ABSTRACTS Updated 31st May 2012

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 Ioakim
Fotini Larkou
Ioannis Eliades
Lakis Papadakis
Maria Louka
Tereza Lambrianou

ORGINIZERS:
CySEA (Cyprus Society for Education through Arts)

CO-ORGANIZERS:
Frederick University
European Parliament Office in Cyprus

GROUND HANDLING:
CPC Events LTD

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

Costas Mantzalos
Genethlis Genethliou
Graham Nash
James Sanders
Marjan Prevodnik
Nektaria Papadopoulou
Rita L. Irwin
Salvatore Benvissuto
Sotiroula Palmyri
Stefania Savva
Teresa Torres Eca
Vicky Karaiskou
Zoe 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:

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

"

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 the
Crossroad of Cultures.

I warmly welcome you with the defining verse of a Cypriot song, that is of a specific symbolic
nature: It is a good, golden and blessed time, which we have chosen to begin this
undertaking. 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 vast
contribution to the education of the arts and culture, applied at the 2010 European
Conference 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 the
second half of 2012.

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

Dear delegates, we live in a world undergoing transformation, subject to rapid changes and
defined by globalisation, the mobility of Cultures, modern technologies and by economic
upheaval. 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 and
constructive dialogue amongst delegates. To exchange ideas and experiences on new
creative teaching methods and innovative approaches to research in which the Arts can
shape 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. The
whole program is designed to help develop dialogue through different perspectives with the
purpose of exploring ways through which, education through art can respond to the
contemporary needs of students; to enable them as the citizens of tomorrow to function
harmoniously 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 of
you, who, in spite of the current global economic crisis have travelled from far and wide to
make this conference possible.

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

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

Gianna Theocharous Gkantzidou
President, CySEA


""

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 welcome
you in the 2012 InSEA/CYSEA European Regional Congress in Limassol, Cyprus. This
meeting of devoted and committed art(s) educators from all around is the largest visual arts
education 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 Crossroads
venue days of the Congress. Limassol is indeed a superb chance to throw a bridge across a
river; to throw many bridges across many rivers, represented by us participants! Limassol is
an excellent opportunity for not only realising the theme ''Art(s) educaton at the Crossroads of
Cultures'', but also to prepare an additional firm ground for ''Art(s) education to be one of the
key 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 and
broaden 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 when
an 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


"""

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 for
Education through Art is a worldwide organization guided by the belief that visual arts in its
many 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 transcultural
understanding and appreciation. Each of our countries has exemplary traditions in the visual
arts and our contemporary artists are forging new directions in international visual arts
practices.

Learning in, through and from the arts provides an education that opens minds to alternative
ways of thinking and being, to the processes of creating ones self, to nurturing a sense of
excitement and a passion for learning, and to appreciating the diversity of cultures in which
we live. Developing ones imaginative life through mindful awareness is a way for human
beings 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 whose
release encounters with the arts depend. The arts call us to use images, sounds, and
movements, to think metaphorically about ideas in ways that may have previously seemed
unconnected. This act of change, invention, metamorphosis, is what makes the arts so
important to all learning activities.

Learning in, through, and from the arts are important conceptions for the design of curriculum
experiences in any learning environment at any age level. Our schools, galleries, musuems
and other arts education centres are important learning communities for providing the
conditions for students to experience the very best education by learning in, through, and
from 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 to
think, feel, intuit, imagine, and act, as they engage in an artful curriculum, a curriculum full of
life, 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 efforts
from InSEA, ISME, IDEA and WDA, and ultimately, WAAE (World Alliance for Arts Education)
among other NGOs and arts education organizations, UNESCO has proclaimed the fourth
week of May each year as International Arts Education Week. Lets all make sure we are
highlighting our arts education activities that week, securing media attention and sharing our
important 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 learning
alongside each of you. Lastly, I want to extend gratitude to several organizations and groups
who have supported this congress. First of all, on behalf of InSEA I want to thank the
executive board of CySEA, Gianna Theocharous and Frederick University for co-organizing
the congress. What a powerful team. We are deeply indebted to their time and attention
given to this immense effort. Working closely with them is the Congress Committee: we
appreciate their commitment to making this congress a reality. It takes many long hours of
volunteer work to make sure a congress comes alive and we are all indebted to their
dedication and enthusiasm for ensuring the success of this amazing undertaking. In addition
to this team of art educators, we are also grateful to the Cyprus Ministry of Education and
Culture and Cultural Services for sponsoring the congress. We know there are many worthy
causes and we greatly appreciate their support for ensuring European and international art
educators 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

"#

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

Rita L. Irwin
President, InSEA


#

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 and
significance of the conference and I am sure that throughout its duration there will be ample
opportunity for the exchange of ideas and perspectives, as well as for the drawing of valuable
conclusions about the Arts and culture.

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

With the opportunity presented to our country for chairmanship of the EU in the second half of
2012, 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 intercultural
dialogue, given that the Arts and their accomplishments, in their every facet, are the sharpest
representation of the psyche of all nations and the most powerful manifestation of its
existence. With these characteristics, the Arts are a means to self-knowledge and thus, a
bridge of communication, as much between countries as between different groups living
together within a given society. The Cypriot people have always turned to the Arts to express
sorrow, pain or joy. Every significant event that has marked the history of Cyprus comes to life
through the eyes of our artists. This is, in any case, the privilege of every great art; it is the
irrefutable 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 are
questioned and wealth is measured by material possessions. The Arts help to shape a
rounded personality, equipping people with an appropriate aesthetic education, with
sensitivity and imagination, leading to a rich and all-round experience that ensures intellectual
enjoyment. The proclamation by UNESCO of May 21-27, 2012 as the International Arts
Education Week, will undoubtedly help our children realize the importance of Art in the world
through all time. It is therefore, understandable, why development of the Arts is one of the
main goals of the Ministry of Education and Culture. Conferences such as this here today
have 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 in
hosting the InSEA European Conference. Since its establishment, the Society, through its
activities has been recognized both in Cyprus and abroad. It has developed significant
activities with regards to the Arts and culture, organizing exhibitions in Cyprus and abroad,
seminars with renowned speakers and whenever given the opportunity, has undertaken the
organization of conferences such as the Sixth Regional Conference of Europe, Africa and the
Middle East as well as this InSEA Conference.

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

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

Giorgos Demosthenous
Cyprus Minister of Education and Culture
ABSTRACTS Insea 2012 European Congress
25 June 2012, MONDAY Lemesos Cyprus, 25 27 June 2012

$

Program
REGISTRATION: 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. Irwin
GRAND 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 13:20
PD2: GRAND HALL C / 14:40 15:50

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

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

%

A. KEYNOTES

KEYNOTE 1
10:55 11:25

What does art education practice set in motion do?
Presenter: Rita L. Irwin
Chair: Fernando Hernandez
GRAND
HALL A

Rita L. Irwin is Professor of Art Education, and the Associate Dean of Teacher Education, at
the University of British Columbia, Vancouver. She is also committed to leadership in arts
education and is the current President of the International Society for Education through Art
and 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 rhizomatic
practices of the in-between. Resisting the tendency for endless critique of past experience and
bodies of knowledge, a/r/tography is concerned with the creative invention of concepts and
mapping the intensities experienced in relational, rhizomatic yet singular events. Considering
several recent research projects, this presentation explores what it means to be becoming
a/r/tography. Rather than asking what an art education practice means, the question becomes
what does this art education practice set in motion do? There can be no being a/r/tography
without the processes of becoming a/r/tography.

KEYNOTE 2
11:25 11:55

ART CARES; promoting cultural awareness and understanding
through art teaching
Presenter: Costas Mantzalos
Chair: Fernando Hernandez
GRAND
HALL A

Costas Mantzalos is Professor in Visual Communication, and Dean of the School of
Architecture, Fine and Applied Arts of Frederick University, Cyprus. Parallel to his academic
career, Costas Mantzalos has been involved in numerous international art and design
consultations. Since 1996 he is the cofounder of the TWO|FOUR|TWO art group, which has
been actively involved in the international art scene.

Abstract:
The presentation focuses on the methods used for teaching art and design on tertiary level at
an 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 written
intelligence. The Art and Design process is primarily concerned with the power and value of
concepts and ideas in the dissemination of knowledge and messages, both persuasive and
informative, to defined audiences. Visual intelligence, which is not easily assimilated as oral
and written intelligence, is viewed as the acquisition of critical and intuitive visual
discrimination in the process of mark making and the construction of imagery, the delivery of
words 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 in
relation to how all forms of imagery are delivered, received, deciphered and understood by
appropriate audiences and viewers.

Students are introduced to Art and Design with two major objectives. The first is an emphasis

&

on professional skill development. This objective emphasizes the techniques, skills,
methodology, and vocabulary necessary for the student to take her/his place in the
professional community as a productive artist, designer, scholar, or practitioner. The second
objective, without which skill development remains only a narrow range of technical training,
is the development of the critical judgement and historical perspective needed in order to
become an effective problem-solver. Here, art and design history, together with studies in the
liberal arts and sciences, provide the context for stimulating intellectual and creative inquiry.

Furthermore an additional dynamism towards art and design education has been implemented
in the department and has been practised for some years now. This is the introduction of
cross-course as well as cross-discipline teaching and learning methods, where the student is
projected to multi-disciplinary issues and problem solving. Art and Design education has been
juxtaposed with socio-political issues, which in return have provided a new dimension into the
teaching and learning process, allowing not only the instruction of visual aesthetics but also
the promotion of social, political and cultural understanding. This has been a great effort in
achieving a better understanding against forms of ethnic, social and gender racism.

The presentation is illustrated with students' work, which serves the above statements.


'

B. ORAL PRESENTATIONS

SESSION 1 (S1):
BUILDING PARTNERSHIPS BETWEEN THE WORLDS OF
EDUCATION AND CULTURE

GRAND HALL A / 12:10 15:00

CHAIR: Lourdes K. Samson

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

Belidson Dias, Universidade de Braslia, Brazil
GRAND
HALL A

This paper presents a critical development of Felipe Sobreiros artwork titled Destructions. It
was 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 Visual
Culture Education. In Destructions Sobreiro aims to parody and question the way the rhetoric
of official discourses and narratives combine with the apparatus of visuality to control and
censor our everyday lives. In this case the subjects are seemingly unrelated to the
mechanisms of power. In part, the ubiquitous presence of pop art in our everyday life and the
anonymous iconography which imperceptibly dwell the visuality of official discourses and the
art 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 his
work. Sobreiro deals directly with issues of Visual Culture as a tool of ideology, since he
inserts 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 instructional
messages brought by those in power.

During preparation of the Destruction series, and through his own work, he sought a transit
point between visual appearance and the message itself to make the viewer realize the
arbitrariness that permeates the formal discourse of normalized and displayed sign posts in
public, but that go unnoticed as they are published. Taking advantage of the anti-hierarchical
nature of Visual Culture, he locates his production in a space of criticism and thought, and by
using the very flexible and drifting inclination of the cultural studies he points to the static and
rigid mechanisms of official rhetoric that should be reconsidered and questioned. Initially, I
present a brief course in which academic and artistic Cork passed the course, the poetic
description of his vision in his own words, then I mention a number of artists that influenced his
production. This paper associates Sobreiros artwork to the objectives and pedagogies
proposed by the North American group called Vizicult in the consultative document suggested
for the United States National Art Education Association for the subjects of Art Education and
Visual Culture, in 2002. Finally, I associate the concepts suggested by the Vizcult with aspects
of Destructions in order to contextualize them theoretically and leave open possibilities for new
ways to further achievements through critical and reflective aspects of his artwork.


(

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

Gabriella Pataky, ELTE TOK, Hungary
Melanie G. Davenport, Georgia State University, United States
GRAND
HALL A

InSEA members are open to opportunities to engage in intercultural education and involve
their 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 a
mutually beneficial exchange involving future art teachers in both cities. Since meeting in
Finland at the InSEA regional congress in 2010, Gabriella Pataky and Melanie Davenport
recognized the many parallels in their professional activities and teaching philosophies and
embarked on an effort to cultivate cross-cultural collaboration through art between their
students.

Beginning in Fall, 2011, our students have built greater understanding of each other and the
world of art education through visual dialogue. The 22 art education students at Georgia State
University exchanged artworks and ideas with 40 Hungarian Students of ELTE University
Teacher Training College who have also produced art messages for students in
Flensburg/Germany. Among other projects such as animations, photo galleries, collages, and
postcard art exchanges, students have also created and shared personal map-based artworks
showing their own communities from the perspective of a local, to communicate identity to
other art students on the other side of the world with the help of visual language. This ongoing
project is expected to build into a rich, mutually beneficial relationship between campuses so
that students might gain intercultural professional understandings as well as shared respect
and 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 other
components, no matter how exciting. Despite these challenges, we are determined to work out
ways 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 be
effective in support of our project, and we would like to share with others some of the ways we
have been able to overcome some of the challenges of this international project.

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

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

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

Lourdes K. Samson, Miriam College, Philippines
GRAND
HALL A

Bringing culture to the classroom is an in-service training program on cultural awareness for
basic education teachers. The summer program aims to introduce the pedagogy of teaching
art, history and management as well as promoting appreciation of one's culture among the
teachers 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 Saturday
starting at eight in the morning and ends at five in the afternoon. The summer course provides

)

opportunities for teachers to adapt to changes in teaching performances required for quality
education. Focus of this paper is on training and development in art with emphasis on cultural
education. 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 are
given 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 government
cultural agency, the National Commission for Culture and the Arts (NCCA) and a private
school, the Miriam College (MC). Miriam college has been selected to develop and conduct
courses on cultural education to pre-selected elementary school teachers. Teachers-
participants come from various disciplines such as science, math and language and not
necessarily from the arts. Thus, the course includes basic lessons in introduction to art, history
and management.

This is a certificate course that may be credited towards a master's degree in cultural
education. Teachers-participants who pass the qualifying exam may proceed to take the
additional 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 15:00
S1.4
Contemporary art in secondary schools reflects the attitude of
their creators towards the contemporary world and social
issues
Nina Ostan, National Educational Institute, Slovenia
GRAND
HALL A

Contemporary art is the art of today and that is our main understanding of Contemporary
Art. 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. The
question is how to present contemporary social issues critically and interpret them in students
own 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 contemporary
art exhibitions and discussing them, to creating video works and performances and carrying
out conceptual art projects.

Juvenile art is specific because it reflects again and again the attitude of its creators towards
the same issues that seem eternal and typical of each rising generation. It is a fact that every
generation of young people is faced with the basic existential problems (Who am I? What kind
of 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 in
the 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 must
try 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. Adolescents
see art as a space of democracy and equality, a space of active resistance to globalization
and capitalist omnipresence, media oversaturation and manipulation on one hand, and on the
other hand a space of very intimate personal declaration.

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


*

SESSION 2 (S2):
CHANGING THE WORLD: GLOBAL VISIONS THROUGH ARTS
PRACTISES

GRAND HALL A / 15:05 17:25

CHAIR: Kathy Mackey

15:05 15:25
S2.1
Joseph Beuys as art-educator

Carl-Peter Buschkuehle, Justus-Liebig-University Giessen, Germany
GRAND
HALL A

Joseph Beuys, who is considered to be one of the most influential artists of the 20th century,
stated himself that educational elements are the most important aspect of his art. With his famous
expression that "everyone is an artist, Beuys does not mean that every human being has the
ability to be a painter, author or musician. Instead, he forms the equation that human being =
creativity. That what every single human being designs is above all his/her life, personality and
ultimately also society, on which he/she has an influence in one way or another. Human beings as
artists or experts in the art of living are designers of what Beuys calls social sculpture. If this is
indeed the case, the education of human beings, the training of their creative abilities and the
development of their existential creativity are extremely important. So what role does art as art-
education play in this concept, especially considering the use of terms such as the art of living and
social sculpture? And with what challenges does Beuys confront the contemporary art-education?

15:30 15:50 S2.2
Promoting visual arts education in remote areas of the eastern
Himalayas, India - Partnering with business
Marian Strong, Art Education, Australia
GRAND
HALL A

The resolution adopted by the 36th Session of the UNESCO General Conference concerning
implementation of the Seoul Agenda welcomed the reinforcement of the position of arts education
in schools and in societies and encourages employing the strategies proposed in the Seoul
Agenda.

Kolbung Primary School, in the tiny village of Kolakham, is situated in the beautiful but remote
Neora Valley, North Bengal, India. Until December 2010, the 50 students aged 3 12, were taught
in a wooden hut no larger than the average Australian garage. The school land and building, were
donated by the village elder. Without this, students either stayed home to work on the subsistence
farm, or walked up hill for 10 kilometres to the next nearest school, on mountainous jungle tracks.
Because of this remote location and poverty, their curriculum was limited, resources minimal and
the teachers underpaid and isolated. How could we help? What were the issues and concerns?
Would we be imposing a western perspective and in short a type of cultural and educational
colonialism?

This presentation describes the project, explains the aims, achievements, future possibilities as
well as discussing the problems of in ensuring continuity of support. I will outline how an
educational support program for students and teachers in partnership with private companies was
envisaged and developed. This model is one that others may be able to adopt in other situations,
to support the position of arts education for all.


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

Kathy Mackey, Queensland Academies, Australia
GRAND
HALL A

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

This research embraces how cultural Institutions are implicated in the generation of new forms of
pedagogy and allow me to contribute to the field of educational research within the context of
Education Queenslands Framework For Gifted Education (Revised Edition 2011 (accessed Nov
19 2011) which emphasises:Evidence-based practices The schooling of students who are gifted
must be informed by contemporary research-based practice and by ongoing evaluation and
improvement and the importance of Challenging students who are gifted to continue their
development through curricular activities that require depth of study, complexity of thinking, fast
pace of learning, high-level skills development and/or creative and critical thinking (e.g. through
independent investigations, tiered tasks, diverse real-world applications, mentors) (p:3)

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

16:40 17:00 S2.4
ArtWorks

Melvin Crone, Amsterdamse Hogeschool voor de Kunsten, Netherlands
Robert 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 and
new 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 all
ages in an investigation of life through art. When we thoughtfully respond to art, we can learn about
ourselves; we can also learn about how others respond to the same works. If we are generous of
spirit, we can come to know that we can think differently from one another and take joy in our
differences.

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

,

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. what
do you see? b. what does in mean? c. how do you know? These questions start a conversation
and keep the conversation going on about the work of art. The plurality of the answers show the
differences 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 invited
contributors including art critics, authors, and commentators. They all respond to the three
artworks. The project consists of four sections: The works of art; responses to the works by a
diverse Dutch public; reflections on the project by people within the world of art education; and
photographs from the project.

Art Works invites you to join.

17:05 17:25 S2.5
Re-defining city aesthetics and identity: A new approach to
landscape restoration by creative class in the city
Chang Yaping, National Taiwan Normal University, Taiwan
GRAND
HALL A

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

One can see from the research analysis that the CMP BLOCK example has successfully
manifested how creative class is important city asset, because they restored the desolate school
site 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 by
remodeling it through fashion, artworks, and exhibitions, this does not diminish its aesthetic value.
If marrying economic development with artworks and cultural promotions can create new
neighborhood and community spirit, we will see a win-win situation becomes reality. This example
has proved that new city aesthetic development can actually brings about the increased value of
social asset. Moreover, the creative class composed of architects, photographers, visual artists, art
teachers have become a group of very important people in the city because they have the magic to
re-create the city aesthetics, and therefore re-define the value of the city. As art educators, we
need 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 becoming
more artistically-sensitive to what they see should be incorporated in the art class. More
community-based art learnings can achieve such goals. If art educational practice is to raise
students aesthetic sense, the cultural landscape of the city will be a necessary and critical lesson
for students to learn from. I believe that more well-developed cultural landscape in the city using
arts projects will be the future trend in both Taiwan and worldwide. By then, Taiwan will re-gain its
old reputation of Formosa back in the sixteen century, because the island of beauty will reappear in
front of our eyes.


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SESSION 3 (S3):
INTERCULTURAL ART EDUCATION

GRAND HALL B / 14:40 15:25

CHAIR: Martina Paatela-Niemen
14:40 15:00
S3.1
Developing intercultural competence through intertextual art
education by enhancing cultural awareness of intercultural
differences
Martina Paatela-Nieminen, University of Helsinki, Finland
GRAND
HALL B

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

In my licentiate (1996) and doctoral theses (2000), I developed an intertextual method for
intercultural, intermedial and intersubjective art education. The background theory lies in various
approaches towards intertextualities, specifically those of Grard Genette and Julia Kristeva,
whose viewpoints enrich each other. Since developing this intertextual method I have applied it in
the 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 the
emphasis has been on classroom and art education students and artists. I have also applied the
method 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 cultures
understandable. 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 their
meanings and create new ones. This method is based on a contextual and associative
understanding 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 how
students have created intercultural understanding by studying, learning and producing differences
and creating meanings in arts and cultures. I have used content analysis to find out how the
different approaches use the intertextual method to promote intercultural understanding.

The findings show that students produce differences and create understanding for plural
intercultural meanings as well as creating new glocal meanings in art. Also, intercultural exchange
between students promotes understanding between people. The differences are valuable because
they 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 understandable
for all. I believe that by creating differences interculturally it is possible to understand the plural
interpretations of different cultures. These differences also provide possibilities for creating new
glocal interpretations in the arts. Understanding and appreciating the differences promotes
intercultural competence.


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

Seungyeon Lee, Long Island University, United States
GRAND
HALL B

This study qualitatively explores the manifestation of intercultural challenges and adjustments in
adolescents 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, two
boys and girls, all from immigrant families. Participant observation and document analysis were
also included as data collection methods. A close examination of the collected data provides
insight into the multifaceted responses of these immigrant adolescents, who come from a
community that is challenged and enriched by multicultural and urban experiences. Since
adolescence is a critical phase in identity formation (Erikson, 1968, p. 128), this studys findings
suggest that the typical physical, emotional, and social role changes of teenagers are more
complex 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 the
additional task of developing a cultural identity that inculcates their traditional culture while
accommodating 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 art
plays a critical role in adolescent life. Their engagement with works of art can be a meaningful
experience, as they ascribe their values, assumptions, and beliefs to specific images and objects in
paintings. Their responses indicate that these youngsters devalue their traditional culture as they
strive to fit into American society. The personal struggles and everyday experiences of young
immigrants, such as uncertainty, ambiguity, and joy were identified and verbalized. Another finding
suggests that their engagement with works of art provides a window onto their emotional and social
lives, especially in terms of their adjustment and transition struggles. The study most importantly
suggests that adolescents delve deeply into artistic images, expanding their interpretations and
discovering new meanings. Further, these representations are an opening to the outside world and
personal experiences.


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SESSION 4 (S4):
IDENTITIES AND TECHNOLOGY

GRAND HALL B / 15:30 17:25

CHAIR: Victoria Pavlou
15:30 15:50
S4.1
ICT, bilingualism and bidialectism in a multicultural society:
Integrating the multimedia builder software as an education tool to
deliver fairy tales
Simeon Tsolakidis, Frederick University, Cyprus
Nikleia Eteokleous, Frederick University, Cyprus
Victoria Pavlou, Frederick University, Cyprus
GRAND
HALL B

This study examines the development of multimodal educational material for children having
Standard 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 and
multimodality (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 Greek
origin 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 bidialectal
societies, such as the Cypriot one, the educational system should take into consideration these
characteristics by integrating them within the educational material provided to students. To better
achieve this goal it has also been suggested that the educational material developed by the
teachers 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) childrens
cultural origin is acknowledged (thus addressing contemporary social issues, such as
multiculturalism).

The current study aims to examine the development of educational material by pre-service primary
school teachers based on elements of the different cultures existing in Cyprus. The population of
the present study is consisted of 80 pre-service primary school teachers. Within the Educational
Technology 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 transform
them in e-fairy tales using the Multimedia Builder MMB software (Eteokleous, Ktoridou & Tsolakidis
2011). More specifically, they are expected to teach and deliver the messages of the fairy tale by
integrating the MMB software. In other words, they are required to develop multimodal educational
material 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 fairy
tale the books of the famous Greek-Cypriot engraver Hambis are given.

The multimodal educational materials produced are evaluated based on criteria concerning the
application and integration of digital, art and language elements (Eteokleous, Pavlou & Tsolakidis
2011). In addition the participants opinions regarding their e-fairy tale experience are gathered
using a discussion forum of an e-learning system. This is an on-going research and we are still
processing the data. It is expected that important conclusions will be drawn concerning the use of
artistic and cultural elements and MMB as educational tools (in relation to the importance of
cultural heritage, identity and intercultural understanding) as well as pre-service teachers attitudes
towards multicultural and bidialectal education. Finally, the role of Schools of Education is
discussed in appropriately preparing future primary school teachers for the needs and demands of
a multicultural classroom.


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

Ioannis Zenios, Human Resource Development Authority of Cyprus,
Cyprus
GRAND
HALL B

The paper refers to the contribution of art and technology, through film, technology and
experiential workshops, for bridging the gap between "Us" and the "Others" in the case of young
people (15-30 years old), members of the Greek Cypriot community. Specifically, the workshops
begin by completing an online questionnaire with bipolar questions, in which respondents are
asked to categorise a series of concepts such as 'cross', 'crescent', 'red', 'blue', 'economic
migrants', '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 American
film about World War II and the other watching a Japanese film describing the same war incident
from the Japanese point of view. The two groups are then brought together in a fruitful and
constructive 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 information
through experiential workshops, which tend to change the perceptions of the participants, as
reflected 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 of
the workshops and illustrates the views and believes that have been transformed through the arts
and technology workshops.

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

Annika Hellman, Gteborgs Universitet, Sweden
GRAND HALL B

Contemporary research in the field of visual arts and education brings forward the studies of Visual
culture and the ways visual culture contributes as a resource for subject positioning and construction
of 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 in
perspective and make visible the ordinary day assumptions (what is taken-for-granted) in the
everyday life of media education. A prominent feature of the study is developing visually based
research methods. By constructing and applying visual methods, such as video diaries, I hope to
explore important functions and elements in education, that otherwise wouldnt have been made
visible or noticeable. These elements concern for an example experiences, social and emotional
aspects, and are associated with the term relational aesthetics (Bourriaud 2002). In this presentation
I will focus on the visual methods used, and some interesting findings and developments using video
diaries.

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 talking
about their work in media classes. By using video diaries I am not trying to give a more true or reliable
picture of reality than other techniques, video is not used to improve observation techniques. Video
diaries are a cultural phenomenon that is often found in popular cultural context such as reality shows
on television, but also in documentary film traditions and visual ethnography and anthropology. Visual
diaries can be seen as staged performances or as simulacrum in Baudrillards sense; something that
constructs content on its own terms, the hyper-real (Baudrillard 1983). Philosopher Gilles Deleuze
sees simulacra as a phenomenon in which the normative ideal and privileged positions can be
challenged 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 diary
is also used as a method for the informants to collect data to the study, and in this way become
involved in the study (Thomson 2008).

The theoretical tools I use belong to multimodal discourse theory, post structural feminism and the
Foucauldian term governmentality (Foucault 2003b). A post structural feminist perspective contains
the view of identity as something changeable and socially constructed. We learn to understand the
world through the various positions and discourses that are at hand. We position ourselves, and are
at the same time positioned by others within the different discourses we take part. Using this
perspective the complexity and ambiguity in the world is accepted; positions are offered, accepted or
resisted simultaneously (Walkerdine 1990; Rhedding-Jones 1997; Davies 2003; Lenz Taguchi 2004).

17:05 17:25
S4.4
The importance of translation: Cypriot Literature and the
contribution of the state
Niki Menelaou, Frederick University, Cyprus
ONISSILOS

The importance of translation in education mainly as a bridge between civilizations and its effect
in bringing different cultures together is highlighted in this paper. The serious thought given to the
role of translation within the framework of the EU is also focused on. Access to the European
Literatures of Languages not widely used is additionally studied. The term not widely used is
preferred 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 of
utmost importance. Its code, apart from what it illustrates, is something more. The paper is
subsequently examining the contribution of the state in Cyprus to the translation of works of
literature written by Cypriots. Until very recently, very few publications of translated Cypriot poetry
by local or foreign publishers had been sponsored by the Cultural Services of the Ministry of
Education and Culture in Cyprus, the States Department that deals with cultural affairs. The
proposal of writers themselves for their works to be translated into other languages coincided with
findings in 2002 that approximately 400 poets works had never been translated and with the fact
that there was no government budget to be spent on assisting translation projects. Also, the state
lacked a policy for the encouragement of writers to participate in EU translation projects instead of
such encouragement being a primary goal.

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


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SESSION 5 (S5):
LEARNING IN AND OUTSIDE SCHOOL

GRAND HALL C / 12:10 13:20

CHAIR: Marian Strong

12:10 12:30
S5.1
Theoretical, methodological and political issues on visual
narratives in arts and visual culture education
Fernando Hernandez, University of Barcelona, Spain
GRAND
HALL C

Recently a colleague sent me a stop motion made by his 10 years old daughter with Playmobil
and 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 and
identity meanings of the Monster High dolls, because last Christmas they have been the most
desired present by 6 to 12 years old Spanish girls. Reviewing the documentation about these dolls
we found a stop motion on YouTube
(http://www.youtube.com/watch?v=gBeVsMg5iU0&feature=related ) made by two little girls who
narrated the relationships of these icons in a sexualized manner. This click has been viewed by
more than one million people. In the last issue of The International Journal of Arts Education, Paul
Duncum (2011) wrote an article about the use of YouTube by young people as a way of becoming
prosumers and paying attention to the relevance of this creative practice for art education. Based
on 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 out
school, in this paper: (a) I discuss the significance of visual narratives as an arena where
epistemological, methodological, political and ethical issues converge; (b) I present a case study,
carried out at a university course on Contemporary Visualities, where students were
asked to explore and produce visual narratives; and (c) I narrate this course experience from an
Arts Based Research approach to understand and represent the theoretical and methodological
implications 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 the
importance of students production of visual narratives from a theoretical and methodological
position that has to be well founded, going beyond a celebratory attitude. Because it seems
important to remember, as noted by the Spanish film maker Bigas Luna, that "Contemporary
alliterate 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 upon
childrens aims and attitudes
Phivi Antoniou, University of Cambridge, Cyprus
GRAND
HALL C

Children engage with art in a thoughtful way. They create and respond to artworks with a clear
mindset regarding the reasons they do so and the way in which these activities are related to other
aspects of their lives. The findings of a recent empirical project conducted in Cyprus reinforce
these statements. The aim of this project has been to explore in depth elementary school childrens
engagement with childrens art as creators and as viewers. More specifically, to acquire a good
understanding 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 responding
to art in different contexts. A comparison of the participants experiences and involvement in artistic
activities 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 in
general.

This talk builds upon the projects findings and raises questions related to the implications of the
findings for art education. More specifically, through allowing the childrens voices to be heard, it
discusses 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, especially
in 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 guide
for everyone interested in any way in childrens engagement with art. One of the main purposes of
this talk is to shift the attention of art teachers and policy-makers to the focus of art education, in a
way that it makes the childrens experiences at school meaningful and integrated with all of their
other life experiences.

13:00 13:20
S5.3
Plane, image and space
Dace Paeglite, Pardaugavas Music and Art School, LATInSEA, Latvia
Arta 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 in
the schools programme a special attention was paid on how to develop in students the
understanding of the ecology and a friendly attitude towards the nature, how to find out the
qualities of the naturally and industrially produced materials and to get acquainted with the
responsible use of them, moreover to use all the previously mentioned in an attractive way for
making the students works creative. Meanwhile an inter-subject connection was made between
different school subjects like Drawing and Modelling, Small scale design and Composition, by
exploring and depicting a united theme in the plane and space, however, using the different means
of expression.

The aim of the work was to do the cuts and folds of the paper/cardboard and to find out the
transformations of the flat surface into the plastic image in the space. Students obtained the
knowledge 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 the
identification and impression of the silhouette. The practical work of the cutting of the image and
the form, the folding, the sticking and putting together was done in the meantime of the studies of
artists utopian ideas, experiments and art works. The result proved that the students
understanding of the rules of perspective is improving; they spend more time on the making of the
general image and together with that they learn and develop the skills necessary for realizing the
construction 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 images
and 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 one
whole 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 17:25

CHAIR: Teresa Torres Eca

16:15 16:35
S6.1
Children's electronic remix culture
Paul Duncum, University of Illinois, United States
GRAND
HALL 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 of
cultural sites. Examples are offered from parodical and socially transgressive videos, which are
among the most common by youth on YouTube. Enabled by the technology, youth are engaging in
creative 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: acknowledging
the developmental needs served by affinity based networks; teaching the skills of time-based
media; and learning to negotiate between the demands of institutional learning verses the
hedonistic, oftentimes transgressive culture of youth.

16:40 17:00
S6.2
AVATARS for artistic and tecnological learning

Angeles Saura, Universidad Autonoma de Madrid, Spain
Amador Mendez, Universidad Autonoma de Madrid, Spain
Rosario Naranjo, Universidad Autonoma de Madrid, Spain
Cristina Moreno, Universidad Autonoma de Madrid, Spain
GRAND
HALL C

This artistic research aims for the artistic and technological professional development of teachers
of 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 case
studies 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 for
the artistic and technological professional development of Art teachers.

AVATARS, international exhibition, has been organized by Saura Angeles from research group
UAM : 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 participating
artists 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 and
Colombia. Pedro Villarrubia designed a poster showing all participants' works and customized it

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depending on the context of each of the exhibitis wich continues its journey through different
universities and galleries around the world. The exhibition is an excuse to have a workshop and a
meeting of art teachers in order to start developing collaborative work online.

Until December 2011, the exhibition was presented in Spain,Venezuela, Cuba, Brazil,
Portugal,Colombia,Italy and USA at the following locations: Segovia, Caracas, La Habana, Madrid,
Toledo, Ro de Janeiro, Goiania, Coimbra, Bucaramanga, Rende, Orlando,Oporto and Viseu.

Visual summary (4') at: http://www.youtube.com/watch?v=WpVXDmk73XY

We have addressed a theme that, given the state of knowledge, is beginning to be investigated
and they have scientific importance. Our sources guide the search and interpretation of results.

