Issue Twentyone

8/3/2019 Issue Twentyone

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1 November 2011 VADEA E BULLETIN Vol. 21

VADEA FORUM

ONE YEAR ON: IN AND BEYOND THE SCOPE OF THE SHAPEPAPER FOR THE ARTS (AUSTRALIAN CURRICULUM)

When: Thursday November 10th

Time: 4.30 – 6pm

Where: Green Room Meeting: PTC.Professional Teachers Council 101 105 Norton St, LeichhardtPhone: 95643322.Some parking available at the PTC Other parking available behind LeichhardtTown Hall in Marion St or at Norton Plaza in Norton St

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DON’T

MISS!



A conference organized by the National Institute of

Experimental Arts, COFA, UNSW in association with the

City of Sydney, the Danish Arts Agency and the Visual Arts

and Design Educators Association in conjunction with the

exhibition, Customs House, 17 Nov 18 Dec.

Curating Cities is a 5 year research project that examines how

the arts can generate environmentally beneficial behaviour change and influence the development of green infrastructure in

urban environments. Founded on the principle of using art anddesign to curate–literally, to care for–public space, the projectplaces creative disciplines at the heart of the sustainability

agenda. In doing so it advances an ambitious research plan for aesthetic practice, proposing ‘curating’ as amethod for working through the practical concerns of sustainable living.

Drawing on case studies from around the world, Curating Cities assesses the ongoing and potential contribution

of public art to eco sustainable development and the benefits to Sydney and cities in general. The projectprovides a rubric for public art in relation to the fundamental domains of sustainable planning: energy, water,

food and waste.

Curating Cities will unfold through a series of public programs, encompassing exhibitions, labs, workshops and

conferences. It commences in 2011 with Curating Cities: Sydney–Copenhagen, Customs House, Sydney and Try This At Home at Object, Sydney.

Curating Cities is an Australian Research Council ARC funded Linkage project led by Professors Jill Bennett andRichard Goodwin, and Chief Curator Felicity Fenner of the National Institute for Experimental Arts (NIEA) at theUniversity of New South Wales’ College of Fine Arts. Linkage Partners: City of Sydney, Object: Australian Centrefor Design, Carbon Arts, University of Cincinnati. Research Team: Jill Bennett, Felicity Fenner, Richard

Goodwin, Jodi Newcombe, Adrian Parr, Margaret Farmer and Kerry Thomas.

WHEN: 22 November 2011, 9:00am 6:30pm

WHERE: Barnet Long Room, Customs House, Sydney

COST: $69 (Registration Fee)*

BOOK NOW OPEN

For registration and further information;

http://www.niea.unsw.edu.au/events/20111019/curating cities sydney copenhagen conference

or

http://curatingcities.org/conferences/curating cities sydney copenhagen/

THIS CONFERENCE WILL FILL FAST

CURATING CITIES: SYDNEY – COPENHAGEN CONFERENCE


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https://spcmail01.spc.nsw.edu.au/owa/redir.aspx?C=bd7e67b058f240ec8655481d041ad19b&URL=http%3A//curatingcities.org/conferences/curating-cities-sydney-copenhagen/

http://www.niea.unsw.edu.au/events/20111019/curating-cities-sydney-copenhagen-conference



CONFERENCE PROGRAM

9:00 9:30am Welcome Lord Mayor Clover Moore, Sydney

Lord Mayor Frank Jensen, Copenhagen

9:30 9.50am Curating Cities: public art and urban ecology

Professor Jill Bennett (NIEA)

9:50 11.00am

Sustainable Cities: big visions and master plans vs. tactical interventions

Professor Jan Gehl and Jeppe Aagaard AndersenChair: Dr Blair French (Artspace Sydney)Discussants: Jennifer Turpin (Turpin Crawford Studio), Professor David Cross(Massey University)

11:00 11:30am Morning Tea Break

11:30 12:30pm The Commons

Professor Adrian Parr (University of Cincinnati)Author: Hijacking Sustainability , MIT Press

12:30 1.30pm Lunch Break (food not provided)

1:30 2:00pm Cultivating Urban Ecologies: new art and design strategies for engagementof schools and communities

Dr Kerry Thomas (NIEA) and Melinda Hodges (IGS), Karen Profilio (North SydneyGirls’ HS), Nicole de Losa (Hornsby Girls' HS), Megan Booth (Hornsby Girls' HS)and Amy Yongsiri (Burwood Girls' HS)

