*Keywords: structured leisure time, afterschool programmes, family involvement, integrating in- and out-of-school arts education
In comparison to the various discussions and reforms within the field of in-school arts education, the importance and potential of out-of-school arts education have been relatively neglected. This discrepancy is understandable when we consider that in most countries, school is defined as the central and official locus of student learning. However, several studies point to the necessity of a more ‘decentralized’, or multi-layered, inter-disciplinary learning, while schools remain at the centre of education process. The relative importance and meaning of these multiple locations vary greatly according to local contexts. For instance, “afterschool activity” and “extra-curricular activity” certainly do not have the same meaning in diverse contexts. Extended families and communities may work as especially potent factors of education in some regions. At the core is a need to embrace a wide range of learning environments to encompass different places where learning takes place, which is precisely the aim of the debate to which we invite you to participate.
2. Advocating to different audiences and responding to local needs
*Keywords: social embeddedness; arts advocacy; instrumentalization of arts
The Road Map for Arts Education is a key outcome drawn based on deliberations during and after the 1st World Conference on Arts Education (Lisbon, 2006). The document is, on one hand, designed to promote a common understanding among all stakeholders of the importance of arts education and, on the other hand, to help governments develop their own guidelines for the practical integration of arts education at a national level. In efforts to enlarge target groups of arts education, certain arts education advocates have recently developed a substantial discourse putting the emphasis on the socio-economic benefits of arts education. In this case, how can we foresee the Road Map to reach out to a specific audience? The session will serve as a ground of discussions on how to adapt the advocacy arguments of the Road Map according to different audience’s interests and local needs.
Encouraging cooperation and partnerships
3. Intra and intergovernmental partnerships
Successful partnerships depend on mutual understanding of the goals towards which the partners are working, and mutual respect for each other’s competencies. The Road Map for Arts Education recommends, foremost, as one of the essential strategies for effective arts education "a joint responsibility for Arts Education within the Ministries responsible for Culture and/or Education and between the various mechanisms that secure the implementation and evaluation of Arts Education programmes; with each entity clearly aware of its contribution to the process". In this context, enhanced awareness on the impact of arts education on social, economic and cultural issues has motivated local and national governmental organizations to encourage collaborative reflection and partnerships on policymaking supportive of arts education as well as strategy building to ensure the widest possible access to arts education. This session is designed to present such best practices of partnerships and further promote integrated and cohesive partnerships between Ministries and among governmental organizations across borders as well as regions.
4. Partnerships within and beyond school: Collaborative efforts between public and private sectors, schools and communities, cultural institutions, etc.
Collaborations among public and private sectors, schools, communities and cultural institutions can result in many aspects of arts education development such as increasing and maintaining the pool of arts education practitioners, new possibilities of developing pedagogies and teaching materials, establishing teacher education programmes and combining professional initiatives and insight. Despite the existing differences in structural cultures between these institutions, active collaboration may be the most critical factor in successfully enriching teaching methods for in-school arts education programmes as well as designing integrated practices of out-of-school arts and culture educational programmes. Throughout this session, we seek to integrate diverse strategies of creative involvement from a wide range of sectors and actors and combine them into different arts education approaches in order to enhance effective cooperation within various learning environments.
5. Cooperation between teachers and artists
As mentioned in the Road Map "High quality arts education is enhanced by successful partnerships between professional art teachers as well as generalist teachers and highly skilled artists". However there are many challenges to the development of such cross-professional cooperation and the extent and effectiveness of these partnerships vary widely. In order to lay the groundwork for future collaboration between educators and artists, the competencies with which educators as well as artists enter their profession need to encompass insights into the other’s field of expertise - including a mutual interest in pedagogy. It is equally a challenge to equip teachers and artists with the shared knowledge and experience necessary for facilitating learning. In this workshop, we will examine the current challenges in this partnership and offer critical and reflexive interrogations on the needs in such collaborations and practical methodologies to solidify this cooperation.
Developing the capacity of arts education practitioners
6. Core competencies of arts education practitioners
Arts education, which refers to the teaching of various arts practices such as visual arts, performing arts, dance, music, theatre, creative writing and poetry, is of crucial importance to the development of the child. Art activities and creative teaching methods play a role in stimulating and challenging creative thinking and reinforcing self-awareness, self-confidence and interest in others. Therefore, highly-qualified and experienced educators can be a powerful catalyst for revitalizing students’ intellectual interest and social development. With the acknowledgement that the ability to enhance socio-cultural awareness through arts education is in the hands of educators and art practitioners, in this session, we will share ideas on which core competencies to prioritize in arts education practitioners’ capacity development. Moreover, we will discuss key elements and tools that can assist arts education practitioners in improving their core competencies.