The authors incorporate their own ideas, criticisms or conclusions regarding both the problem and
the material collected. The outstanding issues range from general to specific.

The research methodology is made by artistic procedures. We use photography and all kinds of
artistic and technological resources. We conducted our review of the literature on this type of
research focusing on the authors Marn and Hernndez.

The main conclusion of this research is that in the field of education research, artistic method is
optimal for achieving the goal of professional art and technology update.

17:05 17:25
S6.3
Multimedia, Storytelling and Meaning

Vladimira Zikmundova, University of West Bohemia, Czech Republic
GRAND
HALL C

The author in this paper continues in examining specifics of multimedia artworks which main
principals are multimodality and variability. These principles can influence a cultivation of visual
literacy and cognitive processes on the basis of visual imagery. One from many features of visual
literacy is special sensitivity for inner differentiation in multi-sensual experience. This is crucial
when perceiving a multimedia artwork in which pictorial components can be changed. Multimedium
is also dynamic nonlinear cyber-text and as such can provide variable stories. The question is: is
there something special and new that ergodic forms bring to Art Education?


$,

SESSION 7 (S7):
ARTS IN COMMUNITIES CULTURAL DEVELOPMENT AND
CAPACITY BUILDING

TEVKROS / 12:10 12:55

CHAIR: Fiona Blaikie

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

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

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 of
Intercultural Dialogue between the children of different cultural background the foundation is simple
and loud and clear. All men are created equal. Diverse communities have specific educational
needs while new realities call for new approaches in order to create a homogeneous society on
European and on national levels.

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

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

The goal has to be the transformation of European society beyond multiculturalism, a place where
cultures 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 community
organizations

! 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 to
European Unions goal for Flexicurity. To reach a state of flexibility in the labor markets and
systems the individuals must be able to be flexible in their way of political and social thinking, in
order to be flexible in a continually changing environment.

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

%-

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

Our experience with drama has proved that the children become confident after the conclusion of
a 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 a
powerful tool for social change and political intervention in the history of mankind and as Edward
Bond has said: In the end I believe that drama has only one subject: justice.

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

Andri Costantinou, Frederick University Cyprus
TEVKROS

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

Their methods pay special attention to team and trust building and the content concerns a wide
spectrum of drama in education techniques, devised theatre, creative writing etc. Also, in some
cases, the use of art, music, dance and corporal expression broadens the horizon of these
workshops.

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

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


%$

SESSION 8 (S8):
VISUAL CULTURE AND SOCIAL ISSUES

TEVKROS / 13:00 15:25

CHAIR: Emil Gaul

13:00 13:20
S8.1
How might pedagogy and didactics for a visual culture education
be developed? An european version of visual culture pedagogy
Ingelise Flensborg, Danish School of Educational Studies, rhus
University, Denmark
Mie Buhl, alborg University, Denmark
TEVKROS

The society is orienting global and a diversity of different social systems using different visual
signs are trying to communicate across cultures. The global network is demanding a common
visual ground to stand on and at least a conscious use of visual communications. This makes
visual culture pedagogy important in an educational perspective. We wish to introduce visual
culture pedagogy to teachers who are working with pictures and visual phenomenons, to art
historians working at the museums and to researchers in art, language, medias, drama, design and
architecture as to educators related to other subjets where visual (re)presentations are part of the
knowledge that the subject contains. Visual phenomenons are seen as potentials for learning in an
educational and institutional frame, visual events as the interaction of a viewer and visual events
can (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 didactic
subject for the use of visual culture in a pedagogical practice. Visual culture is the construction of a
gaze at the environment, the physical as well as the virtual and to pose questions to the conditions
for what you see. The literacys in a visual culture pedagogy is consisting of two main parts: The
decoding 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 creative
thinking process of visualizing. Making images also allows the students in a visual culture subject
to discover their own cultural positions.

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

14:40 15:00
S8.2
Championesse - 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 culture
education pedagogy. As an art educator and filmmaker I want to give an example how students
can find out more about the rules between media and reality and develop a broader view on
women in sport in general.

FOCUS WOMENS BOXING: Ever since womens boxing first entered public awareness, the
media have influenced its image. Ulrike Heitmller could not have competed in Germanys first
amateur 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 Halmichs
appearance 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

%%

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

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 medias
attended 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 also
reflected.

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

Synopsis of the documentary championesse Seven women boxers. Seven strategists. Seven
winners. For amateur boxer Maria, in the boxing ring and in real life likewise, everything is about
learning not only to roll with the punches but to dish them out too. For two-time world champion
Heidi 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, the
reasons for which they are boxers are the same: a boundless joy of fighting and winning. Nicole
has 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, the
real 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 who
fought their way into an archaic and male-dominated sport.

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

Tania Callegaro, Fundao Escola de Sociologia e Poltica de So
Paulo, Brazil
TEVKROS

Three projects of Art Education that took place at the Arts and Communication School from
the University of So Paulo (Escola de Comunicao e Arte - ECA/USP) from 1994 to 2003
are reviewed from two perspectives: 1- mediation theory, in the Social Communication field,
and 2- communication aesthetic, present at collaborative art, mediated by technologies of
remote communication. Each project explored remote communication among groups of
students from different cities through the Internet, a learning process and intercultural
collaborative 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 of
an interdisciplinary academic production that makes Art and Social Communication get
stronger; 2- to use the mediation theory to build a concept of political art educator, in local and
global transit; 3- to describe an art education pedagogy in constant change, built from
dialogical, interactive, collaborative and technological processes; 4- to discuss the art
education and the art educator in Brazil and in the world, inserted in the great communication
and information flows, and also in cultural, political and economic oppositions.
Since de 1980s, at ECA/USP, some art education researchers have become notable, such
as Ana Mae Barbosa and Maria Rezende Fusari, together with the communication
researchers Ismar de Oliveira Soares, Jos Manuel Moran Costas, and others, that have
approached the language and mediatic production of TV, Video and Movie to the studying
and understanding of art and art education in broad contexts of social and cultural
communication.

%&

The art education experiences reported were developed in this academic environment and
put into practice at the public schools in the State of So Paulo, Brazil, and also at schools in
countries 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.Tv
Project (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 Art
Education and Social Communication (1999); the analysis of the projects from the Masters
dissertation of Isabel Leo, ECA/USP (2008); the article from Barbara Means and Shari
Golan, Transforming Teaching and Learning with Multimedia Technology, related to The
Challenge 2000 Multimedia Project, CA/USA, (1998); the report from Ismar de Oliveira
Soares, postdoc in communication and education, developed at ECA/USP and Marquette
University, Milwaukee, Wisconsin, USA, (2000); the article from Ana Mae Barbosas book
Inquietaes e Mudanas no Ensino da Arte (2008);
current literature about art education and comparative reading of the three projects under the
mediation theory perspective.

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

In this article we state that, to study the contemporary artistic production and to learn how to
teach 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 and
develop his/her work from the communication processes between global and local, and the
relation and dialogue with the other.


%'

SESSION 10 (S10):
ART EDUCATION DEVELOPMENT - MOTIVATION &
CHALLENGES

TEVKROS / 16:15 17:25

CHAIR: Fotini Larkou

16:15 16:35
S10.1
Concrete 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, Greece
Maria Margaroni, Zentrum fr Antisemitismusforschung-Technische
Universitt Berlin, Belgium
TEVKROS

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

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

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

16:40 17:00
S10.2
!ntegrating young children with autism into a mainstream
reception school through an art-based programme: an action
research 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 normal
developing children with activities that fit in scope of combined learning themes, including

%(

expression and creation, while the special education teachers follow an individualised educational
programme with each autistic child. Additionally, art lessons in reception units tend to focus on the
individual child experimenting with different art media. The lack of structured joint activities
impedes children with autism to develop their social interactions. Some scholars have
recommended the modification of mainstream art activities, in order to facilitate reciprocal
interactions 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 young
children with autism.

The presented research develops, implements and evaluates the effectiveness of an art-based
programme for children with autism (aged four to six years old) at an inclusive reception unit in
Greece. The educational intervention is guided by the following questions:
What kind of art based curriculum experiences do children with autism already have in this
reception 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 social
interaction 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, a
head teacher and two teachers qualified in special education needs and early years collaboratively
define the problem, plan the solution, act and observe and reflect upon further development. Four
children with autism are selected as main participants of the project and observed during their
participation with their peers in visual art lessons. The research and data collection are currently in
progress and organized into 5 phases: 1) researching autism and theory and practice of art
education, 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 collection
instruments are researcher observation, using an observation checklist and video recording.The
observations are taking place during two visual art activities per week, in a period of seven months
and last 15 minutes each.

Current observations reveal a succeeding interest of the children with autism in art making and
participation in collaborative art activities. The modified art activities with short and simple
instructions are a product of the teachers collaboration. When special education teachers advise
and collaborate with teachers qualified in general education, children along the spectrum have the
chance to be effectively included in joint activities. Further findings will unfold within the curriculum
intervention and inform improvement of early years and special needs teaching practices through
art education.

17:05 17:25
S10.3
As an illustrator-in-schools: Reflections on a personal itinerary
Vasiliki Labitsi, Greek Ministry of Education, Greece
TEVKROS

Artists involvement in formal primary education has a long history internationally and accepted to
benefit mutually the children, teachers and artists involved. Such involvement can vary from long
residencies and establishment of art studios to schools to short visits. In Greece, artists-in-schools
is not an established practice, with the exception of the National Book Centre of Greece (EKEBI)
which organizes and supports one-day visits of childrens book illustrators to schools. The form of
the visits and the nature of the activities are open to be negotiated by the involved teachers and
artists and can include demonstration of the illustrators creative process and work, discussions
and art workshops with the students.

In this paper, I reflect on my visits as an illustrator to primary and pre-primary schools in Attiki,
Greece during the school year 2011-2012. I present, inquire into and compare the form and types
of activities taking place and their affect on children, teachers and myself. Also, I attempt to draw
from, combine and challenge the compatibility of my complex professional identity as an art

%)

educator, educational adviser, researcher and visual artist.

Given the autobiographical nature of this inquiry, I draw my conclusions from the analysis of the
personal journal I keep for this purpose. Also, children and teachers are questioned about their
experience and the art works made during them are studied. On the whole, I attempt to answer
questions such as:

In what ways children book illustrators can contribute to art and literature education in Greek
primary and pre-primary schools?

How the involved students and teachers can benefit?

What forms can this interaction take?

In what ways my educational background and my role as an illustrator-in-schools affect each
other?

What can I learn about my professional identities and practices through these visits?


%*

SESSION 11 (S11):
EDUCATION POLICY (I)

EVAGORAS / 12:10 13:20

CHAIR: Marjan Prevodnik

12:10 12:30
S11.1
What do secondary art teachers from Cyprus think of creativity -
As expressed in 41 children's colour linocut artworks from
Slovenia - During and after evaluation?

Marjan Prevodnik, The National Institute of Education, Slovenia

EVAGORAS

The purpose of this study was to find and to examine Secondary art teachers' from Cyprus so
called ''working definitions'' of the criterion creativity, which they used when evaluating children's
41 art works (multiple colour linocuts prints from one printing plate) from Slovenia. The aim of this
''coincidental'' study was to see, if the definitions of art teachers from Cyprus are either similar or
different from the definitions from the same study , given by art teachers/educators from all
around the world in the past ten years. Further more, the motivation for this study was based on
''expected'' divergent art educators' concepts about what creativity in art education means.

The paper firstly examines some aspects of creativity from the theoretical aspects and is giving
some additional information concerning historical and recent views on creativity in art education.
Regarding the method of the study, we chose a facet of qualitative (descriptive) method for
gathering data (a questionnaire). It was expected to see a philosophy, which is behind the judges'
evaluation of the concept creativity, and why they gave such grades/marks as they did to the
criterion creativity, to evaluate 41 multiple colour linocut prints, made of 12-13 years old students
from Slovenia.

Location (Ministry of Education and Culture in Nicosia, October 2010), circumstances and
procedures to gather evidence are described in details, with all written responses from all 44
Cypriot judges. It more than seems, that in ''changing their mind set'' regarding creativity, they
followed their intiution, professional art pedagogy and general psychology knowledge and art
education mainstream paradigm in their respective country. They followed creative experiences
from their personal artistic practices. It is important to note that this task of evaluating ''creativity in
students'' artworks required a very skilfull evaluator/judge.

Finally, it was targeted to interpret gathered data a very demanding task, comparing with resultus
of the same study (with the same 41 linocut artworks of students from Slovenia) from different
countries in last 10 years. Some conclusions and implications for art education and further
professional development of art teachers, not only for Cypriot ones, but also for world ones,
regarding evaluating of the criterion creativity, are presented.

The findings expounded in the full paper suggested that the responses, gained by Cypriot
secondary art teachers, are somehow similar to those gained by art teachers from other countries.
However, according to the judges' written responses after evaluating the prints, it seems obvious
that concepts, like ''elements and principles of design, composition, originality and uniqueness'' are
the prevalent and dominating words defining the criterion of (artistic) creativity.

More research is needed to understand this issue of evaluating ''children creativity'.


%+

12:35 12:55
S11.2
(Re)forming knowing: Reconceptualizing the role of creativity in
innovation for knowledge-based economies
Teresa Tipton, Anglo-American University, Czech Republic
EVAGORAS

In Adornos letters to Walter Benjamin concerning his Arcades study, Adorno
critiques Benjamins treatment of the dialectical image, concluding that his study lay in the
crossroads between magic and positivism, and only theory could break the spell of its
bewitchment (Adorno et. al, 1977, p. 129). Benjamins dialectical image was invented with the
intention of fracturing the phantasmagoria of capitalist ideologies from historical narratives in
order to develop the critical moment that would awaken the sleeping masses from their
alienated subjectivity. Drawing upon this critique in relationship to art educations dialectical
image of itself at the cultural crossroads, if theory can break the spell of an images
immanence, then only epistemology can break the bonds of its dialectical catastrophe.
Addressing the dialectical crossroads in art education, this paper presents an epistemological
case for the reformation of knowledge and how it is accounted for in the arts. While arts and
cultural education has been extensively researched for more than fifty years, the arts remain
educationally marginalized and the presence of arts education specialists and programs in
western public schools have been reduced. In spite of the fields sophisticated advances,
there remains no major instructional systems design theory and models for teaching art. Yet,
the expectations for knowledge-based economies in the US and the European Union, are
driven by policies supporting innovation without addressing creativitys fundamental role in its
development. Arguing that creativity has been mystified as unteachable and thus neglected
instructionally, this paper advocates reforming epistemology in arts education through the
teaching of creativity and not solely the subject matter of art. By developing instructional-
design theory and supporting models teaching creativity, knowledge-based outcomes are
(re)cognized, establishing protocols for innovation without instrumentalizing the arts.

13:00 13:20
S11.3
Results and issues of Art and Handicraft class study system
Focusing on case study analysis in the public elementary schools
in Japan

Atsushi Sumi, University of Toyama, Japan
EVAGORAS

Japanese school education is stipulated by the education-related laws such as Basic Education
Law and School Education Act issued by the government, and is required to use textbooks
approved by the Ministry of Education. This is also true of art education, which follows the course
of study set by the Ministry of Education, Culture, Sports, Science and Technology, "MEXT"
ranging from coaching to evaluation and uses the Ministry-approved art textbooks.
However, Arithmetic and National Language are considered as the center of teachers class
study to improve the students basic academic ability. In particular, Japan is falling behind in the
ranking of the International Academic Research conducted by Programme for International Student
Assessment of PISA, as the result of which this trend is further strengthened.

In Japan, on the other hand, there is a system of class study on which teachers work together for
each subject. I, the author, have been involved in the class study of Art and Handicraft at public
elementary schools since 2011. While I was assorting and analyzing the process, I got to know that
public elementary school teachers without a qualification as an art teacher gradually acquired the
skills of coaching and evaluation in Art and Handicraft class.

I observed there teachers were giving classes based on the same study theme under the same
guidelines with an aim to realize potentially effective classwork for children. They were also
preparing necessary materials and equipment as well as learning environment such as display

%,

materials. It was the necessary process to make progress in Art and Handicraft similarly as other
Arithmetic and National Language classes, but once it came to an end, it also turned out to be a
problem how they should maintain the outcome.

And finally we found out that fulfilled education would be necessary at universities. We should put
emphasis on as to the expertise and skills required at Art and Handicraft class in elementary
schools.


&-

SESSION 12 (S12):
EDUCATION POLICY (II)

EVAGORAS / 14:40 16:35

CHAIR: Mirjana Tomasevic Dancevic

14:40 15:00
S12.1
Students voice: The examination change of visual arts subject in
Hong Kong
So-Lan Wong, Hong Kong Institute of Education, Hong Kong
EVAGORAS

Portfolio assessment was first introduced into the senior secondary school public examination in
Hong Kong by the Hong Kong Examinations and Assessment Authority [HKEAA] in1999 and
subsequently implemented in 2003. An exploratory research on this issue was done by the
researcher in 2007. The result revealed that using portfolio as a means of school-based
assessment could motivate students' visual arts learning. By then, most students agreed to the
change and expressed that portfolio as a school-based assessment really created a learning space
for them. In the meantime, a holistic review of the new senior secondary [NSS] curriculum in Hong
Kong was made by the Education Bureau [EDB], HKSAR. The Curriculum Development Council
[CDC] of the EDB and the HKEAA jointly prepared a new Visual Arts Curriculum and Assessment
Guide (Secondary 4-6) to be used by schools. The rationale of the NSS visual arts subject and the
criteria of the portfolio assessment are thus changed.

In 2011, I conducted another study on the same issue. In this paper, I will analyse and compare the
different approaches of the two portfolio assessments used by teachers under the examination
changes started to implement in 2003 and 2009 respectively. The result of the study showed that
the students who had stronger passion for art had more challenging views on the NSS visual arts
learning, especially on the research workbook [RWB] which emphasized presentations on art
appreciation and criticism in context in relation to art making, critical studies, and research process.
Some even questioned the need for such an examination change and the rationale of the NSS
visual arts curriculum. The most significant query students raised was what is the nature of visual
arts learning? By hearing students voices, we could have a better idea and more indepth
understanding of the implementation of the NSS visual arts learning and school-based
assessment. To ensure successful implementation of the change, policy makers need to pay
attention to students voices.

15:05 15:25
S12.2
A Study on the art education for the improvement of Korea's
middle school evaluation system

Booyun Lee, Hanyang University KoSEA, Korea, Republic of
EVAGORAS

In current education system, owing to the focus on college admission exam, Korea has
underestimated the importance of art education. Therefore, it is crucial that art education be
studied in depth and to apply the art education in school effectively, all key players from education
administrator to art professors and teachers should continue with their efforts in researching a
better educational system.
1. Korea's college admission system
In regard to Korea's college admission system, the test to gain admission was called preliminary

&$

college entrance examination from 1969 to 1981 and then changed to college national entrance
examination from 1982 to 1993 and then from 1994 to present, it was renamed as college
scholastic ability test.
Table 1: Korea's college admission system
1994~2004 Humanities Language, math, science, social science, foreign language
Natural science
Fine arts and physical education
2001~2004 Humanities Language, math, science, social science, foreign language, 2nd foreign
language
Natural science
Fine arts and physical education
2005~2011(Present) Language, science, social science, foreign language, 2nd foreign language,
math (ga), math (na), vocation (vocational high school student)

2. Making a case for including fine art exam for college scholastic ability test and essay test
In making the case for including fine art exam for college scholastic ability test and essay test, we
propose the followings:
1) The importance of proposing proper direction for Korean education

College scholastic ability test and essay test are critical determinants in getting into college in
Korea and thus, the set test questions are crucial not only during three years of high school but
arguably for entire middle school and elementary school as well. One could reasonably argue,
then, that college admission system determines all educational aspects throughout elementary,
middle and high school years. (Jung Jin-geon, 1999). Therefore, when educators are determining
the details of college scholastic ability test and essay test, they should consider not only the senior
year of high school but that determines the direction of entire educational policy and the value of
students' academic endeavors.

2) The importance of developing left and right side of brain
The brain of human is divided into left and right and each side serves different functions. A child
who shows marked superiority in left side should be assisted with developing the right side of brain.
It is crucial that proper educational environment is provided for children to develop their brain more
equally.

3) The importance of intelligence development
In the past as well as in the present, intelligence test was often used at a school to gauge the
mathematical and linguistic ability. However, in 1980s, Howard Gardner of Harvard University
proposed the theory of multiple intelligences. He emphasizes that each individual has distinctive
intelligence and that education based on making the most of individual's intelligence is essential to
the success of educational goals.

4) The importance of fine arts education and its effects
The proper teaching of fine arts in secondary school can have significant effect on the growth of
students. This is even more so for students in pre-adolescent and adolescent years as the

&%

educational experiences during this time shape their attitudes toward subjects they were taught. As
such, one should recognize that the majority of students get their art education in a school only and
that special attention must be paid to art education where its teachings can have positive impacts
on students' growths and lives. (Laura Chapman, 1978: 4) One should recognize that the leaning
of arts foster all-around development and that more attention should be paid in order to maximize
the positive educational impact.
5) The importance in modern society where visual aspect is increasingly stressed
If the 19th century is known for industrial revolution, it will be not an exaggeration to say that the
21st century will be known for computer revolution. Korea, in particular, as one of the leaders in IT,
has focused on developing technologies that will further cement their superiority. Consequently,
Korea is experiencing rapid growth in image technology and visual arts that makes the most of
computing technologies and is encouraging the general public and students to use the various
visual medium. As such, education that ignores this important trend and that cannot go beyond the
rote learning frequent in the past must face the trend directly and adapt to the new educational
environment. Moreover, the study conducted by Gesell and Getman postulates that people learn
primarily, 80% from visual and Telford and Sawrey also proposed that educational experiences are
realized 85% of the time through visual as well. (Kim Jin-gyu, 2003: 193).

6) The importance of understanding Korea's and other cultures
Every civilization has its own authentic culture. Korea, for instance, has developed its own unique
culture since the prehistoric time. To maintain and further develop its unique culture, Korea needs
to offer educational program in related to cultures. Moreover, it is equally important for students to
get to learn and understand the fine arts and cultures of other countries in line with globalization.
Kendall postulated that each distinctive features of culture contributes to the strengths of
community and multicultural education encourages the recognition and understanding of different
cultures, which is essential in preparation for the future society, in particular in Korea where the
number of multicultural family is undergoing steady growth.
7) The importance of nurturing students through creativeness
In the future, it requires people who can challenge fixed ideas through the development of new and
creative ideas. Only through creativity education can one shape minds that are flexible and creative
(Guilford, 1966: 290).
We presently live in a society where competition to gain information is fierce and where creativity is
in short supply. Art education, in this regard, is vital as it promotes the all-around growth of
students, not to mention the nurturing of creative mind so important in our modern society.

8) The importance of emotion development
In the past many people thought of IQ test as an ultimate indicator of students' ability but recently,
the importance of EQ has come into the front as many came into consensus that emotional
development plays even bigger role in our complex society. For complex matters EQ often trumps
over IQ and where EQ moves the heart and mind of people (Daniel Goleman, 1995: 23). Art
education has dramatic effects on the development of emotion and the education that can nurture
all-around wellness of students is required.


&&

15:30 15:50
S12.3
Sustainable art education and teachers professional development:
Creating communities of learning

Aravella Zachariou, Cyprus Pedagogical Institute, Cyprus
Andri Savva, University of Cyprus, Cyprus
EVAGORAS

Professional Development of teachers in Sustainable Art Education is significant for creating the
learning conditions, procedures and contexts leading individuals to the social and cultural change.
Taking into consideration that Professional Development constitutes: a) a major challenge for
effective implementation of Sustainable Art Education, b) a vehicle for establishing reforms in
educational systems, c) the means for acquiring the competences that will enable learners to
understand the complexity and the interconnectness of the world in which we live and act on it.

Based on the above views we consider that Sustainable Art Education is a radical and deliberate
area of learning which prerequisites reformation of the teachers professional development in order
to be competent to: a) inquire, define and analyze the aims and purposes of various sustainable
development issues through different perspectives (e.g. across their selves, students, other
teachers, local and global/across social, cultural, environmental), b) employ pedagogical strategies
in specific contexts, based on the sustainable development principles (e.g to use local communities
as a framework of learning), c) interact with communities of learners (e.g share, act and
collaborate with other teachers).
Particularly, professional development of Cypriot teachers in sustainable art education is
considered crucial, since we are in a stage of transmission to a new generation of art education
and sustainable development curricula. These curricula based on a new frame mind require: a)
open, democratic and participatory procedures b) teachers to function as leaders in an interactive
community of learning.

In relation to Cyprus context and taking in to consideration that teachers professional development
in Cyprus is restricted to specific models of training, where teachers mainly are confronted as
educators and not as learners, an n-service course based on a new frame of mind took place in
Pedoulas Community and in urban area nearby Athalassa Environmental Education Center. The
participants were teachers from all educational levels. The in-service training course based on the
conjunction of art education and sustainable development in communities and other outdoor
learning environments. The course developed following three stages and last for one year:

a) Fist stage: Includes familiarization with theory and praxis of sustainable art education through
local learning environments Participants introduced to theoretical concepts concerned with
Sustainable Development and Art Education, experienced local community through workshops
based on research inquiry and interaction with local people.
b) Second stage: Encompasses opportunities for creating learning communities in order to
encourage participants to interact with others and each other and to create examples of good
practice.
c) Third stage: Learning conditions were created for teachers and students in order to act as
learners in outdoor environments and jointly present their outcomes.
The present paper highlights the reorientation of professional development to child-centred
approaches through interaction and authentic learning (outside the physical restrictions of
classrooms). It also emphasizes the basic principles of Sustainable Development were teachers
act for their selves, for each other (across distances, cultures, generations) and for the
environment.
.Professional Development of teachers in Sustainable Art Education is significant for creating the
learning conditions, procedures and contexts leading individuals to the social and cultural change.
Taking into consideration that Professional Development constitutes: a) a major challenge for
effective implementation of Sustainable Art Education, b) a vehicle for establishing reforms in
educational systems, c) the means for acquiring the competences that will enable learners to
understand the complexity and the interconnectness of the world in which we live and act on it.

Based on the above views we consider that Sustainable Art Education is a radical and deliberate

&'

area of learning which prerequisites reformation of the teachers professional development in order
to be competent to: a) inquire, define and analyze the aims and purposes of various sustainable
development issues through different perspectives (e.g. across their selves, students, other
teachers, local and global/across social, cultural, environmental), b) employ pedagogical strategies
in specific contexts, based on the sustainable development principles (e.g to use local communities
as a framework of learning), c) interact with communities of learners (e.g share, act and
collaborate with other teachers).

Particularly, professional development of Cypriot teachers in sustainable art education is
considered crucial, since we are in a stage of transmission to a new generation of art education
and sustainable development curricula. These curricula based on a new frame mind require: a)
open, democratic and participatory procedures b) teachers to function as leaders in an interactive
community of learning.

In relation to Cyprus context and taking in to consideration that teachers professional development
in Cyprus is restricted to specific models of training, where teachers mainly are confronted as
educators and not as learners, an n-service course based on a new frame of mind took place in
Pedoulas Community and in urban area nearby Athalassa Environmental Education Center. The
participants were teachers from all educational levels. The in-service training course based on the
conjunction of art education and sustainable development in communities and other outdoor
learning environments. The course developed following three stages and last for one year:

a) Fist stage: Includes familiarization with theory and praxis of sustainable art education through
local learning environments Participants introduced to theoretical concepts concerned with
Sustainable Development and Art Education, experienced local community through workshops
based on research inquiry and interaction with local people.
b) Second stage: Encompasses opportunities for creating learning communities in order to
encourage participants to interact with others and each other and to create examples of good
practice.
c) Third stage: Learning conditions were created for teachers and students in order to act as
learners in outdoor environments and jointly present their outcomes.
The present paper highlights the reorientation of professional development to child-centred
approaches through interaction and authentic learning (outside the physical restrictions of
classrooms). It also emphasizes the basic principles of Sustainable Development were teachers
act for their selves, for each other (across distances, cultures, generations) and for the
environment.

16:15 16:35
S12.4
Stories of Change: with twelve guiding principles of learning along
the way

Adele Flood, University New South Wales, Australia
EVAGORAS

As art educators we are given the difficult task of taking the important knowledge that has been
assembled to date and translating it into situations and experiences that will bridge the learning
and knowledge between one generation and the next.

Narrative research has told us that people create and recreate the stories of their life or lives by
attaching meaning to important, pivotal moments. The rest of the stories fall into place, fitting within
those points of reference. However we do not remember everything in the correct or linear order
and the brain; the ultimate filing cabinet or document folder opens up information when prompted
by a stimulus in a non-linear and non-sequential way. This paper will in the first instance, consider
the importance of hearing the stories of experience and the way these stories can inform us of how
to review and change our beliefs and practice where necessary.

It will then introduce a selection of changes in education experienced by the author and different
generations of her family. Within the context of a narrative approach to find meaning; these small

&(

life stories will provide the opportunity for her to identify and make explicit 12 guiding principles of
teaching and learning. These principles are presented for consideration and debate in terms of a
teachers roles and responsibilities when educating the current and future generations of
technologically able learners.


&)

SESSION 13 (S13):
ARTS EDUCATION AND CULTURE PROGRAMS

EVAGORAS / 16:40 17:25

CHAIR: Glen Coutts

16:40 17:00
S13.1
Arctic Perspectives: Applied Arts and Visual Culture Education
Timo Jokela, University of Lapland, Finland
Glen Coutts, Coutts Creatives Ltd, United Kingdom
EVAGORAS

In June 2011, the Council of the University of the Arctic endorsed a new Thematic Network
(TN) entitled Arctic Sustainable Arts and Design (ASAD). The TN comprises two Special Interest
Groups: Arctic Sustainable Design (ASD) and Arctic Arts and Visual Culture Education (AAVCE).
The University of Lapland in Rovaniemi, Finland, is lead partner of both groups.

The UNESCO goals for the Development of Arts Education contain a comprehensive plan of action
for all arts education stakeholders. Among the resolutions the following two points are pertinent to
AAVCE:
o developing cultural well-being dimensions of arts education;
o enhancing the role of arts education in the promotion of social responsibility, social cohesion,
cultural diversity and intercultural dialogue.

ASAD brings together over 20 universities and arts organisations from across the Arctic region to
review and analyse practice through arts-based research methods.

The background to ASAD, its aims and plans for the future will be outlined in the presentation.
Artistic ways of knowing and making, as practised in the range of countries and regions covered by
the TN membership are central to the groups modus operandi. ASAD seeks to champion
traditional and new arts and visual culture education practices across the Arctic area. While many
modern indigenous artists have attended Western art schools, continuity with the past is realised
by arts that either use traditional materials and tools, or reflect indigenous themes like subsistence
and nature. New forms of art, such as media productions and fine arts, support indigenous
peoples political and social identity, and intercultural dialogue. Trends in contemporary art
underline the links of art to daily human experience, activities, events and places. The ASAD
network will promote art, culture and education in which locality and the values and cultures of
indigenous people are respected and highlighted.

17:05 17:25
S13.2
Alladins Lamp The Finnish model for child culture policy
Tarja Paajoki, University of Jyvaskyla, Finland
EVAGORAS

In Finland there has been going on for almost ten years a development project for arts education
called Alladins Lamp. Leaded by the ministry of Education and culture this unique project aims to
make art education more accessible in every part of the country. There has been set up a network
of childrens and young peoples culture centers in various areas of our wide country in order to
enhance the co-operation between schools and artists and art institutions, like art museums and
theatres. The centers have developed both new kind of policy and pedagogical methods and have
succeeded in bringing new groups like artists and teacher working together. Also the regional

&*

culture curriculum programs are developed as important tools for realizing the task of making
culture services more accessible regardless of school childrens economical, social or regional
background.

As a researcher of art art education Ive have had an opportunity to attend this development project
in the beginning as an advice expert and later I have researched Alladins Lamp by carrying
through the evaluation process of this project for the ministry of Education and Culture. One report
was published on year 2008 and the next is coming out on 2013. My presentation is lightening up
the policy practices and innovations in this project and gives ideas for art educators and policy
makers about both challenges and achievements of certain methods and practices in art education
policy. I m approaching these themes with a case study of the practice of bringing artist to the
school.


&+

SESSION 14 (S14):
CREATIVE COLLABORATIONS & PARTNERSHIPS IN ARTS
EDUCATION (I)

ONISSILOS / 12:10 13:20

CHAIR: Li-Yan Wang

12:10 12:30
S14.1
Exploration of the thinking process by means of analogical
performance in creative works
Jiin-Chyuan Lai, Transworld University, Taiwan
Tsui-Lien Shen, NationalFormosaUniversity, Taiwan
ONISSILOS

Analogy technique is assumed as a tool for assisting in creative problem-solving. The researchers
instructed the students to perform their creative works through the creative curriculum and instruction
with analogy technique and by means of the NM Creative Ideas Transplantation created by
Nakayama Masakazu, which emphasizes the four procedures of QA, Question Analogy seeking, QB
Question Background thinking, and QC Question Conception discovering.

The researchers analyzed the work makers thinking process of awareness, observation, strategy and
reflection from the works design with creative conception by the students. The researchers found that
the process of awareness and observation benefited the critical imagination of analogy, and the
process of strategy and reflection benefited the design of background and conception. The findings
and suggestions acquired in this research will be provided to the teachings in university as references
with the creative design and monitoring learning in thinking performance.

12:35 12:55

S14.2
The social discourse of childhood and the children's notions for
the childhood's characteristics
Anastasia Fakidou, University of Thessaly, Greece
Apostolos Magouliotis, University of Thessaly, Greece
ONISSILOS

The need for education of critical thinking citizens is widespread. In order to develop critical literacy
skills to primary students we need to study their preexistent notions in various issues and
discourses.
The aim of the research was the investigation of the position that 6th grade students take to the social
discourse of childhood. Particularly, we studied student's notions as they revealed through (a) their
verbal statements, (b) their idea's visualization by the creation of a visual artwork, (c) their responses
to pictures with visual representations of children.

