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232 pages

English

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Although art is taught around the world, art education policies and practices vary widely—and the opportunities for teachers to exchange information are few. International Dialogues about Visual Culture, Education, and Art brings together diverse perspectives on teaching art to forge a comprehensive understanding of the challenges facing art educators in every country. This comprehensive, authoritative volume examines global views on education policy, discusses new trends in critical pedagogy, introduces new technologies available to educators, investigates community art projects, and shows how art education can be used for peace activism.

Sujets

Arts visuels

ART

Digital

General

Higher education

Media studies

General officer

EDUCATION

Informations

Publié par	Intellect Books Ltd
Date de parution	01 janvier 2008
Nombre de lectures	0
EAN13	9781841502274
Langue	English

Informations légales : prix de location à la page 0,1600€. Cette information est donnée uniquement à titre indicatif conformément à la législation en vigueur.

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International Dialogues about Visual Culture, Education and Art
International Dialogues about Visual Culture, Education and Art
Edited by Rachel Mason and Teresa Torres Pereira de E a
First Published in the UK in 2008 by Intellect Books, The Mill, Parnall Road, Fishponds, Bristol, BS16 3JG, UK
First published in the USA in 2008 by Intellect Books, The University of Chicago Press, 1427 E. 60th Street, Chicago, IL 60637, USA
Copyright 2008 Intellect Ltd
All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without written permission.
A catalogue record for this book is available from the British Library.
Cover Photographs: Nelson Hoedekie Cover Design: Gabriel Solomons Copy Editor: Holly Spradling Typesetting: Mac Style, Nafferton, E. Yorkshire
ISBN 978-1-84150-167-3/EISBN 978-1-84150-227-4
Printed and bound by Gutenberg Press, Malta.
C ONTENTS
Preface: The Politics of International Art Education
Ana Mae Barbosa
Introduction
Rachel Mason Teresa E a
PART 1: GLOBAL PERSPECTIVES
Creativity and Culture: Redefining Knowledge Through the Arts in Education for the Local in a Globalized World
Elizabeth Grierson
Folk Arts and Traditional Media in Environmental Education
Durgadas Mukhopadhyay
Leading to Creativity: Responding to Policy in Art Education
Kerry Freedman
Post-colonization and Art Education: Standards, Aesthetics and the Place of the Art Museum
Nancy Barnard
PART 2: CRITICAL PEDAGOGY
Between Circumstances and Controversies: Proposals for a Visual Arts Critical Pedagogy
Irene Tourinho Raimundo Martins
Cultural Literacy: An Arts-based Interdisciplinary Pedagogy for the Creation of Democratic Multicultural Societies
Dan Baron Cohen Manoela Souza
Social Justice Through Curriculum: Investigating Issues of Diversity
Patricia L. Stuhr, Christine Ballengee-Morris, Vesta A. H. Daniel
Contemporary Artworks as Sites for Identity Research
Rachel Mason
Face (in) the Mirror
Nelson Hoedekie
PART 3: NEW TECHNOLOGIES
Blended Learning in Art Education: New Ways of Improving Visual Literacy
Dolores Alvarez-Rodriguez
Developing a Learning Environment for Drama with Hypermedia
Daniela Reimann
Implications of Media Technology-based Workshops for Art Education
Kaziju Mogi, Kinichi Fukomoto, Nagamori Motoki, Toshifumi Abe, Toshio Naoe Yuuka Sato
Creating, Developing and Maintaining a Digital Magazine: Revista Digital Art
Jurema Luzia De Freitas Sampaio-Ralha, Martha Prata-Linhares, Anna Rita Ara jo Gisele Torres Martini
PART 4: COMMUNITY AND ENVIRONMENT
Sementinha: School Under the Mango Tree
Ana Ang lica Albano
Cultural Brokerage and Regional Arts: Developing an Enabler Model for Cultural and Economic Sustainability
Robyn Stewart Christine Campbell
Art, Ecology and the Giant Sequoia Project
Elizabeth Kenneday
The Visual Arts and Development of Marine Ecological Values: The WorldFish Center Project
Lindsay Broughton, Jane Quon Peter Hay
Environmental Art and Community Art Learning in Northern Places
Timo Jokela Maria Huhmarniemi
PART 5: ART EDUCATION FOR PEACE
The Iraqi War Through Our Eyes
Bitte Fossbo
Art Educators Positions on Violent Conflict in Israel
Nurit Cohen-Evron
Fostering Community Cohesion Through Visual Arts: An Art for Peace Project with Young British-Muslim Girls
Mousumi De, Alan Hunter Andree Woodcock
Children s Pictures in the Aftermath of War. What do they Tell Us?
Victoria Pavlou
POSTSCRIPT: CHILDREN S DRAWINGS
The Ethiopian Village in Jewish Children s Drawings
Rachel Kroupp
Young Adults Constructions of Meaning in Child Art
Lourdes K. Samson
About the Contributors
Index
P REFACE : T HE P OLITICS OF I NTERNATIONAL A RT E DUCATION
Ana Mae Barbosa
University of S o Paulo, Brazil
Warm congratulations to Rachel Mason and Teresa E a for proposing a book about art education so heavily embedded in political thinking. Since the beginning of my professional life in art education, politics has been my main concern. I remember a publisher questioned my first article in a North American publication because he said art education has nothing to do with politics. Robert Ott, who defended the text, told him that whereas this might be the situation in the USA it was probably different in my country. Indeed it was. My text showed how the dictatorship in Brazil (1964-1984) attempted to detach art education from its social context and promoted teacher training that resulted in incompetent teachers. It wasn t translated into Portuguese because this would have caused more damage to my family and me. By that time the army had invaded the house in Recife where I lived with my husband (a professor of literature) on two occasions and we had moved to Brasilia and been fired from very good jobs at the university there. We finally gained internal asylum in S o Paulo, a big city where young people like us were invisible.