2:00 2:50pm Urban experiments and school/community Engagement Slow Art Collective (Melbourne) and Rosan Bosch (Copenhagen)Chair: Margaret Farmer (NIEA)

2:50 3:50pm Artists activating urban solutions for agriculture and biodiversity Panel discussion: Professor Natalie Jeremijenko (NYU) and Jodi Newcombe,

(Carbon Arts) with Professor Elspeth Probyn (University of Sydney)

3:50 4:15pm Afternoon Tea Break

4:15 4:45pm

Co2penhagen: the world’s first Co2 neutral festival Katrine Vejby (Co2penhagen Festival)Chair: Carli Leimbach (Carbon Arts)Discussant: Marcus Westbury (festival director)

4:45 5:15pm Atmosphere: carbon monitoring via networked public art Tobias Ebsen (Center for Digital Urban Living, Aarhus University)Chair/discussant: Professor Ross Harley (NIEA)

5:15 6:30pm Cross(x) Species Adventure Club with edible cocktails and recipes on the balcony with artist Natalie Jeremijenko, presented by Carbon Arts

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CURATING CITIES: SYDNEY – COPENHAGEN CONFERENCE

NSW INSTITUTE OF TEACHERSVADEA NSW (through the Professional Teachers’ Council, NSW)

NSW Institute of Teachers endorsed provider of professional development for the maintenance of accreditation at Professional Competence

Scope of endorsement all Elements of the Professional Teaching Standards for Creative Arts

The NSWIT Course Code for Curating Cities: Sydney Copenhagen is: C08996

CurrentVADEAProject



THE ST GEORGE AND SUTHERLAND SHIRE LEADER Thursday, October 6, 2011By Eva Tejszerski

"Pictures of ordinary things will be greatly appreciated one day because they won't be there forever."

The Australian Curriculum, Assessment and Reporting Authority announced the arts would be given a central

place in the new national curriculum when it released the final paper in August, which sets out how drama,

dance, music, visual arts and media arts will be studied in schools.

The paper was developed following a consultation period earlier this year.

Under the new curriculum, students will be able to start specialising in one or more of their favourite art subjects

when they start high school.

Byron Hurst, a visual arts teacher at De La Salle, said allowing schools to tailor teaching hours to suit individual

needs was better than making it compulsory for students to study all five areas of the arts.

But he said it still had a "one size fits all" approach, rather than respecting each one as a distinct discipline.

"Some of the factories at Taren Point that I drew have already been bulldozed.

The authority will use the shaping paper to guide the writing of the Australian Arts Curriculum, which will be

released for public consultation next year.

Once it is endorsed by states and territories it will be implemented from 2013.

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LONG WAIT FOR ARTISTS WHO SIT THE HSC

A life less ordinary: William Livingston chosea piece of Sutherland Shire history for his piece.Picture: Chris Lane

It has been a year long process of brainstorming and countless

creations perfected through trial and error, but finally the work is

done.

Year 12 students in Sutherland Shire have completed their

HSC projects and must now wait for the results.

The artworks are the major practical components of the visual

arts exam, which they will sit next month.

One of the standouts is by William Livingston, a student at De

La Salle Senior College, Cronulla.

His creation, Fleetwing, was inspired by the run down Coomes

Garage at Cronulla.

"When I saw the council demolition sign go up, I knew I had to

http://static.lifeislocal.com.au/multimedia/images/full/1471144.jpg



Available at:

http://www.acara.edu.au/verve/_resources/Shape_of_the_Australian_Curriculum_The_Arts_ _Compressed.pdf

Dr Kerry Thomas, Co President, State and National Issues and Special Projects

Many of you would know that the Shape Paper was released with little fanfare or public critique in August thisyear. While there is some improvement in the Shape Paper, most particularly that the Strands were aborted,

many areas still require reframing.

This report details some issues that must be better addressed in the development of the Arts curriculum.

1. Responding

Responding is a poor choice of term in the overarching structure of the Shape Paper for the Arts. While other

states accept this term with little equivocation, largely because it was normalised in the National Statementsand Profiles in the early mid 1990s, NSW resisted the terminology and sentiments then and there is littlereason to retract from this position now. Our Visual Arts syllabuses explain that the way that students engagein the Visual Arts is through ‘practice’, which involves making, criticism and history (variously explained in K 12). This is a very deliberate choice of term.