The theoretical context consisted of (a) the concessions of Visual Culture Education Pedagogy for the
development of critical literacy through the investigation and deconstruction of the discourses that
hide into the artifacts of visual culture, (b) the theory of Cultural Studies for the potential positions of
the viewer to decode the meaning of cultural artifacts, (c) the considerations of Childhood Studies that
recognize the childhood as social phenomenon -namely that the various discourses of childhood
depend on societal beliefs, values and historical context- and that the discourses of childhood are
reflected through images.

&,

The sample was 112 students of 5 primary urban schools. Data had been collected through
anonymous questionnaires and processed by ATLAS ti program. The methodological tools were
critical discourse analysis and semiotics.

We discovered that in their verbal statements the students attributed characteristics that refer to the
child's nature, the sentiments, the interpersonal relations, the type and place of children's action.
Their statements for the end of childhood vary from the 10th year of age to all life long.
The representational content of their pictures for their own childhood, in contrary to their general
statements for childhood focused to natural environments mainly, and to places specifically
constructed for children secondarily. We observed that some students depicted landscapes without
people, quite a few depicted lonely portraits of themselves, while the most students that depicted
other persons they preferred friends and a few their parents.

Their responses to images concerned the resemblance of the representational visual content to their
own lived experience, their preference to colors and figures and, to the characteristics that are
attributed to children broadly.

Interrelating their verbal statements, their visual artwork and their responses to images of visual
culture we concluded that most students espoused the dominant discourse for childhood in relation to
categories of the child's nature, the sentiments, the type and place of children's action. Negotiated
position took -through their visual artwork mainly- to the category of the interpersonal relations.
Oppositional position took some students representing forms and actions that oppose the discourse
of the "romantic child" that plays cheerfully into green fields and, they communicate their intention to
enter in the urban social space challenging their presence and voice.

We propose the development of critical literacy skills of primary students through the decoding and
deconstruction of various discourses that are embedded in artifacts of visual culture.

13:00 13:20

S14.3
The reflections on the creative imagination examples from the
university students and children

Tsui-Lien Shen, National Formosa University, Taiwan
Jiin-Chyuan Lai, Transworld University, Taiwan
ONISSILOS

The university students and children are the various individuals on the creative imagination.
Researchers attempt to explore the role and impact of creative imagination via the teaching
reflections by the university students and the cultivating reflections on the guidance of
cultural-environment design on story drawings by children. Case one: Works were completed
by the university students via implementing the creative ways and imaginary innovations. The
followings can be observed: when the university students integrated information and used
horizontal and vertical creative thinking, the availability of the creative imagination industry
can be gradually getting better; otherwise, the creativity might be easily lost and
disconnected. Case two: The story drawing creations were created by the children. The
followings can be observed: if children's enlightenments through play or games and the
cultural-environment can be creative design, the novelty of their creative imagination in time
and space will be constant. To sum up, if the role of creative imagination can be played and
converted into the university students meaningful learning, it would benefit their applicable
development in professional fields; if the children could be adapted and self-explored learning
roles, the influences of multiple intelligences would be easily manifested.


'-

SESSION 15 (S15):
EDUCATION (II)

ONISSILOS / 14:40 15:50

CHAIR: Jooyoon Lee

14:40 15:00
S15.1
Creative assignments that stimulate imagination and personal
expression
Marina Chernyavskayaa, volunteer-representative of the International
Delphic Council, Germany
ONISSILOS

I would like to share the experience of creative assignments that stimulate imagination and
personal expression. These assignments I was suggesting during the lessons in some Moscow-
schools for students of different ages (6-7 and 12-13 years old) and for adult artist-teachers.

The polymath of Italian Renaissance Leonardo da Vinci advised to behold clouds in the sky or
spots on the wall, looking for and imaging different appearances.

Task 1. The name of the first creative assignment is art-graphic metaphor.
I show on a screen one slide, for example, a huge rock in the sea.
And I say to students or teachers: could you try to see imaginary objects or creatures in the form
of a huge stone and to draw it so, that the audience also realized, what do you seen in this form of
stone. Try to suggest a title to your drawing, which can explain what you saw in that
form.

Task 2. Here is one of another examples creative assignments, also usefull for stimulation of
fantasy and imagination. From the beginning I am showing on a screen in classroom some slides
on a particular topic, for instance: Plant and animal life or Fairy-tale characters . Then I give
to everyone a sheet of papers, which has one or more the same spots. And I propose to think out a
concrete subject for drawing, which will include these spots and impressions from slides. At the
end of the session we are beholding and considering the results of this task, jointly emphasize
the most unexpected and interesting drawings.

Task 3. For the manifestation of personal impressions, I propose a task based on autobiographical
memories. In this case, I do not show any slides. I am only explaining, that everyone has own
personal course of life. Each of us must have been some life-events that left unforgettable
thrills And I offer to draw something, that the most oft come to light and reveal itself in own
memory.

The results of these tasks will be displayed on the screen during my presentation
(in PowerPoint). One example (to Task 2.) is here:
The relevant materials on this subject were published only in Russian language in some
articles (issues of the Academy of Pedagogical Sciences, Russia / Moscow).


'$

15:05 15:25
S15.2
Publishing your work in the International Journal of Education
through Art

Glen Coutts, InSEA (Journal editor), United Kingdom
Teresa Ea, InSEA, Portugal
ONISSILOS

The International Journal of Education through Art promotes relationships between art and education.
The terms 'art and education' should be interpreted in the widest sense, for example art may include
art, craft and design. Similarly, education can include formal (school, college and university) and
informal dimensions; community arts, environmental, ecological and voluntary arts.
Each issue, published three times a year within a single volume, consists of peer-reviewed articles
mainly in the form of research reports and visual essays, but may also include book or exhibition
reviews and image-text features.

Particular emphasis is placed on articles and visual essays that:

o Critically reflect on the relationship between education and art
o Propose original ways of rethinking the status of education and art education
o Address the role of teaching and learning in either formal or informal educational contexts and along
side issues of age, gender and social background o Adopt an open and inventive interpretation of
research-based analysis
o Promote and experiment with visual/textual forms of representing art education activities, issues and
research

The journal is interdisciplinary in its reflection of teaching and learning contexts and also in its
representation of artistic approaches and practices. It provides a platform for those who wish to question
and evaluate the ways in which art education is practiced, disseminated and interpreted across a
diverse range of educational contexts.

Potential topics include:

Art, craft and design education
Formal and informal education contexts
Public, community and environmental art
Pedagogy
Policy and practice
Research
Comparative education
Transcultural issues

Delegates will be presented with an overview of the Journal, the type of submissions most likely to be
published and the submission process. The session will include advice on preparing an article or visual
essay for submission.


'%

15:30 15:50
S15.3
The billboard poetry project as a public pedagogy creative
collaboration

Daniel T. Barney, BrighamYoung University, United States
Ashley M. Hoiland, BrighamYoung University, United States
ONISSILOS

The Billboard Poetry Project is a public and pedagogical series of actions. These include (1) a
call for a poem to be displayed on multiple billboards, (2) a series of free workshops taught by local
artists and writers, and (3) a community arts event with poetry readings and a portable art gallery.
This presentation will include our rationale for the project, the initial research questions, theoretical
framework, methodology, and a summary reflection.

Ashley Hoiland, an artist and poet, and Daniel Barney, an artist and educational researcher
collaborated to create a community intervention, opposing the standard use of billboards to
advertise in public spaces. Three billboards were rented and the traditional uses of a billboard were
transgress through this project as poetry was placed on the billboards. Instead of simply protesting
the billboards, this re-purposing or hacking invited others to participate in a creative re-imagining of
community construction. We asked as artistic inquirers, using the methodology of a/r/tography,
what if these billboards encouraged dialogue and interaction? What if the pedagogy of a billboard
was subverted or challenged? And, how might we, as arts based researchers, construct a socially
engaged artistic practice that is also pedagogically participatory?

Funded by the Laycock Center for Collaboration in the Arts, the project was a transdisciplinary
collaborative engagement. It included artists, poets, creative writers, graphic designers,
photographers, and educators at the secondary and university levels. At the arts event, the poet
whose poem was shown on the billboards talked about his work in relation to concepts of
community. The poem was built from fragments salvaged from his friends unfinished poems. This
method of poem construction paralleled The Billboard Poetry Projects process of rethinking
community spaces through iterations of creative negotiation.


'&

SESSION 16 (S16):
EDUCATION (III)

ONISSILOS / 16:15 17:25
CHAIR: Fernando Hernandez

16:15 16:35
S16.1
International visual literacy association: Its Conferences and
Publications

Nicos Valanides, University of Cyprus, Cyprus
Maria Avgerinou, DePaul University, United States
ONISSILOS

IVLA is a not-for-profit association for researchers, educators, designers, media specialists, and
artists dedicated to the principles of visual literacy.
IVLA was formed for the purpose of providing a forum for the exchange of information related to
visual literacy. We are also concerned with issues dealing with education, instruction and training in
modes of visual communication and their application through the concept of visual literacy to
individuals, groups, organizations, and to the public in general.

Our members represent a wide range of disciplines including the arts, sciences, education,
communication, business, videography, photography, instructional technology, health, and computer
applications. We invite you to join us in the lively debates of our field, and we look forward to forming
lasting professional relationships. Conferences: The International Visual Literacy Association hosts an
annual conference. This is an excellent opportunity to meet other visual literacy professionals and
sustain personal friendships.

16:40 17:00

S16.2
The puppy project: An extension of the kaldor public art project
from Australia

Jenny Evans, Arizona State University, United States
ONISSILOS

In October of 2010, I attended an InSEA conference in Melbourne, Australia. John Kaldor was
one of the keynote speakers as well as some of the children that were influenced by the insertion
of the public art lessons in their school. One particular project that caught my eye was the Puppy
Project. The students I spoke with were so positive, happy to share, and curious about what would
happen if I tried this in America?

Inspired by this young bunch, I put together a proposal to do this at my own childrens school and
was given the green light! The students here do not have a regular art teacher, but are
supplemented with art from their teacher in various projects as well as the school sponsored Art
Masterpiece program. Being previously included in both efforts, I hoped that this Puppy Project will
not only meet the state standards, but encourage personal meaning making in art, creativity in
problem solving/planning, team skills and pride for art and their contribution to their
community. Using action research, a camera and a web page the entire program was
documented.


''

Adding to the excitement of the program all details, photos, plans were posted on a private web
page. The Australian students viewed and emailed comments, as well as US students emailing
them for support and answers. The opportunity to communicate across the pond was eye opening
for the students, and a positive experience.

http://www.jeffjennyemmaethan.com/index/Puppy_Project/Puppy_Project.html

17:05 17:25
S16.3
Severance: Class displacement for alternative paths of learning in
a vocational graphic design course

Raquel Morais, FBAUP - i2ads, Portugal
ONISSILOS

This paper intends to reflect on two projects of teaching art and design implemented in the
vocational course of graphic design at Escola Artstica e Profissional rvore [Artistic and
Vocational School rvore] in Porto, Portugal. Those projects took place outside the regular class
of graphic design: the first one was an interchange project between a German high-school in
Zulpich; the second, named Tecer Outras Coisas [Weave Other Things] is an art and design
ongoing project with unemployeds (volunteers), teachers, students and artists in a decrease textile
factory (Coelima) in Pevidm (Guimares, Portugal) built with the energy of Guimares, European
Cultural Capital 2012.

The class displacement took place with the starting point established from the conviction that there
is another way of teaching, which does not assume the border positions between subjects and
pedagogy, teacher and student: a performative space of construction where students decide and
build their own thinking and therefore their project.

The ocularcentrism, the visual culture, or the mediated world arent exclusive phenomena
nowadays. However, it becomes increasingly important to understand the paths in which today
students are stimulated by multiple devices and interfaces, that operate directly in the modes of
subjectivation and construction of knowledge. The projects presented here share this idea and
assume themselves as learning experiences through visual projects where the design process is
mobilized as a strategy for teaching and learning.

In a school with three decades, born at late 20th century, grounded in a modernist tradition from
Bauhaus school, there are signs of willingness shifting to a school of the 21st century, in a will to
connect to the breathing of contemporaneity.

Art and Design are eternal candidates to an experimental teaching, becaming a vast territory of
essay where learn by doing can be applied. The proposal methology is an investigation based on
action and pratice of a communication design project, inside a national curriculum and class
program, which is being developed in rvore School in last years. This change and knowledge
mobility is the result of mandatory interdisciplinary and of the will of the artist-teacher that look
reality in a critical way and wish to build a space laboratory and change their teaching practices.
These projects arent limited in time, they are ongoing projects in a school and course that started
five years ago.

We consider two ways of reflexion:
a) What means a 21st century school? What ideas, concepts, practices, pedagogies? Who are the
professionals, what relations between school and out of school?

b) The case study projects; Based on action, how the theoretical research in art education
establishs connections to the will and the possibility of change?


'(

16:15 16:35
Curating for Critical Mediation
Paulo Mello, Universidade de So Paulo, Brazil
Reinaldo Fonseca, Universidade de So Paulo, Brazil
SALAMINIA
A

For the last five or more decades too many ideas have became rules. Art as science brought
along some needs, like special roles to play by individuals. These roles set an out growing number
of specialists defining right and wrong in art and its mediation. Actually creating mediation where
there was none. Curators in the 60s and 70s, according to Obrist, developed an important role in
arts as they were naming artist and somehow arts, overhauling the boundaries among artists,
critics and art keepers. These very same curators set a way of mediating spectator and exhibitions,
which is more than understandable, however it was the beginning, again, of setting rights and
wrongs. The mediation processes gained a new direction or not so new one establishing ways
of interpreting art.

As usual, art has spread its tentacles towards different paths, different manners of interpretation.
Art and education collapsed; aesthetics had now one, and only one, direction set in an exhibition.
The pedagogical sense of mediation had then to work harder to leave also something to be thought
about. Vigotsky, states that the mediation process of a child passes by an adult. Should the
curators/pedagogical team be the adults and the spectators the children? Is this a formula?
About the mediation process, it is commonly confused with the curating process. It is very expected
to have, in a museum or an art event the curators team working, supposedly, along with the
pedagogical team. The last one is entitled to deal directly with the spectators; facing all the doubts
and discussing the impressions that the curators team had lead them to. Of course it is not set as a
rule, there are lots of exceptions for example the team created for the last bienal do mercosul in
which was created a team of pedagogical curators that tried to minimize this distance between
impressions and speeches. Part of the success was the casa m a house where anything was
possible, where the mediation was minimum and the interference was just about the common
sense and preservation. Should this be interpreted as a way of mediation? Should space be part of
the mediation? How about interactivity?

This essay is the first part of a major research in curatorship in new media art, that is just as
concerning as contemporary art and requires new thinking ways for mediation. Therefore this
paper should pin point mediation as part of the curatorship, specifically over the so-called critical
mediation in new media art curatorship.


')

C. PANEL DISCUSSIONS

PANEL DISCUSSION 1 (PD1)

12:10 13:20
The bank of Cyprus cultural foundation: 20 years of educational
activity
Lefki Michaelidou, Bank of Cyprus Cultural Foundation, Cyprus
Eleni Zapiti, Bank of Cyprus Cultural Foundation, Cyprus
Christodoulos Hadjichristodoulou, Bank of Cyprus Cultural Foundation,
Cyprus
Maria Loizidou, Bank of Cyprus Cultural Foundation, Cyprus
GRAND
HALL B

From as far back as the dawn of its foundation, in 1984, the Bank of Cyprus Cultural Foundation
has been well aware of the significance of educational programmes as a basic means of initiating
young people into culture, history and artistic creation. Therefore, it is only natural that the
development and implementation of such programmes make part of its solid policy.

A long series of educational programmes has been carried out since 1994. Either organized in the
context of periodical exhibitions or incorporated in the activities of the Foundations two Museums
the Museum of the History of Cypriot Coinage and the Archaeological Museum of George and
Nefeli Giabra Pierides (a collection donated by Solon and Clio Triantafyllides) these programmes
continue to enrich the Cultural Foundations educational activity. All of them have been
implemented upon the approval of the Ministry of Education and Culture, to which we are grateful
for the unwavering support.

Such programmes are ultimately intended to cultivate a kind of education that is essential, and
firmly based on the foundations of our cultural tradition whilst being open to the contemporary
world, modern technology and present-day forms of creativity.

Educational activities of the BOCCF Museums
The Cultural Foundations two Museums have been designed according to modern museological
specifications, wherein not only researchers but also the wider public takes center stage. What is
more, the use of new technology has enabled the Cultural Foundation to create innovative
multimedia productions that are accessible both on the grounds of the Museum and on the
Internet.

Museum of the History of Cypriot Coinage
The Museums educational programmes have been running uninterrupted since its foundation in
1995. Meant to stimulate childrens interest in coins, they approach coinage through a variety of
themes, such as history, mythology, and art, but also explore their use as means of transaction.

The George and Nefeli Giabra Pierides Archaeological Museum
The general title of the educational programme is The dancing statue and features three different
sub-programmes. The programmes aim for children to become acquainted with specimens of
Ancient Cypriot Art by recognizing appealing shapes, sketches and forms they can identify with
and which allow them to eventually grasp the common thread that runs through the islands history.

Educational activity in periodical exhibitions
The Cultural Foundation has to date organized more than 45 exhibitions in Cyprus, Greece and
other European cities. For the most part, these exhibitions touch on historical, artistic and
environmental themes. In Cyprus, periodical exhibitions are always complemented by special
educational programmes, which have been proven very popular among thousands of youth and
children of Elementary and Secondary Education.


'*

14:40 15:50
Aesthetic literacy, towards a common European framework of
reference for art education II: Expectations on a framework of
reference on aesthetic literacy

Gabriella Pataky, ELTE TOK, Hungary
Ernst Wagner, Staatsinstitut fr Schulqualitt und Bildungsforschung,
Germany
Gila Kolb, Promotionskolleg Gestalten und Erkennen (doctoral
certificate program: "Design and recognition building competence in
the artistic subjects and departments at school"), Germany
Katrin Zapp, Human Science Center Munich at the Ludwig-Maximilians-
University, Munich, Germany
Claudia Birkner, Ludwig-Maximilians University or Human Science
Centre, Ludwig-Maximilians University, Germany
GRAND
HALL C

The presenters are representatives of a trans-European community consisting of mainly German
speaking researchers and curriculum developers, working together since 2010. In this role, we
have organized a successful symposium in Budapest last summer at the InSEA World Congress.
Now we would like to present our intermediate results and to open our ongoing work to the
European discourses at the InSEA Congress in Cyprus.

Taking into account the Common European Framework of Reference for Languages (CEFR), our
community has developed the idea of working together on a common, transnational framework of
competencies, which can be acquired in art education. But what can be achieved by a framework
of reference for aesthetic literacy? What are its characteristics?

In our workshop we would like to discuss whether it is possible to develop a common
understanding of aesthetic literacy and how this concept could be transformed into a model of
visual competencies. The concept of literacy generally aims for skills of reading and writing.
Transferring this concept to art education could mean that it is important to interpret (read) and to
produce (write) pictures. [Pictures in our suggestions are not only all kind of art works (2D and 3D)
but also all kind of visual designed objects like e.g. architecture, fashion, mass-media, landscape,
industrial design.]

Our workshop will start with two studies about curricula as well as good practice in two countries
with different traditions, Hungary and Germany: Is it possible to distil a focused description of what
is intended to be learned by the students? (We will present our overview in regard to two age
groups - 10 years and 15 years old students.) Can we describe the outcome as competencies?
In the second step we will compare the two different national concepts and discuss on the basis
of finding out differences and shared aspects the possibility of a common framework fitting both
countries. This framework has to respect the diversity of different experiences, traditions and
situations in art education in Europe without losing the essentials, the core idea of art education
that we are convinced of.

In the third step we will invite the participants to share their own experiences with us and to discuss
the possibility of a framework, which fits to more countries than Hungary and Germany.


'+

D. WORKSHOPS

WORKSHOP 1 (W1) (1
st
MEETING):
12:10 13:20
Sharing artist books for arts education practice and inquire

Emilia Lopes, APECV, Portugal
Petra Weingart, IA, Germany
Maria Jesus Agra Pardinas, Inter-Action, Spain
Cristina Trigo, Inter-Action, Spain
Teresa Eca, inter-action, Portugal
SALAMINIA
A

The purpose of this workshop is to develop awareness of the potentialities of artists books
in educational and research practices. Through sharing visual notes in artist
sketchbooks educators develop other forms of interactive learning processes, in the edges of
identity and collective spaces. Participants will be invited to create collaborative artists books
during the entire congress. Through a visual practice based experience we will discuss relational
pedagogy strategies , collaborative and peer learning approaches to education. Sharing artists
books is a practice which challenges the limits of individual appropriation and authorship. The
Group will discuss these limits through making the books and reflecting upon the making process.

WORKSHOP 2 (W2):
14:40 15:50
Communicating Identity: discourse and imagery in teaching
citizenship through digital art
Susan Ogier, Roehampton University, United Kingdom
Fiona Collins, Roehampton University, United Kingdom
Mary Richardson, Roehampton University, United Kingdom
SALAMINIA
A

Education must help those growing up in a culture to find an identity within that culture. (Bruner
1996, 38).

Images and Identity (2008-10) was a Comenius funded project in which six European Union
countries explored the cross-curricular links between Citizenship and Art Education with both
primary and secondary age pupils. The aim of the project was to enhance and develop a sense of
the pupils identity as European citizens using digital media as a means of expression and
communication. As the project developed it became evident that there were several key elements
that supported the pupils understanding of their European identity, these included: the role of talk,
collaboration and artistic interpretation showing their self-perception as European citizens. This
proposed workshop will offer participants ways to explore how identity can be conceptualized from
their own perspectives alongside those of subject experts in art, citizenship and language
education.

The consideration of identity and, more specifically, the promotion of a European identity has been
a Council of Europe priority since the mid 1990s; thus, Education for Democratic Citizenship is a
significant goal for EU members. However, research which examines the notion of identity within
and between European nations (see for example, Convery, 1999; Kerr et al, 2010) reveals a
stream of stereotypical ideas in relation to Europeanness. It seems that such perceptions only
serve to reinforce latent prejudice and atomised thinking with regard to broader conceptions of
citizenship; those which are sited beyond our national boundaries. Images and Identity was, in part,
attempting to engage with the European dimension in education by exploring innovative ways to
interrogate young peoples understanding of European citizenship through art and digital media.
The intention of this workshop is to discuss how planned dialogic interventions during art lessons

',

progressed learning which specifically developed a sense of European citizenship. In the research
schools children were able to investigate and express these notions through the processes and
outcomes of learning in and through art and design (Hickman, 2005).

The workshop will examine how stereotypical concepts surrounding European citizenship can be
developed and challenged through talk and dialogue within a learning environment, or atmosphere,
of trusting relationships between pupils and teacher (Zander, 2003). This way of working requires a
commitment to collaborative practice on all parts but is essentially facilitated and led by the adults
involved. During the Images and Identity project a collaborative model of working at all levels
underpinned practice and this was to enable such relationships to build and develop during the
action in schools.

Through exemplar case studies from the original project it will be argued that childrens knowledge
and understanding of Europe and its people, and their empathy for one another, is significantly
enhanced by their participation in a language rich and emotionally intelligent environment: an
environment in which children can express their ideas and thoughts confidently, both verbally and
visually, and without fear of being judged.


(-

E. SPECIAL WORKSHOPS

SPECIAL WORKSHOP 1 (SW1):
14:40 17:25
The traditional mosaic art as a common point of artists
coexistence
Soula Christou, Mosaic Collective, Cyprus
Soteris Phoraris, Mosaic Collective, Cyprus
Kypros Pisialis, Mosaic Collective, Cyprus
GARDEN A

This special workshop aims to introduce participants to the Cypriot mosaic art, and to provide
opportunities to practice mosaic making. The participants will come into contact with the historical
evolution, mediums, and materials of mosaic making in Cyprus through the centuries, by studying
designs, patterns and compositions of ancient, traditional, and modern mosaics. They will also be
challenged to think outside of traditional mediums and materials and create their own mosaic. The
participants work shall then be joined to comprise a single collective synthesis, which will be
permanently exhibited in a public space in Lemesos, where the city is currently undergoing a
significant regeneration. The Municipality of Lemesos has given permission for the artistic
intervension at the particular space, and the collective artwork will remain an eternal creation
reminding the InSEA 2012 European Regional Conference. Emphasis is on, inspiration, personal
vision and expression, creativity, originality and collectiveness.

The artist Soula Christou has great experience, both theoretical as well as practical and has
created significant works, which decorate public and cultural spaces in Cyprus. She has more than
20 years of experience with Mosaic art and has taught Art in secondary school since 1980.


($

SPECIAL WORKSHOP 2 (SW2):
14:40 17:25
The Creative Co-existence of InSEA and Cypriot Artists

zgl Ezgin, European Mediterranean Arts Association (EMAA)
Daphne Trimikliniotou, The Cyprus Chamber of Fine Art (EKATE)
Gianna Theocharous, Cyprus Society for Education Through Arts
(CySEA)
GARDEN B

Group work in Art is of great significance in our contemporary times and conversation and
transaction between the Arts can lead to a new state of co-existence; artists have differing
orientations and aesthetic pursuits, each expressing ones self in their own unique way, using a
variety of means and materials. Members of InSEA are called upon to come together at their
common point of reference, in their professional capacity as teachers of the Arts to create on a
collective level.

Members of InSEA who are artists, alongside Greek-Cypriot and Turkish-Cypriot artists from the
board of the European Mediterranean Arts Association (EMAA) will paint a common piece of work
inspired through music. The music will be produced by a small group Turkish-Cypriot of musicians
who will collect sounds from nature from all over Cyprus. Overcoming any obstacles and barriers
created over recent years, the Nature Sounds will travel from Karpasia to Pafos, from Kyrenia to
Limassol from Famagusta to Larnaca, from the mountains of Pentadaktylos to Troodos. All these
sounds will be synthesized into music by the musicians in a unique way. The artists, in using a
variety of materials shall be inspired to create various forms of art (painting and installation through
the sounds of the music).

Can this sort of music become an element strong enough to stimulate the imagination of the visual
artist? Will the fact that this particular sound of music, which holds within its content a factor more
than just melody or musical notes, arouse deeper emotions which are affected by our own deeper
feelings and awareness of the situation? Furthermore, to what extent can a collective collaboration
in the creation of a work of art become a powerful tool of communication and understanding
between people and by extension between cultures?

26 June 2012, TUESDAY Lemesos Cyprus, 25 27 June 2012

(%

Program



BUFFET LUNCH: ANTHEA RESTAURANT / 13:00 14:25

AFTERNOON COFFEE BREAK: EXHIBITION AREA - KOHILI GARDEN AREA / 16:00 16:25

InSEA WORLD COUNCIL MEETING: SALAMINIA A / 15:40 16:45

InSEA JOURNAL MEETING: ONISSILOS / 13:00 14:25

KEYNOTES:


KEYNOTE 3: Deborah L. Smith-Shank
GRAND HALL A / 09:00 09:30

KEYNOTE 4: Robert Wagenaar
GRAND HALL A / 09:30 10:00


SESSIONS:
S17: GRAND HALL A / 10:15 11:00 (Chair: Fiona Blaikie)
S18: GRAND HALL A / 12:40 15:10 (Chair: Ricardo Reis)
S19: GRAND HALL A / 15:15 18:00 (Chair: Stefania Savva)
S20: GRAND HALL B / 10:15 11:00 (Chair: Marlen Thiermann)
S21: GRAND HALL B / 11:25 13:00 (Chair: Deborah L. Smith-Shank)
S22: GRAND HALL B / 14:25 15:10 (Chair: Fotini Larkou)
S23: GRAND HALL B / 15:15 16:45 (Chair: Teresa Torres Eca)
S24: GRAND HALL C / 10:15 11:00 (Chair: Mousumi De)
S25: GRAND HALL C / 11:25 13:00 (Chair: Pierre Pepin)
S26: GRAND HALL C / 14:25 16:45 (Chair: Lourdes K. Samson)
S27: TEVKROS / 10:15 11:00 (Chair: Seija Ulkuniemi)
S28: TEVKROS / 11:25 13:00 (Chair: Mirjana Tomasevic Dancevic)
S29: TEVKROS / 14:25 16:00 (Chair: Venus Ganis)
S30: TEVKROS / 16:25 17:35 (Chair: Rita L. Irwin)
S31: EVAGORAS / 10:15 11:45 (Chair: Emil Gaul)
S32: EVAGORAS / 11:50 14:45 (Chair: Jooyoon Lee)
S33: EVAGORAS / 14:50 15:35 (Chair: Leena Hannula)
S34: EVAGORAS / 16:25 18:00 (Chair: Ademola Azeez)
S35: ONISSILOS / 10:15 11:00 (Chair: Carl Peter Buschkuehle)
S36: ONISSILOS / 11:25 13:00 (Chair: Li-Yan Wang)
S37: ONISSILOS / 14:25 16:00 (Chair: Jonathan Silverman)
S38: ONISSILOS / 16:25 18:00 (Chair: Victoria Pavlou)

PANEL DISCUSSIONS:
PD3: GRAND HALL B / 16:50 18:00

(&

PD4: GRAND HALL C / 16:50 18:00

WORKSHOPS:
W1 (2
nd
Meeting): SALAMINIA A / 10:15 11:45
W3: GRAND HALL A / 11:25 12:35
W4: SALAMINIA A / 11:50 13:00
W5: SALAMINIA A / 14:25 15:35
W6: SALAMINIA A / 16:50 18:00

SPECIAL WORKSHOPS:
SW1: GARDEN A / 14:25 17:10 (DISCUSSION: 17:10 18:00)
SW2: GARDEN B / 14:25 17:10 (DISCUSSION: 17:10 18:00)

WORKSHOPS:
W6: SALAMINIA A / 09:45 10:55


('

A. KEYNOTES

KEYNOTE 3
09:00 09:30

Gender, girl power, and issues-based art education
Presenter: Deborah L. Smith-Shank
Chair: Marjan Prevodnik
GRAND
HALL A

Deborah Smith-Shank received a Ph.D. from Indiana University in 1992, and is currently
serving as Interim Chair and Professor of Art Education at The Ohio State University. She is
also Emeritus Professor of Art at Northern Illinois University where she served as Head of the
Art Education program and taught at all levels for over 20 years. Prior to her work at NIU,
Smith-Shank taught art K-12.

Abstract:
Issues of gender can be part of a dynamic issues-based art education curriculum. This
presentation will focus on gender as presented in a special, 2011 issue of Visual Arts
Research called "Girl Power!" The authors in this special issue write about traditional feminist
and neo- or post-feminist theories, as well as theories from Girls' Studies. Girls' Studies is a
relatively new discipline that considers the cultures created by girls themselves, wherein girls
become both the producers and the product. Girls' Studies also encourages theorists,
teachers, parents, and others to consider how girls are presented in cultural media and how
patriarchal attitudes often drive these representations. While some of the articles in this volume
reflect the nature of Girls' Studies, others draw on more traditional feminist theories, and
include both text-based and arts-based research.

These critical discussions about the gendering of visual culture, identity, and girls' design and
art issues are important for contemporary art education. Focusing on gender issues in art
education helps to make the concepts of the gendered nature of culture relevant to students,
facilitates critical responses, and assists students' understanding about the multiple ways
people organize and make meanings about their worlds. It also brings art education into some
of the most important discourses of contemporary life. This presentation will focus on cultures
that create artifacts we see around us on a daily basis and the values that surround them, as
well as their relevance to the lived experiences of students and teachers. The presenter will
illustrate ways gender issues can be merged into art education curriculum at all levels.


((

KEYNOTE 4
09:30 10:00

Strategies for demonstrating the relevance of Art education: the
Tuning approach
Presenter: Robert Wagenaar
Chair: Marjan Prevodnik
GRAND
HALL A

Robert Wagenaar is a historian and at present director of undergraduate and graduate studies
at the Faculty of Arts of the University of Groningen in the Netherlands. He is an external
Higher Education expert for the European Commission and has been involved in main
initiatives to harmonize the European Higher Education Area. Together with Julia Gonzalez
(University of Deusto, Bilbao, Spain), he elaborated, designed and coordinates the large scale
innovative projects TuningEducational Structures in the World. In that framework he
coordinates the Tuning Sectoral Qualifications Framework project Humanities and the Arts
(HUMART), covering the performing and the creative arts.

Abstract:
Nothing can be taken for granted nowadays. Positions which were unchallenged yesterday
are challenged today. The financial crisis developing since 2008 is affecting us all. It has also a
tremendous impact on education as a result of a reduction of funding made available for it.
Priority is given to short term employability strategies, to fields of which policy makers think
can contribute significantly to economical recovery in the short run. Sacrificed in this
endeavour are common good, personal well being and social inclusion. It is undisputed that
these are the topics to which arts education contributes significantly. Group and personal
identities are related and based on common historical pasts, shared languages and cultures.
Due to large scale migration, social and cultural tensions have become apparent in all
European countries. Finding ways to cope with today's' multicultural societies, to develop
common understanding and appreciation for each other's cultures and its symbols should be
paramount. Instead our political leaders have declared the multicultural society dead and are
promoting the resurrection of the 19th century concept of the nation state. In a global society
where everything is interrelated (as we are painfully experiencing with respect to the banking
crisis) this looks as a road to disaster. It seems obvious that education, in particular in Social
Sciences, Humanities and Performing and Creative Arts, should play a strategic role in counter
forcing this development. If this position is accepted, this has far reaching implications for the
ways we educate our students in these sectors. Today's tough world and the future require
more. The more is related to the scope as well as the content of teaching and learning. This
asks for effective strategies for reforming higher education in a highly innovative way.