A few years later when I was invited to contribute to a book about art education and democracy published in the USA, my text was refused because, for the people concerned, democracy signified the politics of gender and multiculturalism, not presidential elections or the direct vote. I was influential in the participation of art teachers in the movement in favour of elections in Brazil (Diretas Ja), the strongest movement for democracy we had, in which millions of people took to the streets with meaningful posters and beautiful images.
This book reinforces my experience of the close relationship of art with real-life politics; and my belief that it is only possible to develop art in education in truly democratic and free societies. It explores many ways in which art education can promote equality of opportunity and work towards survival of the human race. It includes articles, for example, about: regional arts in the globalized economy, taking responsibility for the environment, learning in the community, the dialectics of multiple identities, public policy and democratization of knowledge. It even demonstrates a concern to put new technologies in the service of marginalized peoples. Among the topics discussed, creativity, multiculturalism and postcolonialism are my long-term cultural concerns.
The movement back to creativity we are witnessing today is not a return to the ideas of the 1960s. In the 1960s fluency was understood as the most valuable mental process in creative thinking. Today only neo-liberal and capitalist pedagogues subscribe to this view with the aim of producing a workforce that generates numerous novel ideas for the marketplace. Art educators who are concerned about social and political problems agree with Kerry Freedman that
Creative teaching is teaching for meaning, that emphasizes concepts as well as skills of analysis, critique, and synthesis in expressive art making, writing, and speaking. It helps students to understand the importance of art in their lives and relates this knowledge to other modes of communication .
(p. 43)
Creativity today is linked with mental processes like flexibility and elaboration implicated in reconstruction and transformation. Moreover, the development of creativity is not confined to making art as in modernist times. Reading and understanding the meaning of art and visual culture are understood to stimulate the creative process. One task for politicized art educators is to mobilize creativity to question cultural stereotypes and build multicultural knowledge.
Multiculturalism or interculturalism centers on searching out questions rather than providing ready-made answers (Geyer 1993). The questions have to be organized in ways that clarify national race relations and global conditions at one and the same time. I am not concerned here with the insidious process of legitimizing the global by reversing it into the local, but with capturing the new perceptions and sensations that result from connecting global and local cultures in the process of building new knowledge.
Interest in such topics in neo-colonialist central countries is fairly recent. In the 1960s and 1970s concepts like cultural identity and diversity were popular only in culturally colonised Third World countries; or with the minority groups in the United States and Europe. The Cultural Revolution that took place in Europe and United States in 1968 was strongly influenced by the liberation movements in colonized countries. Central countries only became interested in multiculturalism after the 1980s. When large numbers of dominated peoples (immigrants) started to knock on European doors, and black Americans, protected by law, demanded visibility and participation, members of the dominant system experienced a kind of penitence. They were moved by social guilt and began to identify the need to respect the previously undervalued cultures they had repressed in the past.
Researchers in the developed world who are committed to solving social problems today are focusing their attention on concepts like multiculturalism, cultural diversity and cultural history. However, their studies are not very helpful for the Third World because the answers pertain to their own societies. They do not pay much attention to social prejudice, for example, a variable that is very significant in the Third World. The educational systems in many Third World countries have promoted knowledge of European cultural codes as a means to increasing the efficiency of domination. Where the colonizers were unable to dominate a nation through education, they did so culturally by withholding erudite knowledge. This is the case with the Cayman Islands as this book explains - they still do not have visual arts or art education at university level. The strategy of denying colonized countries university level education is intended to weaken the intelligensia . It is also