ABSTRACTS Updated 31st May 2012

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InSEA 2012 European Congress

Lemesos, Cyprus

25-27 June 2012

NATIONAL ORGANIZING COMMITTEE: CySea Council

Gianna Theocharous-Gkantzidou and Victoria Pavlou (Congress Co-Chairs)Kypros Pisialis (Congress Secretary)Efi IoakimFotini LarkouIoannis EliadesLakis PapadakisMaria LoukaTereza Lambrianou

ORGINIZERS:

CySEA (Cyprus Society for Education through Arts)

CO-ORGANIZERS:

Frederick UniversityEuropean Parliament Office in Cyprus

GROUND HANDLING:

CPC Events LTD

ACKNOWLEDGMENTS:

We would like to thank the following people for their contribution:

Costas MantzalosGenethlis GenethliouGraham NashJames SandersMarjan PrevodnikNektaria PapadopoulouRita L. IrwinSalvatore BenvissutoSotiroula PalmyriStefania SavvaTeresa Torres EcaVicky KaraiskouZoe Hadjiyianni

Editors of the Book of Abstracts:Gianna Theocharous-Gkantzidou, Kypros Pisialis

Publisher:CySEA (Cyprus Society for Education through Arts)

ISBN: 978-9963-7491-0-2

Co-Orginizers: Ground Handling: Sponsors:


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Insea 2012 European Congress/ Lemesos Cyprus, 25 27 June 2012

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Welcoming Speech

CySEA PRESIDENT

Honourable Minister, honourable Mayor, honourable Director of the Office of the European

Council of Cyprus and dear conference participants,I am honoured to have the opening statement, as President of the Executive Board of CySEA,the organizer of the InSEA European Conference 2012, entitled Arts Education at theCrossroad of Cultures.

I warmly welcome you with the defining verse of a Cypriot song, that is of a specific symbolicnature: It is a good, golden and blessed time, which we have chosen to begin thisundertaking. Todays gathering is truly a union of many cultures in harmonious co-existence,with participants from 56 different countries spanning all 5 continents.

CySEA, as a full member of InSEA and in recognition of this international organizations vastcontribution to the education of the arts and culture, applied at the 2010 EuropeanConference in Lapland, and was awarded the honour of hosting this three day conference in

Limassol. It is a great honour for CySEA, and it is of particular significance for Cyprus too,which in a few days shall accede to the presidency of the European Union council for thesecond half of 2012.

The title of our three day conference, Arts Education at the Crossroad of Culturesemphasizes the importance that men of the arts assign to Culture. Culture and the Arts arethe key components for a comprehensive education that leads to a multifaceted developmentof the individual. Allow me to use the words of the late Melina Merkouri If a child is sensitizedto culture, then a different society, a different mentality and a different direction will becreated.

Dear delegates, we live in a world undergoing transformation, subject to rapid changes anddefined by globalisation, the mobility of Cultures, modern technologies and by economicupheaval. As such, the aims and practical procedures in the education of the arts must be in a

state of continuous redefinition.

The main purpose of today's conference is to provide an environment for fruitful andconstructive dialogue amongst delegates. To exchange ideas and experiences on newcreative teaching methods and innovative approaches to research in which the Arts canshape Culture.

The artistic and scientific program of the conference focuses on social and cultural issues,modern technologies and environmental challenges that we face in the 21st century. Thewhole program is designed to help develop dialogue through different perspectives with thepurpose of exploring ways through which, education through art can respond to thecontemporary needs of students; to enable them as the citizens of tomorrow to functionharmoniously both at the level of their local and global communities.

I would like to thank the World Council of InSEA, the European Council of InSEA, and all ofyou, who, in spite of the current global economic crisis have travelled from far and wide tomake this conference possible.

I would also like to thank our co-organizers, the Office of the European Council of Cyprus andFrederick University. Special thanks to my colleagues from CySEA and the organizingcommittee for their tireless contribution, as well as to CPC Event Management for theirsuperb contribution to the organization of the conference.

The Executive Board of CySEA and I, warmly welcome you to the city of Limassol. We areconfident that your time here will be constructive and enjoyable and we hope this will be anunforgettable experience for all of us!

Gianna Theocharous Gkantzidou

President, CySEA


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Welcoming Speech

CHAIR OF THE InSEA EUROPEAN REGIONAL COUNCIL

''If the only tool you have is a hammer, you tend to see every problem as a nail.''

Abraham Maslow

Dear InSEA/Cysea Congress delegates,

WELCOME TO THE EUROPEAN REGIONAL CONGRESS OF INSEA, LIMASSOL,CYPRUS, JUNE 2012

On behalf of the European Regional Council of InSEA, it is my sincere pleasure to welcomeyou in the 2012 InSEA/CYSEA European Regional Congress in Limassol, Cyprus. Thismeeting of devoted and committed art(s) educators from all around is the largest visual artseducation event in Europe this year. It is a first class chance to present and attend new

discoveries in the art education field.We must use an opportunity to meet (new) friends and make networks during the Crossroadsvenue days of the Congress. Limassol is indeed a superb chance to throw a bridge across ariver; to throw many bridges across many rivers, represented by us participants! Limassol isan excellent opportunity for not only realising the theme ''Art(s) educaton at the Crossroads ofCultures'', but also to prepare an additional firm ground for ''Art(s) education to be one of thekey Crossroads in General Education, if speaking in interdisciplinary terms''!

I would so much like to thank the organizers of this congress. It is through your hard work,motivation and creative efforts that we are able to benefit from this event.Here will be speakers, all kind of workshops and cultural events to peek our interest andbroaden our experiences, knowledge and understanding. I hope you will find the Congress

fullfilling, invigorating and renewing you as an art educator and artist. Let us make the art(s)education stronger in Europe and wider! Let us not forget to paint, to dance and to sing whenan opportuny arise in the promising events! And - let us enjoy!

Crossroads are waiting for us to explore and to give meaning and content!

Marjan Prevodnik

Chair of the InSEA European Regional Council 2011-2014


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Welcoming Speech

InSEA PRESIDENT

I want to thank each of you for attending this congress. It is always such a heart-warming

experience to meet other arts educators from around the world. The International Society forEducation through Art is a worldwide organization guided by the belief that visual arts in itsmany manifestations are essential to human life and learning. There are a variety of reasons.I believe the primary reason is that the visual arts foster local and global transculturalunderstanding and appreciation. Each of our countries has exemplary traditions in the visualarts and our contemporary artists are forging new directions in international visual artspractices.

Learning in, through and from the arts provides an education that opens minds to alternativeways of thinking and being, to the processes of creating ones self, to nurturing a sense ofexcitement and a passion for learning, and to appreciating the diversity of cultures in whichwe live. Developing ones imaginative life through mindful awareness is a way for humanbeings to experience life in vivid detail and, arguably more important, to effect personal and

social change. Maxine Greene, perhaps, says it best: At a time of boredom, disenchantment,and passivity, few concerns seem as important to me as the concern for imagination,especially as that capacity can be released by encounters with the arts, and on whoserelease encounters with the arts depend. The arts call us to use images, sounds, andmovements, to think metaphorically about ideas in ways that may have previously seemedunconnected. This act of change, invention, metamorphosis, is what makes the arts soimportant to all learning activities.

Learning in, through, and from the artsare important conceptions for the design of curriculumexperiences in any learning environment at any age level. Our schools, galleries, musuemsand other arts education centres are important learning communities for providing theconditions for students to experience the very best education by learning in, through, andfrom the arts. The arts belong to all of us, exist in multiple forms within our communities and

our society at large, and should be considered essential to a balanced curriculum. After all,schools are places where students can flourish as they realize their full human potential tothink, feel, intuit, imagine, and act, as they engage in an artful curriculum, a curriculum full oflife, a curriculum that embraces what it means to be humanly present.

To reinforce these ideas with the larger society I am thrilled to say that with advocacy effortsfrom InSEA, ISME, IDEA and WDA, and ultimately, WAAE (World Alliance for Arts Education)among other NGOs and arts education organizations, UNESCO has proclaimed the fourthweek of May each year as International Arts Education Week. Lets all make sure we arehighlighting our arts education activities that week, securing media attention and sharing ourimportant work around the world.