The staff driven Tuning Educational Structures initiative, which is strongly supported financially
and morally by the European Commission (http://www.unideusto.org/tuningeu/) offers a
global platform for and in international cooperation and educational innovation. In the last ten
years Tuning has become a worldwide process. The Tuning student centred approach is now
developed, tested and/or implemented in some 125 countries around the globe. Its main
objective is to prepare the 21st century student best - in terms of employability, citizenship as
well as social responsibility - for his/her role in society. Tuning has developed a common
language understood by all stakeholders, shared reference points and descriptors at subject
area level, and a validated methodology -to design and deliver high standard degree
programmes on the basis of key competences and learning outcomes - which allows for
flexibility and diversity and individual pathways. Tuning facilitates (inter)national cooperation
and offers a reliable basis for mobility and recognition. Its approach has also been applied by
the internal networks Architecture, Polifonia /European Association of Conservatoires (EAC) for
Music and the European League of Institutes of the Arts (ELIA) for Dance and Theatre and Art
and Design. At present experts of these organizations are developing - in the framework of the
Tuning SQF for the Humanities and the Arts (HUMART) project - a qualifications framework
based on agreed reference points to position their fields and therefore their graduates better

()

in today's societies.
This key note will address the relevance of the Tuning approach for higher education in
general and the performing and creative arts disciplines in particular.


(*


SESSION 17 (S17):
VISUAL CULTURE AND SOCIAL ISSUES

GRAND HALL A / 10:15 11:00

CHAIR: Fiona Blaikie

10:15 10:35
S17.1
Pinkalicious mean girls: A visual and poetic inquiry

Fiona Blaikie, Brock University, Canada
GRAND
HALL A

I examine the high school subculture of Mean Girls via arts-informed research (Blaikie, 2007
and 2009; Cahman-Taylor, 2008; Cole and Knowles, 2008) in which art forms and texts have
inherent interconnected meanings. Inspired by Wisemans (2002) Queen Bees and Wannabees
and the Hollywood movie Mean Girls produced in 2004, this issue is prevalent in high schools and
beyond, world-wide. Notions of the body and clothing are associated with identity/identities, culture,
gender, age, and a sense of belonging to particular groups (Coupland, 1991; Howe and Srauss,
2000; Jackson, 2010, Ulrich, 2003). Using poetry and visual images, the phenomenon of Mean
Girls is presented through the lens of clothing as a negotiated expression of self and visual
identity, with the body as mediator (Braziel and LeBesco, 2001; Holliday and Hassard, 2001;
Butler, 1993, 1999; Davis, 1997). The study is situated in Bourdieus (1985) conceptualization of
the body as a form of social and physical capital and Connells (2002) argument that bodies are
agents of social process as much as objects of social process.

Eisner played a significant role in laying out the theoretical framework for the various forms of arts-
based educational research that are prevalent currently within educational theory and practice
(Eisner, 1993; 1997, 2008). Arts-informed research (Cole and Knowles, 2008) provides the
framework for this inquiry, drawing upon the idea that art forms (music, theatre, media, the visual
arts, dance) and text have inherent meaning, individually and collectively.

Data Collection
My female participants were Mean Girls themselves, and/or were affected by the Mean Girl
phenomenon by being bullied and/or excluded. My central research question was: How are your
clothing choices determined by your sense of self? Throughout data collection, analysis and
presentation, I was guided by the following questions: How do we dress to show we belong to or
want to belong to certain groups? How do we dress to claim our gender or to disavow it? How do
we dress to show what we value and believe? How does age play a part in how we dress? How do
we reveal or conceal our own cultures in the way we dress? How does our hairstyle show others
who we are, what we value, and how we see ourselves? How are clothes used to hide or reveal
the body? How is clothing used to manipulate others? How is the body used to manipulate others?
How do accessories (jewelry, shoes, purses, sunglasses, hats and so on) play a role in creating
our personal, social and visual identities? How do people dress within subcultures in order to
belong to particular groups?

In the presentation of this work, I select and present artworks and poems that speak viscerally of
human being-ness, providing a unique opportunity for audience/participant engagement in
research-creation, arts-informed research, youth culture, and social theory on the body and
clothing.


(+

10:40 11:00
S17.2
How to communicate feelings in the medium of digital
photography: JOY and PAIN in the artwork of students aged 1219

Mirjana Tomasevic, DancevicHRV-InSEA; Education and Teacher
Training Agency, Croatia
GRAND
HALL A

In the project How to communicate feelings in the medium of digital photo? a certain number
of questions have been raised for consideration. Some of the questions are as follows: How to
communicate feelings in the visual arts, specifically in digital photography as a means of artistic
expression? How important is the communication of feelings today? What is the role of art
education/art educators/artist-educators in these issues?
The aims of the project are as follows: 1) to encourage the recognition of ones own/others
feelings, the talk, both visual and verbal, about feelings, the expression and communication of true
feelings in art/children and youth visual art/s activities, and finally, to help young people develop
better understanding of one another, as well as solve their own problems more easily, 2) to do
research on art forms used in expressing feelings, particularly the feeling of pain/joy in the digital
photography created by students aged 12 19.

The attached title and brief statement/verbal explanation of the artwork provide additional
information for the research, including the possible evidence of students social and interpersonal
sensitivity.

Concerning the artistic medium of expression and communication, digital photography is selected
as contemporary media, easily accessible to most teenagers through their cell phone or digital still
cameras, also the easiest and cheapest way for international delivery of the images on a CD-ROM
or via email, and preparation/implementation for an exhibition and catalogue.

The project started by dealing with the feeling of pain in artwork of contemporary women artist-
educators in 2010, and then in artwork of the 12 19 year-old students in 2011. Both subprojects
ended with an international exhibitions held in Zagreb, each accompanied by a Croatian-English
bilingual catalogue printed and online.

The call for entries for the third phase project, "The feeling of joy in the artwork of students aged 12
19 expressed in the medium of digital photo" ends at the end of February.
The analysis and comparison of the two subprojects done by the students are planned to be
presented at the Conference.

Some hypotheses are as follows: the subproject on Joy will attract more students entries than the
subproject on Pain; the topic of Pain will initiate more socially engaged artwork, in comparison with
more aesthetic experiments connected with the topic of Joy; the subproject on Pain will prompt
more powerful communication of true feelings and socially engaged messages, in comparison with
more schematic and globally popular images and symbols connected with Joy.
The project has been realised with the cooperation of the members of the InSEA and the Croatian
Council of InSEA (HRV-InSEA). However, the competition is open to non-members as well.


(,

SESSION 18 (S18):
ART AND ENVIRONMENT

GRAND HALL A / 12:40 15:10

CHAIR: Ricardo Reis

12:40 13:00
S18.1
An investigation into integrated art and design in Public Space in
relation to sustainable development for the 21st century city and
its society

Anna Merry, Frederick University, Cyprus
GRAND
HALL A

Integrated art and design as a specification for new public spaces is not an original concept, but
in the 21st century, public spaces have begun to encounter endless problems. Research has
shown that many have become unwelcoming, unusable and unapproachable. Problems can be
linked to the complexity of modern society, spaces are no longer being used as they were in the
past. When designed correctly and to the requirements of modern society, art in public spaces can
create places of identity and areas of sociability, which in turn promotes our cities and
communities.

Sustainable Development for the 21st Century City is required to meet the needs of the present
day without compromising future generations. By working productively and cohesively, public
spaces can create sustainable environments to benefit the social and economic areas of society,
which in turn promote the development of the 21st Century City.

A discussion into the creation of new centres of attraction, movement and information will analyse
whether we can provide the public with places for exchange, cohesion and communication as well
as educating the public culturally. An examination of flexible and adaptable art and design
integrated into public space will highlight the importance of public spaces in relation to sustainable
development and the continued cultural education of society.

Conclusions of quantitative data collection, design testing and case studies set the parameters and
specifications to design solutions. This leads to the exploration of interactive art and design as a
key aspect in promoting sustainable development for the city of the future. The final design
framework will demonstrate key factors in reducing social divisions and boundaries, in addition to
methods of engaging the public with both space and each other.

New public space design needs to address, tackle and solve problems to promote sociability and
educate our society. The presentation discusses both the theoretical and design research into:
How integrated art and design can enhance the 21st Century City and its society.

14:25 14:45
S18.2
Performing experimental communities within art education - Ethic-
aesthetic perspectives on community art and sustainability

Helene Illeris, University of Agder, Faculty of Fine Arts, Norway
GRAND
HALL A

How is it possible to enact environmental sustainability not only through intervention in existing
social and visual formations but also through the development of social and visual forms that
challenges the kind of living that has actually led us to be responsible for environmental crises?

The paper explores three empirical cases dealing with this question: 1) a social ecological

)-

community (performing life as art), 2) a community art project (performing art as life), and 3) an
art educational project (performing community as learning). Theoretically the paper uses ethic-
aesthetic philosophy (Naess, Guattari, Braidotti) and theories of community art (Gielen, Kwon,
Kester).

14:50 15:10
S18.3
A portrait of a project: When volunteers take over

Jenny Evans, Arizona State University, United States
GRAND
HALL A

What happens when primary students do not get regular art classes? The volunteers take over.
Twenty volunteers (plus one art teacher) take ten hours to teach one hundred sixth grade students
to create self-portraits for their graduating project. As the research and art teacher, the challenge
was not only teaching the students but the volunteers. Dual pre and post surveys reveal what
worked, and what didnt and if the standards were met. In a climate full of cutting arts programs it is
vital to find other ways of getting arts to the students. Depending on volunteers is a common theme
in primary schools today. Yet, what do volunteers need? Can we depend on volunteers to meet the
needs and the standards? In the end, the success of this project guaranteed a repeat for future
generations of sixth graders at one elementary school and a continued source of research.


)$

SESSION 19 (S19):
BUILDING PARTNERSHIPS BETWEEN THE WORLDS OF
EDUCATION AND CULTURE

GRAND HALL A / 15:15 18:00

CHAIR: Stefania Savva

15:15 15:35
S19.1
Art as more than mere cultural frill: The rhetoric of Tom Hudson

Suzi Tibbetts, University of Huddersfield, United Kingdom
GRAND
HALL A

This paper presents Tom Hudsons core ideas regarding the relationship between art education
and society between 1958 and 1995, found in both published and unpublished papers from the
Hudson collection at the National Art Education Archives, England. An artist and educator, Hudson
expressed concerns that reached beyond art education into the wider society. Instrumental to the
revolution in art education and establishment of the Basic Courses in the 1960s, he maintained a
career as an educator until his death in 1997. He did not regard art education as simply a tool to
produce artists; on the contrary, he felt it a fundamental right for all to understand the visual world.
Hudson felt that if the consumerist society of tomorrow were to understand and appreciate their
environment, important changes needed to take place, and visual literacy would need to be
embedded within post-adolescent stages of art education (Hudson 1968). Driven by a Socialist
agenda, Hudson believed that the creative disciplines had a responsibility towards the
development of man and his consequent ability to cope with complex progress, in order to ensure
that regulations would not be imposed from above (Hudson 1967). His ideas were influenced by
many, including Herbert Read, who also recognised a neurosis within society and saw art as
instrumental to a more civilized society. This paper reintroduces and analyses Hudsons views of
art education within society, determining the relevance of his ideas to contemporary opinion in the
new millennium.

Despite their age, many issues raised by Hudson can be seen to relate to our current situation. The
debate regarding the relationship between art and society as a tool for change, has taken
increasing prominence. Damasio (cited in UNESCO 2006) believes that an engagement with art
brings about emotional development, crucial for a more balanced state and culture of peace.
Delacruz (2009) also writes of art education as a tool for social reconstruction, necessary due to
the globalisation brought about by digitalisation, and where digital technologies can also be seen
as a potential aid. The necessary development of a visual literacy, as advocated by Hudson, is still
argued by many, including Oring (2000), as being the first step towards a more engaged and
cohesive society. The paper concludes that Hudsons rhetoric continues to raise important and
relevant questions applicable to the increasingly electronic media-dominated world we now live in.
More importantly, I argue that Hudsons ideas may have had a wider influence on art education
pedagogy, both consciously and unconsciously, than previously acknowledged.

15:40 16:00
S19.2
Reflecting on artists in residence

Irene Amengual Quevedo, Es Baluard Museu d'Art Modern i
Contemporani de Palma, Spain
GRAND
HALL A

My presentation will be based on the research I conducted for the MA Museums & Galleries in
Education, at the Institute of Education, University of London, during the course 2009-10. The
research looks at the Artists in Residence programme, developed at The Whitechapel Gallery,
which I had the opportunity to study whilst on a work placement.


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The research explores the gains of working with artists in educational projects such as the
Whitechapels Artists in Residence, not by answering essentialist questions such as what does it
mean to be an artist, but in a much more relational and contextual way. My aim was to reflect on,
firstly, what an artist does in the school-gallery context where the project takes place and,
secondly, how the different agents implicated in the programme understand its figure, relate to and
use him/her. I looked at what all of this is, and is not, distinctive in relation to being an artist, in
part comparing the emerging issues with my own experience as a gallery educator working on
similar projects. My approach to the case study was from narrative inquiry (Conelly and Clandinin,
1995; Pinnegar and Daynes, 2007), as my interest was to look at the specific context of analysis
Artists in Residence to see how the people involved reconstructed their experiences to answer
the research question. Moreover, I related the findings about Artists in Residence to a broader
scene, seeing how contemporary artists are defined in the field of theory and aesthetics as well as
exploring other practices of artists in schools run by galleries in the UK. My dissertation is
particularly relevant if we take into account that in the UK working with artists in education has
become such a common and mainstream practice but sometimes lacks critical analysis.

In my presentation I will expose some of the findings of my research. I will examine where the
differences and similarities reside between working with an artist and working with a gallery
educator, by discussing to what extent the artists shaped Artists in Residence, (in terms of the
learning, strengths, problems and the structure that upholds this educational initiative). I will also
address the conflicts arising from the different ways artists are understood by the diverse agents
involved in the programme (the gallery, teachers and the artists themselves). Furthermore, I will
identify meaningful misunderstandings, occurring partly as a result of failing to work with clearly
defined notions of terms such as education, critical or risk taking. I hope to provide some
recommendations, to encourage reflexive practice, to overcome some of the difficulties that artist
residences entail, and to promote the potential that artists do have to contribute to public education
programmes.

16:25 16:45
S19.3
Contemporary art, meaning making and competences

Lisbet Skregelid, University of Agder, Norway
GRAND
HALL A

What relevance does contemporary art have to young students and their lives? What
competences might emerge when interacting with visual art in experimental art educational
contexts? How does these competences fit or contrast already emphasized knowledge, skills and
competences in a current art educational climate?

This paper will discuss some of these questions and departs from an ongoing research project that
explores students` complex meaning making processes when engaging with contemporary art. The
project aims to unfold some of the possible potentials of including contemporary art and
contemporary art practices into education in general, and in to a Norwegian art educational context
in particular.

The action based and longitudinal research design, carried out in a school art museum context,
stretches over three years (2008-2010). The design includes students from two secondary schools
participating in three contemporary art exhibitions at Srlandet Artmuseum (Norway) and related
activities. The involved teachers, the educational curators and the researcher, form partnerships
that collaborate on the didactic strategies. Relational perspectives inspire both the theoretical
frame and the methods chosen. The term relational, in this art educational context, is adapted as a
way of approaching artworks in general, and a way of arranging and researching art educational
practice where mutual relations between the factors apparent in this practice are considered.
The vast empirical material from the study reveals a range of possible competences at play in the
students` meaning making processes. Competences that become apparent have reflexive, creative
and communicative aspects, and to some extent they challenge and contrast what is outlined in the
existing Norwegian curriculum Knowledge Promotion (2006) in general, and the subject Art and
Crafts in particular. The study gives the opportunity to argue for a greater awareness about how we
comprehend the notion of `competence` in relation to art education, and to suggest alternatives to
traditional and more established interpretations.

)&

16:50 17:10
S19.4
Urban museums - more green steps
Sahar Khalil, lHelwan university, Egypt
GRAND
HALL A

From all gathered listed and documented resources scanned for museum data the researcher is
going to use data gathered from recent research titled (urban Museums - go green towards a new
century) to be applied in a second part research application place will be the museum of college of
art education (MAE) included and presented in ( paint a tree plant a picture 2011/2012) program.

this research will be gathering data from visitors( school management) and (student visitor),
workshop trainees( college students), college employees, and documenting steps of formatting a
green exhibition and workshops in Cairo Egypt ,Helwan university, college of art education.

17:15 17:35
S19.5
Life as a work of art
Lusa Vidal, 2ADS (Instituto de Investigao em Arte, Design e
Sociedade), Portugal

GRAND
HALL A

No pessimism. No tiredness. Certainly not, any faithlessness inhabits me. Only, I have no
illusions. Modern apparatus, still. Education as mechanism for normalizing and governing the
society, still. And, still, arts education which, ambivalent towards the complex mesh of historical
accumulations that came to weave its most naturalized dogmas, remains permissive before the
powerful dynamics regulating what it means to be human. But I repeat: no pessimism or tiredness
or faithlessness. I deeply believe that may, one day, arts education turn into something infinitely
more ethical.

This way, and in affinity with the text introducing the conference, which emphasizes, in a rapidly
changing world, the need of a constant process of redefining our scope, our goals and our
processes, this theoretical driven paper, based on a recent educational project developed with a
group of high school students, proposes a moment of reflection both concerning the instrumentality
of arts education, in the specific context of the visual arts, towards the fabrication of subjectivities
convenient to controlling the individuals, and the consequent disinvestment in the privileged
possibilities that, in a scenery where the organizing principle is no more the word but the image, it
can perform as a place of resistance. Attentive and inquiring and critical and restless and irreverent
to the hegemonic patterns of existence determined by the successive systems of reasoning.

Crossed by difference and freedom and nomadism and inventiveness and authorship. Able,
therefore, to experience with the students the violence of the containment, to understand with them
the perverse seduction of the speeches, to clarify that, much more than we have ever imagined, all
of us can travel over paths of our own, and to provide, each one of them, emancipated devices of
self-representation within a post-identity and post-colonial context. The free use of ones own or,
perhaps, life as a work of art.

17:40 18:00
S19.6
Vasso Katraki: Giving life to stone
Georgousi, M, Greece
GRAND
HALL A

Through the art of Katraki , in some degree, we can partly follow the mobility of cultures. Katraki
has been inspired from the ancient Greek heritage, especially the Cycladic figurines, while at the

)'

same time maintains her inspiration by use of expressionistic elements and other techniques that
have reemerged in Europe. This, in the times of globalization and multiculturalism, helps her form
her unique artistic identity.

Katraki in her early days, depicts scenes from the life of the fishermen at the nearby Messolongi
lake. Her homeland was the inspiration for a series of color woodcuts of landscapes of the
Messolongi lagoon (Hours of Messolongi 1948-1952). The use of dark gray tones and the complete
absence of black are typical of that period.

In 1955, she is engraving on a sandstone block that has a relatively soft texture and can keep the
ink on its surface. Because of the nature of the material and the tools that she was using, the
process of drawing gets closer to the carving. This choice of material might have contributed to a
change in her thematology. Expressionism and the revival of traditional techniques that occurred in
Europe at that time are not leaving her artistic identity intact.

She has been greatly influenced by ancient Greek art. She used to delineate the area in
accordance with the aesthetics of the classical black-figured vases and friezes of austere rhythm
and she transforms key elements from Cycladic figurines. Her dominant theme remains the human.
The human, apart from a member of a social group, is also becoming a form, a symbol. At the work
of larger dimensions dynamism is imbued. Although she seems to submit a social protest she
maintains a calm Doric style. Her shading is focused on the contrast of black and white. The
figures are schematic; the black and white contours become loose. The white background acts as
a support without the use of unnecessary elements.

During her exile in Giaros she expresses herself artistically on pebbles using black ink. Later still,
her work is dominated by symbolism, through tree-shaped and cross-shaped forms that take
clearly a declaratory role. She is deliberately omitting their essential characteristics. But after 1975,
her shapes tend to recover their lost features; they become less angular and aggressive, finally
getting almost emotional.


)(

SESSION 20 (S20):
HISTORY OF ART EDUCATION

GRAND HALL B / 10:15 11:00

CHAIR: Marlen Thiermann

10:15 10:35
S20.1
Beliefs of art education marked by culture

Marlen Thiermann, COEDUCARTE, Chile
Marianne Beuchat, COEDUCARTE, Chile
Andrea Maria Melendez Teutsch, COEDUCARTE, Chile
Dora Aguila Sepulveda, COEDUCARTE, Chile
GRAND
HALL B

Different art education beliefs, presented in the project named Cartography of arts education in
Europe and Southern Cone of Latinamerica, made by A. Melndez, M. Thiermann and D. Aguila,
is the basis for this reading, which links the beliefs with their cultural contexts, mostly determined
by geographic location, traditions from original population, cosmovisions, ideologies, and other
cultural worldviews.

There will be a comparative analysis of different views of art education based on videotaped
interviews directly collected from experts who attended the InSEA Congress in Budapest, Hungary
2010 and others from the southern cone of Latin-America, with special emphasis among those that
are different in the northern and southern hemisphere.

The basic question for the interview was: In your opinion, what is the most important thing about
teaching visual art at school?. Through an analytical study of the answers to this question, it was
deduced that there are different points of view and multiple approaches to art education.

Dots of different colors corresponding to the major axes in arts education clearly show multiple
views. In a poster to be presented by D. Aguila the dots are arranged on the world map to better
distinguish the geographical location of each experts opinion in order to know how are the subject
of art education that underlies theories and practices of teaching and learning through art at school.

It will be analyzed if they prefer a more analytical and intellectual approach in the northern
hemisphere than in the southern, where a more practical-experiential is more likely to be
successful.

Perhaps the clearest evidence between the north and south can be read in the stars, leading to
very different world views influencing without question, the beliefs and attitudes of people who have
inhabited these regions.

There will also be comparing images based on the influences emanating from geographical
opposites, which in turn have been observed in the recovery process of feet and brain surgery.

The rock art, architecture, crafts, painting, ceramics and contemporary art from North and South
will be presented to visualize the differences that seem to emanate from the corresponding cultural
environment.

Some other aspects that led to the current multiplicity will be attended in order to demonstrate the
validity of different points of view and its relevance to the educational reality of their respective
cultural environment. This will be also usefully for teaching visual art in the future.


))

10:40 11:00
S20.2
Developing the conceptual framework for a curriculum for year five
art lessons in kuwaiti primary schools
Fatema Alajmi, Roehampton University, Kuwait
GRAND
HALL B

The current art curriculum for elementary schools in Kuwait lacks any art history and no
empirical studies have been made of it. I have been trying to develop a formal curriculum which
gives Year Five students greater understanding of their own culture through lessons in art history in
which they investigate traditional artefacts (here, Alsadu weaving). The action research that I am
doing in three schools in Kuwait tests my experimental curriculum, which, over six lessons, focuses
on Alsadu weaving, a traditional women's craft in Kuwait. My action research has four main cycles:
researching art education theory, policy and practice in England, developing a curriculum, testing
and evaluating the curriculum twice and drawing conclusions. I have completed two cycles at this
time. The preliminary review of the literature which helped me to clarify the focus of the intended
research and develop the research design. And I have implemented the curriculum once in a
Kuwaiti school. Action research has been broadly adopted for the development, design and
evaluation of the new curriculum. As a practising teacher and researcher, I welcome the model of
the teacher as researcher who collaborates with other teachers to implement and test a
curriculum and analyzes and evaluates it with them. I have designed six lessons for the new
curriculum and am collaborating with a small action team three art teachers from different
education authorities, an expert in Kuwaiti education, and a graphic designer and planned to
implement and evaluate it twice .The first time it was put into action I taught the curriculum and
collaborated with one art teacher on formative evaluation. Then I improved and revised the
curriculum and it was implemented and evaluated again by two other art teachers. The final step
will be a summative evaluation of the curriculum model in preparation for publication and further
dissemination. This conference paper will present the outcomes from the cycle when I
implemented the unit myself and will discuss the formative evaluation.


)*

SESSION 21 (S21):
VISUAL ARTS

GRAND HALL B / 11:25 13:00

CHAIR: Deborah L. Smith-Shank

11:25 11:45
S21.1
Art education and capoeira (an intangible cultural heritage of
brazil)
Flaviane Malaquias, E. E. Prof. Incio Castilho, Brazil

GRAND
HALL B

This presentation discusses the teaching practices in visual arts from an interdisciplinary
educational perspective, focusing on capoeira and its benefits as a cultural practice in Brazil and its
relevance for secondary school students. As a common thread, the art works of the French
photographer Pierre Verger and the Argentinean painter Caryb are critically observed as to how
they represent capoeira in the 1940s and 1950s. Their art works approach issues on
black people cultural manifestations allowing dialogues between past and present of intangible
cultural heritage of Brazil.

This presentation promotes an interdisciplinary didactic proposal set by the theoretical and
practical study in art education. It is founded by the need to implement the Brazilian Federal Law
10.639/03. Such a law makes compulsory the teaching of Afro-Brazilian and African history in
educational institutions including elementary, high and secondary school levels. Considering the
law it is important to develop educational practices focused on the cultural manifestations of the
black ethnicity in Brazil.

According to Ribeiro (BRAZIL, 2004) the institution of this law draw attention to the contribution of
black people in the construction and formation of Brazilian society. Its main purpose is to promote
positive change in the reality experienced by black people towards a democratic, just and equitable
society. It intends to reverse the perverse effects of centuries of prejudice, discrimination and
racism.

Reflecting on the concepts in contemporary art education in Brazil, it is understood the range of
issues and possibilities to be worked on interdisciplinary ways. Students can develop meaningful
creations provided by interdisciplinary experiences. The production of art in this sense is capable of
contributing to the communication, dissemination, and promotion of the Brazilian Federal Law
10.639/03.

By looking carefully at the art works of Verger and Caryb, this presentation shows how the
Brazilian Federal Law 10.639/03 can be implemented by teaching visual arts. The aim is that
secondary school students realize they can transform their reality by recording their perceptions as
represented images. This is a way in which enable them to understand their identity within Brasilian
diversity. Their creation expression brings up awareness of their significance.

This presentation therefore intends to motivate teachers to work through interdisciplinary practices
in order to valorize Afro-Brazilian culture.


)+

11:50 12:10
S21.2
Visual multiliteracy and cultural understanding
Marjo Rsnen, University of Turku, Finland
GRAND
HALL B

In this presentation, I will approach visual arts from the perspective of cultural education. First I
will introduce my model of visual multiliteracy. It is based on the broad view of cultural identity
including micro cultures and ways of life (ethnicity, geography, religion, abilities, age, sex and
gender, language, and class). Cultural identity is tied with the concept visual multiliteracy which
connects visual culture with other forms of material culture and multiculturalism. Under the title
visual multiliteracy, various methods of interpretation derived from art disciplines and cultural
studies are applied in the framework of experiential art understanding. This means that art
experience comes into being when the cultural identities of the maker and the recipient meet as the
work of art is explored. I am asking, how a work of art can build a bridge between different times,
cultures, and individuals. How can multicultural selves be understood and constructed through
interpreting visual culture?

In the second part of my presentation I will tell how I applied my model in a case study executed at
the University of Turku. This study is a part of the research project in art teachers and art
education students views of the role of art in cultural education. In this part study I explored first
year class teacher students conceptions of multicultural art education using my model of visual
multiliteracy. I explored which of the dimensions of cultural identity were included in students
school-time memories of art and multicultural education, and in their definitions of multiculturalism.
The results show that most of the beginning class teacher students have very narrow view on
multiculturalism emphasizing ethnic diversities and problems of immigration. They recognize only
few connections between their school-time visual arts education and multiculturalism. However,
introducing the model of visual multiliteracy helps them to plan learning units based on interaction
between personal and social aspects of cultural identity. I finish my presentation by discussing the
art teachers professional identity as her role changes from a teacher of skills to that of a cultural
worker capable of participating in interdisciplinary cooperation sustaining multicultural
understanding.

12:15 12:35
S21.3
Body image, identity and art education - A case study in Hong
Kong and London
Shukfan Wong, HKUSPACE, Community College, The University of
Hong Kong, Hong Kong
GRAND
HALL B

The impact of western cultural ideals of thinness as a sign of beauty has been proposed to
cause dissatisfaction with body shape and weight concerns among many young people not only in
western countries, but also many Asian countries.

This paper explores how young people's personal and gender identities are influenced and
constructed by mass media, in particular, through the production of body images. It employs
semiotic theory from the work of Barthes and Perice to examine the symbolic representation of
body and identities. The work of Foucault and will also be applied to discuss the relationship
between gender identities and body images representations. The study will focus upon the
relationship between body images and eating disorders among young people (age 11-17) in the
UK and Hong Kong. A survey was conducted in 2005 to illustrate the correlation between a desired
body image and eating disorders, as well as make a comparison of the behaviours among
secondary students in Hong Kong and London. The findings indicate that the students in Hong
Kong are more concerned with the perception of their body image when compared with the UK
students. It also shows that Hong Kong students are more susceptible to peer pressure.


),

On the whole, the aim of the study is to investigate the impact of cultural value enforced by the
mass media on the desire for a slim physique and the negative stereotyping of obese figures
among young people who are from different culture and ethic backgrounds (i.e. Europe and Asia).
The other concern of the paper is to show the possibilities by introducing the concept of visual
literacy in art education to help students to develop a sense of aesthetic openness, and also
critically evaluate the production of standardized body images in the mass media.

12:40 13:00
S21.4
Children's depiction of symbols

Ava Serjouie, University of Erfurt, Germany
GRAND
HALL B

Research question: What are the cultural or social factors in children's drawings. Are
symbols and motives presented or drawn by children culture specific and belong to a certain
region, religion or maybe country or culture. Children's understanding of culture specific
symbols and their ways of representing them.


*-

SESSION 22 (S22):
ART EDUCATION AND PEDAGOGY

GRAND HALL B / 14:25 15:10

CHAIR: Fotini Larkou

14:25 14:45
S22.1
Female clowning: The place of women at the clown world

Melissa Lima Caminha, Payasas Desagrupadas, Spain
GRAND
HALL B

This work is part of my PhD project in the Arts and Education program at the University of
Barcelona, and it emerged as a result of my studies during the master degree at the same
program. It consists of a brief state of the question about the recent history of female clowning on
arts, entertainment, pedagogy and social intervention. A literature review about clowning and
laughter was done, as well as a documental research on comedic performance of women clowns.
What is the place of female clowning in the circus, theater and performance art? When and how
women have been articulating themselves to visualize, legitimize and promote female clowning?
What is the importance of female clowning on gender pedagogy and sexual politics through arts?
How the discourse about difference is being constructed by clown women? With this work, it is
possible to see a contemporary movement of women taking place in the clown world, which has
been historically dominated by men and patriarchal traditions on laughter, parody and comedy. A
type of feminist movement on clowning is being created and/or reinforced, especially in the last
decade, through festivals, courses, discourses and performances on a variety of themes such as:
female universe, gender roles, gender oppression, female identity and the womans body. But
although female clowning appears with a strong potential to inquiry about gender and sexual
discourses and politics, it seems it is loosing strength due to the historical isolation from feminist
art, performance and theory. Because of that, this work also aims to contribute with a dialogue with
some feminist artists and theorists, trying to build interdisciplinary bridges and fostering
collaboration that can be powerful instruments to female clowning pedagogy and politics.

14:50 15:10
S22.2
Adult learning in entrepreneurship: Using traditional artifacts for
designing cultural products
Mary Kampouropoulou, University of the Aegean, Greece
Costas Tsolakidis, University of the Aegean, Greece
Persa Fokiali, University of the Aegean, Greece
GRAND
HALL B

This work presents an educational project titled Traditional Artifacts and Cultural Products,
designed within the context of entrepreneurial training, addressed to adult learners who are
interested in tourist souvenirs enterprise. The central research hypothesis is that adult sensitization
on local art and cultural traditional production is a driving force for a cultural and artistic orientation
in the souvenirs industry. In this project, typical designs of traditional east Mediterranean ceramic
art were used as a source of inspiration for the production of objects that satisfy aesthetic criteria
and are of interest to the souvenirs trade.

Set aside their economic role, souvenirs are considered as part of the tourist art system. As such
they have a significant artistic and social mission. They contribute significantly to the range, variety,
authenticity and quality of the tourism experience, and are connected symbolically with feelings

*$

and memories that travellers bring home from the host country. Within such a context, souvenirs
enterprises are expected to promote traditional local art and, through art, the regions uniqueness
and the place identity.

This mission is rarely found in internationalized large tourism enterprises that promote souvenirs
that are neither distinct nor recognizable. Despite the significance of souvenirs, nowadays souvenir
production seems to have moved a long way from its original targets. Due to globalization and the
consequent market internationalization, local vendors, instead of producing original and authentic
artistic symbols of tourist destinations, associate souvenirs with items and crafts that are mass-
produced, imported from other countries, easily found in other parts of the world hence having no
relation with art or the place identity
.
Taking into account the cultural and artistic mission of souvenirs, this work presents an educational
project in which adult learners were introduced in the artistic design of souvenirs. They were taught
to rely on the investigation of traditional endogenous cultural artistic inputs of their place ,and to
take into account the need for the objects that serve as souvenirs to reflect the place cultural
identity together with authenticity and quality. Within this framework the project was carried out with
the following research questions:

Do traditional cultural crafts encourage the design of new souvenirs? If yes, what forms do the
new products take?
Are the new objects authentic?
Do they represent the place identity?

For the purposes of the project, pottery items of the traditional east Mediterranean ceramic art were
selected as typical traditional artifacts that would inspire the participants to design new souvenirs.
Pottery was selected because in the Mediterranean basin and more specifically in Rhodes the art
of pottery is present in all historic stages and pottery items are highly indicative of the interaction of
cultures in the area. The items that were studies belong to the so-called Rhodian Nice (Isnik)
ceramic art and include pottery objects that were incorporated in the everyday life of Rhodes.
The project was implemented in five phases, as follows: (a) investigation on the role and meaning
of souvenirs in travelers experience, (b) an insight in east Mediterranean ceramic art and
craftsmanship, (c) artistic design of new souvenirs inspired from traditional ceramics, (d) pilot
production of new products and (e) evaluation. The output of the project included the design of
many artifacts, including products of domestic use, decorative items etc , potentially interesting the
souvenirs enterprise. These reflect traditional art but at the same time deviate from it, so as to
adjust to the present.

