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

1. Michael Wimmer Building Bridges through Art Art and Art Education in Belarus 10th of February 2011 © ohneski/Photocase, daniel.schoenen/Photocase © Eva Lausegger

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

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

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

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