Thank you for attending this InSEA European Regional Congress whether you are from

Europe or abroad. We value your contribution to our discussions and look forward to learningalongside each of you. Lastly, I want to extend gratitude to several organizations and groupswho have supported this congress. First of all, on behalf of InSEA I want to thank theexecutive board of CySEA, Gianna Theocharous and Frederick University for co-organizingthe congress. What a powerful team. We are deeply indebted to their time and attentiongiven to this immense effort. Working closely with them is the Congress Committee: weappreciate their commitment to making this congress a reality. It takes many long hours ofvolunteer work to make sure a congress comes alive and we are all indebted to theirdedication and enthusiasm for ensuring the success of this amazing undertaking. In additionto this team of art educators, we are also grateful to the Cyprus Ministry of Education andCulture and Cultural Services for sponsoring the congress. We know there are many worthycauses and we greatly appreciate their support for ensuring European and international arteducators have an annual event to discuss, debate and engage with innovative ideas. And

lastly, we would like to thank the European Parliamentary Office of Cyprus and the Cyprus


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Tourist Organization for supporting our efforts. We are very grateful for their assistance. Onbehalf of the wider InSEA membership allow me to express our deepest gratitude to all of theorganizers, sponsors and supporters of the Congress.

Rita L. Irwin

President, InSEA


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Welcoming Speech

CYPRUS MINISTER OF EDUCATION AND CULTURE

It is with great joy and satisfaction that I welcome the InSEA European Conference"Education through the Arts at the Crossroad of Cultures". The presence of many

distinguished guests and delegates from around the world reflects the importance andsignificance of the conference and I am sure that throughout its duration there will be ampleopportunity for the exchange of ideas and perspectives, as well as for the drawing of valuableconclusions about the Arts and culture.

One of the major goals of the cultural policy of the Ministry of Education and Culture is thedevelopment of intercultural dialogue, particularly in the current environment of globalization,where societies are increasingly shaped by the participation of people from different culturalbackgrounds and where the urgent need for mutual acquaintance and understanding isexhibited.

With the opportunity presented to our country for chairmanship of the EU in the second half of2012, I believe that the Arts and culture in general, comprise, perhaps, the most important

element of all events taking place. They are emphasized within the scope of interculturaldialogue, given that the Arts and their accomplishments, in their every facet, are the sharpestrepresentation of the psyche of all nations and the most powerful manifestation of itsexistence. With these characteristics, the Arts are a means to self-knowledge and thus, abridge of communication, as much between countries as between different groups livingtogether within a given society. The Cypriot people have always turned to the Arts to expresssorrow, pain or joy. Every significant event that has marked the history of Cyprus comes to lifethrough the eyes of our artists. This is, in any case, the privilege of every great art; it is theirrefutable evidence of the era in which it was created.

The pursuit of Arts is an oasis for people of all ages who live in society, where values arequestioned and wealth is measured by material possessions. The Arts help to shape arounded personality, equipping people with an appropriate aesthetic education, withsensitivity and imagination, leading to a rich and all-round experience that ensures intellectualenjoyment. The proclamation by UNESCO of May 21-27, 2012 as the International ArtsEducation Week, will undoubtedly help our children realize the importance of Art in the worldthrough all time. It is therefore, understandable, why development of the Arts is one of themain goals of the Ministry of Education and Culture. Conferences such as this here todayhave the full and active support of the Ministry.

I congratulate the Cyprus Society for Education through the Arts (K.O.E.T.) for its initiative inhosting the InSEA European Conference. Since its establishment, the Society, through itsactivities has been recognized both in Cyprus and abroad. It has developed significantactivities with regards to the Arts and culture, organizing exhibitions in Cyprus and abroad,seminars with renowned speakers and whenever given the opportunity, has undertaken theorganization of conferences such as the Sixth Regional Conference of Europe, Africa and theMiddle East as well as this InSEA Conference.

Dear delegates, the title of this Conference is ideal since it fits perfectly with the location andvenue. Our country, Cyprus, has the privilege of being located at the crossroads of threecontinents and with its thousands of years of history has certainly much to show. I thereforebelieve that the outcomes of the conference, to which I look forward, will be a useful tool andopportunity for reflection.

I wish every success to the work of the Conference and an enjoyable stay to all those whohave come from abroad. I congratulate and express my sincere gratitude to the organizers forthe invitation to welcome you.

Giorgos DemosthenousCyprus Minister of Education and Culture


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ABSTRACTS Insea 2012 European Congress25 June 2012, MONDAY Lemesos Cyprus, 25 27 June 2012

$

ProgramREGISTRATION: EXHIBITION AREA / 08:00 17:25

OPENING CEREMONY: GRAND HALL A / 09:30 10:30

MORNING COFFEE BREAK: EXHIBITION AREA - KOHILI GARDEN AREA / 10:30 10:55

BUFFET LUNCH: ANTHEA RESTAURANT / 13:20 14:40

AFTERNOON COFFEE BREAK: EXHIBITION AREA - KOHILI GARDEN AREA /15:50 16:15

InSEA EUROPEAN REGIONAL COUNCIL MEETING: ONISSILOS / 13:20 14:40

KEYNOTES:

CHAIR:

Fernando Hernandez

KEYNOTE 1: Rita L. IrwinGRAND HALL A / 10:55 11:25

KEYNOTE 2: Costas Mantzalos

GRAND HALL A / 11:25 11:55

DISCUSSION / GRAND HALL A / 11:55 12:05

SESSIONS:

S1: GRAND HALL A / 12:10 15:00 (Chair: Lourdes K. Samson)

S2: GRAND HALL A / 15:05 17:25 (Chair: Kathy Mackey)

S3: GRAND HALL B / 14:40 15:25 (Chair: Martina Paatela-Niemen)

S4: GRAND HALL B / 15:30 17:25 (Chair: Victoria Pavlou)

S5: GRAND HALL C / 12:10 13:20 (Chair: Marian Strong)

S6: GRAND HALL C / 16:15 17:25 (Chair: Teresa Torres Eca)

S7: TEVKROS / 12:10 12:55 (Chair: Fiona Blaikie)

S8: TEVKROS / 13:00 15:25 (Chair: Emil Gaul)

S10: TEVKROS / 16:15 17:25 (Chair: Fotini Larkou)

S11: EVAGORAS / 12:10 13:20 (Chair: Marjan Prevodnik)

S12: EVAGORAS / 14:40 16:35 (Chair: Mirjana Tomasevic Dancevic)

S13: EVAGORAS / 16:40 17:25 (Chair: Glen Coutts)

S14: ONISSILOS / 12:10 13:20 (Chair: Li-Yan Wang)

S15: ONISSILOS / 14:40 15:50 (Chair: Jooyoon Lee)

S16: ONISSILOS / 16:15 17:25 (Chair:Fernando Hernandez)

Curating for Critical Mediation: SALAMINIA A / 16:15 16:35 (Mello, P. & Fonseca, R.)

PANEL DISCUSSIONS:

PD1: GRAND HALL B / 12:10 13:20PD2: GRAND HALL C / 14:40 15:50

WORKSHOPS:

W1 (1stMeeting): SALAMINIA A / 12:10 13:20W2: SALAMINIA A / 14:40 15:50

SPECIAL WORKSHOPS:

SW1: GARDEN A / 14:40 17:25SW2: GARDEN B / 14:40 17:25


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A. KEYNOTES

KEYNOTE 110:55 11:25

What does art education practice set in motion do?Presenter: Rita L. IrwinChair: Fernando Hernandez

GRANDHALL A

Rita L. Irwin is Professor of Art Education, and the Associate Dean of Teacher Education, atthe University of British Columbia, Vancouver. She is also committed to leadership in artseducation and is the current President of the International Society for Education through Artand is on the Presidential Council of the World Alliance for Arts Education.

Abstract:The presentation will explore moments of becoming a/r/tography. A/r/tography is a research

methodology, a creative practice and a performative pedagogy that lives in the rhizomaticpractices of the in-between. Resisting the tendency for endless critique of past experience andbodies of knowledge, a/r/tography is concerned with the creative invention of concepts andmapping the intensities experienced in relational, rhizomatic yet singular events. Consideringseveral recent research projects, this presentation explores what it means to be becominga/r/tography. Rather than asking what an art education practice means, the question becomeswhat does this art education practice set in motion do? There can be no being a/r/tographywithout the processes of becoming a/r/tography.

KEYNOTE 211:25 11:55

ART CARES; promoting cultural awareness and understandingthrough art teachingPresenter: Costas MantzalosChair: Fernando Hernandez

GRANDHALL A

Costas Mantzalos is Professor in Visual Communication, and Dean of the School ofArchitecture, Fine and Applied Arts of Frederick University, Cyprus. Parallel to his academic

career, Costas Mantzalos has been involved in numerous international art and designconsultations. Since 1996 he is the cofounder of the TWO|FOUR|TWO art group, which hasbeen actively involved in the international art scene.