7. Education and training system for teachers (general & arts) and artists
Education and training system for teachers and teaching artists are of vital importance, as they directly relate to the improvement of the quality of the educational contents. Taking into account the fact that the arts can help support the teaching of other subjects as well as enhance socio-cultural awareness, arts education must go further than simply utilizing the arts in teaching learners specific skills, practises and bodies of knowledge. Therefore, educators and teaching artists should be encouraged to understand the value of arts education to communicate and interact effectively with learners.
It is also critical for those fully engaged in arts education teaching to develop the skills required to cooperate with other arts education practitioners in an educational setting. Many reports and studies have examined a wide range of teacher education and artist training methods and explore such issues as tools to assist in achieving and sustaining quality arts education. In this session, we intend to share the experiences of these different training modalities.
Reaching out to a diversity of socio-cultural contexts and specificities
1. Global citizenship, cultural identities and arts education
*Keywords: globalization, alterity, identity, critical engagement, cultural encounters and construction of identity
Nobody can deny that education is the tool by excellence that opens the way to development. However bearing in mind the global challenges with which we are confronted as well as the diversity of viewpoints and situations embedded in modern societies, the effectiveness of education anchored in the traditional objectives such as pure transmission of knowledge is being highly questioned.
The new fabric of our multicultural societies puts in front of us the challenge of living in social harmony with individuals and groups from various cultural horizons that affirm their identity in multiple ways. In this context intercultural competencies and the capacity for global cultural citizenship have become an essential requirement.
As explicitly expressed in the UNESCO report "Learning: the treasure within" (International Commission on Education for the 21st Century, 1996), "education" is understood in a broad sense, nurturing the creative capacities and cultural expressions of human beings, in their multiple tangible and intangible forms, notably in seeking and imagining new ways of living together. Therefore the discussions in this session are expected to encourage further reflections on the tight linkages between arts education and global/cultural identities.
*Keywords: access to culture as fundamental human right; cultural self-determination; community-based arts; communitarianism; cultural diversity
Article 27 of the United Nations’ Universal Declaration of Human Rights (1948) defines “the right to freely participate in the cultural life of the community” as a fundamental human right. The basic rationale for making culture and the arts as essential components of a comprehensive education emerges from this right to ensure full and harmonious socio-cultural development of the individual and societies. Consequently, arts education should be considered as a universal right for all learners, including those who are often excluded from education, such as immigrants, cultural minority groups, people with disabilities and other under-privileged groups. For the empowerment of these communities, arts education should be able to give equal visibility to a diversity of cultural expressions and practises that come from the communities themselves and address their specific needs. In this light, this session would like to respond in reflective ways to the different societal issues we confront in face of the current pluralistic societies.
3. Digital media, popular culture and arts education
*Keywords: high culture and popular culture, critical reading of cultural products, visual media, critical reading and reappropriation of cultural products, interactive creation
Today’s youth are immersed in popular culture and digital media. Matching the power of the tools with the imagination and minds of creative people of today is another dimension of creativity to be considered, especially with the explosive development of information and communication technologies as one of the most powerful means to produce, preserve and communicate the fruits of human creativity. It is important to understand and engage such renewed daily experiences and practices into learning practises to stimulate the creative impulses.
Thus, a more positive approach to popular culture and the use of digital media opens up new perspectives for arts education and requests new roles for educators in the 21st century. On the other hand, some commentators find that while the use of popular media and digital technology undeniably elicits a more eager engagement in arts education, such an approach often results in a devaluation of both the process and product of creation. This session would like to open a space for lively exchange between academics, educators and fieldworkers to further discuss and explore the insights on the effects of such an expanding field in arts education.
Healing and relieving through arts education
4. Socio-cultural therapy and rehabilitation
The creative process of arts education undeniably enables the users to freely express themselves and communicate their feelings through artistic expressions and practises. For especially those who are in need of addressing and resolving personal or collective social trauma, the supportive and creative context of arts education has proven to be effective in responding to the aspirations, needs and fears of individuals and societies as well as relieving the distress.
Such therapeutic effect of arts education has surprisingly given shape to new ways of seeing the complex psychological and socio-cultural processes of recovery from traumas and strengthened the social aspects of rehabilitation in finding ways for people to re-participate in the community and in social life. In this context, this session invites experts and practitioners to participate in the discussions on considering arts education as a tool for socio-cultural healing.
5. Social cohesion and reconciliation
At a time when schools are being dominated by all sorts of deviations (violence, drugs, delinquency, etc) there are risks of it becoming a place of social and cultural conflict. Even in out-of-school contexts, we can easily observe the danger that vulnerable populations, such as street children, have to confront, often in insecure, violent and poor conditions, which threaten their security and development. Under such multiple risks, it has become essential that education and learning address the basic needs and rights of these learners to develop their skills and talents in a safe, culturally sensitive and nurturing learning environment without being socially stigmatized.