In respect to the main research question Do traditional cultural crafts encourage the design of new
authentic souvenirs representing the place identity? the overall impression is that old pottery
products are confirmed as valuable source of inspiration for new quality souvenirs.
With respect to the question Are the new objects authentic?, the answer is positive. Although the
new designs do not reflect a sudden creative idea they are authentic since an important motive in
this case cultural wealth- has acted as stimulant of mind and emotions and consequently lead to
high quality activities.

With respect to the third question Do the new designs represent the place identity? again the
answer is positive. The designs of the new souvenirs contained either typical symbols of Rhodes,
such as the ibiscus flower and the dear, or other drawings, such as boats, fish etc., that reflect the
geographic and socio-economic identity of the area.

In conclusion, the project indicates that it is worthwhile to encourage adult learners to design
souvenirs, well documented traditional art but also reflecting the perspectives and aesthetic values
of their own generation.

SESSION 23 (S23):

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MUSEUM EDUCATION

GRAND HALL B / 15:15 16:45
CHAIR: Teresa Torres Eca

15:15 15:35
S23.1
Play, observe, create, reflect: A day at the Contemporary Art
Museum

Sophia Rossidou, University of Cyprus, Cyprus
Marianna Rossidou, School teacher, Cyprus
Konstantia Vasiliou, School teacher, Cyprus
Gabriella Pantela, School teacher, Cyprus
GRAND
HALL B

This paper tackles the issue of art museum education for young children (ages 4-12). The
theoretical issues underpinning the design and implementation of educational programs at an art
gallery will be presented and compared with actual activities that took place at the Nicosia
Municipality Art Center. Finally, a critical reflection of the whole process will be discussed. The
paper aims to present certain issues that are important in the realization of art museum educational
programs, deriving from the relevant bibliography as compared with empirical understandings; to
share ideas and encourage educators to become more involved.

The Nicosia Municipality Art Center has offered the opportunity for the implementation of
educational programs for children, in regard to different contemporary art exhibitions that has
hosted. The programs were designed and implemented by four educators. Children took part in the
programs mainly at their own time but also as part of some organized school visits.

The programs tackled were underpinned by the belief that appreciating art from an early age is an
important quality that provides new paths of communication and an effective way for entering the
rich art world (Epstein, 2001). We aimed in providing children with rich environments for learning
and involvement; and in giving them the opportunity to be engaged in them according to their own
understandings and ways of learning.

The main goal of our programs was to provide the opportunity to children to extend their thinking
skills and construct their own interpretations of art works. The activities were organized in order to
coincide with the certain age groups needs and ways of learning. A multisensory and engaging
approach was adopted allowing children to interact deeply with the art works and express their
understandings in many different ways (Weier, 2004; Piscitelli, 2000; McRee, 2007). A playful
atmosphere was intentionally created since play is considered to be an essential mediator to young
childrens learning (Henderson & Atencio, 2007).

Another important factor that was taken into account is the link between art viewing and art-
making activities, and reflection as a meatacognitive skill. Children had the opportunity to create
their own artworks and reflect on them as well as on the creations of their peers (Eckhoff, 2008;
Savva & Trimmis, 2005).

In the implementation of the above, adults role was vital. Educators took the role of scaffolding
childrens experience by helping them focus on certain elements of art works, providing an
example with their behavior, actively listening to the children, participating in their play and
exploration, making associations, triggering their imagination, curiosity, encouraging and motivating
them (Eckhoff, 2008; Savva & Trimmis, 2005; Weiner, 2004).

The implementation of the projects described gave us as educators some useful insights and the
opportunity for critical reflection on the process. Issues, such as the importance of connecting
educational programs with activities taking place at visiting schools; parents involvement; the need

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for a more child- friendly atmosphere and display; more power and choice given to children and the
need for multiple visits, arouse and are being discussed.

15:40 16:00
S23.2
The guided visit in the museum: Experiences of people with visual
impairments
Harikleia Kanari, University of Thessaly, Greece
Vassiliki Vemi, University of Thessaly, Greece
Vassilis Argyropoulos, University of Thessaly, Greece
GRAND
HALL B

The guided visit remains one of the most common practices in museums and galleries, its main
role being to help visitors approach exhibitions and objects in a meaningful and easy way.
Regardless of the several types of guided visit and the different techniques used for its delivery,
issues such as what to say, when to say it and how to say it are of primary importance in all
cases; they concern both the design of a proper narrative and its face-to-face performance. For
vision impaired people, the traditional guided visit - or in rare cases, at least in Greece, specifically
designed ones - can be a very valuable and strong experience, if certain elements are properly
taken care of.

The access of people with visual impairments remains a challenge for the majority of Greek
museums. Although important steps have been taken to this direction there is a limited number of
specifically designed educational programs and a lack of relevant research. This paper refers to a
research based on semi-structured interviews aiming to investigate the experiences of visual
impaired visitors in museums and focuses on the guided tour as factor of access. The qualitative
data obtained from the interviews point out the features of a guided visit that may impede or
facilitate access to museum collections and thus determine the quality of contact with art and
cultural objects, as well as the museum itself. This research highlights the specific needs of these
visitors; it also identifies issues related to the appropriate training of guides and museum-
educators, suggesting ways of enhancing their awareness in disability, thus preparing the future
guides to be able to respond adequately to the needs and expectations of variable audiences.

16:25 16:45
S23.3
Museum-based literacies and learning in Cyprus for 21st century
skills

Stefania Savva, University of Leicester, Cyprus
GRAND
HALL B

Museums are sites for learning that are commonly visited by schools. However the act of visiting
museums is complexly situated in broader social and cultural relations. This presentation argues
that museum visiting as a cultural practice requires specific museum-based literacies that are
rarely identified or explicitly taught by museums or schools. This is partly explained by a lack of
relevant research in the field of museum studies or education despite an acknowledgment of its
importance. Literature sustains that the lack of focus on literacy events and practices reinforces
exclusionary perceptions that are supported by statistics that show museum visiting to be
unequally participated in within the population worldwide.

In examining preliminary findings of a doctoral research on the nature of museum-based literacies
and their implementation in museum educational programmes for pupils aged 9-12 years old in
Cyprus, this presentation explores what happens when young people engage with literacies at
museums/heritage sites. This investigation includes examining the relationship between
educational theory and practice with regards to literacies and learning at the museum. Research
questions formulated are: What is the nature of museum-based literacies? How does engagement
with literacies during a museum educational programme impacts pupils learning experiences in a
museum? What sort of literacies pedagogy instruction would empower museum visiting as a

*'

meaningful literacy event? A case study is privileged for this research as it allows triangulation by
using multiple sources and techniques in the data gathering process while it is preferred for
research/theory that are at their early formative stages. To elucidate data both qualitative and
quantitative methods will be employed in the sites investigated including questionnaires to museum
educators, semi-structured interviews with teachers, museum educators and focus group
interviews with pupils, observations of museum visits, documentary analysis and collection of
physical artefacts. The last stage of the research is participant observation: development,
implementation and evaluation of an instructional development/design for a project based on
multiliteracies pedagogy. Participants will be recruited through using a random probability sample
of fifty pupil participants from five primary schools, two in the urban and one in the rural district of
Limassol town. The ten museum educators working in accredited museum educational
programmes in Cyprus will be asked to participate in a questionnaire survey.
It is considered that addressing the knowledge, skills and attitudes for museum literacy will have
significant implications for education in museums, and particularly for museum/school
relationships, as it recognizes the particular demands of developing learning experiences in the
museum setting that enable cultural participation. The complexity involved in modes, literacies,
sign systems and the unique museum environment make this a challenging task. The long term
aim of the study as a whole is to determine what kind of curriculum would enable museum
professionals in Cyprus to integrate multiliteracies and increase childrens meaning making so that
they can be empowered as cultured persons according to the new demands of literacy and
education both in our world at large and in a transitional time for Cypriot education due to the new
educational reform.


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SESSION 24 (S24):
NEW TECHNOLOGIES AND ARTS EDUCATION (I)

GRAND HALL C / 10:15 11:00

CHAIR: Mousumi De

10:15 10:35
S24.1
Orangisational principles for visual culture education

Paul Duncum, University of Illinois, Champaign Urbana, United States
GRAND
HALL C

Starting with the premise that technologically advanced societies have taken a visual turn, the
paper examines key concepts to help develop an understanding of what is now called our visual
culture. Visual culture encompasses all visual imagery and their circumstances. Conceived as
starting points from which to organize curriculum, the key concepts are: power, representation,
ideology, seduction, the gaze, multimodality and intertextuality.

10:40 11:00
S24.2
Using technology as a creative tool to enhance new means of
expression at students artworks

Walaa Kassem, Faculty of Specific Education, Egypt
GRAND
HALL C

This research addressed the ability of students to get benefit from using technology in their
artwork through workshops, which took place in 2011, it has continued for 3 months with students
from faculty of Specific Education, Alexandria University. Each Student had performed creative
artworks that explore the concept of assertion of culture identity, they used digital technology as an
approach to enhance new means of art expression, such as digital cameras to take photographs,
color printers and scanners to create digital images, and software applications like Photoshop to
edit and create digital designs with a creative insight, that allowed them to generate innovative
solutions and opportunities in applied communications skills that are so important to the workforce
of today.


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SESSION 25 (S25):
NEW TECHNOLOGIES AND ARTS EDUCATION (II)

GRAND HALL C / 11:25 13:00

CHAIR: Pierre Pepin

11:25 11:45
S25.1
Learning in and through arts in the 21st century: An aesthetic
approach to new technology
Sol Moren, Ume University, Sweden
GRAND
HALL C

Is digital creativity affected by gender norms?

The gender norms that prevail in society appear to be reflected in the net cultures of young people.
The communication of girls and boys on the Internet is manifested in different forms of socializing,
linked to homosocial gender norms, even though the net is a meeting place that is disembodied.
Girls often choose to learn new technology because they want to use the technology in order to
achieve something else, and their goal often have aesthetic preferences. One example is digital
photos within the blog culture where young girls learn how to edit their digital images in order to
make the pictures more attractive. As my working with questions of digital gender has progressed,
a hypothesis has emerged, namely that girls frequently have an aesthetic approach to technology.
The issue of girls learning technology, becoming technical, is complicated in relation to gender
norms. In a learning situation, it is sometimes apparent that boys and girls use different strategies
when it comes to learning new technology. Males tend to spend more time thinkering, as in
playfully investigating new interfaces on their own, while females are more focused on learning
through a dialogue. Expressions of technical knowhow or innovation that are not in line with the
predominant male norm, easily become invisible. Girls who study within the field of creative digital
technology are often forced to begin by working with equality instead of being able to practice their
profession since it is hard for them to establish themselves in the existing male- dominated
corporate culture. At best they become entrepreneurs who, together with other female creators, run
innovative projects, which expand the field. My hope is that the result of this work will contribute to
this new growing field of research where questions concerning gender and creative digital
technology will be problematized.

11:50 12:10
S25.2
Introducing global training web site workshop for art educators
Pierre Pepin, Nyit New York global program Amman Jordan, Jordan
GRAND
HALL C

Exploring Multimedia Interactive Process Development, using all Senses, Tools of Science,
Media, Design, Animation, Performance, and Technology in Studio Art.

Objectives
Experimental Methodology, Experiencing Interdisciplinary, Culture and Language, Developmental
and Social Psychology, Motivation, Sensation, Perception, Attention, Consciousness, Learning,
Memory, Thinking Process, Cognitive Science, Organizational Learning, Instructional Design,
Educational Technology, Classroom Management, Uses in Human-Computer Interaction.

Research Methodology
The Classic Approach of Teaching through Innovative Electronic Visualization


**

This presentation is to introduce the site of Global Training Web Site for art Educator. The selection
of workshop will be resented to art educators and the content of various strategies and orientation
of each workshop available for training in class experiencing with the art educators various
strategies of how to develop a Inter, Multi, and even Trans disciplinary process through, Media, Art,
Science, Design, Performance and Technology.

The strategic orientation of the Methodology that I propose is based on discovery by a classic
approach of visualization using senses as a starting point for beginning a process of research and
analysis through accessibility, flexibility, systematically with hybridity, by mixing media art, design,
science and technology, and even performance through Electronic Visualization. In this context,
the main role of the educator in terms of cyberspace (the Internet) should consist of providing
students with an environment that modifies spatial and temporal phenomena of discovery, the
emergence, and opening up places beyond the classroom. It is therefore, necessary to
conceptualize essential knowledge, which is part of a problem solving solution.

The experimentation of this strategic approach has been experienced many times with my students
in class, on a different level of education, like High School College and even University, and
through local, national and international workshops and seminars during my PhD research. This
methodology, demonstrated the enthusiasm of educators and students through multicultural
environment to the artistic learning process, discovering approach, as a starting of research and
analysis by mixing science art, technology.

The Classic Approach of Teaching through Innovative Electronic Visualization

This educational approach explore Classic Electronic Visualization Through Art research providing
students with a goal and a method of working within a group learning process ( two, three or four
people per group and even more). Each individual can then enjoy the fruits of collective work: The
human side with this method provides the student with challenges that increase the confidence in
his abilities and autonomy in terms of learning. Some felt that more authentic contexts for learning
were created.

We were able to see students making links across subjects. It gave students a new vision for
learning the language. It was quite different from what we have done in the past. Student input is
changing the learning sequence and changing the direction! Encouraging student who pushed him
or her more than they normally would. It was good to see it in a different context. Isolation and
marginalization were reduced. It was the connective aspects of cultural analysis that engaged
students. Teachers have a better understanding and knowledge of what their students were doing
in the other subject areas and were able to make links across their learning. Greater student
engagement resulted. There was plenty of evidence that students were taking more responsibility
for their learning. There have been marked improvements !Educators focused on the part
intercultural learning plays in helping students to know and understand their world and to
understand difference and commonality.

12:15 12:35
S25.3
Art and digital communication - Training for art educators
Efi Ioakim, University of Cyprus, Cyprus
GiannaTheocharous-Gkantzidou, Frederik University, Cyprus

GRAND
HALL C

Art and Digital Communication- Training for Art Educators

One of CySEAs activities is the organisation of training programs for teachers aiming to provide
awareness related to the modern tendencies in art education. These training programs give an
opportunity to teachers to come in contact with new instructive approaches and methods, to be
involved in practical applications, share ideas, and deepen their thoughts acquiring dexterity for
new art expressions. This effort began three years ago and was supported economically by the

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cultural services of the Ministry of Education and Culture in the frame of financing artistic activities.

This presentation refers to one of the subjects in the series of CySEA training programs
undertaken in February 2011 with teachers participating from the four ranks of education
(preprimary, primary, secondary and technical education). It took place in the art laboratory of the
University of Cyprus in Nicosia and the Frederick University in Limassol. Its title was The use of
digital video as an instructive tool for communicating with the artists work. The question which
participants had to deal with was: how can we bring the artists work closer to children in the
classroom and prompt their own free artistic creation by discovering new means of expression?
Could the use of digital video be a supporting tool for teachers, contributing to the achievement of
the above aims?

The training program for art educators was based on three main aspects: a) Theoretical frame
related to the significance, use and importance of digital video in art lessons, the approach of an
artists work via digital representation with the use of communication models (Feldman's 1996
critical process) b) the viable entanglement of participants aiming at the experimentation and the
discovery of new expressive ways of creating art (art installation and video art) c) transformation of
participants artwork in digital representation combining music and modern technology (digital
photograph, movie maker).

The presentation will focus on practical applications but also on effective strategies which were
used in the course to approach the above three stages. This presentation will also examine
teachers experiences, problems and difficulties arising during the development of the three stages.
Furthermore it will examine the exploitation of participants artworks with the use of various
multimedia tools (digital photograph, movie maker, camera) restructuring multimodal forms of art
(digital representation, art installation, land art, art performance and video art) to create intertextual
forms of art.

Is digital video a supporting tool able to strengthen a students ability to critically analyze art work,
communication, and the creation of new ways of free expression in art? Come and share these
queries with us through an optical trip.

12:40 13:00
S25.4
Tool, medium and interface: On the use of digital media in art
education

Marc Fritzsche, Giessen University / BDK e. V., Germany
GRAND
HALL C

Digital media in art education can be used either as a tool or as a medium. The tool use is often
characterised by transferring non-digital principles or Old World Teaching (Delacruz) to
computers. As an example, a collage would be made not with paper, scissors and glue but with
digital images and cut & paste functions within image processing programmes. In contrast to this,
the medium use employs new possibilities that have no direct precedence in older media, e. g.
drawing on a virtual map by tracing the position of the actor via GPS. The boundaries between the
two ways are floating.

Following the distinction introduced above, this presentation starts with a comprehensive overview
of relevant international literature on art education and digital media. Although concepts have been
published worldwide since the mid-80s, there does not yet seem to be a fully grown global
discourse in this field. In recent years, the EU funded Images & Identity project (http://image-
identity.eu) has given a new impetus to the discussion. Focussing on the concept of identity, the
project promoted a closer cooperation of art and citizenship education. Aspects from both fields
serve as background for analysing the digital media use in some of the lesson schemes developed
in the project. Finally, recommendations are offered for the use of digital media in similar
collaborative projects.


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SESSION 26 (S26):
NEW TECHNOLOGIES AND ARTS EDUCATION (III)

GRAND HALL C / 14:25 16:45

CHAIR: Lourdes K. Samson

14:25 14:45
S26.1
Exploring digital video potentials through arts-based educational
practices and teacher training: The case of the Viducate European
project

Nicoleta Avgousti, Ministry of Education and Culture, Cyprus
GRAND
HALL C

Viducate is a three-year European Union funded project that has recently been concluded in
January 2012. The project embraces the educational potential of digital video production across
the curriculum at all levels of formal and informal education and in teacher training. It proposes a
strategy for an increasingly necessary media literacy that corresponds to the objectives of self-
improvement and social transformation through a critical citizenry. The content and competencies
of Viducate focus more on developing attitudes than on acquiring conceptual knowledge about new
media, as critical-reflexive approaches in media education are considered valid and necessary for
digital literacy in the 21st century.

The project initiated based on the following needs:

- to create more space for media education within the school curriculum, and across various
subject areas
- to investigate a pedagogy of production in the context of critical media education
- to increase student participation and involvement and prioritize critical-reflective content
over basic content
- to teach media education as a prerequisite for active and critical citizenship
- to investigate videos role and potential in the context of Web 2.0
- to establish links and promote joint European action in the field.

This presentation introduces Viducate as a lifelong learning concept, and concentrates on arts-
based best practices and teacher training within the projects three main themes, that have been
evolved from the cumulative experience of a wide range of educators in a number of different
European countries.

14:50 15:10
S26.2
Model making: A tool for visualizing the built environment and how
it continues to play a vital and increasing role as a teaching
method
Anna Merry, Frederick University, Cyprus
Stavri Daniel, Frederick University, Cyprus
GRAND
HALL C

Computer design software is now readily available, making the art of physical model making a
medium of the past. Students are now starting to lack the skill of physical model making which
demonstrates space, form and scale.

If physical model making skills affect the imagination and creativity of students: Can students
continue to deliver original and successful solutions to contemporary design? We also question if

+-

students can develop creative and dynamic understandings as well as the potentials of 3D interior
space. By learning through the model making process it enables students to have an enhanced
interaction with their ideas, as well as allowing their concepts to be developed. By exploring the
creative use of space and the development of practical skills from the initial concepts through to
project presentation, allows students to have an independent approach to learning, designing and
problem solving.

An analysis will highlight the encouragement of research through design at all stages to
demonstrate an understanding of the physical, functional and aesthetic relationship between
humans and objects in space, in terms of their scale and proportion. Once students understand the
basic principles of physical model making as a tool for visualization of the built environment, they
will have gained sufficient knowledge to continue on to the technological environment of the recent
decades. Model making does not only allow the student to explore their ideas, but also allows
effective communication.

The presentation aims to show that the methods of physical model making as a tool for visualizing
the built environment have been successfully applied and how it continues to play a vital role in the
design process despite the increased technology available to us. We aim to show stages and
development in communicating the meaning of 3D space, through teaching experience, student
examples and results through qualitative data collection, explaining how these basic methods can
be successfully applied to young or new students.

15:15 15:35
S26.3
Directed clumsiness Ambidextrous drawing as an exercise in art
education

Gila Kolb, FAU Nrnberg Erlangen, Germany
GRAND
HALL C

For my presentation I consider the exercise of ambidextrous drawing as an exercise in art class.
First, I focus the history of this special exercise (See Kolb, 2011). In contrast, today ambidextrous
drawing is not a big topic in art education, but considering the use of the so called new media,
there is a practice in both handed drawing. Hand drawing, as a seemingly anachronistic medium
which turns up in the contemporary practice of images only as a relic of a long obsolete culture of
images, appears not only as a currently much followed artistic approach. Continuously, from the
inception of the curricula up to today, drawing has been an inherent element of the states
education plan and thus has a close to prototypical role for the learning content of art education
(historical: drawing classes) for as long as it has existed. (Kemp, 1979) However, the ways how the
competency related to drawing was acquired have always varied.

These variations are to be highlighted with regard to the exercise of ambidextrous drawing, which
has been used as a technique in art education for more than 100 years. There are many examples:
From James Liberty Tadds work from 1899, translated into German in 1903, (Tadd 1903) which
used the ambidextrous drawing of circles on a blackboard as an exercise to improve motor skills
(Tadd 1903:22) for a later one-handed practice of drawing according to nature, to the rhythmic
and likewise symmetrically arranged ambidextrous exercise of the Bauhaus preliminary course
documented by Johannes Itten in 1963 (Itten 1963:135): and the art pedagogue Gert Selle, who in
1988 posits that ambidextrous drawing is a form of expressing physical senses. In todays art
education, ambidextrous drawing has a rather experimental character, said to serve the starting of
processes that lead to the invention and formation of an image (Selle1988: 190ff).

As Barbara Wittmann shows, neuroscience, its tenets developing at the end of the 19th century,
had an influence on Tadd (Wittmann2009:175). Betty Edwards also refers to neurological findings,
publishing drawing instructions in 1979 which are (ostensibly) based on insights from brain
research. Here, she dismisses ambidextrous drawing as an exercise: The visual impairments
which inhibit a persons attempts at drawing do not simply disappear because one is changing
hands; the drawing only becomes more inept. (Edwards 1982:75)
In particular, the immediate creation of a trace has always made drawing a medium of learning by
re-creating in the sense of demonstration and imitation. Drawing requires constant decision-making

+$

processes, which, during drawing, grow in intensity: Forms have to be grasped, understood,
translated and finally find their expression. This applies especially to drawing with both hands,
where motor processes may get out of control, but where also the motor processes of the clumsy
hand may be practiced and thus may become the playing field between automated dexterity and
inept, casual playfulness. Consequently, ambidextrous drawing is subject to an oscillating
movement between an exercise (in drawing), the awareness of the body, mimetic recording and
individual expression, which between the practice of visual arts, aesthetics, educational sciences,
economic interests and neurosciences also present themselves as the fundamental questions of
art education.
Based on this historic research, an evaluation on the actual practice of both handed drawing is in
preparation.

15:40 16:00
S26.4
Blogging visual art - Social media as art education practice in
comprehensive school and upper secondary school

Annika Meder Liikanen, Viikki Teacher Training School of Helsinki
University, Finland
Sirkka Laitinen, Viikki Teacher Training School of Helsinki University,
Finland
GRAND
HALL C

We will introduce a project realized in our school in 2011-2012. The essential goal of the project
was to experiment and study utilizing blogs in art education. We tried out blogging in art classes in
comprehensive school (grades 8 and 9) and upper secondary school. Our blog project is part of a
larger scale social media study in our school; School 3.1 trying out social media teaching
methods in Viikki Teacher Training School.

The idea was to examine the applicability of blogs as a visual arts teaching method through using
blogs with different focuses. A blog can function as an interactive method in several ways. Before
beginning the experiments we classified educational blogs in three categories according to their
use, interactivity and given role as a part of a visual arts course. Our perspective of art education is
social constructivism: the students build their knowledge of art in collaboration with each other.

First blogs were used as individual students portfolios and ways of expression. Second, they were
used as means of building and exchanging knowledge between the art teacher and the students
and as tools of communication and evaluation. Third, blogs formed a medium of analyzing the
students artistic learning processes.
A goal of utilizing blogs as a teaching method was to increase the students knowledge as visual
communication receivers and generators in social media. Readiness, skills and intelligence
necessary in the social media scene were exercised in the process. The students acted as editors
and publishers of their own blog content and therefore encountered the many challenges of visual
communication and figurative narration. For example they encountered problems of copyright
issues and giving and receiving feedback. The goal was to raise the students level of media
awareness and criticism.

One aspect of using blogs was to break the established conventions of individual performance in
art education. The students very often focus on their individual work during art lessons. Visual
learning is always also a social process: one makes images individually, but for others to view.
Through making images the student builds his or her own identity in comparison with other
students and their images. Blogging makes this social process more visible and enables examining
it in detail because permanent trails, like images and comments, are preserved.

The project aimed at more extensively improving the art teachers experience and knowledge of
social media as a teaching method. The Viikki Teacher Training School is a part of the teacher
training unit of the Department of Teacher Education of Helsinki University. In our project also art
teacher students had opportunities to try out blogs in their teaching experiments. Our goal is also to

+%

raise discussion about social media based teaching methods among art educators.

Blogs were used as portfolios and ways of individual expression in upper secondary school
courses. For example, students posted images of their choice weekly in a collective blog on a
compulsory art course. The blog resulted with over 250 Weekly images and commenting. Posting
images of their choice gave the students a chance to articulate their visual point of view to other
course participants and thus affect the course content.

Blogs were utilized as a means of building and exchanging knowledge between the art teacher and
the students and as tools of communication and evaluation. For example in an upper secondary
school art course the teacher maintained a blog for sharing course tasks and materials and thus
enabled upfront preparation for lessons and remote working. There was also a blog about a
comprehensive school and upper secondary school art collaboration, the Masks project realized for
the Helsinki City Art Festival. Through the project blog it was possible to share information and
imagery between the artists, local newspapers, resident associations and the festival organization.

Blogs formed a medium of analyzing the students artistic learning processes. Upper secondary
school students blogged about their own design processes in a course concentrated on design,
environment and architecture. Blogging enabled storing stages of the design process, viewing and
commenting also in between lessons. Comprehensive school students assembled their course
work and process descriptions in a blog during six months. During this period the blogs were
viewed and commented on by other students. The blogs were used as tools of self reflection and
evaluation at the end of the course.

We will present the results of the blog project and analyze the process in spring 2012.

16:25 16:45
S26.5
The role of the Virtual Campus in the undergraduate course Arts-
Based Research: A site for student experimentation and
authorization

Rachel Fendler, University of Barcelona, Spain
GRAND
HALL C

This paper reflects on the role of the Virtual Campus the online platform that accompanies
classes offered at the University of Barcelona during the course Arts-Based Research, offered
by Prof. Fernando Hernandez within the undergraduate degree program at the College of Fine
Arts. This research contributes towards an ongoing national investigation of which I form part,
titled: Living and learning with new literacies in and outside school: contributions for reducing
school drop-out, exclusion and abandonment among youth (Spanish Ministry of Science and
Innovation. EDU2011-24122.) By narrating a specific classroom dynamic that emerged over the
course of the semester, from the perspective of my role as a Teaching Assistant, this paper will
relate how the Virtual Campus became a site for experimentation, investigation and, ultimately,
authorization among the students enrolled in the course.

This research is contextualized in relation to the changes in degree programs as they are modified
to adapt to the implementation of the European Space for Higher Education. The introduction this
year (2011-12) of the first Arts-Based Research methodologies class marks a shift in the
definition of research practice in the field of Fine Arts. For students, the course content marked a
radical departure from their understanding of what it means to 'do research' as an artist. In
response to the material they encountered, and with the encouragement of Prof. Hernandez,
students initiated a semester-long investigation with the aim of implementing the research
strategies they were learning about in class. By choosing to engage the material through
collaborative research, the students began to re-situate themselves in relation to each other, to the
teachers, and to the course content, modifying their role as students (and/or) artists and coming to
inhabit newly-formed, a/r/tographic identities.

The investigation that subsequently developed, which looked at the phenomenon of silence in the
classroom, was initiated and carried out mainly in the forums within the class's Virtual Campus.

+&

Before the classroom lost its silence, the forums became a place of lively interaction and debate.
By presenting a close-up of this classroom experience, this paper will reflect on the significance of
the in-class / out-of-class dimension and narrate how the use of forums affected students'
relationship with the course. This experience is then used to introduce a discussion on the nature
of online learning and the potential it has for increasing student engagement. Ito, et al (2010) have
argued that one of the biggest changes that ICT-use introduces to learning culture is the way it
allows for new methods of participation. As this classroom anecdote successfully illustrates, this
change is not superficial, but rather implies a significant shift in young people's identification as
learning subjects.

The paper will conclude by considering how such a productive in / out relationship can be fostered
intentionally, looking at ways in which engagement was supported and addressed in the
classroom. In this light, particular attention is paid to the impact the notion of A/r/tography had on
Fine Art's students' understanding of their roles as researches and learners.


+'

SESSION 27 (S27):
INTERDISCIPLINARY LEARNING IN ARTS (I)

TEVKROS / 10:15 11:00

CHAIR: Seija Ulkuniemi

10:15 10:35
S27.1
Interaction of art and music: The contribution of music in
constructing the meaning of a painting
Georgina Athanasiou, Frederick University, Cyprus
TEVKROS

There is a growing need for art education to embrace current changes and to respond to
contemporary challenges for promoting multi-literacy and multi-modality. The interaction of multiple
arts for promoting multi-literacy and multi-modality has been studied in different areas. The present
paper focuses on the interaction of art and music in constructing the meaning of art works, and in
particular of paintings. For example, it has been noted that paintings visual elements are
synesthetically linked to musical elements. Moreover, a large amount of studies worldwide has
shown and confirmed the contribution of listening to music in expanding focus and concentration,
inducing emotions and feelings, and enhancing imagination. Bearing in mind that focus,
concentration, imagination, cognitive and emotionally responses are considered to be significant in
constructing the meaning of artworks, we intent to examine whether listening to particular pieces of
music while viewing artworks would enhance viewers ability to move to a more elaborate stage of
responding to paintings.

The target group of this study is pre-service primary school teachers. The reason for focusing to
this target group is because we want to explore ways of enhancing their abilities to understand
artworks having in mind that in many countries primary school teachers are not art specialists and
are frequently required to teach art in primary schools. At the same time we want to investigate
whether the proposed interdisciplinary approach for art-viewing could enhance their pedagogical
content knowledge for teaching visual arts.

We assume that: a) music helps the viewer / listener to anchor the meaning of a painting, and b)
music enables the viewer / listener to focus on a painting for a longer period of time, and thus to
offer a more meaningful interpretation. To test the parameters of the hypothesis of this study we
employed a qualitative investigation. 60 student teachers (aged 20-24 years old) were asked to
respond in writing (in a group setting) to four artworks without music stimulus and with music
stimulus. All artworks were famous well-known works, two of which had a narrative representation
with realistic elements while the other two were more abstract. Further, twelve student teachers
participated in group interviews after the completion of the above task in order to have an in-depth
understanding of their views.

Content analysis of the participants written responses was performed based on the comments
included in their statements (e.g., descriptive, analytic, interpretative and/or judgmental) as well as
on the viewpoint adopted (non-reflective, beauty, realism, and skill, expression of feelings and
ideas, etc.). Preliminary findings indicate that the participants were nave viewers with limited
experience on art viewing. When art-viewing was accompanied by musical stimulus,
viewers/listeners were able to focus and concentrate more on the viewing activity. However, it was
noted that participants were able to move to a more elaborate stage of responding only for abstract
artworks.


+(

10:40 11:00
S27.2
The place of theater ensembles in Brazilian's pedagogy of theater

Melissa Lima Caminha, Payasas Desagrupadas, Spain

TEVKROS

This paper is the result of my course of Specialization in Art Education, held at the Faculdade
Sete de Setembro, in the city of Fortaleza, Brazil. It aims to research the possible contributions of
Brazilian theater ensembles to the teaching of theater art, as well as to theater based research in
education. To do this, I studied the place of theater groups inside the disciplinary field of Pedagogy
of Theater - or Theater Education - , in Brazil. The methodology was literature review on the
following topics: historical overview about "independent" theater ensembles in Brazil;
epistemological and methodological approaches in Brazilians Theater Education discipline. It was
also conducted a documental research on the history, objectives and aesthetics of various
Brazilian theater groups, besides a brief state of the question on the place of theater ensembles in
theater pedagogy and educational research trough arts. What is theater group and how it
changed theatrical principles and practices in Brazil? What kind of pedagogical practices exist in
the dynamics of production of artists guided by the principles of Theater Group? Are these
practices appreciated by Theater Pedagogy theorists and art educators working trough theater?
With this work it was possible to reflect on the potential contributions that theater groups offer to
theater teaching and arts based research, contributions that most of the time are not properly
applied or appreciated. The emergence of a theater guided by the concept of theater group,
resulted in a reformulation of principles and pedagogical practices related not only to artistic
production, but also with a different social engagement and responsibility of theater artists, who
became more connected with the cultural development of local and regional communities. On the
other hand, contemporary research in art education also contributes to new educational paradigms
that can be taken into account by Brazilians artists. These last contributions are related not only to
pedagogical practices, but also to ontological and epistemological bases that guide teaching and
research methodologies in theater.


+)

SESSION 28 (S28):
INTERDISCIPLINARY LEARNING IN ARTS (II)

TEVKROS / 11:25 13:00

CHAIR: Mirjana Tomasevic Dancevic

11:25 11:45
S28.1
The expression of scientific knowledge / information through art

Georgia Michaelides, Ministry of Education and Culture, Cyprus
Freda Terzian, Ministry of Education and Culture, Cyprus

TEVKROS

This paper is about the collaboration between an art teacher and a biology teacher in order to
explore interdisciplinary learning. Methods and language from more than one academic discipline
were applied in order to examine a theme. Thus connections were created between traditionally
discrete disciplines such as biology and art.