Abstract:The presentation focuses on the methods used for teaching art and design on tertiary level atan undergraduate cycle in the Applied Arts Department of Frederick University Cyprus.

Teaching is mainly as well as primarily concerned with the delivery of visual, oral, and writtenintelligence. The Art and Design process is primarily concerned with the power and value ofconcepts and ideas in the dissemination of knowledge and messages, both persuasive andinformative, to defined audiences. Visual intelligence, which is not easily assimilated as oral

and written intelligence, is viewed as the acquisition of critical and intuitive visualdiscrimination in the process of mark making and the construction of imagery, the delivery ofwords and the underlying understanding of icons, symbols and visual triggers. Visual lateral

thinking and appreciation of subliminal elements in Art and Design interpretation is seen inrelation to how all forms of imagery are delivered, received, deciphered and understood byappropriate audiences and viewers.Students are introduced to Art and Design with two major objectives. The first is an emphasis


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B. ORAL PRESENTATIONS

SESSION 1 (S1):

BUILDING PARTNERSHIPS BETWEEN THE WORLDS OFEDUCATION AND CULTURE

GRAND HALL A / 12:10 15:00

CHAIR: Lourdes K. Samson

12:10 12:30 S1.1Parody and precariousness in Felipe Sobreiros artwork: Avisual culture education practice

BelidsonDias, Universidade de Braslia, Brazil

GRANDHALL A

This paper presents a critical development of Felipe Sobreiros artwork titled Destructions. Itwas developed at an undergraduate level at the University of Braslias Fine Arts program,between 2002 and 2008, and it shows its origins, evolution, and connections with VisualCulture Education. In Destructions Sobreiro aims to parody and question the way the rhetoricof official discourses and narratives combine with the apparatus of visuality to control andcensor our everyday lives. In this case the subjects are seemingly unrelated to themechanisms of power. In part, the ubiquitous presence of pop art in our everyday life and theanonymous iconography which imperceptibly dwell the visuality of official discourses and theart market, both, are the main sources of Sobreiross artwork as the targets of his criticism.Plates, instructional diagrams, labels, sign posts are the raw imagery from which springs hiswork. Sobreiro deals directly with issues of Visual Culture as a tool of ideology, since heinserts his visual art production not necessarily in the traditional art gallery space, but at the

collective level of visuality, and at the same time, question the nature of instructionalmessages brought by those in power.

During preparation of the Destruction series, and through his own work, he sought a transitpoint between visual appearance and the message itself to make the viewer realize thearbitrariness that permeates the formal discourse of normalized and displayed sign posts inpublic, but that go unnoticed as they are published. Taking advantage of the anti-hierarchicalnature of Visual Culture, he locates his production in a space of criticism and thought, and byusing the very flexible and drifting inclination of the cultural studies he points to the static andrigid mechanisms of official rhetoric that should be reconsidered and questioned. Initially, Ipresent a brief course in which academic and artistic Cork passed the course, the poeticdescription of his vision in his own words, then I mention a number of artists that influenced hisproduction. This paper associates Sobreiros artwork to the objectives and pedagogies

proposed by the North American group called Vizicult in the consultative document suggestedfor the United States National Art Education Association for the subjects of Art Education andVisual Culture, in 2002. Finally, I associate the concepts suggested by the Vizcult with aspectsof Destructions in order to contextualize them theoretically and leave open possibilities for newways to further achievements through critical and reflective aspects of his artwork.


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12:35 12:55S1.2Paprika: A cross-cultural visual communication exchangeproject for teachers-in-training

Gabriella Pataky, ELTE TOK, HungaryMelanie G. Davenport, Georgia State University, United States

GRANDHALL A

InSEA members are open to opportunities to engage in intercultural education and involvetheir students in exploring the world through art. Recently, two professors, one in Budapest,Hungary, and one in Atlanta, Georgia, USA, decided to establish the groundwork for amutually beneficial exchange involving future art teachers in both cities. Since meeting inFinland at the InSEA regional congress in 2010, Gabriella Pataky and Melanie Davenportrecognized the many parallels in their professional activities and teaching philosophies andembarked on an effort to cultivate cross-cultural collaboration through art between theirstudents.

Beginning in Fall, 2011, our students have built greater understanding of each other and theworld of art education through visual dialogue. The 22 art education students at Georgia StateUniversity exchanged artworks and ideas with 40 Hungarian Students of ELTE UniversityTeacher Training College who have also produced art messages for students inFlensburg/Germany. Among other projects such as animations, photo galleries, collages, andpostcard art exchanges, students have also created and shared personal map-based artworksshowing their own communities from the perspective of a local, to communicate identity toother art students on the other side of the world with the help of visual language. This ongoingproject is expected to build into a rich, mutually beneficial relationship between campuses sothat students might gain intercultural professional understandings as well as shared respectand friendship. Of course this effort is fraught with challenges, as everyone engaged in cross-cultural work can appreciate. Besides language barriers, time differences, and limited funding,the demanding curricula already in place in each program leaves little freedom to add in othercomponents, no matter how exciting. Despite these challenges, we are determined to work outways for our students to share their artful perspectives on teaching, on life, and on the local-

global connections that define our world. Various resources on the Internet have proven to beeffective in support of our project, and we would like to share with others some of the ways wehave been able to overcome some of the challenges of this international project.

This presentation will also examine the students own experiences, analyzing how thesestudents solved the problem of representing their own location or personal journey forsomeone they have never met, and sending the work for others for interpretation andresponse.

The PAPRIKA project is a bridge between continents, students, cultures, and campuses, but isalso an invitation for every InSEA member who would like a glimpse into distant classrooms, tolearn new methods, to share ideas, get feedback, and broaden the global perspective of theirown students.

13:00 13:20 S1.3Bringing culture to the classroom (a program on culturaleducation for elementary and secondary teachers)

LourdesK.Samson, Miriam College, Philippines

GRANDHALL A

Bringing culture to the classroom is an in-service training program on cultural awareness forbasic education teachers. The summer program aims to introduce the pedagogy of teachingart, history and management as well as promoting appreciation of one's culture among theteachers themselves as they relate to the community they serve.

It runs for two summers in the months of April and May conducted from Monday to Saturdaystarting at eight in the morning and ends at five in the afternoon. The summer course provides


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opportunities for teachers to adapt to changes in teaching performances required for qualityeducation. Focus of this paper is on training and development in art with emphasis on culturaleducation. This paper uses such an intervention approach in providing skills to thirty (30) pre-selected public school teachers in Metro Manila. In the course of studies, participants aregiven opportunities to conduct cultural mapping and practice cultural resource management.Planning for a trade fair is one of the culminating activities of the summer program.

To implement the in-service program, a partnership is established between a governmentcultural agency, the National Commission for Culture and the Arts (NCCA) and a privateschool, the Miriam College (MC). Miriam college has been selected to develop and conductcourses on cultural education to pre-selected elementary school teachers. Teachers-participants come from various disciplines such as science, math and language and notnecessarily from the arts. Thus, the course includes basic lessons in introduction to art, historyand management.

This is a certificate course that may be credited towards a master's degree in culturaleducation. Teachers-participants who pass the qualifying exam may proceed to take theadditional 12 units (thesis writing) to earn a master degree in cultural education.

The in-service summer program was a successful experiment in a public-private partnership.

14:40 15:00S1.4Contemporary art in secondary schools reflects the attitude oftheir creators towards the contemporary world and socialissues

Nina Ostan, National Educational Institute, Slovenia

GRANDHALL A

Contemporary art is the art of today and that is our main understanding of ContemporaryArt. It focuses on the present and contemporary social issues. It reflects our

interconnectedness in the global world, and combines a local and a global perspective. Thequestion is how to present contemporary social issues critically and interpret them in studentsown way (from their point of view?)?

Not many secondary schools in Slovenia study, understand, and practice contemporary art.They promote it in a number of different ways: from organizing lectures, visiting contemporaryart exhibitions and discussing them, to creating video works and performances and carryingout conceptual art projects.

Juvenile art is specific because it reflects again and again the attitude of its creators towardsthe same issues that seem eternal and typical of each rising generation. It is a fact that everygeneration of young people is faced with the basic existential problems (Who am I? What kindof society do I live in? Where are the boundaries of my freedom? Who sets the boundaries

and who guides me? What can I change and how can I rebel? What should I do not to follow inthe footsteps of my parents? What should I do to make the world a better place to live in?).Since adolescents are preoccupied with these issues, the person who works with them musttry to preserve and to emphasize their sincerity and the power of their expression.