In these terms, arts education has particularly manifested its power to encourage collaborative reflection and action and participatory approaches to learning so that learners can enhance tolerance and respect for others in addition to building up their self-esteem. The session targets to highlight the value of arts education in promotion of social cohesion and reintegration through an active exchange of views and practises.
6. Peace building in post-conflict situations
It is increasingly recognized that education can be a principal part of humanitarian responses especially for children and youth who are affected by war and natural disasters and have lived in conflict situations. Unfortunately in most of the cases their physical, intellectual and moral development is even more jeopardized due to the fact that educational facilities and infrastructures are destroyed and access to normal schooling is extremely limited. However, structured play activities and creative lessons in out-of-school settings have been shown to ease the shock of those who have gone through traumatic life experiences.
The impact of creative learning goes beyond improving the physical lives of the children. It gives them hope for the future and provides order, structure and a sense of normalcy. Arts education can help to mitigate such psychosocial effects of conflict, disaster and displacement and further contribute to the reconstruction of post-conflict societies by promoting safety, well-being and peace in communities. This session will especially facilitate discussions on viewing arts as a powerful means to build peace in post-conflict situations.
7. Environment and arts education
In order to address the social, economic, cultural and environmental problems we face in the 21st century, the core mission of education and learning is to help individuals and societies learn to live sustainably and behave responsibly towards these issues. In particular, environmental education must continue to highlight the importance of addressing the issues of natural resources (water, energy, agriculture, biodiversity, etc) as part of the broader agenda of sustainable development and help people to develop the knowledge and skills to make informed decisions for the benefit of themselves and others, now and in the future.
Furthermore learning about, in and for the environment through arts education reinforces the creative and communicative approach of learning. Not does it only bring about environmental awareness through the pleasures of creating, it also encourages positive attitudes and behaviours to protect the world’s natural resources. In this session, experts are welcome to share their participatory experiences of responding to the environmental challenges of today’s society.
Social and economic intervention and arts education
8. Economy and arts education
As numerous studies have indicated, education has a crucial impact on our economic development. Arts education, above all, allows countries to enhance national competitiveness by leveraging human and cultural resources in the current knowledge-based modern society. It also provides a new direction toward sustainable economic development. Several governments have even positioned their nations to effectively take advantage of arts education by compensating for weak points in the current workforce structure.
These initiatives can improve the overall quality of life and create new jobs in the creative fields. Moreover, arts education could play a fundamental role in turning the current financial crisis into opportunity; result in a more balanced growth through realization of an economic integrated cooperation; and bring value to corporations that seek creative innovation. This session intends to further promote discussions on the interaction between economy and arts education.
9. Private and professional sectors’ contributions to arts education
In the pursuit of sustainable growth, a significant number of international corporations have shifted their management focus from production-and-distribution-oriented management to a management approach, which promotes corporate social responsibility. Furthermore, more corporations are expanding their social contributions and actively giving back to the local and global communities, especially in the realm of arts and culture. In line with the public sector’s efforts to implement well-rounded arts education reaching out to different actors and communities, private/professional organizations can also play a central role in strengthening networks and partnerships in order to construct a more robust cornerstone for the development of arts education. In this session, we will explore ways to engage more institutional participation and ultimately maximize the impact of these organizations’ presence in the development of arts education.
10. Life-long learning and arts education
What is an adequate period of time for arts education or is there any? Arts education should be open and available to all, just as art itself should be. As educators and governments have been concentrating increasingly on the topic of life-long arts education (continuing education), a demand to consolidate such requirements and expand the scope of arts education has rapidly grown. Groups of learners across all ages have become diversified and spatial restraints have been gradually removed, partly due to e-learning. The success of future perspectives will rely on the qualitative educational growth tapping into the potential of life-long learning. Across the international arena, various methodologies on life-long learning and arts education have been discussed. This session will reflect on the importance of lifelong learning in arts education and investigate the challenges in the realization of more effective and efficient life-long learning practices.
11. Changes of social role and responsibility of cultural institutions and actors incl. artists
As we enter in the 21st century information and knowledge society, we have witnessed changes in the realm of social structures including in the field of arts and culture. In consequence, what have become of the social role and responsibility of the public/private cultural institutions and artists in facilitating communication between the arts and public? How will they continue to play a crucial role in improving the quality of life at the individual and institutional level; and therefore, facilitating the encounter between social transformations and the public through the arts? This session has taken the theme of determining this very social role and responsibility of artists and cultural institutions.