The two teachers have been collaborating for a number of years and they have observed that the
students enjoy this interdisciplinary approach. The theme this year was, Making sense of mental
illness: biology, medicine and society. The students were very excited by this topic and they
created, in their different disciplines, a number of exciting works in response to the theme.

11:50 12:10
S28.2
Childrens representations of the water surface in tilted containers:
Educational implications

Nicos Valanides, University of Cyprus, Cyprus
Anastasia Kanari, University of Cyprus, Cyprus
Charoula Angeli, University of Cyprus, Cyprus
TEVKROS

Fifty 5 to 6-year old children (25 boys and 25 girls) were individually presented with a half-filled
bottle of water closed with a tap, and a corresponding visual of the same bottle and the water
inside the bottle. Then, each child was sequentially presented with drawings of the same closed
bottle (with no water inside) in clock-wise tilted positions at 30o, 90o, 150o and 180o. A totally
empty bottle was also used to demonstrate the position of the bottle in each of the four drawings
and exemplify the task. Each child was then asked to draw the water inside the bottle in each one
of the positions. The specific tasks are part of the water-level task (WLT) that was initially
developed by Piaget to evaluate a childs ability to perceive space within a Euclidean reference
system. Similarly, the collected drawings of the children were also used as external
representations of childrens internal schemata indicating their understandings about the
independent movement of the water inside the bottle and its final position and shape inside the
bottle. These drawings also provided indirectly additional information about childrens ability to
conserve the volume of the water or the effect of gravity on the water inside the bottle. Careful
analyses and comparisons among the collected drawings clearly demonstrated childrens
difficulties to correctly visualize the water in tilted bottles despite their rich experiences from
everyday life. The evidence also indicated specific differences in childrens understandings
depending both on the different position of the tilted bottle and on their gender. The findings
support the position that visualization is an important way for human beings to learn and perceive
things (Dastani, 2002), and provide important insights of how different visual representations, or art

+*

education, can be employed for evaluating learning difficulties. The collected information also
provide guidelines for appropriate educational interventions that can be tailored to individual needs
and foster young learners development and construction of correct understandings and deep
meaning, instead of the transmission of canned knowledge.

12:15 12:35
S28.3
Cross curricular programme in schools: Arts and Maths through
Logo language

Eleni Grafakou, Haef Athens College, Greece
Spyros Karyanos, Haef Athens College, Greece
TEVKROS

From the golden cut of the Pythagoreans to the linear perspective in the Renaissance paintings
and from the motifs of the geometric jars ( pottery) to the clean-cut lines of Bauhus, the relationship
between Arts and Math has its roots deep down in time.

This presentation focuses on the goals, the methodology and the outcomes of a cross curricular
programme which took place in the school class with 4th grade students in 12 teaching hours.
The main goal of the programme is to approach and consider a topic / theme through the various
perspectives and the different school subjects for a deeper understanding. Through the subject of
Arts with references to painters such as Mondrian and Kandisky, Geometry and the Logo computer
language, we aim at developing the following skills:

effective use of the math concepts in everyday life
ability to cooperate with other students in group activities
problem solving ability through the cultivation of the necessary strategies (information
assessment and management, critical thinking, problem solving strategies) ability to make rational
choices
ability to have a creative imagination
ability to have a heightened sensibility of art and artwork creation
utilization of knowledge in decision making
recognition of the Math usefulness in everyday life
We also aim at individual learning goals such as:
active participation of the students
participation in interesting and meaningful activities
targeting at comprehension and not memorization

The process is interesting to the students as it combines the knowledge taken from Geometry, Arts
(artwork, creators and theoretical knowledge) and the Logo computer language - a new tool for the
kids, as well as their own creation, an artwork materialized on the computer, based on all the
aforementioned knowledge.

12:40 13:00
S28.4
Intercultural innovation insight workshops
Bryan Temple, Glasgow Caledonian University, United Kingdom
Costas Mantzalos, Frederick University, Cyprus
TEVKROS

A two-week international workshop was held in Finland during February 2010 and again in
Glasgow in February 2011. A third workshop is to beld in Nicosia, Cyprus in February 2012.
Entitled Intercultural Innovation Insight Workshop (3EYES), they were sponsored by the
European Lifelong Learning programme. Students from Portugal, Cyprus, Czech Republic, Finland
and the United Kingdom were placed in multi-cultural teams of five. Each team had two product
designers, one graphic designer, one financial and one marketing student. They were set the task

++

to devise new product ideas for a local company and they had two weeks within which to do it.
These intensive workshops comprised lectures and practical tutorials as well as ideation sessions
for the new product ideas and represent one way in which international issues may be appreciated
and accommodated. This paper will compare the three events and discuss issues of social
responsiveness, shared goals and identity and draw conclusions on the suitability and
sustainability of this form of activity.


+,

SESSION 29 (S29):
LEARNING IN AND OUTSIDE SCHOOL

TEVKROS / 14:25 16:00

CHAIR: Venus Ganis

14:25 14:45
S29.1
The role of imagination in sustaining the flow experience in
artistic engagement: Empowering immigrant children to escape
from their boredom and anxiety

Seungyeon Lee, Long Island University, United States
TEVKROS

The purpose of this qualitative case study was to explore how school-aged immigrant children
enter the flow experience and how it is sustained throughout art- making sessions. Specifically, this
study explored the role of imaginative narrative and reciprocal interaction in facilitating flow in their
artistic process. The impact of having flow experiences in their art -making and their ability to cope
with immigration-related difficulties were also investigated (Kramer, 1993). This study used
Csikszentmihalyis (1975; 1990; 2000) flow theory to explain the phenomenon of these young
immigrant childrens engaged art-making experiences and to analyze his conception of the balance
between challenge and skill.

Data were collected from retrospective video-stimulated interviews with four immigrant children
immediately after their art-making sessions as well as from interviews with their parents and with
art therapists. Participant observation and document- and art-work analysis were also included as
data collection methods.

Close examination of the collected data suggests that flow in art was facilitated when the clients
initiated an imaginative mode of engagement with the art materials. Their reciprocal engagements
with the art teacher also contributed to the emergence of flow (Custodero, 2005a). These
engagements were found to be personally meaningful to each individual (Custodero, 2005b). The
most significant finding was the critical role of imaginative narrative in sustaining optimal artistic
experiences (Greene, 1995). Imaginative story-making and story-telling about the created art works
led the clients to a deeper level of engagement. Another finding was that the individual art making
activity also functioned as a window to understand their home and school lives, especially in terms
of their immigration and transition struggles (Suarez-Orozco & Suarez-Orozco, 2001) the flow that
emerged in artistic engagement empowered the clients to escape their boredom, anxiety, and
loneliness (Henley, 1989). Ultimately, this study suggests possibilities for creating a safe
environment where art materials are accessible and reciprocal interactions are possible between
teacher and students in order to empower these young immigrants artistic healing and growth.

14:50 15:10
S29.2
About the inherent potential of arts-based educational processes
in the 21st century

Wolfgang Schreibelmayr, University for Art and Design Linz, Austria
TEVKROS

This presentation will deal with the topic:
Learning in and through Arts in the 21st century. You will see examples of learning in and outside
school.

In the beginning we ask the fundamental question: "What are the special needs and wishes of

,-

children and young people to manage their life in a not really predictable future?"
This question circles among others round the promotion of their social competence, self-
competence and relavant expertise.

What contribution can we arts educators make to support children and young people? What can
we do working inside or outside the school system?
This presentation will give an insight into some methods of investigation we use in our department
for Art Education.

From the viewpoint of art pedagogy we investigate the inherent potential of arts-based educational
processes. The basic structure of this examination consists of four questions:

Which is the inherent potential of the materials used?
Which is the inherent potential of design processes with this material?
Which is the inherent potential of the design tasks in general and specifically?
Which is the inherent potential of the exploration of art in the sense of self-reflection and analysis?
(Biographies of artists and art works examinations).

In this presentation will be shown a photographic documentation of our practical examinations.

15:15 15:35
S29.3
Possibilities for learning through painting in secondary schools:
Embodiment and interpretation

Yiannis Hayiannis, Institute of Education, United Kingdom
TEVKROS

In this paper I present a theoretical consideration of the educational significance of painting
understood in terms of embodiment and interpretation in the context of secondary art education.
The case for painting that I propose places emphasis on the potential of painting practice for
transformative engagement with physical materials. While my argument is theoretical in tenor, my
research interest in painting in secondary education has emerged from my professional practice as
an art and design teacher in primary and secondary schools and my work as a painter.

The case I present rests on two claims. First, that the crucial importance of painting can be
identified in the embodied engagement that it permits the practitioner. With regard to embodiment
in this sense, I make reference to the theories of perception developed by Merleau-Ponty (1973,
2002) and to the phenomenological appraisal of painting that he offers in a celebrated series of
essays (Merleau-Ponty collected in Johnson [ed.] 1993). A renewed educational focus on painting
as an embodied practice could serve to counter the preference in some secondary schools for
forms of detailed visual realism, a characteristic of school art identified by Hughes (1998).
Narrowly representational work of this kind needs to be challenged by facilitating dynamic
possibilities for learning through painting in schools; opportunities for pupils to realize symbolic or
expressive aims that are informed by the material affordances of painting.

Second, I argue that painting practice can be considered an interpretative activity in that it involves
the practitioner in continuous interpretative engagement with a range of culturally evolved
materials, tools, ideas and forms. I make reference here to aspects of Gadamers philosophical
hermeneutics (1977, 2004) in an effort to signal productive correspondences between the
interpretation and the production of works of art. I hold that the practice of painting can afford rich,
explorative learning events for pupils in secondary schools, involving them in the interpretation and
negotiation of physical materials and traditions of practice. Such an approach to practice could
afford pupils greater confidence in and responsibility for their learning experiences.


,$

15:40 16:00
S29.4
In Search of empathy, respect and wisdom Key elements for
education the 21st century

Venus Ganis, The Gap State High School, Australia
TEVKROS

Educating for empathy, respect and wisdom, through visual art Nature based experiences with
young people has led to a transformation in my pedagogical practice and this paper will discuss the
relationship of the teacher, the student and the environment in visual arts nature-based learning.
A pedagogical praxis influenced by the work of Rinaldi, Plumwood, Davis, Carson, Bird and others
brings together a relationship with Nature, Nature-based learning and aesthetics.
What do I value and how important are these values in todays world that underpin the ways of
learning and the ways of knowing in the 21st century? There are many parts to the learning
equation and there is a need to think holistically about the interconnected relationship in ones life.


,%

SESSION 30 (S30):
MUSEUM EDUCATION

TEVKROS / 16:25 17:35

CHAIR: Rita L. Irwin

16:25 16:45
S30.1
Artists interventions in the pedagogic role of the global museum

Claire Robins, Institute of Education, United Kingdom
TEVKROS

In the late twentieth century many traditional museum practices were destabilised, not only by
diminished trust in meta-narrative and universal truth but by insecurities about representing
others. No longer understood as a neutral site for presenting objective knowledge, the museum
was recognized as a space of cultural production where choices had been made about the
narrativisation of social perspectives (Bouquet 2001; Hooper-Greenhill 1992, 1995; Kirshenblatt-
Gimblett 2002, 2006; Macdonald 1996; Ravelli 2006).

Imperatives to reconcile past values with contemporary critiques necessitated recognition that
museums were perceived, by some, as elitist and by others as intractably colonial in outlook with a
record of dubious accession histories. In the reflexive turn that such perspectives precipitated,
many museums felt an obligation to review their practices.

Many significant interventions have been made by artists from sections of society and global
culture once marginal to the museums concerns or, indeed, represented as an object of study.
Artists such as Fred Wilson, Rene Green, James Luna, Yinka Shonibare, Maureen Landers and
Christine Hellyar, and Lubiana Himid became perceived as part of a solution. Able to mediate
between collections and audiences, to reconfigure and problematise collections and the
construction of meaning, these artists have played a key pedagogic role in redefining museum
culture for the 21st century. By giving voice to artists whose work has been centred on
representations of difference the museum has found a way to renegotiate some of its past
representations of cultural difference.

In this theoretically driven paper I explore through example, what happens when a museum
foregoes the aim of achieving a rational concensus in the public sphere in favour of more
discursive cultural possibilities, opened up by artists interventions. I argue that such initiatives
provide possibilities for antagonisms to be chanelled into the more productive realms of agonism.

16:50 17:10
S30.2
Cultural beauty and cultural identity: examining the outcomes of
the education-focused exhibition enjoy the beauty of taiwanese
printed cloth
Ching-Fang Lee, Department of Art, National Changhua University of
Education, Taiwan
Min-Chiao Chiu, National Taiwan Museum of Fine Arts, Taiwan
TEVKROS

This research study will examine museum visitors experiences of a nine-month educational
exhibition Enjoy the Beauty of Taiwanese Printed Cloth at the National Taiwan Museum of Fine
Arts in Taichung. This interactive exhibition featured traditional Taiwanese printed cloth, showing
both its historical, daily use and its incorporation into contemporary artwork.


,&

The exhibition was designed using multidisciplinary teaching and alternative models of creativity.
Though open to all ages, many creative activities and a guidebook were designed for children. In a
non-traditional approach, the exhibition features visual arts, literature, documentary films, and
computer activitiesall to provide a unique experiential learning experience of Taiwanese cloth
and art.

Taiwanese printed cloth represents a simple aesthetic reminiscent of peoples daily lives while
growing up in a simple culture when it was used for clothing and domestic items. Not only is this
material an important element of Taiwanese local history and culture, but its designs have a unique
cultural significance. However, in recent years, artists and creative designers have injected a new
cultural spirit and appearance into traditional printed designs by interpreting and transforming them
into contemporary artworks using this cloth, yet relating them to the familiar past. Printed cloth has
never gone out of fashion from when farming was the primary way of life.

As curators and educators, we hope that the new thinking presented in the cultural and creative
elements of this educational exhibition of printed cloth will encourage dialogues between a
traditional aesthetic and new interpretations of it. We also hope that the exhibition will enable the
public to rediscover Taiwans cultural and historic richness, and continue to build a uniquely
Taiwanese cultural aesthetic, extending and enriching local culture while related to daily life. This
exhibition is unique because it displays many kinds of printed cloth in a fabric store setting; it
introduces the manufacture, use, and development of these fabrics in daily life; and it explores the
aesthetic and cultural significance of printed cloth with interactive multimedia installations, online
learning, and a dress-up area for visitors to role play. We have tried to show the nostalgic value of
printed cloth as well as its creative and cultural value in todays Taiwanese society.

The exhibition has stimulated popular on-site discussions and participation both in online learning
and on-site activities. Thus, it is important to study the cultural and educational impact of the
exhibition on our visitors. In this study, we ask: How do visitors reflect their experience of local
culture and enhance their self-identity? How has the exhibition environment helped them recognize
the beauty of Taiwanese culture, and the transformative roles of Taiwanese printed cloth? How has
the exhibition changed/transformed their cultural awareness and identity through its educational
activities? We will use mixed methods to collect our data, which includes a questionnaire and on-
site interviews of different ages of visitors.

17:15 17:35
S30.3
Discourses in the visual art teacher education in Finland

Pirkko Pohjakallio, Aalto University, School of Art, Design and
Architecture, Finland
TEVKROS

There are two universities educating teachers of visual arts in Finland: Aalto Universitys School
of Art, Design and Architecture (former University of Art and Design, originally craft/sloyd school
from 1871) and University of Lapland.

In Aalto Universitys earlier form art teacher education started in 1915 (some separate courses
already in the end of 19th century), and in Lapland 1990.

In my presentation I will analyse discourses in the art teacher education during the 20th century at
the University of Art and Design in the context of the design university, specially in the end of the
century (1970-2000). The presentation is connected to the history project of art education at this
university.


,'

SESSION 31 (S31):
Customizing Art Learning Processes (I)

EVAGORAS / 10:15 11:45

CHAIR: Emil Gaul

10:15 10:35
S31.1
How does art build bridges? Introducing art and learning through
art in varied audiences
Martha Ioannidou, Open University Cyprus/ "Didaskaleio Glinos",
Department of Education, Aristotle University Thessaloniki, Greece
EVAGORAS

Consistently omitted in several countries from public education, generally ignored by the media
except as the object of controversy, theft or the expenditure of large sums of money, art is rarely
understood and enjoyed by general audience as it should be. Nevertheless, our experience in
university level education is that more and more people seem willing and eager to engage and
study art, its history and educational functions.

Along with museums, higher education is where the great majority of people in the West today
encounter art. Rightfully David Perkins has stated that "if most disciplines dig moats, art builds
bridges". Plato was the first to point out that Art should be the basis of Education. One of the great
discoveries of the 19th century was that Art and generally the whole process of expression is not a
luxury but a necessity, our means of escape from the demands of highly diversified society and
from the nostalgia for a lost world. While we cant be sure of what the future will hold, the odds are
art will survive and continue to attract audiences.

History can change overnight. If we as educators- want to make a change, its high time we take
the bull by the horns and realistically address and debate current issues related not only to art
context but to art pedagogy. We all know that quite a considerable number of our students may not
have been to a museum or gallery before, while others may see works of art in a skeptical or even
negative light. Today we have an understanding of teaching, learning, and the nature of
intelligence ample to transform education into much more thinking-centered process than it usually
is. We can organize education effectively for the enhancement of understanding and thinking.
Central to such a vision is the cultivation of key thinking dispositions. In all this, art has a distinctive
role to play, if we keep in mind that our aim should be to promote visual thinking and creative
intelligence. The liberal borders of art help us to carry good thinking dispositions nurtured in the
context of art to the wider world.

This presentation will focus on results from recent experience-research in teaching varied
audiences at university level (mature, undergraduate, postgraduate, teachers etc.) on how to look
at objects, work confidently with the works of art, communicate art ideas more effectively and use
art as a means to education; A multifaceted, comprehensive, sequential education, that enforces
them both to understand the aesthetic dimensions of works of art as well as to develop their minds.
After all the multi-connectedness of art creates an opportunity to bridge thinking dispositions across
to diverse other contexts explored in tandem with the work of art.


,(

10:40 11:00
S31.2
How to explain Pictures to a Dead Hare: the additional challenge
of e-learning

Vicky Karaiskou, Open University of Cyprus, Cyprus
EVAGORAS

The first part of the title, obviously taken from J. Beuys 1965 performance, deals with the
question of how to teach art today and what is there to be taught. More important, it gives the
incentive to explore how to familiarize an adult, who has already formed hers or his beliefs and
notions within a specific cultural mesh, to art.

Possibly the why is that art? question reveal much more than a lack of knowledge. It corresponds
to the fear of disputing very basic social principles which come down to identity issues and are
closely connected to the mental flexibility and the learning procedures shaped in various cultures.
Making adults approach and understand a piece of art turns out to be a multi-level,
interdisciplinary complicated task.

Taken into consideration all the above, in an Open University environment, which is based on
distance learning methods and is dependent on technology, the lack of eye to eye contact between
the students and the professor, reveals unexpected advantages. This paper will explore I) the ways
the above cultural patterns are detected in oral and written communication, II) the negatives and
the positives of the seclusion of the students to their private space, instead of mixing together in a
university campus, III) the ways the lack of real art spaces experience has an impact on
understanding the true meaning of art works and IV) implemented methods of teaching art by
actively involving the students.

11:25 11:45
S31.3
Public art and the Nigerian public: Between the creator and the
audience
Babasehinde Ademuleya, Obafemi Awolowo University, Ile-Ife, Nigeria
Yemi Olaoluwa Ljisakin, Obafemi Awolowo University, Ile-Ife, Nigeria
EVAGORAS

Public art in most countries of the world does not only add to the aesthetic of the built
environment, when good attention is given to concepts that are site specific and culturally relevant
to the place and the people who will use or visit the place, public art educates by creating an
understanding of the place, its past, its physical environment and cultural fabric thus promoting a
deep appreciation of the art and assuring its maintenance and preservation. Apart from affirming
an educational environment, public art demonstrates unquestionable civic pride and confidence in
citizenship and contribute to community cohesion. Before the emergence of a new art culture in
Nigeria in the 20th century, only the kings palaces and shrines were the known public places to
attract artistic embellishment, which were mostly for status enhancement and sacred functions.

From the early 20th century to date, Nigerian architects, artists, designers and the government at
various levels, have continued to pay attention to the adornment of public places and spaces with
outdoor sculptures and mural paintings. The last four decades witnessed an upsurge in this
direction, particularly in the urban centres and big towns, with a later addition of posters and
advertising pictorials. A recent tour of public art in some part of the country however reveals public
neglect and the deplorable state of the art projects in public places. That the art meant to inspire
higher thought about the community, heighten public awareness, complement aesthetics of the
community landscape could be subjected to deterioration, degradation and vandalism, requires an
investigation. The preoccupation of this paper therefore is to examine how public art is perceived
by its audience and its impact on them, using the six states of the South Western Nigeria as a case
study. This is with a view to establishing the peoples reasons for the neglect and suggests ways
by which individuals and entire community as well as their visitors could best achieve the full

,)

benefits of the art. The paper observes the absence of Public Art Policy in Nigeria and posits that
this encourages unguided and unregulated making and siting of public art that people could not
relate with. The paper recommends ways in which public art could be made to offer the expected
educational, social and physical benefits to the host communities and their visitors.


,*

SESSION 32 (S32):
CUSTOMIZING ART LEARNING PROCESSES (II)

EVAGORAS / 11:50 14:45

CHAIR: Jooyoon Lee

11:50 12:10
S32.1
Discussions on biennial art exhibition and audience's response: A
case study of Taipei biennial
Shuhua Lin, National Taiwan Normal University, Taiwan
EVAGORAS

In the age of globalization, the form of Biennial exhibition of contemporary art attracts vast
amounts of audiences from various areas of the world in a short period of time when the exhibition
is held. Biennial exhibition not only creates dialogues between local and world-wide cultural
enterprises but also raises issues about power, races, gender, identities, etc. Theses issues and
questions are most often thought by the author or the curator to be the core argument that the
audiences are supposed to be aware of after a process of reading the art work. Therefore, a good
design of display and a clear guidance of an exhibition are very important, because they help to
create good communications between art work and its audience.

Although, historically and geographically, Taipei Biennial has not been as well known as the major
Biennials and the other form like the Documenta, it is still one of the best exhibitions to observe the
development of contemporary art. However, according to a survey index, seventy percent of the
citizens of Taipei are not aware of the existence and purpose of the Taipei Biennial, not to mention
the meaning of each work displayed. Given the goal of publicizing contemporary art, the Taipei
Biennial apparently has room for improvement.

This paper examines functions of communication of the Taipei Biennial, by comparing the case of
Taipei itself with that of Gwangju Biennale, Korea and the Documenta, Kassell in Germany in the
following aspects, such as the exhibition topic, the theoritical approaches, the purposes, the
contents and forms of the exhibition, and the audiences among the exhibitions. This comparative
study may bring fresh ideas to a future plan for Taipei.

Based on the research work undertaken, this essay finds out:

1.The effect of Taipei Biennial does not meet the criterion of publics expectation on the exhibition.

2. The curator should address to the audiences with a clear idea of art creation and the process of
the curitorial practice. Types of different media and meaning of every single art work should be
discussed.

3. The curator should try to create an interactive situation between the audience and the art work;
the relationship between the content and the form of a specific art work should be properly
illuminated.

4. Contemporary art as a subject in the field of art education should be taken seriously as a primary
art curriculum in school education. For large majority of the audiences, finding ways of combination
between art and live experience should be encouraged.


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12:15 12:35
S32.2
The philosophy of art: Fact, fiction or feeling?
Nathalie Kyrou, kyrou.com, Cyprus
EVAGORAS

From the time of the ancient philosophers, art has been a topic for contemplation, conversation,
collaboration and even conflict. But what actually is art? This omnipresent, significant and powerful
thing we call art may be hard at times to define or interpret, but most believe that it does exist. If so,
does it do so only in the mind of the creator, or merely in the eye of the beholder? Art is known to
be subject to taste, but does it have a reality of its own, or is it just an abstract notion? Where do
the boundaries between art, artist and audience start and end, and how is this affected by the
creator or viewers interaction or participation?

In contemporary society, art has taken on so many forms that it is hard to truly understand what the
term encompasses anymore. Take the visual arts, for example: how do we even define what visual
is anymore in a world, which is constantly changing and evolving, let alone what art is? Does art
change along with everything else? Is it a form of education, an expression of knowledge, does it
serve a purpose? Where should we look to find it! if it is even real? Is nature the best and purest
form of art? Who is the ultimate creator? Are we all both artist and audience?

Is art is an actual object or truth that exists independently, despite whether you yourself can see it,
believe it or understand it i.e. is it a fact? Or, is it entirely subjective, and therefore more of idea or
illusion: a projection of ones experiences, thoughts and opinions upon an object i.e. more fiction
than fact. Perhaps art does exist independently, but only in the mind of either the artist or viewer.
Maybe it can only be appreciated or acknowledged by an audience, depending on the subjects
awareness, and how they feel about it. What if art is nothing more than a feeling? Following the
views of philosophers and experts on the topic of aesthetics, we delve into themes of
representation, interpretation, individualism, subjectivism, relativism, criticism and intentionalism, in
an attempt to better comprehend art and figure out what it means to each of us individually.

12:40 13:00
S32.3
Understanding interpretation in art museums
Rajka Bra"un Sova, University of Ljubljana Faculty of Education,
Slovenia
EVAGORAS

Within the framework of the radical shift in the understanding of (Western) museums and their
visitors in recent decades, called by the Slovenian museum specialist Lidija Tav"ar a copernican
revolution in the understanding of the relationship between museums and their public (Tav"ar
2009), according to which interest and study is centred on visitors and not, as previously, on
museums as institutions, new theories and practices of art museum interpretation have emerged.
While earlier studies centred principally on museum visitors interpretive strategies and processes
of learning in art museums (e.g. Hooper-Greenhill and Moussouri 2001; Hooper-Greenhill et al.
2001), new studies and discourses take a more holistic approach by examining also curatorial
practices to art interpretation in museums (e.g. Fritsch 2011, Whitehead 2012). My PhD study
seeks to understand the differences and similarities between the ways visitors interpret art and the
methods and techniques of art interpretation practiced by curators. What is the relationship
between curatorial interpretive practices and visitor interpretive experiences? I conduct my
research at the Museum of Modern Art in Ljubljana which in 2011 put up a new permanent display
of Slovenian modern art. It is arranged broadly chronologically with one integrated quasi non-
chronological theme, and it has no interpretive panels in the galleries. The research adopts a
qualitative methodology and consists of in-depth interviews with art specialist and art non-specialist
adult visitors on one hand and discourse analysis of curators guided tours, the display and the
guide book on the other hand. Since curatorial practices are an under-researched area, my
presentation will show preliminary results of curatorial practices of explaining and presenting art
objects and discuss these in the framework of specific typology pertaining to both, the museum (in

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this case the museum of modern art) and the art (in this case Slovenian modern art).

14:25 14:45
S32.4
Highlights in museum education

Leena Hannula, Sinebrychoff Art Museum, FNG, Finland
EVAGORAS

Sinebrychoff Art Museum has done projects with all ages. The youngest are 4-year old children
and there's no limit with the age. I shall give some examples made by school teachers and students.
Students have literally worked at museums, made projects with drama and exhibitions. I will show
how in Garderobe project they have learned and seen much more than before of the area they have
lived at. Suddenly the old mansion house in Turku has become a scene for a family story or back
ground for vivid fashion story.

Along the Street learned us to understand people and life of past how the Boulevard Street was full
of different nationalities selling ice-cream or special fruits and spices. Now we are making a project
called From Home. It tells about different homes with documents and fantacy, drama and films. The
students will work in Helsinki and Turku and finally go to Stockholm to present their work. We also will
have two exhibitions here in Helsinki.


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SESSION 33 (S33):
TEACHER TRAINING

EVAGORAS / 14:50 15:35

CHAIR: Leena Hannula

14:50 15:10

S33.1
Against the odds? Developing effective teachers of art
Peter Gregory, Canterbury Christ Church University, United Kingdom
EVAGORAS

This individual paper presentation will be of interest to those involved with training pre-service
teachers, developing qualified teachers or concerned with the quality of art experiences offered to
children and young people in schools. It is both theoretically and research informed and positioned
in the post-posivitist paradigm.

Over twenty years have passed since an important survey of teacher training in the arts in the UK
(Sharp, 1990) highlighted the challenges for producing knowledgeable, confident and competent
teachers in order to inspire future generations.

The UK government inspection agency reports of visual art in schools (OfSTED, 2009 and 2012)
indicate minimal improvements have been made and indeed, several areas of concern which still
remain. The technological advances made in western society during this period and the apparent
fixation across education with the market economy as well as the growth of managerialism
(Abbs,2003) and educational reform have all contributed to the current situation.
This paper considers again the factors identified in 1990 and seeks to identify which have been
addressed, if any have been ignored or perhaps in some cases, made worse. The expectations of
schools curricular design and teachers abilities to meet them are questioned at the level of
training courses offered by universities. Using recent surveys of the experiences of groups of pre-
service and practising teachers, the argument is made that the task of developing effective
teachers of visual art does not rest solely on the shoulders of those who train them but across a
number of inter-related aspects of UK society. Consideration is also given to whether the task of
developing effective teachers of art can only ever be seen as against the odds.

There could be similar themes evident in other countries and the author would be pleased to hear
from colleagues exploring these.

15:15 15:35
S33.2
Playing the angel - The cite experience
Antti Lokka, Jyvskyl University, Finland
EVAGORAS

WHAT IS CITE?
The CITE critical integrated teacher education- group and its research and education emerged
from a need to develop teacher education in Finland. Over the years, it has extended to cover
teacher education from student selection to the eventual work of teachers in schools. While
problems encountered in the research have made it necessary to think about the system of teacher
education as a whole, the focus of the studies remains nevertheless on the working methods with
the student group.

CITE TASKS AND GOAL
Traditionally, the curriculum splits the phenomenon of learning into distinct parts that are loosely

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connected to the individuals everyday experiences or, in other words, their life-worlds. Learning
happens in everyday experiences, but these experiences are infrequently encountered during
studies in the university. Knowledge can be perceived as either a product or a process. The
educational tradition has prioritized the former: knowledge has been interpreted as something you
can find in a textbook. The CITE education ignores knowledge construction as a collaborative,
social endurance. It is CITE view that knowledge construction should be seen as both a personal
and a social process. Therefore, in CITE approach knowledge construction through three domains
of knowing: 1) factual knowledge, 2) contractual/conventional knowledge, and 3) aesthetic
knowledge.

ART EDUCATION IN CITE
The task is to first consider - even by everyday experience - the presentable subject and only after
that find the suitable way of self-expression. In addition the target is to think about the relationship
of the selected language to the presented information. The need to self-expression may be in
processing different presences to concrete forms, releasing silent information and inner
experiences. Approach to aesthetic knowledge in human, curiosity in finding new way to
expression. In the second hand, the point of view is to find connections between common
education and art education inside the 21st century primary school curriculum.

In the academic year 2009-10 the art education project (3 ects.) was carried out as part of studies
of the CITE group in the Department of Teacher Education, University of Jyvskyl. The aim is to
study the usefulness of the traditional art education curriculum of elementary school and to find
connections of different disciplines. My presentation includes the theoretical framework of the art
education in the CITE, images of 2nd year teacher education students ( N=12 ) including
assignments and finally some results of the study and assessment as well.

15:40 16:00
The concept of visual literacy behind visual arts education
classroom practices: A study on images, activities and strategies
used by teachers
Ricardo Reis, APECV, University of Barcelona, Portugal
EVAGORAS

This communication is integrated in the Ph.D. in Arts and Education (University of Barcelona) in
which I investigate on the role of schools in the development and social appreciation of visual
literacy".

I intend to report on the results of a study conducted during the school year 2010/11 which was
attended by 61 teachers / educators from pre-school to 9th grade. The sample was intentionally
constructed and data were collected over the internet. Teachers / educators sent, throughout the
school year, the pictures displayed to their students in the classroom while responding to a
questionnaire where they were asked about the objectives, activities, strategies, content and
feelings associated to the work developed with each image or set of images. Knowing this
information is especially relevant in the context of my research as the pictures, being the main
vehicle of learning and construction of subjectivities within the school environment, have
predictable implications in the development of students visual literacy, as well as in their
conception of art and visual culture. The results are intended to provide a perspective on three
main points: i) what are the most recurrent images, activities and strategies inside the classroom?
ii) What do the teachers want the students to learn throughout their scholarity? iii) What literacy
notions are enhanced by the data collected and to what referential are they attached to?

The analysis of these data, when adopting the perspective of the so-called new literacies studies
and the one of the studies on visual culture while simultaneously putting in contrast the scholar
universe with the visuality of "youth cultures," will allow to enclose teaching practices, to find their
main referentials and to discuss the possible effects that images, discourses and practices have on
the development of students visual literacy throughout their scholar years.


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SESSION 34 (S34):
EDUCATION POLICY

EVAGORAS / 16:25 18:00

CHAIR: Ademola Azeez

16:25 16:45
S34.1
Art education in Slovenia between policy and practice

Rajka Bra"un Sova, University of Ljubljana Faculty of Education,
Slovenia
Metoda Kemperl, University of Ljubljana Faculty of Education, Slovenia
EVAGORAS

The paper aims to discuss the discrepancies between policy and practice of (visual) art education in
Slovenia in order to contribute to current discussions and actions within the framework of national and
European policy initiatives in arts and cultural education (e.g. Arts and Cultural Education at School in
Europe, The Education, Audiovisual and Culture Executive Agency 2009; The White Paper on
Education, Slovenian Ministry of Education and Sport 2011; Primary School Curriculum: Visual Art
Education, Slovenian Ministry of Education and Sport 2011). By critical analysis the authors wish to
point out two issues. Firstly, art is an under-represented area in Slovenian school curricula, whereby
reading, writing and numeracy are prioritized. Secondly, art education is imbalanced in terms of making
art and responding to art. Certain art curricula are centred principally on art-making activities, with an
obvious neglect of appreciation. Visiting art museums, experiencing works of art, and understanding art
remain an under-recognized area within art education. Although European countries today share similar
policy initiatives in education and culture, they differ markedly in how they conceptualise and realise arts
and cultural education.