Youth art is and must be engaged; let it deal with very intimate or public affairs. Adolescentssee art as a space of democracy and equality, a space of active resistance to globalizationand capitalist omnipresence, media oversaturation and manipulation on one hand, and on theother hand a space of very intimate personal declaration.

The presentation will be illustrated with secondary school students' work.


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16:15 16:35 S2.3The role of cultural partnerships within pedagogy suitable forhighly capable students in Queensland State Schools

Kathy Mackey, Queensland Academies, Australia

GRANDHALL A

The rationale of this presentation to explore pedagogical frameworks in museum education andthose offered by other cultural and scientific organisations and align these with the remit of theQueensland Academies Young Scholars Program as a teaching/ learning strategy for highlycapable year five to nine students within state schools across Queensland. The Young ScholarsProgram offers experiences in the International Baccalaureate and Australian Curriculum contextsto enhance outcomes via global understanding, unique industry partnerships and 21st centurypedagogies -based not on content but rather pedagogical innovation based on tacit/experientiallearning concepts including immersive /experiential strategies , creative , intellectual and socialstrategies .( Claxton ( 1999) in Hooper Greenhill (2007) Museums and Education : Purpose ,Pedagogy and Performance, Routledge, Oxon)This positions differentiation strategies for highlycapable students centre around authentic opportunities, primary resources, transdisciplinarylearning and relationships with likeminded peers including museum professionals.

This research embraces how cultural Institutions are implicated in the generation of new forms ofpedagogy and allow me to contribute to the field of educational research within the context ofEducation Queenslands Framework For Gifted Education (Revised Edition 2011 (accessed Nov19 2011) which emphasises:Evidence-based practices The schooling of students who are giftedmust be informed by contemporary research-based practice and by ongoing evaluation andimprovement and the importance of Challenging students who are gifted to continue theirdevelopment through curricular activities that require depth of study, complexity of thinking, fastpace of learning, high-level skills development and/or creative and critical thinking (e.g. throughindependent investigations, tiered tasks, diverse real-world applications, mentors) (p:3)

Involving students in real time, and online learning experiences that involve inquiry basedchallenges in the arts and sciences, mathematics, history, creative writing and other disciplines thatdraw from collections in the Gold Coast City Art Gallery through collaborations with theQueensland Writers Centre implicate student collaboration and creative production as methodology/data capture of action research Enabling conditions that focus on opportunities for learners tobecome peer mentors, in collaboration with cultural organisations, in the learning process arecritical. This is implicated in the learning model valued by the International BaccalaureateOrganisation as well in the trends of the Australian Curriculum that focus on explicit rigour in areassuch as History and cross disciplinary priorities such as an understanding of Asia -Pacific,Indigenous and Environmental perspectives.

16:40 17:00 S2.4ArtWorks

Melvin Crone, Amsterdamse Hogeschool voor de Kunsten, NetherlandsRobert Smit, Amsterdamse Hogeschool voor de Kunsten, Netherlands

GRAND

HALL A

This presentation is about the ongoing project Art Works: People Respond to Contemporary Art.The title signifies what it implies: works of art can be the source of inspiration for new ideas andnew ways of thinking about the world. Works of art can help build communities of understanding.Works of art can be used as the basis for a new kind of art education that engages learners of allages in an investigation of life through art. When we thoughtfully respond to art, we can learn aboutourselves; we can also learn about how others respond to the same works. If we are generous ofspirit, we can come to know that we can think differently from one another and take joy in ourdifferences.

Art Works contains responses from a wide variety of Dutch people to three contemporary works of

art made in the Netherlands. Academy students showed the art works to young children, teens with


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autism, elderly people in an assisted living facility, three homeless men, lawyers and businessmen,a group of neighbors, dancers, handball players, and others. Three questions form a base: a. whatdo you see? b. what does in mean? c. how do you know? These questions start a conversationand keep the conversation going on about the work of art. The plurality of the answers show thedifferences between the viewers and the complexity of the work of art.

Art Works also contains the thoughts of the artists who made the works, and thoughts by invitedcontributors including art critics, authors, and commentators. They all respond to the threeartworks. The project consists of four sections: The works of art; responses to the works by adiverse Dutch public; reflections on the project by people within the world of art education; andphotographs from the project.

Art Works invites you to join.

17:05 17:25 S2.5Re-defining city aesthetics and identity: A new approach tolandscape restoration by creative class in the city

Chang Yaping, National Taiwan Normal University, TaiwanGRANDHALL A

Re-creating cultural landscape through arts projects in the city has become an important issue inboth city planning and contemporary art. More people have come to realize that art and culturalproperties can help to re-define the identity of a place, a city, or a neighborhood. Art projects canmagically turn desolate places into beautiful landscapes and draw crowds and make them becomepopular public spots in the city. Two famous examples are the Guggenheim Museum in Spain andBritish Tate Modern Art Museum. We have seen similar examples in Taiwan too. Through an arteducational perspective, this research examines the CMP BLOCK (park lane by CMPart/aesthetics/nature) restoration. Discussions will be focused on its development andimplications on cultural, artistic, marketing, commercial, and civil prospects. The researchmethodologies used are multi-dimensional: one is from the city Flneur as the mentality of culturalparticipation and observation; another is from anthropological field study approach to experiencethe cultural changes; the other is from market research to interview city crowds about the resultingeconomic development. The citys cultural and commercial textsthe occurring city landscapedevelopmentare the raw data. The research will then re-categorize and analyze the data andthen draw comparisons and make interpretations.

One can see from the research analysis that the CMP BLOCK example has successfullymanifested how creative class is important city asset, because they restored the desolate schoolsite and turned it into a popular city spot. People hang around the newly-restored spot with pride,comfort, and joy. Even though the capital corporation tried to raise the value of the city area byremodeling it through fashion, artworks, and exhibitions, this does not diminish its aesthetic value.If marrying economic development with artworks and cultural promotions can create newneighborhood and community spirit, we will see a win-win situation becomes reality. This examplehas proved that new city aesthetic development can actually brings about the increased value ofsocial asset. Moreover, the creative class composed of architects, photographers, visual artists, artteachers have become a group of very important people in the city because they have the magic tore-create the city aesthetics, and therefore re-define the value of the city. As art educators, weneed to take more serious account of such aesthetic development around our daily encounterings.To educate our students to become more aware of their daily life experience through becomingmore artistically-sensitive to what they see should be incorporated in the art class. Morecommunity-based art learnings can achieve such goals. If art educational practice is to raisestudents aesthetic sense, the cultural landscape of the city will be a necessary and critical lessonfor students to learn from. I believe that more well-developed cultural landscape in the city usingarts projects will be the future trend in both Taiwan and worldwide. By then, Taiwan will re-gain itsold reputation of Formosa back in the sixteen century, because the island of beauty will reappear infront of our eyes.


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SESSION 3 (S3):

INTERCULTURAL ART EDUCATION

GRAND HALL B / 14:40 15:25CHAIR: Martina Paatela-Niemen

14:40 15:00 S3.1Developing intercultural competence through intertextual arteducation by enhancing cultural awareness of interculturaldifferences

Martina Paatela-Nieminen, University of Helsinki, Finland

GRANDHALL B

In this presentation, I take the congress theme of arts and cultural identities and focus ondeveloping intercultural understanding by enhancing cultural awareness through the arts. Mypurpose is to examine intercultural competence.

In my licentiate (1996) and doctoral theses (2000), I developed an intertextual method forintercultural, intermedial and intersubjective art education. The background theory lies in variousapproaches towards intertextualities, specifically those of Grard Genette and Julia Kristeva,whose viewpoints enrich each other. Since developing this intertextual method I have applied it inthe practice of art education (for more than ten years and) in several different educational contexts,including art education in high school, art museums and also in a number of universities where theemphasis has been on classroom and art education students and artists. I have also applied themethod in media and art education studies for studying local and global cultures.

The main purpose of the intertextual method is to make current arts and surrounding culturesunderstandable. Understanding is gained by studying art open-endedly in relation to arts and

cultures. Then it is possible find out cultural differences in order to discover the plurality of theirmeanings and create new ones. This method is based on a contextual and associativeunderstanding of arts and cultures as well as on investigating and creating art.

