including artists, performers, architects, multimedia developers and scientists. These partnerships inspire young people, teachers and creative professionals to challenge how they work and experiment with new ideas. Young people in this programme develop the skills they need to perform well not only in exams and extra-curricular activities, but also in the workplace and wider society. University Networks Others by consortiums of universities pursuing more academic aims such as Edartis (http://www.edartis.org/) in Spain and in France the Pôle Culture (http://www.passeursdeculture.fr/+-Education-artistique-+.html) created in 2002 by l’Unité de la Recherche, des Études et de la Formation de l’INJEP. Or at a international level ELIA ( http://www.elia-artschools.org/elia/index.xml/-/en) with 47 countries Professional Networks Other networks had great traditions such as the Societies and professional associations such as the The National Society for Education in Art and Design (http://www.nsead.org/) playing currently an extraordinary role in the new UK curriculum reform . The Société Suisse des Enseignants d’Arts Visuels (http://www.eav- vd.ch/) , the Associação de Professores de Expresão e Comunicação Visual (http://www.apecv.pt/ in Portugal, Kunsteducatie (www.kunsteducatie.be) in Belgium and the National Art Education Association (http://www.naea-reston.org/) is the leading professional organization in USA for art educators in pre-kindergarten through grade 12 as well as college and university professors and researchers, administrators, and museum educators. At world levels InSEA, ISME, IDEA , CID UNESCO, and ICOM/CECA represent a broad range of arts education professional associations or networks in both formal and non formal contexts of education. Observatories ad Forums
  4. 4. • Promote partnerships among all concerned ministries and governmental organizations to develop coherent and sustainable Arts Education policies and strategies; • Encourage government officials at every level join forces with educators, artists, NGOs, lobby groups, members of the business community, the labour movement and members of civil society to create specific advocacy action plans and messages; • Encourage the active involvement in education of arts and cultural institutions, foundations, media, industry, and members of the private sector; Integrate partnerships among schools, artists and cultural institutions into the core educational process; • Promote sub-regional and regional cooperation in the field of arts education, in view of reinforcing regional integration. (Unesco Road Map, 2006. Recommendations for Government Ministries and Policy Makers, p.19) The Forum permanent pour l'éducation artistique ( http://fpea.over-blog.com/ Is an observatory of art education in France integrating several professional and cultural organisations : : Alhambra 13, ANETH, ANRAT, APAD, ARCADI, ARIA, ADF, ARTA, ATEJ, Aubervilliers, Biennale Jeunes Publics/Lyon, CIPAC, CMEEA, Conseil nationale des CFMI, Culture et Départements, Danse au Coeur, danse sur cour, EAT, ENJEU/théâtre éducation, Entrées de jeu, FCPE, FNCC, FFMJC, Gonesse, GRAME, Institut international de la marionnette, Kyrnéa-Passeurs d'images, La Charteuse, Ligue de l'enseignement, Les Enfants de cinéma, Le Grand Bleu, L'oiZeau rare, La Maison des écrivains, OCCE, PEEP, Plume d'éléphant, Association POINT ART, SNAP-CGT, SACD, Scène(s) d'enfance et d'ailleurs, SE-UNSA, SI.EN-UNSA Education, Snam-CGT, SNUipp/FSU, SYNAVI, SYNDEAC, SNDTV, Théâtre de Sartrouville, Théâtre Dunois, Themaa, UNAAPE, UNSA-Education. Observatories and Forums are structures were information can be displayed, downloaded, uploaded and discussed by the audience , They can be used as tools for pedagogic exploration. Professional Networks usually provide a large array of materials and good practice examples sometimes involving different forms of art and authors from very different fields . The great majority show community based projects involving partnerships between teachers, artists, museums , schools , cultural centres or others social organisations We find for example in Finland many networks for www- based art education resources e.g. Taikalamppu ( http://www.taikalamppu.fi/ ) cultural centres network ; Kuvisope mailing list Kuvisope@uiah.fi (http://lists.uiah.fi/mailman/listinfo/kuvisope) art teachers network ; sivuaineverkko http://sivuaineverkko.uiah.fi/, art teachers network; SIG-group : http://www.kasvatus.net/fera/tekstisivu.tmpl?navi_id=249, researchers network in all the arts. In Spain Transversalia.net, (http://www.transversalia.net/ ) is a multidisciplinary space that seeks to understand the world with the help of art and its contemporary manifestations. Transversalia.net is a space for reflection in the classroom and beyond
  5. 5. trying to supplement the instruction of compulsory education cross through the multiple views and opinions that provided by artists and their works . They base their resources on the vision of different artists an scientists on issues such as , sexuality, relationship with nature and the planet earth, the city vital status and cohabitation, our body and its many forms of communication or isolation. It is also worth to refer other art teachers networks around the world focused on ways of using Web 2.0 and other digital technologies such as Art Education 2.0 (http://arted20.ning.com/) aiming to advance best teaching practices, promote professional discourse and collaboration, encourage cultural exchanges, facilitate joint creative work, and support artistic projects, curricular activities, and professional development opportunities. An in the Context of Portuguese and Spanish Languages the transcontinental network Rede Ibero Americana de Educação Artistica (http://redeiberoamericanadeeducacionart.ning.com/) also aiming to foster joint collaborative work and research on arts education. Blogs, Social networks , individual webpages Many professionals of art education artists, teachers, educators are reflecting theory and practice and discussing their problems using blogs, websites and virtual communities where they are constructing collaborative projects, disseminating research and practices, exchanging documents and materials. There are millions of it on the Web , and each one of them will be a potential partner , growing extremely fast in linkages between areas of knowledge for learning, individual, groups and organisations. Some of them are descriptive, others interactive, some are more critical than others but all of them might be of interest . Let’s see just one case: Media Arts Education A blog on interdisciplinary approaches in media, arts & education at school & university level by Daniela Reimann (http://daniela-reimann.de/media-arts-education/) , this blog is linked to hundreds of websites, forums, blogs and VR social networks , organisations, institutions, events . Daniela not only advertise but also critical analyse the information going beyond and research its impact and creating new linkages and projects in partnership with the members/ users of the site . Recommendations A rhizome ceaselessly establishes connections between semiotic chains, organizations of power, and circumstances relative to the arts, sciences, and social struggles.(Deleuze and Guattari 1987, 7) So, we already have a very rich background of existing nodes or communities in virtual spaces ready to start purposeful partnerships in physical spaces using rhizomatic growing structures. Rhizomatic structures are non-linear, anarchic, and
  6. 6. nomadic. (Lechte 1994, 102) Rhizomes create smooth space, and cut across boundaries imposed by vertical lines of hierarchicies and order. Rhizomatic growing is multiplicitous, moving in many directions and connected to many other lines of thinking, acting, and being. Instead of linear linkages such as the linkages usually provide by the heavy old institutions. Rhizomes are networks deterrorializing spaces and cutting across borders . It is important that non governmental organisations such a the WWA , InSEA , ISME or IDEA be aware of the potential of the nodes described earlier in this paper in order to • Start to identify cultural and educational social or individual organisations in each country so that they can initiate dialogue about policies and activities for the development of Arts Education; • Help to articulate links in formal and non-formal Arts Education between educational and cultural institutions; • Create tans-national cooperative networks, cooperative activities and alliances. References Lechte, John, ed. (1994) Fifty Contemporary Thinkers. From Structuralism to Postmodernity. London; New York: Routledge. Deleuze, Gilles and Felix Guattari (1987) A Thousand Plateaus. Capitalism and Schizophrenia. Trans. By Brain Massumi. Minneapolis: The University of Minnesota Press.