Responding, on the other hand, is underscored by the belief that access to meaning is largely psychologicaland intuitive within aesthetic experience. Brown

1discussed this point at length in his 1996 article which

signaled the need for the Frames. Responding is viewed as an element of thinking that is dedicated to the

representation of internal beliefs and ideas or the interrogation of personal beliefs, ideas and experiences.

Ironically, much of contemporary practice in the Visual Arts and other subjects in the Arts cannot beunderstood via the 'truth' of the students' responding. Looking at an artwork can often be ‘opaque’ to students

and requires some sort of interpretive framework, often provided by the teacher, to facilitate the negotiationof meaning. That is not to say responding should be totally excluded – students do respond with expressionssuch as ‘oooooooh that’s great’ or ‘No! that’s not art’. From these examples it is clear that responding as a

concept is alive but it is limited as a destination and with reference to what can be understood. Learningrequires understanding and the negotiation of different frameworks of meaning.

As many of you would recall, ‘responding’ was also a key process word from the late 1980s for the VisualArts (see NSW 1987 Visual Arts syllabus references to perceiving, responding, organising, manipulating, and

evaluating) and so this history needs to be taken into account here. Responding has a particular historicalmeaning in NSW associated with making that was superseded in more recent syllabus development. What

value would there be in a retreat to responding?

We would recommend that ‘practice/s’ be the term used at the meta representational level for further curriculum development in the Arts. 'Practices' are socially constructed and provide students with a means of understanding what is valued in Visual Arts, beyond their own ‘response’ – including how practices involvetraditions and conventions and are responsive to change over time. These understandings are critical toshaping students’ learning and the development of their autonomy.

2. One or more artforms

Writers of the draft Shape Paper took the view (supported by ACARAs Board) that students should

‘experience’ the five artforms from K 8. To an extent ACARA listened to the criticism from Visual Artsteachers and others through the consultation, as there was an overwhelming response that did not supportthis arrangement in years 7 and/or 8.

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The Shape of the Australian Curriculum: The Arts



However, it is almost incomprehensible that the Shape Paper now takes the view that students should havethe opportunity to engage in ‘one or more of the artforms’ in years 7 and/or 8 (for 160 hours). Given thatACARA has publicly committed to ‘equity’ it would be unimaginable how unjust different state and schoolarrangements might become.

We have some assurances in NSW in that the Minister and Board of Studies has indicated that there is nointention to change the state curriculum requirements (key learning area requirements and hours) with theAustralian Curriculum. However, ACARAs position on the artforms needs to be overturned in the further development of the curriculum.

3. ‘Making’ (p. 6)

The representation of making remains preoccupied with an elements process/skills based approach. Thisapproach tends towards the mechanistic and denies the relational. It is also at odds with what we know of practice (see point above).

4. Aesthetic knowledge

While there has been an effort to extend beyond 'aesthetic' knowledge at some points in the Shape Paper, itremains the central preoccupation (eg p.6, see the reference to making and responding). This should not be

the case. In addition, audiences don’t simply respond to works through their senses (p. 6, p. 22). What of theories, beliefs, and desires that affect ways of understanding how meaning is made in making andinterpreting art?

5. The introduction (p. 4)

The introduction provides no compelling reasons as to why students should learn in the arts. The introductionshould act as a rationale and represent the ‘big ideas’ or other matters deemed significant (p. 18, point 63Shape of the Australian Curriculum v2.0).

6. The circular diagram (p. 7)

It is odd that this ‘new’ diagram does not include reference to time and place as critical aspects of practice.But it is also foolish to imagine that 10 balls can account for practice. What is their relation to one another?Practice is better represented as a network.

7. Considerations (p. 21)

References to the arts and other learning areas needs to be reconsidered. It is tokenistic as it currentlystands. The place of design does not appear to be well conceived and reads as an add on. Reference to

students with disabilities needs review.

Final comment:

Despite some improvement from the draft Shape Paper, if the test of 'equal to or better than' current syllabusesis applied, there is little reason to believe that the Shape Paper will provide a ‘world class’ blueprint for curriculum development in the Australian Curriculum in the Visual Arts/the Arts.

Hopefully, in the development of the curriculum there will also be the chance to reframe the Shape Paper itself.With time its lack will become more obvious.


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Issue Twentyone