In this presentation I describe some of these different teaching cases in order to show howstudents have created intercultural understanding by studying, learning and producing differencesand creating meanings in arts and cultures. I have used content analysis to find out how thedifferent approaches use the intertextual method to promote intercultural understanding.

The findings show that students produce differences and create understanding for pluralintercultural meanings as well as creating new glocal meanings in art. Also, intercultural exchangebetween students promotes understanding between people. The differences are valuable becausethey show the essence of a culture as well as explaining cultural history and heritage. Global

culture instead seems to soften the edges of cultural differences, making it easily understandablefor all. I believe that by creating differences interculturally it is possible to understand the pluralinterpretations of different cultures. These differences also provide possibilities for creating newglocal interpretations in the arts. Understanding and appreciating the differences promotesintercultural competence.


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15:05 15:25 S3.2Cultural identity and intercultural adjustment: Responses toportrait paintings of the adolescents of immigrant families

Seungyeon Lee, Long Island University, United States

GRANDHALL B

This study qualitatively explores the manifestation of intercultural challenges and adjustments inadolescents of immigrant families through their verbal engagements with a set of portrait paintings.Data were collected from in-person interviews with four Korean-American fifteen-year-olds, twoboys and girls, all from immigrant families. Participant observation and document analysis werealso included as data collection methods. A close examination of the collected data providesinsight into the multifaceted responses of these immigrant adolescents, who come from acommunity that is challenged and enriched by multicultural and urban experiences. Sinceadolescence is a critical phase in identity formation (Erikson, 1968, p. 128), this studys findingssuggest that the typical physical, emotional, and social role changes of teenagers are morecomplex and complicated in the context of immigrant families. Adolescents from immigrant families,whose numbers have grown rapidly in the American school population in last decade, face theadditional task of developing a cultural identity that inculcates their traditional culture whileaccommodating the culture and values of the United States (Kiang, 1995). Most significantly, the

responses of the participant adolescents to a set of five different portraits demonstrate that artplays a critical role in adolescent life. Their engagement with works of art can be a meaningfulexperience, as they ascribe their values, assumptions, and beliefs to specific images and objects inpaintings. Their responses indicate that these youngsters devalue their traditional culture as theystrive to fit into American society. The personal struggles and everyday experiences of youngimmigrants, such as uncertainty, ambiguity, and joy were identified and verbalized. Another findingsuggests that their engagement with works of art provides a window onto their emotional and sociallives, especially in terms of their adjustment and transition struggles. The study most importantlysuggests that adolescents delve deeply into artistic images, expanding their interpretations anddiscovering new meanings. Further, these representations are an opening to the outside world andpersonal experiences.


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SESSION 4 (S4):

IDENTITIES AND TECHNOLOGY

GRAND HALL B / 15:30 17:25CHAIR: Victoria Pavlou

15:30 15:50 S4.1ICT, bilingualism and bidialectism in a multicultural society:Integrating the multimedia builder software as an education tool todeliver fairy tales

SimeonTsolakidis, Frederick University, CyprusNikleiaEteokleous, Frederick University, CyprusVictoriaPavlou, Frederick University, Cyprus

GRANDHALL B

This study examines the development of multimodal educational material for children havingStandard Modern Greek (SMG) as second language (L2), through the use of Multimedia Builder(MMB) as a way to respond to contemporary challenges for promoting multiliteracy andmultimodality (e.g. digital, art and linguistic literacies) in primary education.

In Cyprus SMG is L2 not only for the immigrants children but also for the vast majority of the Greekorigin population, who has the non standard Modern Greek Cypriot as their mother tongue (Greek-Cypriot bidialectism). It is generally acceptable that in multicultural, multilingual and bidialectalsocieties, such as the Cypriot one, the educational system should take into consideration thesecharacteristics by integrating them within the educational material provided to students. To betterachieve this goal it has also been suggested that the educational material developed by theteachers may better attract childrens interest and respond to their learning preferences when a)

different modes of communication are integrated (e.g., digital, art, language), and b) childrenscultural origin is acknowledged (thus addressing contemporary social issues, such asmulticulturalism).

The current study aims to examine the development of educational material by pre-service primaryschool teachers based on elements of the different cultures existing in Cyprus. The population ofthe present study is consisted of 80 pre-service primary school teachers. Within the EducationalTechnology module, pre-service teachers are requested to find traditional fairy tales (either Greek-Cypriot fairy tales or related to the cultures of the immigrants living in Cyprus), and to transformthem in e-fairy tales using the Multimedia Builder MMB software (Eteokleous, Ktoridou & Tsolakidis2011). More specifically, they are expected to teach and deliver the messages of the fairy tale byintegrating the MMB software. In other words, they are required to develop multimodal educationalmaterial combining the fairy tales texts (using SMG and the Cypriot dialect) with other semiotic

modes such as images, music, etc. As an example of a multimodal traditional Greek-Cypriot fairytale the books of the famous Greek-Cypriot engraver Hambis are given.

The multimodal educational materials produced are evaluated based on criteria concerning theapplication and integration of digital, art and language elements (Eteokleous, Pavlou & Tsolakidis2011). In addition the participants opinions regarding their e-fairy tale experience are gatheredusing a discussion forum of an e-learning system. This is an on-going research and we are stillprocessing the data. It is expected that important conclusions will be drawn concerning the use ofartistic and cultural elements and MMB as educational tools (in relation to the importance ofcultural heritage, identity and intercultural understanding) as well as pre-service teachers attitudestowards multicultural and bidialectal education. Finally, the role of Schools of Education isdiscussed in appropriately preparing future primary school teachers for the needs and demands ofa multicultural classroom.


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16:15 16:35 S4.2Using technology and art for bridging the gap between "us" andthe "others"

Ioannis Zenios, Human Resource Development Authority of Cyprus,

Cyprus

GRANDHALL B

The paper refers to the contribution of art and technology, through film, technology andexperiential workshops, for bridging the gap between "Us" and the "Others" in the case of youngpeople (15-30 years old), members of the Greek Cypriot community. Specifically, the workshopsbegin by completing an online questionnaire with bipolar questions, in which respondents areasked to categorise a series of concepts such as 'cross', 'crescent', 'red', 'blue', 'economicmigrants', 'illegal immigrants', 'Greek', 'Turkish', "Pope", etc in one of the following two categories:"We" or "Others". Then the participants are devided into two groups, one watching an Americanfilm about World War II and the other watching a Japanese film describing the same war incidentfrom the Japanese point of view. The two groups are then brought together in a fruitful andconstructive confrontation to each other, which activates processes towards understanding the"Others" and accepting diversity. At this stage, the results of the "bipolar" questionnaire are

publicised and the participants are given, for each one of the questions, additional informationthrough experiential workshops, which tend to change the perceptions of the participants, asreflected in the results of the questionnaire, automatically extracted by the computer. Finally,participants are asked to answer an online questionnaire, which in fact summarises the results ofthe workshops and illustrates the views and believes that have been transformed through the artsand technology workshops.

16:40 17:00 S4.3Visual voices power, subject positions and learning as

performance. Visual methods in development

AnnikaHellman, Gteborgs Universitet, Sweden

GRAND HALL B

Contemporary research in the field of visual arts and education brings forward the studies of Visualculture and the ways visual culture contributes as a resource for subject positioning and constructionof identity through different forms of seeing and regulations of looking; orders of seeing (Mirzoeff, ed.2002;hman-Gullberg 2008; Lind 2010; Aure 2011).

Focusing on the local arena at an upper secondary school, the study I am working with aims to put inperspective and make visible the ordinary day assumptions (what is taken-for-granted) in theeveryday life of media education. A prominent feature of the study is developing visually basedresearch methods. By constructing and applying visual methods, such as video diaries, I hope toexplore important functions and elements in education, that otherwise wouldnt have been madevisible or noticeable. These elements concern for an example experiences, social and emotionalaspects, and are associated with the term relational aesthetics (Bourriaud 2002). In this presentationI will focus on the visual methods used, and some interesting findings and developments using videodiaries.