16:50 17:10
S34.2
Categories of teaching through the arts activities in elementary
school

Marina Sotiropoulou-Zormpala, University of Crete, Greece
EVAGORAS

It is observed that when the current curricula of Greek elementary school include or suggest
teaching through the arts, the role ascribed to the arts is usually that of a teaching medium. The
characteristics of such activities and the benefits from their implementation are specific. The aim of
this research-based study is to consider alternative approaches to teaching through the arts in
which art is not treated as a tool. To this end, a set of musical, theatrical, kinetic and visual-art
activities were designed and experimentally implemented in nursery schools on various curricular
subjects (national days; the animals; the letters), so as for art to function as a teaching mode rather
than a teaching medium. The findings of the study resulted from the researchers observations, from
questionnaires filled in by the educators who carried out the activities, from interviews with the
children who participated in those activities, and from the art projects of those children. The findings
indicate that the activities of teaching through the arts can be divided into categories depending on
the educational roles attributed to art. In addition to its role as a teaching medium, it was observed
that when art has the role of a mode of approaching the taught subject (the aesthetic mode), a
highly beneficial teaching environment is created. Indeed, some of the observed benefits are
overlooked in today's school. A comparison between the two categories of teaching through the arts
activities revealed differentiations in terms of the structural characteristics of the activities, their
method of implementation, the attitude of the educator who implements them, the educational
objectives, and the educational results. Based on these differentiations, the new category of arts

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activities, in which the arts are treated as a mode, constitutes a new type of teaching, which is
named "aesthetic teaching". Briefly, it was shown that "aesthetic teaching" could be seen as a
specialized type of "teaching through the arts", in which children do not only learn the taught
subject, but also produce new knowledge concerning this subject. The processing of the findings of
this study may help shape a new spirit of action with regard to teaching through the arts and update
the policy of arts education in elementary school.

17:15 17:35
S34.3
Challenges of art, design and aesthetics tastes in the academic
environment: A case study of three higher institutions in Lagos,
Nigeria
Ademola Azeez, Federal College of Education (Technical) Akoka,
Lagos, Nigeria
EVAGORAS

The roles of art, design and aesthetics are germane to the continuing appreciation, sense of
beauty and adornment of our environment. Art education instils a sense of organisation and
attraction and equally add to economic incomes of our institutions. If there are different disciplines
in the Schools curriculum calling for the administratorsattention, art education ought to be among
the ones to be given high priority due to various opportunities it might attract to our academic
institutions if they are well channeled. This paper therefore would probe at level of art education
awareness and appreciation among the School administrators and non-art students especially in
three higher institutions in Lagos-Nigeria, namely: University of Lagos, Yaba College of Technology
and Federal College of Education (Technical) Akoka where Art Education is being offered in the
their Curricular. The paper intends to raise art education consciousness of the non art students and
School Administrators especially the Vice Chancellor, Rector, Provost and Registrars in the three
institutions mentioned who are the policy implementers and see how art education can maximally
benefit from public spaces in their institutions by using art to create attention to increase the
appreciation of visual environments and projects that may include art galleries, waterfalls, art
gardens, cafetaria, public reading room, sport centres, council chambers etc with attraction for art
studios and art shops that encourage created objects of art that can increase the revenue base of
the institutions. The paper would rely on primary sources of data collection that would include
Questionaire and Oral interviews. It is expected that the outcome of this study would definitely
enrich the support for art education, increase the art, design and aesthetics tastes using the three
institutions as Pilot case and equally promote the cultural value of art education in our schools.

17:40 18:00
S34.4
Dialogue of the deaf? Art education and national policy in a time
of restructuring
Gary Granville, NCAD, Ireland
EVAGORAS

This paper is derived from the authors engagement in current education reforms at primary and
secondary levels in Ireland. Three constituencies of influence are identified: a strong policy
orientation towards a renewed focus on literacy and numeracy, an ambitious curriculum reform
plan for second level schooling, and an increasingly confused arts education sector. The central
concern of this paper is to examine why apparently congruent policy proposals in terms of rhetoric
appear to have no substantive relationship in the field of policy.

Art and design education is at the confluence of many conflicting currents of discourse. Probably
the most pertinent confluence is among the discourses of creativity, innovation and enterprise,
which dominate 21st-century education policy debates in Ireland and elsewhere in the world and
that of art and design education. The contemporary rhetoric of education policy is replete with
references to established features of art and design education problem-solving, divergent
thinking, learning from and through failure, risk-taking, to mention but a few. Yet the connection
between the new rhetoric of education policy and the established language of art and design is

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rarely made. Art and design education remain relatively marginalised in Irish education as
elsewhere, and the capacity of arts education in general or art and design education in particular to
serve as a model for general education practice has not been recognised.

Perhaps the truth is that much of the rhetoric of education policy is presented in a deceptive
discourse of criticality that masks an essentially different policy orientation, a command-economy
model of education. This is evident in the prevalence of highly structured models of education
practice, as exemplified in curricula defined only by learning outcomes, in the modularisation of
teaching and learning, in programmes defined by a hierarchy of levels and in frameworks of
qualifications that equate credentials with learning. Educationists generally and art and design
educationists in particular have been weak in challenging or at least questioning the new
orthodoxies.

There is also a state of churn in the space where art and design practice meets art and design
education. This churn is visible for example in the perceived gulf between contemporary art
practice and the conventional art curriculum of schools, or in the limited range of qualities assessed
in most school examinations compared to the qualities that designers value. Furthermore, the
pedagogical turn in contemporary art practice has awoken an interest in radical education positions
variously propounded by figures such as Freire and Illich nearly half a century ago (Bishop 2006;
ONeill and Wilson 2010). This repositioning or reinterpretation of the meaning of art making seems
to be following an orbit tangential to that of formal education practice.

The paper identifies the faultiness between these fields and suggests some options for art and
design education.


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SESSION 35 (S35):
THE ROLE OF THE LEARNER AND THE TEACHER (I)

ONISSILOS / 10:15 11:00

CHAIR: Carl Peter Buschkuehle

10:15 10:35
S35.1
Using the critique process to enhance learning in visual arts

Kheng Kin Yap, School of the Arts, Singapore
Libby Cohen, James Cook University, Singapore
Xueyan Yang, National Institute of Education, Singapore
ONISSILOS

Introduction and Literature Review
Critiques, consultation and documentation of students works are pervasive in visual arts
classrooms and studios (Krechevsky, Rivard, and Seidel, 2007; Turner & Wilson, 2010; Yu, 2008).
Although the critique process is used in visual arts classrooms, little is known about how critiques
are conducted, the influence of critiques on students development as artists, the evolution of
students creative thinking in visual arts, and how the critique process informs teaching.

Research Methodology
This study was conducted in the Republic of Singapore which has strategically linked growth in the
arts to a creative economy and national identity. In 2004, the Singapore Government established
the School of the Arts (SOTA). SOTA has a 6-year progression from grades 7 through 12. The
students are ages 13 through 18.
The rationale for this study emerged over time as the researchers were immersed in a larger study
of arts education in Singapore. As the visual arts teacher and researchers collaborated on the
examination of teaching approaches for visual arts students, the following research questions were
developed: (1) How effective are critique and consultation for enhancing learning of visual arts
students? (2) In what ways can the processes critique and consultation lead to deepening of
learning in visual arts?

Results
The results shed light on how students thinking and art works evolve over time through the
consultation and critique process. Consultation served as a platform for students to meet with the
teacher and refine their ideas and concepts as well as their art work prior to the actual critique
presentation. During consultations, students articulated their ideas and intent to the teacher who
would then give his feedback and suggestions. Critiques have essential aspects that enhance
students learning.
The critique sessions also provided an informal platform for students to give and receive feedback
from not only the teacher but also their peers, developing their ability to ask, and reply to, critical
questions and building their confidence in speaking about their art work. Using critique, as a
process in the visual arts classroom, can enhance and deepen students understandings of visual
arts and their art works.

10:40 11:00
S35.2
Learning art and culture through dialogic pedagogy
So-Mui Ma, Hong Kong Institute of Education, Hong Kong
ONISSILOS

This paper presents an examination of the learning of pre-service Visual Arts teachers through
dialogic pedagogy. I arranged a dialogue between pairs of participants prior to teaching concepts

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about art. In the dialogue, each member of the pair presented his/her favorite artwork and the other
member responded. The data reveal that the participants learned by repeating their partners
answers, providing supplementary information and giving critical responses. The participants
feedback on this pedagogy was positive. They indicated that they had learned from one another
and increased understanding between them. In addition, as a teacher I also came to know more
about my students, their perceptions of art and their way of thinking about art.


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SESSION 36 (S36):
THE ROLE OF THE LEARNER AND THE TEACHER (II)

ONISSILOS / 11:25 13:00

CHAIR: Li-Yan Wang

11:25 11:45
S36.1
A pedagogical framework for understanding art: Promoting
aesthetic inquiry, possibility thinking and creativity with children
ONISSILOS

Art education in primary education is frequently associated with developing childrens artistic
skills and enabling the expression of their emotions in art forms. A neglected aspect is that of
providing opportunities for viewing and interpreting art works and dealing with issues related with
cognition and comprehension. This presentation suggests that there are a lot to be gained with the
study of artworks as a way to foster the development of the aesthetic inquiry, of possibility thinking,
and of creativity within a content-centered/child-initiated pedagogical framework. Within the
pedagogical framework proposed, it is illustrated how teachers by using a formalistic approach to
talk about art can enable children to undertake an aesthetic form of inquiry and offer meaningfully
interpretations of artworks. The aesthetic inquiry also enables the development of possibility
thinking skills. Giving opportunities to children to realize their ideas through creating art
compliments the art talk and sets the pre-requisitions for innovative solutions and development of
creativity. The selection of artworks and art materials are also discussed in the context of teaching
for creativity and learning creatively in primary education. Furthermore, connections are made with
the context of pre-service teacher training programmes which aim to promote generalist teachers
pedagogical content knowledge in art education by building their confidence in understanding art
and teaching with art works.

11:50 12:10
S36.2
Collective memory and personal development: a narrative inquiry
into university students k-12 art learning experience

Li-Yan Wang, National Changhua University of Education, Taiwan
ONISSILOS

Dialogue constitutes a major part of human experience. Through dialogue we share with each
other our experiences and learn to understand the world and ourselves through the narratives we
tell. This study invited fifty-eight undergraduate and graduate art (education) students to reflect on
their past art learning experience. Stories and images were collected and analyzed to answer the
following questions: What are the memorable moments or key events of students prior art learning
experience? What do students remember of their art teachers and art lessons? What can students
collective memory inform us about art teaching and learning?

Research findings indicate that students collective art learning experiences reveal similar patterns
as well as unique personal stories. Generally speaking, students speak most positively about their
childhood art learning experience. Winning competitions, encouragements from their teachers,
classmates, or parents leave a strong impression and help to build students confidence in their art
ability. The junior and senior high school years are periods of exploration and for some leading to
the decision of attending special arts programs. College and graduate school years provide
chances of exploring new mediums, learning theories and concepts, as well as deciding on future
career paths.


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Reflecting on their past art learning experience, many students vividly described key events and
their memorable art teachers. Although memorable teachers are of different teaching styles, many
teachers share similar personal traits open-minded, supportive, passionate about art, and
dedicated to their work. These teachers were able to make personal connections with individual
students and influenced them by changing students perceptions, beliefs or attitudes on art and life.
In most cases, students described more of their teachers personal traits and actions by recalling
the moments of teacher-student interactions rather than outlining specific curriculum content that
teachers taught.

Narratives link the past to the present. As students share interesting stories of personal growth,
overcoming self-doubts, or process of learning, the telling and listening process provided a chance
to reflect, pause, and reevaluate personal goals and aspirations. In sum, this research based
presentation will describe the rationale of the research, the research questions, theoretical
framework, methodology, and report findings of the research study that (1) analyzes students
narratives of their past art learning experience; (2) reflects on issues pertaining to art instruction;
and (3) evaluates possibilities and limitations of narrative inquiry. In addition, it is argued that the
telling and retelling of personal stories allow students lived experience to serve an important role.
A narrative-based curriculum may help pre-service students to negotiate the meaning of art, the
interrelations between the past, present and future, helping their formation of personal and
professional identities.

12:15 12:35
S36.3
The school art classroom: Where needs and approaches meet
Anat Bader, Democrati School, Israel
ONISSILOS

The research I conducted as part of my MA program in Art Education, supervised by Dr. Nurit
Cohen-Evron, explored the school art Classroom as a learning environment. My research included
observations of art Classrooms in schools in Israel as well as photographing and interviewing
teachers working in these workshops. My research seeks to discuss the set of considerations
constructing the art Classroom and examine the way in which this unique environment conveys
different aspects.

In my presentation I would like to show pictures of past and present school art Classrooms, in
order to learn about the correlation between the learning environments and theoretical pedagogical
principles. I will examine the art classroom's uniqueness and its characteristics, and the various
ways in which it embodies the interrelations between different realms: the school, the art world, the
student's private world, cotemporary culture and new technology.

Different paradigms may be observed at the art classroom: the school and the art field, as well as
the students' cultural world. This combination leads, at times, to collisions between different needs,
approaches and perceptions, and thus constructs the art classroom as a multi-branches complex
junction. This charged meeting point allows for an empowerment of both teacher and student, and
has a major role in the multi-layered interrelationship between art, art education and education as a
whole.

Students' cultural world and environment have changed radically in the last decades, due to their
exposure to varied and complex visual information, and to a plethoric media and information
sharing technology. Dealing with contemporary learning environment, education professionals seek
to organize a highly intense visual and technological environment. In art education there is a
growing tendency toward teaching art as Visual Culture Art Education, including skills such as:
response, thinking, discussion, critical thought and analysis. The lack of theories and literature
dictating the organization and design of the school art classroom signifies openness to changes,
flexibility and adaptability, typical of school art education.

Awareness of the importance of the learning environment and its depth of influence, as well as of
the theoretical aspects and the physical components of that environment is the key to organizing a
21st-Century school art classroom. Therefore, one can say that the interrelationship between all

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these aspects stand at the heart of the art classroom.

A physical space always exists within a certain context, containing historical and cultural
references. During the observations I held in school art classrooms I felt many times, as if I stood
on top of an archaeological hill, comprised of components originating in different approaches and
times. Art teachers' guidance and awareness may allow the students to live with this eclectic
sense, and realize the art workshop's potential in recovering the foundations of art education. Not
knowing, doubt and the search for meaning are embraced in this process.

12:40 13:00
S36.4
Art education and contextual information: Organising art
education instruciton to enhance learning among elementary
students
Hazel L. Bradshaw-Beaumont, Delaware State University, United States
ONISSILOS

The purpose of this presentation is to conceptualize a curriculum for art education that does
justice to diverse instructional approaches. Activities were designed based on contextual
information presented to student in a sequential manner. Throughout each activity documentation
examined students abilities in comprehension and application of art content knowledge that
includes their logical reasoning and ability to transfer information from one activity to the other. In
addition, the instructional strategy implemented, highlighted students ability to recall, interpret,
while giving meaning to selected works of art during the period of instruction. Documentation of
each activity was carefully analyzed and compared to several traditional methods of instruction.


$$-

SESSION 37 (S37):
THE ROLE OF THE LEARNER AND THE TEACHER (III)

ONISSILOS / 14:25 16:00

CHAIR: Jonathan Silverman

14:25 14:45
S37.1
Design capabilities in pupils pictures about a visual competencies
research for practising teachers
Emil Gaul, College of Nyregyhza, Hungary
ONISSILOS

In the past two years a team of teachers and academic researchers developed a framework for
the evaluation of visual skills and abilities, in a project done in Hungary in 2009-2010. The outcome
of the research is the framework made of 19 measurable skills and abilities. As a part of it among
other visual abilities we tried approach design skills as well.

We were interested in the reliability of measuring tasks, the level of works done, the interrelation
between different items, the difference among boys and girls, schools, and so on. The statistical
analysis showed us reliability of measuring tasks, interrelation among items, and other valuable
information, but they did not contained, the unique and tacit quality of visual information, and mean
time these data were abstract and not plausible for practising teachers. To unify verbal, quantitative
and visual information we decided to build a network of complex information. So we dig in depth, in
detail, and built a map of abilities, their level on diagrams, and visual quality on illustration by some
worksheets of pupils, showing how the tasks were solved by girls or boys, younger or elder, more
or less gifted.

In the paper we are going to show you how look like the following capabilities: Sensitivity to design
problems, Orientation skills, Imagination, Judgment, Communication skills in detail on the drawing
and writing of 6-12 year old pupils. The examples were selected from a wide variety of 90 tasks,
made in 35 schools in Hungary, by 3400 pupils.

14:50 15:10
S37.2
Collaborative professional development: Monitoring change and
development of a community of art teachers learning together

Jayne Stillman, personal organization, United Kingdom
ONISSILOS

This paper is a part of a broader research study that follows a group of teachers partaking in a
professional development opportunity in art education in the UK. It was cross phase and took place
over a period of time and it also involved an international trip.

The study monitors and follows personal development, individual professional learning and
collaborative learning in art and education. The work created is largely image based. This is used
to help analyse and reflect on the virtues of the community practice (Wenger 1998).

The rationale of the research was to evaluate the changes in knowledge and understanding of the
group of teachers experiencing the professional development opportunity together. Analysing
teachers voice from written, visual and an exhibition enables the consideration of the professional
opportunities and impact on the classroom, wider community and the individual. In broader terms
the data enables contemplation of how visual material can be used to assist with theorising.

$$$

How the contents of evidence data are interpreted and analysed contributes to this study and also
informs the process of evaluating professional development and collaborative cross-phase
working.
The methodology used for the research is divided into 4 stages. This particular paper will
concentrate on Stages 1and 2. Stage 1 is the initial planning and preparation for the collaborative
journey. This is the process of the learning opportunity where the group of teachers are identified
and say that they are willing to record their learning journey in the way of visual diaries and
alternative approaches (Eisner 1985). Periodic questionnaires and interviews chart understanding
and knowledge. Stage 2 is follows the actual trip abroad to Milan to visit schools and galleries.
Meetings over an 18 month timescale were used to review the collaborative learning and initiatives
(Heron &Reason 2006). Teachers kept a visual journal/diary to record their experience. Thematic
analysis of sample pages from the teachers visual diaries was conducted for initial stages of the
data analysis of this project (Emmison 2004) (Question 2).
The paper considers how the learning is enabled in and outside the teachers schools with this
collaborative model of practice. Is it a valuable approach to contribute to the landscape of
professional development in art education?
As the research progresses it is intended to develop a model for monitoring change and recording
the nature of collaborative professional development of art education (Shulman 2004).

15:15 15:35
S37.3
Sustainable art and design in UK universities: Why, how and to
what extent

Nicholas Houghton, University for the Creative Arts, United Kingdom
ONISSILOS

This paper reports and analyses how UK universities are teaching about sustainability in their art
and design courses. Many UK universities have accepted that one of their roles is to take a lead in
trying to bring about a sustainable future, although they differ about their definition and
interpretation of what sustainability means. All the same, there are clear common threads around
enhancing environmental literacy in students and through promoting engagement with the wider
community. Sustainable behaviour is often referred to as being ethical in that it is about not
harming individuals or the environment and is seen as a means of promoting social and
environmental responsibility and justice.

One consequence has been for sustainability to become an element of the art and design
curriculum in many institutions. When including sustainability in the art and design curriculum, it is
necessary to turn these lofty ideals into concrete learning opportunities. This means helping
students to be more aware of their social, ethical and environmental responsibilities and to develop
a sustainable practice in their discipline.

This descriptive paper will present case studies of how various course teams have set about
teaching about sustainability through their art and design discipline. The common way to
incorporate sustainability has been to introduce a specific project on this topic, for example
designing a product out of recycled materials which could itself be easily recycled at the end of its
life, or designing a low-carbon building.

In thinking how to do this, some have been able to build on a legacy of teaching about design
ethics in their course. Some art and design courses and disciplines have traditions of social
engagement on which they can build. Others are taking their lead from the slow design and slow
craft movements. By embracing this ethical framework it should be possible for sustainability to
eventually move from being one token project to becoming a key skill which informs every facet of
learning.


$$%

Having presented case studies, this paper analyses how sustainability fits with other university
priorities. It asks whether sustainability is a utopian fad or a valid means of moving art and design
away from introspection to engagement with local, national and global communities. It concludes
by showing that sustainability presents a challenge to those who see the purpose of education as
being an instrument which serves the needs of the markets. Sustainability in this context not only
builds on the legacy of the Arts and Crafts Movement and the Bauhaus, but also on the tradition of
critical pedagogy. It is therefore both highly relevant to the present day world and in danger of
being marginalised if perceived to be radical. Yet if it is not radical, it becomes little more than
tokenism.

15:40 16:00
S37.4
Art and sustainability: The effectiveness of place-specific
education
Asthildur Jondottir, Iceland Academy of the Arts, Iceland
ONISSILOS

I will discuss how art teachers and artists can make their education and teaching practise
relevant to sustainability in place-specific settings. It defines the concept of education for
sustainability and analyses the opportunities that education offers in this regard, with particular
emphasis on place-specific education, democracy and critical pedagogy. It discusses the potential
of using art and the creative process of artists as a source for research on sustainability. It
searches how art can be designed to incite transformative knowledge of the dominant culture by
using place-based critical education?

When talking about sustainability it is important to keep in mind that education for sustainability has
to involve understanding of different disciplines that enables adapting holistic approach. The
environment will not be protected unless people are living in adequate economic and social
conditions, based on the culture of society.

The social welfare of a community will be strengthened if students receive training in democratic
approaches with awareness of the importance of social equality. This includes working on social
and communication skills and critical thinking. Such training has an effect on all decisions. Social
status concerns also tolerance for human diversity.

Some Icelandic art teachers have been active using out door classroom. Some of their learning
sequences are great examples of education for sustainability.

The role of the art teacher in a place based education for sustainability is to support students,
encourage and guide them through the program. The art teacher does it by creating a good
learning environment focusing on critical and creative thinking. He/ she has to show good
professional behaviour and attitudes toward learning as well as the practice so students can learn
from him/ her.


$$&

SESSION 38 (S38):
THE ROLE OF THE LEARNER AND THE TEACHER (IV)

ONISSILOS / 16:25 18:00

CHAIR: Victoria Pavlou

16:25 16:45
S38.1
The global stage: Networked meaning in 21st century art education

Shyla Rao, Maryland Institute College of Art, United States
Matthew Sutherlin, Maryland Institute College of Art, United States
ONISSILOS

21st Century educational environments create challenges and opportunities for globalization for
art education. Dr. Shyla Rao and Dr. Matthew Sutherlin present a theoretical dialogue, grounded in
local case studies of program sustainability, technology, and globalization through an investigation
of 21st century skills in institutional and classroom (con)texts. Sustainability and globalization in
relation to art education has the potential to become a package sold under the guise of a singular
discipline. Too often educators and institutions try to find a model for art education that distills its
complexity into something that can be reproduced in every (con)text. Multiple paradigm shifts have
left the field with various -isms. Rao and Sutherlin problematize the bricolage as a model for
engaging complexity within art eduction. In 21st Century learning environments, tools at hand
may relate to both global and local (con)texts. Instead of producing a prepackaged outlook on art
education that adheres to one discourse specifically; this presentation seeks to illuminate the
possibilities for a global art education through the introduction of communities of practice and
Actor-Network Theory as a mode of describing the bricolage.

Through this description, several patterns of factors emerge as being essential to the development
of a sustainable, dynamic, and culturally relevant art education practice. Through an on-going,
iterative process that supports collaboration, shared meaning is able to emerge. Shared meaning
includes context-specific and context-inclusive dialogue. These concepts are exhibited most
explicitly in the rise of sub-cultures that are not based on geographic proximity. Rao and Sutherlin
propose platforms within which shared meaning is produced through a global community of
practice. Relationships between participants in a community of practice become the means by
which the community sustains itself. Relationships created from shared meaning are described
through the lens of Actor-Network Theory. This presentation provides concrete and theoretical
constructs for sustaining an evolving vision of art education attuned to both local and global factors
of individual and intercultural understandings.

16:50 17:10
S38.2
Using comics for developing sustainable development values

Chrysanthi KadjiBeltran, FrederickUniversity, Cyprus
ONISSILOS

Sustainable Development is a pattern of growth in which resources are used in a way that can
satisfy the needs of both present and future generations. In order to achieve that it ties together the
concern for the carrying capacity of the natural ecosystems that support life, with the contemporary
social and economic challenges. Therefore Sustainable Development is founded on three pillars of
equal importance: Environment, Economy and Society. For its achievement, the three pillars must
operate without limiting one another. Managing the equilibrium between them may raise conflicts
and moral dilemmas.

Education for Sustainable Development seeks to impact peoples way of thinking and behavioral
patterns in a way that will bring about the changes needed to achieve high standards of life quality

$$'

and sustainable future for all. In order to address Sustainable Development issues people need to
solve problems and make decisions based on critical, informed and systemic thinking, directed by
their values systems. Therefore Values Education is a key part of Education for Sustainable
Development.

Values are the beliefs we collectively or as individuals hold and which determine a permanent,
fundamental, intellectual orientation, according to which we act. In our daily lives we are all
exposed to messages and stimuli forming our values framework and therefore determining our way
of being. The received stimuli have to be received critically, be evaluated and reflected upon before
they become integrated. Children are more receptive to the messages and values emitted by their
surrounding environment without questioning what they receive. Values Education uses different
educational approaches, the most elaborated ones being values analysis and values development,
where the students need to discover, discuss, reflect and develop their personal values. In the
process they confront ethical dilemmas and scrutinize values through role plays, debates, problem
solving, reflection etc. The same approaches are used within Education for Sustainable
Development for developing SD values and encouraging SD life styles.

As an educational tool, Cartoons hold all the attributes required by Education for Sustainable
Development. By definition, they present a situation in a humorous, satirical and caustic way, using
symbols and exaggerations in order to make a statement. Within social sciences they have been
used to help students analyze different issues, identify values and reflect upon what is presented in
the picture. Cartoons always integrate direct and indirect messages. Even missing elements in the
picture might send important messages to the viewer. Through caustic humor, Sustainable
Development themed cartoons can be used to trigger students critical thinking for the identification
of direct, indirect and missing messages and enhance students reflection and critical thinking. The
entire process of scrutinizing SD cartoons can provide opportunities for values analysis and
development.

The current paper reflects upon cartoons value as a teaching tool for discussing sustainable
development issues and explores their potential for values analysis and development.

17:15 17:35
S38.3
General and sustainable learning through craft education
Ulla Kiviniemi, University of Jyvaskyla, Finland
ONISSILOS

Our children are nowadays open to huge number of external impulses and stimulus. However,
to be able to initiate and plan ones own activities and perform accordingly enhances private
enterprise and autonomy. This is why the school should provide for such learning opportunities
which create generic learning which is applicable also in the world outside the school.

Teacher controlled versus learner independent teaching form the two opposite ends of everyday
craft teaching practises. In many countries using your own hands and body purposefully is not
taught at schools technologies have replaced it. However modern brain research has shown that
practicing manual skills is relevant to the individual's brainwork and overall development. Teachers
involvement in arts and crafts enables the feasible teaching objectives which create multisensory
learning objectives for children.

Teacher controlled learning produces mechanic and repetitive learning, which at its best ends up
mastering the separate technical skills well. Yet this teaching strategy enhances the students
dependence on guidance and tries to suppress the student initiated experimental activities.
Teachers narrow technical management of the subject substance is sufficient.
In student centred learning the objectives are experiential and creative and the tuition emphases
solving problems created by the learners. Independent craft projects highlight the learners own
ideas, meanings and goals, and the guidance tends to tutor the student-driven actions. Teacher's
deep understanding of the substance allows personalized learning goals and differentiation.

Developing thinking skills to steer the working, alike with the skills to manipulate and control

$$(

concrete material and environmental issues are more vital than coincidental subject specific
contents of the craft courses. Thus teaching craft is balancing between the different teaching
strategies with the aims to pass technical learning with producing applicable skills which enable to
make general conclusions and acts in the real world.

This presentation examines craft teaching and tries to figure out what kind of teaching approaches
would offer applicable learning.

17:40 18:00
S38.4
A celebration of Monets In the Norwegian
Maura Sellars, University of Newcastle, Australia
ONISSILOS

This paper discusses one aspect of a course provided in an Australian university to prepare pre
service primary school teachers to teach the performing and visual arts to school children aged 5-
12 years in increasingly multicultural classrooms. This component of the course illustrates one
means by which teachers can not only integrate visual and performing arts in their classrooms, but
also use common understandings and experiences to bridge cultural differences, to promote
student learning and understanding in the arts and to integrate the performing and visual arts. The
example that is examined in detail and that provides a model for further curriculum planning is an
integrated, differentiated program planned on the matrix that results by combining the two
typologies of Gardners Multiple Intelligences Theory (Gardner, 1983) and The Revised Blooms
Taxonomy (Anderson & Krathwohl, 2000). The example provided focuses on the Monet painting In
The Norwegian and is designed for implementation with 5-6 year old students. Whilst students in
this course have often initially suggested this particular art work may not be an obvious, or even a
suitable choice for an arts study with young students, the subject matter crosses the boundaries of
time, language and culture and provides a perfect vehicle through which to support the
development of age appropriate skills, techniques and concepts as described in the prescribed
syllabus documents. Importantly, this perspective of planning for teaching and learning in the
performing and visual arts is non prescriptive. It can be implemented in various ways in different
classrooms by different teachers and with diverse groups of students without compromising any of
its potential.


$$)


16:50 18:00
Visual and written narratives from the borderland: Research team

Rachel Kroupp, Kaye Academic College of Education, Israel
Georgia Kakourou Chroni, Coumantaros Art Gallery-Branch of the
National Gallery of Greece, Greece
Mousumi De, Indiana University, Bloomington, United States
Teresa Torres Eca, Research Centre on Child Studies - University of
Minho, Portugal
Jose Martins, Research Centre on Child Studies - University of Minho,
Portugal
Cathy Smilan, University of Massachusetts Dartmouth, United States
Codrina Ionita, University of Arts "G. Enescu", Iasi, Romania
GRAND
HALL B

The current study wishes to expose the characteristics of the self-image of children belonging to
minority groups from the borderland, i.e., groups that differ from the majority groups in cultural,
linguistic, religious, national or ethnic characteristics. These will be exposed through an analysis of
visual, written, or spoken narratives of the subjects. The purpose of the study is to know,
understand, publish, and try to improve the living conditions of minority groups, wherever they are.
For this study we, researchers from different continents, came together in order to study the
minority populations in our individual countries and gather the visual and written findings in one
book, which will tell the story of the population without a voice. The purpose of our presentation
today is to present findings and questions regarding the different studies in order to get a feedback
and also to invite other researchers to join us. In the current presentation we will introduce the
purposes of the research, its methods and our work methods. We will also introduce the studies of
the following researchers:
Georgia Kakourou-Chroni from Greece looks at the identity of immigrant children in Athens, mostly
from Pakistan and Afghanistan. Research methods include visual and textual narratives and
museum visits. Ten different activities have been planned, which will last from November to the
end of April.

Mousumi De looks at the Identity of immigrant children, mostly from North Eastern parts of India,
now living in Delhi, and the Indian-ness or Indian-less-ness of children, youth and young adults of
North Eastern origin in India. Research methods include visual and textual narratives and
conversation analysis.

In Portugal, Teresa Ea and Jos Alberto Martins work with a Gypsy community. Children are
invited to make a drawing on the following question: Draw a story about your life, dreams and
fears. After they draw, kids will answer two simple questions: i) What did you draw? ii) Why did you
draw this? Their stories will be recorded and further processed using content analysis.

Rachel Kroupp from Israel is working on the subject of social identity in Bedouin children living in
Israel. In her study she uses visual and written narrative tools.

The work of Ava Serjoie from Iran work is a comparative study of Iranian children living in Iran with
Iranian children living in Germany. She examines how children of the same nationality interpret
emotions in pictures, their inference making and depiction of emotion in their own drawings, and
the influence of the two different living environments on the childrens' drawings and their
articulation of happiness and sadness.

$$*

The research of Cathy Smilan from USA focuses on upper Elementary and middle school children
in at-risk communities, using Arts-based research methodologies. She looks for themes and codes
in the visual work to initiate discussion in order to develop community.

Codrina Ionita from Romania is interested in the Ukrainian ethnic community living in northern
Moldavia, Bucovina: How the Ukrainians from the ethnic community in northern Moldova see their
nationality and to what extent they retain their traditions and customs, language, stories, legends,
pictures, and decorations.

The study meets the goals of the conference since on one hand it deals with a multicultural
population, and on the other hand the researchers come from various countries and cultures.

16:50 18:00
Tailormade! Action research as an example of continuing
professional development in an interdisciplinary teacher training
programme

Elisabeth Huij, Artez Institute of the Arts, Netherlands
Jose Huibers, Artez Institute of the Arts, Netherlands
Nicole Martinot, Artez Institute of the Arts, Netherlands

Anneke Meijers, Artez Institute of the Arts, Netherlands

Margreet Luitwieler, Artez Institute of the Arts, Netherlands
GRAND
HALL C

Apart from becoming competent in their chosen discipline of Theatre, Dance or Visual Arts,
students of the Interfaculty at ArtEZ Institute of the Arts are trained to gain competency in
delivering interdisciplinary art projects to pupils in secondary schools. In the interdisciplinary
component of the teacher training programme students work and learn in a multidisciplinary group.
This approach to teacher training is directly related to changes in the field that make more and
more use of various forms of expression to shape the imagination.