Evidence for advocacy
1. Promoting indicators of arts education: How to assess and document the outcomes of arts education?
The use of indicators based on statistical data has become more widely recognized for its practicality in identifying methods to measure the status of arts education and evaluating consequences for policy making and enforcement. Implementing indicators of arts education enables governments to track progress in achieving the arts education policy’s mission and benchmark other countries’ best practices. Nonetheless, some underline the lack of reliability of the cross-cultural comparability of such data collection and argue that qualitative factors are not taken into consideration. This session is meant to introduce quality indicators of arts education, discuss the benefits as well as the disadvantages and outline a series of relevant policy implications and strategies.
Building information gateway
2. Multicultural knowledge structure: AE glossary
There are currently various initiatives of implementing glossaries in the field of arts education. As an example the Korea Arts & Culture Education Service (KACES) has undertaken the Arts Education glossary project in close partnership with UNESCO ahead of the 2nd World Conference. The first phase of this research project aimed at developing a tool of common understanding on the terms and concepts related to arts education. The second phase is now in progress with the objective to test the practical application of the glossary tool under different circumstances and identify its strengths and weaknesses. With various approaches and methodologies of glossaries in mind, this workshop will serve as a general discussion ground to explore diverse methods of arts education glossaries and to further prompt international cooperation in this area of arts education research.
3. The challenges and future of observatories and chair
Following the First World Conference (Lisbon 2006), UNESCO has launched two knowledge based bodies in the field of arts education, the UNESCO Observatories and UNESCO Chairs, especially with the aim to foster interregional exchange of knowledge and information on arts and cultural education. The UNESCO Observatories, currently established in the Asia/Pacific region, primarily serve as a clearing house, collecting, analysing, re-packaging and disseminating resources on arts education. The main function of the Chairs is to promote an integrated system of research, training, information and documentation in the arts education field and to facilitate collaboration between high-level researchers and Universities. In this session, we propose to examine the process and state of development of observatories and chairs, as well as their impact and future challenges.
4. Building networks of international cooperation for researches
Following the precedent case, the 2nd World Conference will set up milestones for the initiative of strengthening global cooperation in the realm of arts education. The expectations are that such international cooperation should equally target the arts education research domain in fostering exchange of knowledge and practises among countries and jointly advocating the quality of arts education and its implementation. There has been a growing recognition in meeting the need of such support for arts education research that includes building networks of international cooperation for researchers. This session is designed to promote a lively discussion about numerous issues related to networks of international cooperation on researches: identifying priorities and objectives in establishing such networks and examining its benefits and influences.
“Aesthetic experience,” along with “creativity,” is one of the terms most frequently used and perhaps least agreed upon in discussions on arts (education). Aesthetic experience and artistic thinking are, above all, an openness to the world and to the multiple ways of relating to it. They are more relevant than ever in a “post-industrial” era where humankind is soul-searchingly striving to overcome its instrumental relationship to the world, to find new paths of development which allow for sustainable development and harmonious co-existence between man and the world. Art is not only about self-expression and the full blossoming of individuals; it is also a way of being in the world, of living it. In this session, we hope to open a fruitful debate to foster different ways of thinking, understanding and conceptualizing arts education.
6. Creativity in arts education
*Keywords: creativity, self-expression, production of meaning, communication of ideas
Creative potential is in all of us, it should be supported and enhanced through various channels and processes, notably through education. The word “creativity” often conveys an implication of making novelty without relating on any existing components, whereas a contradictory definition could be that creativity means to generate something new by simply transmitting, combining, and applying existing ideas from diverse sources to a new environment. Furthermore, the notion of creativity varies greatly among people and different cultures. Our knowledge, culture, environment and immediate surroundings can serve as such source in which creativity finds its fertile ground. In this light, arts education seems to fully meet the expectations for “creativity” as to contributing to the growth and overall development of societies and bringing out the full potential of individuals. While fully aware of the importance of creativity for both the individual and society, this session will give critical consideration to the use of the term “creativity” associated with arts education theory and practise.
7. Interaction between theory and practice
*Keywords: discipline-based art education, informed practice, qualitative evaluation, participant observation
Integration of theory into arts education practise is a relatively recent phenomenon that challenged traditionally practice-oriented arts education. Some practitioners point out that theories are either too peremptory, paying little attention to the manifold variables according to which educators have to adjust their teaching; or, in their effort to achieve general applicability, theories become an enumeration of vague and consensual principles giving no practical guidelines at all, and thus of little use to practitioners. However, it is clear that we cannot simply do away with theory, without which we will be at a loss for guidelines for orienting and structuring practices, as well as for criteria according which to evaluate them. What we need is theories more embedded in practices. Thus this session will explore fruitful and constructive ways to bridge the gap between arts education theory and practise as well as to find a mutual ground of understanding between respective areas.