A visual method that I am currently working with is the video diary (Holliday 2007; Noyes 2008).Making a personal video diary involves the students connecting individually to a webcam, and talkingabout their work in media classes. By using video diaries I am not trying to give a more true or reliablepicture of reality than other techniques, video is not used to improve observation techniques. Videodiaries are a cultural phenomenon that is often found in popular cultural context such as reality showson television, but also in documentary film traditions and visual ethnography and anthropology. Visualdiaries can be seen as staged performances or as simulacrum in Baudrillards sense; something thatconstructs content on its own terms, the hyper-real (Baudrillard 1983). Philosopher Gilles Deleuzesees simulacra as a phenomenon in which the normative ideal and privileged positions can bechallenged and reversed (Deleuze 1993). Simulacra can be understood as a form of staged reality


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that offers students different camera identities, or subject positions, in front of the camera. Video diaryis also used as a method for the informants to collect data to the study, and in this way becomeinvolved in the study (Thomson 2008).

The theoretical tools I use belong to multimodal discourse theory, post structural feminism and theFoucauldian term governmentality (Foucault 2003b). A post structural feminist perspective contains

the view of identity as something changeable and socially constructed. We learn to understand theworld through the various positions and discourses that are at hand. We position ourselves, and areat the same time positioned by others within the different discourses we take part. Using thisperspective the complexity and ambiguity in the world is accepted; positions are offered, accepted orresisted simultaneously (Walkerdine 1990; Rhedding-Jones 1997; Davies 2003; Lenz Taguchi 2004).

17:05 17:25 S4.4The importance of translation: Cypriot Literature and thecontribution of the state

Niki Menelaou, Frederick University, Cyprus

ONISSILOS

The importance of translation in education mainly as a bridge between civilizations and its effectin bringing different cultures together is highlighted in this paper. The serious thought given to therole of translation within the framework of the EU is also focused on. Access to the EuropeanLiteratures of Languages not widely used is additionally studied. The term not widely used ispreferred rather than the definition small languages.

The use of language not only as a tool of communication, but mainly as a vehicle of culture is ofutmost importance. Its code, apart from what it illustrates, is something more. The paper issubsequently examining the contribution of the state in Cyprus to the translation of works ofliterature written by Cypriots. Until very recently, very few publications of translated Cypriot poetryby local or foreign publishers had been sponsored by the Cultural Services of the Ministry ofEducation and Culture in Cyprus, the States Department that deals with cultural affairs. Theproposal of writers themselves for their works to be translated into other languages coincided withfindings in 2002 that approximately 400 poets works had never been translated and with the factthat there was no government budget to be spent on assisting translation projects. Also, the statelacked a policy for the encouragement of writers to participate in EU translation projects instead ofsuch encouragement being a primary goal.

Today the landscape has changed significantly. The Cultural Services of the Ministry of Educationand Culture in Cyprus have introduced a budget that can be allocated specifically for translationprojects. This budget has contributed enormously to the mobility of writers and their works and thusto the promotion and dissemination of the literature of Cyprus abroad, furthering the developmentof intellectual works as an aim.


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SESSION 5 (S5):

LEARNING IN AND OUTSIDE SCHOOL

GRAND HALL C / 12:10 13:20CHAIR: Marian Strong

12:10 12:30 S5.1Theoretical, methodological and political issues on visualnarratives in arts and visual culture education

FernandoHernandez, University of Barcelona, Spain

GRANDHALL C

Recently a colleague sent me a stop motion made by his 10 years old daughter with Playmobiland posted on YouTube. The title of the visual story she made was "the best video ever done. In a

Fine Arts degree course at the University of Barcelona, I explore with students the cultural andidentity meanings of the Monster High dolls, because last Christmas they have been the mostdesired present by 6 to 12 years old Spanish girls. Reviewing the documentation about these dollswe found a stop motion on YouTube(http://www.youtube.com/watch?v=gBeVsMg5iU0&feature=related ) made by two little girls whonarrated the relationships of these icons in a sexualized manner. This click has been viewed bymore than one million people. In the last issue of The International Journal of Arts Education, PaulDuncum (2011) wrote an article about the use of YouTube by young people as a way of becomingprosumers and paying attention to the relevance of this creative practice for art education. Basedon these and other contributions and exempla (Schirato & Webb, 2004; Lemon, 2006; Bach,2007; Rif-Valls, 2011) ) that illustrate the importance of visual narratives both in and outschool, in this paper: (a) I discuss the significance of visual narratives as an arena whereepistemological, methodological, political and ethical issues converge; (b) I present a case study,

carried out at a university course on Contemporary Visualities, where students wereasked to explore and produce visual narratives; and (c) I narrate this course experience from anArts Based Research approach to understand and represent the theoretical and methodologicalimplications arising from the variety of students visual narratives.

The final purpose of this paper is to put on the arts and the visual culture education agenda theimportance of students production of visual narratives from a theoretical and methodologicalposition that has to be well founded, going beyond a celebratory attitude. Because it seemsimportant to remember, as noted by the Spanish film maker Bigas Luna, that "Contemporaryalliterate people will be those who will be not able to explain a story visually.

12:35 12:55 S5.2

Making art in and out of school - The impact of context uponchildrens aims and attitudes

PhiviAntoniou, University of Cambridge, Cyprus

GRANDHALL C

Children engage with art in a thoughtful way. They create and respond to artworks with a clearmindset regarding the reasons they do so and the way in which these activities are related to otheraspects of their lives. The findings of a recent empirical project conducted in Cyprus reinforcethese statements. The aim of this project has been to explore in depth elementary school childrensengagement with childrens art as creators and as viewers. More specifically, to acquire a goodunderstanding of the ways in which different children think about, value and engage with art,through an investigation of the factors which influence their decisions when making and respondingto art in different contexts. A comparison of the participants experiences and involvement in artisticactivities in and out of school reveals interesting aspects of how the context shapes the childrens


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aims and concerns, and has a direct impact upon their art-making and their attitudes towards art ingeneral.

This talk builds upon the projects findings and raises questions related to the implications of thefindings for art education. More specifically, through allowing the childrens voices to be heard, itdiscusses the value of personal engagement, the importance of meaning-making and the

consequences of the awareness of an individuals potentials and limitations as a creator, especiallyin relation to the context within which the artistic activities take place. The childrens perspective,their descriptions and explanations of their experiences with art ought to be an indispensable guidefor everyone interested in any way in childrens engagement with art. One of the main purposes ofthis talk is to shift the attention of art teachers and policy-makers to the focus of art education, in away that it makes the childrens experiences at school meaningful and integrated with all of theirother life experiences.

13:00 13:20 S5.3Plane, image and space

DacePaeglite, Pardaugavas Music and Art School, LATInSEA, LatviaArta Dzirkale, Pardaugavas Music and Art School, LATInSEA, Latvia

GRAND

HALL C

The research was made in the framework of the ECO workshop: Handmade Paper Casting Paper Works in the Pardaugavas Music and Art School from 2009 through 2012. In this period inthe schools programme a special attention was paid on how to develop in students theunderstanding of the ecology and a friendly attitude towards the nature, how to find out thequalities of the naturally and industrially produced materials and to get acquainted with theresponsible use of them, moreover to use all the previously mentioned in an attractive way formaking the students works creative. Meanwhile an inter-subject connection was made betweendifferent school subjects like Drawing and Modelling, Small scale design and Composition, byexploring and depicting a united theme in the plane and space, however, using the different meansof expression.

The aim of the work was to do the cuts and folds of the paper/cardboard and to find out thetransformations of the flat surface into the plastic image in the space. Students obtained theknowledge about the interaction of the plane and the space about the simplification of the form,the stylization of the image and the usage of the details that creates the significance of theidentification and impression of the silhouette. The practical work of the cutting of the image andthe form, the folding, the sticking and putting together was done in the meantime of the studies ofartists utopian ideas, experiments and art works. The result proved that the studentsunderstanding of the rules of perspective is improving; they spend more time on the making of thegeneral image and together with that they learn and develop the skills necessary for realizing theconstruction and planned design works.

We came to a conclusion which can be characterized by: In the groups of 10 - 13 years the transformations of the plane in the spatial, incredible images; In the groups of 14 - 18 years the dynamics of the working process, the diversity of the imagesand the realization of different layers of one topic; In the audience of the teachers the conclusions that the plane, the image and the space in onewhole creates our everyday life and that it is worth to research and understand it in a creative way.


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SESSION 6 (S6):

NEW TECHNOLOGIES & ART EDUCATION

GRAND HALL C / 16:15 17:25CHAIR: Teresa Torres Eca

16:15 16:35 S6.1Children's electronic remix culture

Paul Duncum, University of Illinois, United StatesGRANDHALL C

In a networked, participatory culture children's unsolicited YouTube productions have far-reaching consequences for art education. Productions typically consist of mashups or a remixing ofcultural sites. Examples are offered from parodical and socially transgressive videos, which areamong the most common by youth on YouTube. Enabled by the technology, youth are engaging increative activities that are changing the nature of learning in society in the direction of affinity-based, socially networked peer participation. Implications for art education include: acknowledgingthe developmental needs served by affinity based networks; teaching the skills of time-basedmedia; and learning to negotiate between the demands of institutional learning verses thehedonistic, oftentimes transgressive culture of youth.

16:40 17:00

S6.2AVATARS for artistic and tecnological learning

AngelesSaura, Universidad Autonoma de Madrid, SpainAmadorMendez, Universidad Autonoma de Madrid, SpainRosarioNaranjo, Universidad Autonoma de Madrid, SpainCristinaMoreno, Universidad Autonoma de Madrid, Spain

GRANDHALL C

This artistic research aims for the artistic and technological professional development of teachersof art.

We have studied the theories of McLuhan and Marc Prensky. We have also reviewed literature

about the development of artistic workshops with the theme of identity. We have focused on casestudies conducted by Escao, Zafra, Acaso, Agra and Ea, among others.

We provide a new methodology in the field of art education using Internet and social networks forthe artistic and technological professional development of Art teachers.

AVATARS, international exhibition, has been organized by Saura Angeles from research groupUAM : PR-007 "Digital Resources for Arts Education". It opened in June 2009.It is about the concept of network identity. AVATARS is a collective and itinerant exhibition of self-

portraits. It has been put together at the teacher-artists's network www.arteweb.ning.com.

Coordinated by teachers and artists, it comes in two formats: analog and digital. 120 participatingartists from 12 Latin American countries sent their works to form part of a permanent virtual

exhibition. The works chosen by the selection committee were printed on paper at Madrid andColombia. Pedro Villarrubia designed a poster showing all participants' works and customized it


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SESSION 7 (S7):

ARTS IN COMMUNITIES CULTURAL DEVELOPMENT ANDCAPACITY BUILDING

TEVKROS / 12:10 12:55

CHAIR: Fiona Blaikie

12:10 12:30 S7.1Drama in primary schools for intercultural integration

Angela Christofidou, Cyprus Centre of the I.T.I., CyprusTEVKROS

I have a dream that one day this nation will rise up and live out the true meaning of its creed:We hold these truths to be self-evident, that all men are created equal![ ]

Their freedom is inextricably bound to our freedom. We cannot walk alone.Martin Luther King, I have a dream

To build a concept covering the various aspects of educating through art, for the promotion ofIntercultural Dialogue between the children of different cultural background the foundation is simpleand loud and clear. All men are created equal. Diverse communities have specific educationalneeds while new realities call for new approaches in order to create a homogeneous society onEuropean and on national levels.

In order to have the same opportunities within the educational system, there has to be an officialrecognition expressed by EU policies and on national level within the Ministry of Education andCulture.

Different education skills present problems, which can be solved through the universal language ofart which indeed has so many different forms of expression and shapes and meanings, but whenwe follow the thread in the labyrinths of the human soul they all end up in the archetypal myths ofthe soul and human existence.

The goal has to be the transformation of European society beyond multiculturalism, a place wherecultures met and created an amazing new space together.

On political level these thoughts form some questions:

!The official recognition of intercultural art education on European as well as national level.

!The involvement of professional artists in arts education

! The reinforcement of the partnership between schools and outside arts and communityorganizations

!The creation of a new open multileveled educational system.

!The training of experts.

It is essential that we recognize arts educations capacity in contributing to lifelong learning and toEuropean Unions goal for Flexicurity. To reach a state of flexibility in the labor markets andsystems the individuals must be able to be flexible in their way of political and social thinking, inorder to be flexible in a continually changing environment.

Intercultural education is an education for all children and not only for those of ethnic minorities.


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This implies mutual learning and joint growth and a process of acquiring, not only a set of basicfacts and concepts about the other, but particular skills and competences which will enable one tointeract functionally with anyone different from oneself regardless of their origins.

Our experience with drama has proved that the children become confident after the conclusion ofa set of drama sessions, realizing their competences and those of others. They bond with their

drama team and they share emotions and thoughts more easily with each other. Drama is apowerful tool for social change and political intervention in the history of mankind and as EdwardBond has said: In the end I believe that drama has only one subject: justice.

12:35 12:55 S7.2Drama and adolescents: Social issues focused drama workshopsand performances in 21st century Cyprus

Andri Costantinou, Frederick University Cyprus

TEVKROS

The presentation will firstly present and describe certain drama workshops as well asperformances by teenagers that took place in Cyprus the last few years. The group work inresearch focuses on subjects such as tolerance, immigrants next door, coexistence of ethnicgroups (Greek-Cypriots and Turkish-Cypriots) as well as everyday problems of adolescence, likeschool failure, family problems etc. The framework in which they are organized varies fromsecondary school drama clubs and teachers initiatives to urban out-of-school activities andsummer schools in the countryside which includes the experience of the group living together forsome days. They end up either in a devised performance or a short scale presentation/discussionof the results of the workshop and the experience.

Their methods pay special attention to team and trust building and the content concerns a widespectrum of drama in education techniques, devised theatre, creative writing etc. Also, in somecases, the use of art, music, dance and corporal expression broadens the horizon of theseworkshops.

All these attempts, located in the social and political context of contemporary Cyprus, are related togoals such as the development of new attitudes concerning peace, mutual understanding, realizinghuman right matters and how every person is involved in these, empathy and creative use ofdifferences, intervention to society, as well as self-esteem and self-awareness. Drama and otherarts are used as means of creativity, free expression and deliberation of talents as well as asharing procedure of what the individual can offer to the team and what he or she can gain out ofthe contribution.

Secondly, these paradigms will be connected to internationally acclaimed theories, methods andtechniques concerning Drama and Theatre in Education, Community Theatre and Augusto BoalsForum Theatre. Finally, the presentation will discuss how drama can be useful as a socialintervention and a unifying means and procedure in contemporary Cyprus.


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SESSION 8 (S8):

VISUAL CULTURE AND SOCIAL ISSUES

TEVKROS / 13:00 15:25

CHAIR: Emil Gaul

13:00 13:20 S8.1How might pedagogy and didactics for a visual culture educationbe developed? An european version of visual culture pedagogy

Ingelise Flensborg, Danish School of Educational Studies, rhusUniversity, DenmarkMie Buhl, alborg University, Denmark

TEVKROS

The society is orienting global and a diversity of different social systems using different visualsigns are trying to communicate across cultures. The global network is demanding a commonvisual ground to stand on and at least a conscious use of visual communications. This makesvisual culture pedagogy important in an educational perspective. We wish to introduce visualculture pedagogy to teachers who are working with pictures and visual phenomenons, to arthistorians working at the museums and to researchers in art, language, medias, drama, design andarchitecture as to educators related to other subjets where visual (re)presentations are part of theknowledge that the subject contains. Visual phenomenons are seen as potentials for learning in aneducational and institutional frame, visual events as the interaction of a viewer and visual eventscan (with communication theorist Jean Trumbo) be divided in 3 kinds of events: Visual thinking,visual learning and visual communication. The visual cultural strategy of reflection is a didacticsubject for the use of visual culture in a pedagogical practice. Visual culture is the construction of agaze at the environment, the physical as well as the virtual and to pose questions to the conditionsfor what you see. The literacys in a visual culture pedagogy is consisting of two main parts: Thedecoding or analysis and the production of meaning, the representative and presentative process.The making of images is still important as the students hereby acquire insight into the creativethinking process of visualizing. Making images also allows the students in a visual culture subjectto discover their own cultural positions.

The lecture will outline some of the contents in a new education and give examples of practicesdeveloped with students at university level.

14:40 15:00 S8.2Championesse - Women's boxing in the media

Helene Siebermair, Kunstuniversitt Linz, Austrtia

TEVKROS

The aim of the presentation is to show an analysis between gender and sport through the media.The presentation is connected to the subject of arts and society, and focuses on visual cultureeducation pedagogy. As an art educator and filmmaker I want to give an example how studentscan find out more about the rules between media and reality and develop a broader view onwomen in sport in general.

FOCUS WOMENS BOXING: Ever since womens boxing first entered public awareness, themedia have influenced its image. Ulrike Heitmller could not have competed in Germanys firstamateur womens boxing tournament if it had not been for the huge interest of the press.Professional fights of women would not have been broadcast on TV without Regina Halmichsappearance in entertaining shows. In professional boxing especially, women are using the media not to become famous but to be able to compete in the first place. Using the media means


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adapting to prevalent marketing strategies, which in many cases equals adhering to traditional rolemodels.

My presentation explores different types of media which create an image about womens boxing:essayistic and academic prose, radio and print media, TV shows and movies. All the mediasattended to the construction of clichs and mystical views on women in this sport. The making of a

separate constructing medium in its own right, the documentary film championesse, is alsoreflected.

Along the way students could develop an entrance to a world we usually dont have access, theycould reflect artistic strategies (creating questions not answers) and filmic methods (direct cinemarelating to concept, shooting and cutting decisions) and they could be sensibilized upon genderframing by analyzing role models, traditional prospects and courageous breakouts.

Synopsis of the documentary championesse Seven women boxers. Seven strategists. Sevenwinners. For amateur boxer Maria, in the boxing ring and in real life likewise, everything is aboutlearning not only to roll with the punches but to dish them out too. For two-time world championHeidi from Lower Saxony, personal development is the overarching principle. In fights she gets to

know her limits and learns to overcome them. Melanie is holding the title of Austrian champion,Raja and Maria are professional boxers based in Karlsruhe, Germany. For all three women, thereasons for which they are boxers are the same: a boundless joy of fighting and winning. Nicolehas stood the test both physically and psychologically by winning the title of European champion.

And for Heather from Canada, founder of the largest womens boxing movement in the world, thereal victory of womens boxing is the fact that there is a close community of strong women.championesse takes viewers to Austrian and German gyms and boxing rings, showing women whofought their way into an archaic and male-dominated sport.

15:05 15:25 S8.3Art educational and social communication - Review of pedagogies

Tania Callegaro, Fundao Escola de Sociologia e Poltica de SoPaulo, Brazil

TEVKROS

Three projects of Art Education that took place at the Arts and Communication School fromthe University of So Paulo (Escola de Comunicao e Arte - ECA/USP) from 1994 to 2003are reviewed from two perspectives: 1- mediation theory, in the Social Communication field,and 2- communication aesthetic, present at collaborative art, mediated by technologies ofremote communication. Each project explored remote communication among groups ofstudents from different cities through the Internet, a learning process and interculturalcollaborative artistic production.

The objectives of this article are: 1- to compose part of the art history education in Brazil,especially the one produced at ECA/USP, which distinctive feature lies in the development ofan interdisciplinary academic production that makes Art and Social Communication getstronger; 2- to use the mediation theory to build a concept of political art educator, in local andglobal transit; 3- to describe an art education pedagogy in constant change, built fromdialogical, interactive, collaborative and technological processes; 4- to discuss the arteducation and the art educator in Brazil and in the world, inserted in the great communicationand information flows, and also in cultural, political and economic oppositions.Since de 1980s, at ECA/USP, some art education researchers have become notable, suchas Ana Mae Barbosa and Maria Rezende Fusari, together with the communicationresearchers Ismar de Oliveira Soares, Jos Manuel Moran Costas, and others, that haveapproached the language and mediatic production of TV, Video and Movie to the studyingand understanding of art and art education in broad contexts of social and cultural

communication.


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The art education experiences reported were developed in this academic environment andput into practice at the public schools in the State of So Paulo, Brazil, and also at schools incountries like Japan and the USA.The projects are: 1- Shodo Project, Brazil Japan(1996/1997); 2- Water Pollution Project, Brazil and CA/USA (1997/1998); 3- Todeolho.TvProject (2002), developed among youngsters from different cities in the State of So Paulo,

Brazil.

The developing of this article features some parts from the authors PhD thesis in ArtEducation and Social Communication (1999); the analysis of the projects from the Mastersdissertation of Isabel Leo, ECA/USP (2008); the article from Barbara Means and ShariGolan, Transforming Teaching and Learning with Multimedia Technology, related to TheChallenge 2000 Multimedia Project, CA/USA, (1998); the report from Ismar de OliveiraSoares, postdoc in communication and education, developed at ECA/USP and MarquetteUniversity, Milwaukee, Wisconsin, USA, (2000); the article from Ana Mae Barbosas bookInquietaes e Mudanas no Ensino da Arte (2008);current literature about art education and comparative reading of the three projects under themediation theory perspective.

Although its been more than ten years, the projects that were analyzed are alsocontemporary, showing possibilities that havent been much explored in pedagogies of arteducation and among art educators.

In this article we state that, to study the contemporary artistic production and to learn how toteach it in a rich social and cultural context, full of cultural diversities, interaction possibilities,and great contrast in information access, the art educator needs to broaden his/her view anddevelop his/her work from the communication processes between global and local, and therelation and dialogue with the other.


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SESSION 10 (S10):

ART EDUCATION DEVELOPMENT - MOTIVATION &CHALLENGES

TEVKROS / 16:15 17:25

CHAIR: Fotini Larkou

16:15 16:35 S10.1Concrete poetry and didactics of second language learning: The

contribution of a literature genre to the development of language,

intercultural, emotional-social and creativity skills of foreign

language learners

Eleni Kouvari, 2nd Experimental Gymnasium of Athens, GreeceMaria Margaroni, Zentrum fr Antisemitismusforschung-TechnischeUniversitt Berlin, Belgium

TEVKROS

One of the creative instructional materials in second language teaching is the use of literatureand more specifically concrete poetry; a lyric form, in which the visual elements are used toenhance the meaning of text and are considered of equal importance to it. The fact that concretepoems make use of the typographical arrangement of words as a comment on the fundamentalinstability of language is an aspect which could be of pedagogical interest to foreign languagelearners.

This notion plays a key role in our theoretical study, in which we aim to explore the specific

features of concrete poetry in order to examine its contribution to the development ofcommunicative language competence as well as the development of intercultural, social-emotionaland creative skills of learners. Concrete poems as an authentic text are to be implemented in aproject-based, communicative-pragmatic and student-oriented approach of language teaching.More specifically, using examples from teaching German as a foreign language we examine thecontribution of concrete poetry in both receptive and productive language skills. Furthermore,learners have the opportunity to develop their literature competence, their ability to establishcontact with a visual text, receive written speech carefully and effectively on a cognitive, as well asemotional-social level.

This particular approach to foreign language teaching and culture through concrete poetry couldencourage learners to use their creative potential more effectively and possibly facilitate foreignlanguage learning.

16:40 17:00 S10.2!ntegrating young children with autism into a mainstreamreception school through an art-based programme: an actionresearch approach

Andriana Papachrisanthaki, Roehampton University, Greece

TEVKROS

The lack of effective inclusion for children with autism, in mainstream reception units in Greece,is accompanied by a deficiency in effective curriculum guidelines and collaboration between

generalist and special education teachers. In the classroom, the generalist teachers occupy normaldeveloping children with activities that fit in scope of combined learning themes, including


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expression and creation, while the special education teachers follow an individualised educationalprogramme with each autistic child. Additionally, art lessons in reception units tend to focus on theindividual child experimenting with different art media. The lack of structured joint activitiesimpedes children with autism to develop their social interactions. Some scholars haverecommended the modification of mainstream art activities, in order to facilitate reciprocalinteractions among children with autism, their peers and teachers. Yet, the limited number of

studies in this field stimulated this research about the potential of art education in teaching youngchildren with autism.

The presented research develops, implements and evaluates the effectiveness of an art-basedprogramme for children with autism (aged four to six years old) at an inclusive reception unit inGreece. The educational intervention is guided by the following questions: What kind of art based curriculum experiences do children with autism already have in thisreception unit?

How do their teachers understand aims, methods and outcomes for art lessons? What kind of art-based intervention might facilitate these childrens communication and socialinteraction with their peers and teachers?

Is collaborative action research an effective way of implementing this kind of curriculum change?The projects scope is qualitative in nature and takes the form of action research. The researcher, ahead teacher and two teachers qualified in special education needs and early years collaborativelydefine the problem, plan the solution, act and observe and reflect upon further development. Fourchildren with autism are selected as main participants of the project and observed during theirparticipation with their peers in visual art lessons. The research and data collection are currently inprogress and organized into 5 phases: 1) researching autism and theory and practice of arteducation, 2) defining and analysing the practical problem, 3) developing an art-based programme,4) piloting and modifying the programme, 5) implementing and evaluating it. The data collectioninstruments are researcher observation, using an observation checklist and video recording.Theobservations are taking place during two visual art activities per week, in a period of seven monthsand last 15 minutes each.

Current observations reveal a succeeding interest of t

Documents

ABSTRACTS Updated 31st May 2012