Because of the multidisciplinary make-up of the student groups, this interdisciplinary approach
poses different requirements for the teaching institution. Individual courses are taught by teachers
who themselves were once trained in one discipline but have, over the years, adapted their
teaching practice to this new environment. The continuing professional development of teaching
staff offers both an opportunity and a challenge. As the profession of teaching becomes more
complex, we may ask ourselves which teacher competences are required for this current
education. Teacher trainers must adopt an investigative attitude and be encouraged, and given the
opportunity, to use research as a tool in improving their own professional practice. Practice based
research offers the tool to methodically review the full scope of their current professional practice
and teaches them by means of self-reflection, to continue to develop. Within the Interfaculty 4
teachers have taken up this challenge by following a Master of Education in Art programme. Using
the master programme as a vehicle, the four teachers are taking a critical stance regarding their
own working practice as a means of improving that practice. By enabling their studies, we hope to
gain enriched professionals and an improved programme.

In 2010 Anneke Meijers, Nicole Martinot, Margreet Luitwieler and Jose Huibers initiated an action
research project to examine and evaluate the effectiveness of teaching methods and work forms
used in the interdisciplinary component of the bachelor teacher training programmes. This
presentation examines the four key areas of their research that have a direct impact on teaching
and learning:

Perceived and actual differences in approach and language in the creative processes of each art
discipline

$$+

Working in teams (cooperation, communication, shared goals/objectives)
The assessment of an artwork created by a group working through an interdisciplinary process
The development of a staged model of interdisciplinary learning

The research they are conducting in these four areas will not only result in a proposal to strengthen
our educational practice but also act as an example of Continuing Professional Development
within our institution. During the panel discussion we would like to discuss these issues further and
exchange CPD experiences with other professionals.


$$,

D. WORKSHOPS

WORKSHOP 1 (W1) (2
nd
MEETING):
10:15 11:45
Sharing artist books for arts education practice and inquire

Emilia Lopes, APECV, Portugal
Petra Weingart, IA, Germany
Maria Jesus Agra Pardinas, Inter-Action, Spain
Cristina Trigo, Inter-Action, Spain
Teresa Eca, inter-action, Portugal
SALAMINIA
A

The purpose of this workshop is to develop awareness of the potentialities of artists books
in educational and research practices .Through sharing visual notes in artist
sketchbooks educators develop other forms of interactive learning processes, in the edges of
identity and collective spaces. Participants will be invited to create collaborative artists books
during the entire congress. Through a visual practice based experience we will discuss relational
pedagogy strategies , collaborative and peer learning approaches to education. Sharing artists
books is a practice which challenges the limits of individual appropriation and authorship. The
Group will discuss these limits through making the books and reflecting upon the making process.

WORKSHOP 3 (W3)
11:25 12:35
W3
Mobilizing our cultural identities through art: Communicating at
the crossroads

Jonathan Silverman, Saint Michael's College, United States
GRAND
HALL A

A 21st century world that consists of many intersections of diverse culture and communities and
an overabundance of screened images demands aesthetic sensitivity and the creative process as
vehicles for intercultural understanding and literacy. In this interactive workshop an arts education
professor models a curriculum where InSEA Cyprus participants representing various cultures,
ethnicities, religions, and race examine and reflect on their own cultural identity and mobility.

Our sequence of activities begins with conversation generated by observing a few images that
convey culture. As we exchange perspective on these images we note how we use words to
describe elements, gestures, and intent. The goal is to examine our individual assumptions and
habits when communicating about culture.

This quick warm up leads to a reflection on our individual cultural identities. A variation on George
Ella Lyons poem Where I am from inspires us with words and images to share our cultural
heritage. We build on the warm up activity to compare common cultural vocabulary that often have
different associations such as line, texture, and space as well as tradition, narrative, and visual
culture.

Then, we move from individual reflection to community. Consistent with the InSEA Cyprus
objectives to demonstrate awareness of multicultural identity in an ever-changing world participants
will use the intersection of images, movement, and words to collaboratively and artistically respond
to the question How might art education create environments that help cultural identities cross
roads and live together? The focus for groups can range from habits of mind and heart to physical
spaces to the creative process and critique; the collaborative expressive narratives may be
symbolic, realistic, or nonrepresentational. The creating and then sharing of these intercultural
narratives will ideally provide a hands-on experience that will generate discourse throughout the
conference on current and future practice of art education at the crossroad of culture.

$%-

Throughout, the workshop leader models sequential strategies that promote intercultural
communication and aesthetic sensibility by examining language and art content goals, using
multiple methods to engage in creative and critical thinking, linking concepts to cultural
background, and building a community that embraces trust, risk, and support. He applies his own
background creating interdisciplinary curriculum that links content of art, social responsibility, and
cultural sensitivity as well as his work with art and classroom teachers from an arts magnet school
that has a high percentage of students who are immigrants and English Language Learners.

As art educators, we are compelled to extend the language and conceptual knowledge necessary
to empower people affected by cultural mobility. By building a case of how literacies connect
across disciplines and instructing through multiple artistic modalities this workshop offers a timely
and meaningful examination of how globalization, mobility, and communication technologies
influence and shift perspective on daily practice. This workshop welcomes all art education
practitioners who believe that the arts provide cultural voice in the 21st century. The materials
needed for this workshop are a computer, projector, and a space to work collaboratively.

WORKSHOP 4 (W4)
11:50 13:00
Feeling a success in ones own drawing improvement as one of
the key factors influencing a motivation of elementary teachers of
art
Marjan Prevodnik, The National Institute of Education, Slovenia
SALAMINIA
A

The ''underlying'' content of this workshop is based on the motivational concept of Self-efficacy
beliefs by Martin Bandura, one of the leading social cognitive theoreticians. One of the purposes
of the workshop is to see the benefits of the Self-fficacy beliefs theory to be applied in the context
of professional training of elementary/classroom teachers of art.

We aimed too, to (actively) include participants in the 10 short drawing assignments in order to
show them one method and one content of motivating elementary teachers of art from Slovenia.
This method a drawing assignment, is one of the methods used in the professional development
of above mentioned teachers. It was, and is still targeted at raising their motivation for art practising
through their personal involvement in art activities in order to be more skilled and confident for their
art teaching. The target audience in the workshop are elementary teachers of art, art consultants,
policy makers, art teachers trainers and motivated secondary teachers of art. The participants wil
be given ten sheets of A4 size papers and a pencil of softness B2 - B8. They will follow the author's
instructions in order to create short drawing assignments (either 40 seconds or up to 3 minutes
maximum for each of the tasks). The purpose of the workshop will not be revealed at the start, but
at the end of workshop, within the group evaluation, based on observing/interpreting drawing
collections of volunteers.

The workshop participants will have an excellent opportunity to test themselves in a series of short
drawing exercises/tasks and then (voluntarily) evaluate their drawings, with regard to the progress
they made (if they did or not!). They will have an opportunity too, to discuss the usefulness and
(possible) applicability/adaptability of this task in the real school art drawing practices with
students. Art consultants may have found this drawing method (of motivation and raising skills) as
a challenging for their work with elementary teachers of art. The participants volunteers will be at
the end of the workshop kindly asked to give their collections of 10 drawings to the workshop
presenter for further analysis and possible (inter)national comparative study. The collections of
drawings will will be later returned to participants - artists by post.

There are three ways of learning to draw and to self-motivate, but, (un)fortunately, they have not
yet been discovered.

$%$

WORKSHOP 5 (W5)
14:25 15:35
Lets set up together the 'e-mates' art exhibition!

Anastasia Zoi Souliotou, AMPASTASIA, Greece
Amparo Latorre Romero, AMPASTASIA, Spain
SALAMINIA
A

In this workshop we will set up a painting exhibition along with the audience.
The subject of the exhibition relates to distance communication. Nowadays it frequently happens
that beloved persons live and work far from one another. However, internet communication helps
to keep in touch no matter how long the distance between them is.
As AMPASTASIA will need to do preparatory work before the workshop takes place, we invite
people interested in this workshop to send an image of a person with whom they communicate or
collaborate in distance, an image of their e-Mate. The image can be taken from skype, facebook,
flickr, twitter, personal webpage or any other online source, depending on the means of
communication they use. It can be sent at ampastasia@gmail.com no later than 31st May 2012.
We will be in touch through emails with image contributors and discuss with them the progress of
painting.

At the beginning of the workshop, half-finished canvases will be hung on the wall. In the paintings
we will use painting media (oil colours, acrylics) as well as new media (prints of the images,
electronic painting, digital image editing).

When the workshop takes place, we will finish off canvases and set up the exhibition. We will
encourage:
dialogue, through questions, suggestions, ideas, even criticism;
participation, invite the audience to paint with us, opinion on curation;
interaction, take pictures of the event and participators

When the exhibition set up is finished, a discussion between AMPASTASIA and the audience will
be fostered.

TIMETABLE

The workshop will last 60 minutes.
First 15 minutes:
Introduction to AMPASTASIA workshop
In this section we will clearly state why we are doing this workshop and what we will ask the
audience to do.

15 minutes 45 minutes:
Main Part of AMPASTASIA workshop
In this section we will get to do the workshop.

45 minutes 60 minutes:
End of AMPASTASIA workshop
In this part we will set up a discussion. We will encourage audience to ask questions and make
comments on the experience and impact this workshop had on them.

This workshop will (re) examine the social position of the artist and show the transversality of arts
with regards to society and culture within the contemporary global condition.

The main objective of AMPASTASIA workshop is to blur the boundaries between the
artists/creators and the audience. We will be in a continuous dialogue with the audience about their
images (source of painting inspiration) and the progress of painting. During the workshop we will
promote interaction with the audience and this will be followed by a discussion on the overall
experience.


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As far as the target group is concerned, AMPASTASIA workshop will be open to all people of
InSEA congress. It is open to all nationalities and specialities.

WORKSHOP 6 (W6)
16:50 18:00
AVATARS workshop: reflection on the artist teacher's identity
through the creation of small self-portraits in the form of metal
pins

ngeles Saura, Universidad Autonoma de Madrid, Spain
Amador Mendez, UAM, Spain
Rosario Naranjo, UAM, Spain
Cristina Moreno, UAM, Spain
SALAMINIA
A

Workshop for the development of small self-portraits in the form of printed art sheets prepared by a
special machine. The artist-teachers will make collages, drawings or paintings adapted to this small
format, as an exercise of reflection on their identity.

This workshop aims at the artistic and technological professional development of teachers of art.

We have also performed a review of the literature on the development of artistic workshops with
the theme of identity by focusing on case studies conducted by Maria Jesus Agra and Teresa Ea,
among others.

We provide a new methodology in the field of art education developing this workshop for the artistic
and technological professional development of teachers of art.


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E. SPECIAL WORKSHOPS

SPECIAL WORKSHOP 1 (SW1): (Garden A)
14:25 18:00
The traditional mosaic art as a common point of artists
coexistence
Soula Christou, Mosaic Collective, Cyprus
Soteris Phoraris, Mosaic Collective, Cyprus
Kypros Pisialis, Mosaic Collective, Cyprus

GARDEN A

This special workshop aims to introduce participants to the Cypriot mosaic art, and to provide
opportunities to practice mosaic making. The participants will come into contact with the historical
evolution, mediums, and materials of mosaic making in Cyprus through the centuries, by studying
designs, patterns and compositions of ancient, traditional, and modern mosaics. They will also be
challenged to think outside of traditional mediums and materials and create their own mosaic. The
participants work shall then be joined to comprise a single collective synthesis, which will be
permanently exhibited in a public space in Lemesos, where the city is currently undergoing a
significant regeneration. The Municipality of Lemesos has given permission for the artistic
intervension at the particular space, and the collective artwork will remain an eternal creation
reminding the InSEA 2012 European Regional Conference. Emphasis is on, inspiration, personal
vision and expression, creativity, originality and collectiveness.

The artist Soula Christou has great experience, both theoretical as well as practical and has
created significant works, which decorate public and cultural spaces in Cyprus. She has more than
20 years of experience with Mosaic art and has taught Art in secondary school since 1980.

SPECIAL WORKSHOP 2 (SW2): (Garden B)
14:25 18:00
The Creative Co-existence of InSEA and Cypriot Artists
zgl Ezgin, European Mediterranean Arts Association (EMAA)
Daphne Trimikliniotou, The Cyprus Chamber of Fine Art (EKATE)
Gianna Theocharous, Cyprus Society for Education Through Arts
(CySEA)
GARDEN B

Group work in Art is of great significance in our contemporary times and conversation and
transaction between the Arts can lead to a new state of co-existence; artists have differing
orientations and aesthetic pursuits, each expressing ones self in their own unique way, using a
variety of means and materials. Members of InSEA are called upon to come together at their
common point of reference, in their professional capacity as teachers of the Arts to create on a
collective level.

Members of InSEA who are artists, alongside Greek-Cypriot and Turkish-Cypriot artists from the
board of the European Mediterranean Arts Association (EMAA) will paint a common piece of work
inspired through music. The music will be produced by a small group Turkish-Cypriot of musicians
who will collect sounds from nature from all over Cyprus. Overcoming any obstacles and barriers
created over recent years, the Nature Sounds will travel from Karpasia to Pafos, from Kyrenia to
Limassol from Famagusta to Larnaca, from the mountains of Pentadaktylos to Troodos. All these
sounds will be synthesized into music by the musicians in a unique way. The artists, in using a
variety of materials shall be inspired to create various forms of art (painting and installation through
the sounds of the music).

Can this sort of music become an element strong enough to stimulate the imagination of the visual

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artist? Will the fact that this particular sound of music, which holds within its content a factor more
than just melody or musical notes, arouse deeper emotions which are affected by our own deeper
feelings and awareness of the situation? Furthermore, to what extent can a collective collaboration
in the creation of a work of art become a powerful tool of communication and understanding
between people and by extension between cultures?

27 June 2012, WEDNESDAY Lemesos Cyprus, 25 27 June 2012

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Program



CLOSING CEREMONY: GRAND HALL A / 12:35 13:30

FAREWELL BUFFET LUNCH: ANTHEA RESTAURANT / 13:20 15:00

KEYNOTE / PANEL DISCUSSION
GRAND HALL A / 09:00 09:40

CHAIR: Rachel Mason

KEYNOTE 5: George Gavriel
KEYNOTE 6: Genethlis Genethliou

KEYNOTE 7: Tereza Lambrianou
KEYNOTE 8: Tatiana Soteropoulos


SESSIONS:
S39: GRAND HALL A / 11:20 12:05 (Chair: Kerry Freedman)
S40: GRAND HALL B / 09:45 10:55 (Chair: Andri Savva)
S41: GRAND HALL B / 11:20 12:05 (Chair: Marlen Thiermann)
S42: GRAND HALL C / 09:45 12:05 (Chair: Diederik Schnau)
S43: TEVKROS / 9:45 10:30 (Chair: Vicky Karaiskou)
S44: TEVKROS / 10:35 12:05 (Chair: Aravella Zachariou)
S45: EVAGORAS / 09:45 11:40 (Chair: Marjan Prevodnik)
S46: ONISSILOS / 09:45 10:30 (Chair: Glen Coutts)
S47: ONISSILOS / 10:35 12:05 (Chair: Seija Ulkuniemi)

PANEL DISCUSSIONS:
PD5: GRAND HALL A / 09:45 10:55
PD6: SALAMINIA A / 09:45 10:55

POSTER PRESENTATIONS:
SALAMINIA B / 11:20 12:30

ART EXCHANGE:
SALAMINIA C / 11:20 12:05


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A. KEYNOTES

KEYNOTE / PANEL DISCUSSION
09:00 09:40

Reforming the curriculum of art education in Cyprus
Presenters: Genethlis Genethliou
Tereza Lambrianou
George Gavriel
Tatiana Soteropoulos

Chair: Rachel Mason
GRAND
HALL A

Genethlis Genethliou is Inspector of Art in Primary Education in the Ministry of Education and
Culture of Cyprus. He studied at the Pedagogical Academy of Cyprus and at the University of
Athens. He also studied painting and sculpture at the Athens School of Fine Arts. He has
postgraduate studies in Art Education (Roehampton University, UK) and in Educational
Leadership and Policy (Open University, Cyprus). He worked as a teacher in Primary
Education, as a museum education officer, as an art counselor and as a head teacher as well.

Tereza Lambrianou has been a Primary School Inspectress of Art at the Ministry of Education
of Cyprus since 2007. She gained the title Master's degree in art education. She is
responsible for the smooth running of the course of art, through the guidance and evaluation of
teachers employed in primary schools. She is also responsible for the implementation of the
educational programs of art and museum education. She has contributed to the promotion of
children's art through various exhibitions and publications with works of art of primary school
students.

George Gavriel received a B.F.A and M.F.A degree from the Surikov Academy of Arts in
Moscow, Russia. He has exhibited his artwork in many solo and group shows in Cyprus,
Moscow and at the Beijing Biennial 2010. Since 2008 he's been the Inspector of Art at the
Ministry of Education and Culture, in Nicosia Cyprus.

Tatiana Soteropoulos received a B.F.A. degree in the field of Illustration from Columbus
College of Art and Design, in Columbus Ohio. She has illustrated over 20 children's books and
has exhibited her artwork in many solo and group shows in Cyprus, Spain, Slovakia, Italy, New
Jersey, Slovenia, New York, Los Angeles. She is currently the Art Counselor of the Inspector
of Art at the Ministry of Education and Culture in Nicosia, Cyprus.

Abstract:

The presentation will focus on the art curriculum reform in Cyprus, which followed a wider
reform of the primary and secondary school curricula. Issues discussed will show how the
curriculum reform aimed at responding to the challenges and opportunities of living in the 21st
century (i.e., developing a coherent and adequate body of knowledge, critical thinking and key
competences, promoting teamwork, participation, active citizenship, multiculturalism,
environmental and cultural awareness etc.). Additionally, the main purpose of the new
curriculum is the creation of conscious viewers - creators who actively contribute to improving
the quality of life.

While the first step of the curriculum reform focused on the formation of the wider context
(main objectives, content, pedagogical approaches and evaluation), the second step - which is
currently in progress - focuses on the implementation of the new curriculum in teaching
practice. Within this process one of the most important issues is teachers' professional
development. Different strategies are used, such as conferences, seminars, training at schools
and self training through the Ministry website. Examples of projects undertaken by teachers
and their students within the framework of the new art curriculum, will be presented, illustrating
both the procedure followed and the final result.

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SESSION 39 (S39):
TEACHING HUMAN RIGHTS THROUGH ARTS EDUCATION

GRAND HALL A / 11:20 12:05

CHAIR: Kerry Freedman

11:20 11:40
S39.1
Art Education situated within nationalistic and militaristic
educational system
Nurit Cohen Evron, Beit Berl Academic College, Israel
GRAND
HALL A

Nel Noddings, (2007) explains that in times of national conflict, universal sympathies are
condemned and are regarded as dangerous. Opposing war is acceptable, even admirable, so long
as war is not threatened. The Israeli-Palestinian conflict is an ongoing conflict since the state and
its educational system were created. The threat is one of the main ideas, which carve the structure,
goals, content, and discourse of the Israeli educational public system. The militaristic and
nationalistic massages are part of the explicit curriculum as well as the hidden curriculum, both
combine the threat of the Holocaust with the fear of the ongoing war and the national conflict.
These massages affect the society as a whole; they encourage the Jewish students not only to
serve their duty as soldiers when they turn 18 years old, but to become the next heroes who are
ready to scarify their lives. They also affect the Arabic students who not only belong to the 20%
minority in Israel, but also to the illegitimated, dehumanized and fearful enemy. How does the art
education, which is situated at this context deals with this ideology? Should it confront the
militaristic norms and promote a more peaceful society? Can the art teachers work against the
grain? Can they create a change from their margined place? How can they promote cultural
understanding which is necessary for reducing the flames?

The presentation is based on partial outcomes of a research conducted during 2007-2010. It
studied art teachers who did not have the privilege of ignoring these questions, because they
taught at four out of five bilingual schools, which exist in Israel. Rejecting the segregations between
Jewish and Arabic students, which exist at the rest of the public educational system, the bilingual
schools are also bi-national and multicultural education institutes. The most challenged situations
at these schools were the days which are dedicated in Israel for commemorating the nationalistic
events: The Memorial Day for the Israeli soldiers, and the Independence Day of the Israeli state,
which is regarded as the Nakba, The Day of the Catastrophe, by Palestinian minority. The art
teachers' practice and solutions for their part at these events, facing the questions above will be
presented and analyzed.

11:45 12:05
S39.2
New information concerning the cultural and individual identities
of the Cyprus inhabitants with westerns, particular from Florence
in Tuscany of Italy, in the medieval Kindom of Cyprus (12th-16th
ce.) Which let to a cosmopolitan culture
Christiana Philippidou-Ioannidou, Teacher at Lyceum, Cyprus
GRAND
HALL A

Through unpublished and mainly published sources consisting of notary documents and
referring to commercial transactions mainly between Venetians, Genoas and Tuscans, we draw on

$%+

inirect and dispersed information for the cultural and individual identities, the intercultural
understanding and the cosmopolitan spirit of the Westerns in Cyprus, especially the Tuscans.

The favorable privileges of the Francs kings of Cyprus, especially of Henry II to the Westerns led to
their fast incorporation to the Cyprus society. These conditions consisted of the imposition of low
taxes to the above merchants on the products of importation and exportation and in sequel to the
release of the taxes to the above merchants. Another important element was the Westerns
incorporation to the feudal class of combination with the good quality of life, the low cost of living
and the low cost of the merchandise led to their fast incorporation to the higher classes ot the
Cypriot society.

Furthermore, this is revealed from the influences that the island had to the literature production of
Florence. Many of the inhabitants of the latter that had visited Cyprus had included their experience
that had lived to the island in their works, mainly literal and travel.


$%,

SESSION 40 (S40):
EARLY CHILDHOOD

GRAND HALL B / 09:45 10:55

CHAIR: Andri Savva

09:45 10:05
S40.1
Images of the orient, images of the primitive

Tereza Markidou, Institute of Education-University of London, United
Kingdom
GRAND
HALL B

When increasing immigration and cultural diversity lead to alterations in a nations
demographics, then the national/ethnic myths of homogenisation and uniformity are threatened.
Simultaneously, issues of Otherness are foregrounded as sub-products of an identity-in-
opposition, and are realised basically as boundaries of inclusion and exclusion from the individual
or group (Berry et al., 1992). Cyprus is currently at such a transitional point of its societal history,
due to rapid demographic alterations alongside other economical and political changes that
inexorably affect the countrys educational system. Within this context, the present research
explores the meanings and cultural values that are currently reproduced, negotiated and
transformed within art education in contemporary Cyprus. This project is grounded both in Lev
Vygotskys (1896-1934) cultural-historical theory and in his conception of meaning making as an
amalgam of the personal and the environment and Kresss (2007) theory of learning as a multi-
modal and transformational activity.

The methodology of this qualitative study is based on cultural ethnographic principles and
interpretative traditions (mainly hermeneutical and semiotic). I specifically draw on the work of
Peirce (1955) and Barthes (1972) because I consider that they provide two of the key theories of
semiology. Particularly, these theories enabled me to distinguish childrens visual products (i.e.
drawings, paintings or otherwise) as not only being exceptionally interesting and informative but
also as being complex and personal visual acts, as well as legitimate social and cultural practices.

Taking into consideration the aforementioned, the present paper focuses on the analysis of an art
lesson, which was observed in a primary school in Nicosia, Cyprus during April, 2010. In this
lesson, the theme of multiculturalism was introduced in a mono-cultural classroom through a series
of images that perpetuated primitive and oriental myths. Based on Saids (1978) Orientalism and
Hillers (1991) collection of essays around Primitivism, I analyse a series of visual materials shown
to the children only to emphasise the transformation presented in their individual art work. My
discussion points out issues of relevance and recognition, as the children appear to move away
from festive multicultural and cosmopolitan imagery and incorporate images drawn from
contemporary popular culture and their own lives.

In conclusion, the findings of this analysis show that popular culture, when used critically, and for
very specific purposes, can enhance opportunities for meaning making, which promotes the
development of literacy skills, motivated learning, and understanding of values such as justice and
peace. Popular culture and art education should thus work to complement each other in order to
make new traditions and improve recognition of the childrens cultural values and interests. In that
way, teachers and children can transform their classrooms into collaborative learning environments
without missing valuable educational opportunities.


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10:10 10:30
S40.2
How might pedagogy and didactics for a visual culture education
be developed? A European version of visual culture pedagogy
Ingelise Flensborg, Danish School of Educational Studies, rhus
University, Denmark
Mie Buhl, alborg University, Denmark
GRAND
HALL B

The society is orienting global and a diversity of different social systems using different visual
signs are trying to communicate across cultures. The global network is demanding a common
visual ground to stand on and at least a conscious use of visual communications. This makes
visual culture pedagogy important in an educational perspective. We wish to introduce visual
culture pedagogy to teachers who are working with pictures and visual phenomenons, to art
historians working at the museums and to researchers in art, language, medias, drama, design and
architecture as to educators related to other subjets where visual (re)presentations are part of the
knowledge that the subject contains. Visual phenomenons are seen as potentials for learning in an
educational and institutional frame, visual events as the interaction of a viewer and visual events
can (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 didactic
subject for the use of visual culture in a pedagogical practice. Visual culture is the construction of a
gaze at the environment, the physical as well as the virtual and to pose questions to the conditions
for what you see. The literacys in a visual culture pedagogy is consisting of two main parts: The
decoding 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 creative
thinking process of visualizing. Making images also allows the students in a visual culture subject
to discover their own cultural positions.

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

10:35 10:55
S40.3
Promoting cultural awareness through art in early childhood
settings
Maria Vassiliadou, Frederick University, Cyprus
Chrisa Nitsiou, Frederick University, Cyprus
GRAND
HALL B

As the world becomes increasingly multicultural, and migration is evident around the globe,
schools in Europe, and in Cyprus in particular, are faced with new and complex educational
challenges. Alongside the traditional aims of Arts Education, such as providing students with
opportunities to express feelings and emotions and appreciate and understand works of art,
essential and contemporary aims that pertain to the development of cultural awareness and the
understanding of cultural diversity among students at schools have been receiving much attention
lately due to the increasing globalization. Recent research suggests that European countries
generally share a common set of Arts Education aims and objectives, which include both an
understanding of cultural heritage and an understanding of cultural diversity (EACEA P9 Eurydice,
2009).

At the same time, educating students through the arts has always been a favorable practice in
early childhood school settings. Young children learn better when using all their senses and when
they actively explore the world around them. Arts education may cultivate the child emotionally and
mentally, especially during the crucial age of the early childhood, when identity begins to shape
within the social context of both the childs family and school.

$&$

In this paper we are going to present the results of a short scale investigation which took place in
different nursery schools in Nicosia among children of various ages with the purpose of promoting
cultural awareness through art. The activities were carried out by students of Frederick University
under the guidance of the writers and a qualitative analysis of the results was conducted.

Another aim of this study was to identify the extent to which both practicing early childhood
educators as well as students of early childhood education in Cyprus are ready to help raise their
students cultural awareness through the arts and thus provide them with the skills to become
competent members of the multicultural society of Cyprus. Thus a questionnaire was developed in
order to measure early childhood teachers readiness towards raising students understanding of
cultural heritage and cultural diversity, and a quantitative analysis of the results was conducted.

Finally we will demonstrate childrens drawings based on the activities that were performed in their
classes and we will discuss the need for intercultural education and specifically the promotion of
cultural awareness in early childhood especially in our times and since Cyprus became even more
multicultural over the last years.


$&%

SESSION 41 (S41):
UNDERSTANDING IMAGES

GRAND HALL B / 11:20 12:05

CHAIR: Marlen Thiermann

11:20 11:40
S41.1
Temptations of the imagination. Crossed views
Maria De Lourdes Riobom, Museu Nacional Arte Antiga / IADE,
Portugal
GRAND
HALL B

At the two previous congresses in Rovaniemi and Budapest I presented two papers showing the
experience we had at the Education Department of the National Museum of Ancient Art, working
with young offenders. Now, Id like to present the last part of this project of our work with two
groups of young offenders witch we concluded realizing a small exhibition at the museum.

The different activities we realized, have allowed us to better acquaint ourselves with these young
people and their difficulties. All have committed various crimes and as such are serving a sentence
determined by a court where the education sentence is the most serious sentence, according to
Portuguese law, which can be handed down to these teenagers who committed their crimes before
the age of sixteen but can remain interned until the age of 21. They are all from dysfunctional
families where the problems of domestic violence, alcoholism, prostitution and others are mainstay.
In the words of the director of one the centres we worked with, these young people are survivors
living in self-management, they are not used to any kind of supervision or any kind of rules.
Additionally the majority are adolescents with all the usual issues that age entails. At the detention
centres, all activities have an educational aim. Therefore, at the museum, and specially because it
is an art museum, we aim to give these people an opportunity at self-discovery, of world and
realities distinct from their own so as to attain the positive motivation for a different way of life.
This time, and as usual, because not all of them are allowed to leave the detention centre, we
started by analysing, with a small group of boys, one of the most important paintings displayed at
the museum The Temptations of Saint Anthony by Hieronymus Bosch.

Secondly, we went to two detention centres we work with and showed the young offenders and
their teachers, a film, made at the museum some years ago, about this same painting and
discussed with them about it.

The third part of the project was their work done at the centres in collaboration with teachers and
artists invited to help them writing or painting their personal vision on Boschs painting.
Finally, we made an exhibition at the museum with the works they painted and texts they wrote and
called it: Temptations of the Imagination. Crossed Views. We presented it to the public exactly at
the same moment we had at the museum anl exhibition called Comparisons: Bosch and his
Circle.

The aim of this paper is to show the development of the project and especially how art museums
can contribute to teach looking and hearing, to teach people to be aware of the infinite varieties of
things, to stimulate confidence in oneself and in one's emotions.


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SESSION 42 (S42):
LEARNING IN AND THROUGH ARTS

GRAND HALL C / 09:45 12:05

CHAIR: Diederik Schnau

09:45 10:05
S42.1
Developmental self-assessment: Ways to make it work

Diederik W. Schnau, Netherland
GRAND
HALL C

This presentation is based on the concept of developmental self-assessment in visual art.
In education teachers are in charge of what students will learn, how they will learn and when.
This is based on the experience that clear instructions and well-structured learning goals will make
learning for students in schools more effective as both teachers and students know what is
expected from them. This approach is also helpful to make the education system efficient,
transparent and accountable. Generally speaking the arts as school disciplines, adhere to these
practices. One could ask, however, if these practices are to be preferred in the (visual) arts, where
divergent thinking, individual and personal development and actual relationship with the world
surrounding the students are advocated.

The concept of developmental self-assessment helps to approach the way students learn to
develop their skills in giving form to meaning, in a new way. The idea of development is connected
more closely to the students own motives and ideas to make studio work. The concept of self-
assessment gives more responsibility to students to take charge of their own learning.

Next to an introduction to developmental self-assessment the following aspects will be discussed:
- how to make students arrive from a pre-defined goal to relevant criteria for (self) assessment;
- how different formats of assessment can be used;
- the role of the teacher as instructor, advisor and assessor in the learning process.

10:10 10:30
S42.2
Virtual reality and multi-sensory stimulation: A joint method of
teaching art history

Themis Veleni, Aristotle University of Thessaloniki, Greece
Orestis Kourakis, Anatolia College of Thessaloniki, Greece
GRAND
HALL C

The paper will present a research project that initiated by the need to come up with a playful and
pleasant approach to teach art history and theory to students. The project explores the way
students could be able to feel the artwork in an unforgettable way thus making their learning
experience more meaningful and exploring. This project involves specialized photography
techniques, such as rotating, infrared/ultraviolet, macroscopic, or even photos with interactively
modifiable lighting or cameras angle, in order to enlighten different aspects of the artwork. The
photos will be projected on screen. Along with other stimuli like sounds, odors, textures, or even
gravel and leaves on the floor, wind, moisture etc will create a multi-sensory environment adapted
to the individual characteristics of each artwork.

Art is usually experienced in the sterilized environment of museums or schools using old-fashioned
teaching methods. Young students are very familiarized with modern technology. This modern
technology, which allows interconnections between sound, motion, visual, could be implemented
with every type of artwork. Therefore, integrating technology to enhance the sensorial perception of

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art has emerged as an unresistable challenge. Technology could create an all-over experience that
will enchant all sensory apparatuses in order to drag and highly keep the interest of young
participants.

The role of the senses in art has caused a diachronical aesthetic debate from Prosocratics and
Plato to 20th century phenomenology and from ancient Greek art to 20th century modernism. The
senses of hearing, touch, taste, smell and sight are present in art from antiquity to the 20th century
either iconographically or in structural or conceptual framework. Especially the history of the
relationship between color and sound has followed the expansion of space from abstract two-
dimensional paintings to immersive three-dimensional environments. The emerging of new more
complex art forms questioned traditional schemes and concepts regarding all art and its didactics.
These near limitless frontiers offered a broadening of definitions and thematic fields of art as well
as new curatorial and educational practices regarding the presentation of artworks. This is an
attempt to highlight the role of the senses in understanding art, reducing the visual domination in
the interpretation of artwork.

The proposal is an initiative of the photographer Orestis Kourakis (www.orestiskourakis.gr), and the
Art Historian and musician Themis Veleni (PhD). An experimental implementation with diverse
groups of people (different ages, cultural background, professional profile etc) it is planned to take
place on March. The project will act as a pilot program in collaboration with Stevens Institute of
Technology (www.stevens.edu/sit/) in New Jersey. The research results will be recorded and
systematic analysed in order to form a database that will act as guidelines in designing pilot
interactive multimedia for use in museums and schools.

10:35 10:55
S42.3
The main findings of the action research project Anchors of Youth
Well-Being in Lapland: Challenges and potentials of art based
actions for early intervention to minimize the risk of social
alienation of the youth

Mirja Hiltunen, University of Lapland, Faculty of Art and Desing, Finland
GRAND
HALL C

Department of Art Education at the University of Lapland realized in cooperation with social work
a project called the Anchors of Youth Well-Being in Lapland (financed by ESR). The purpose of the
project was to plan, implement and evaluate art based actions, which could minimize the risk of
social alienation of the youth.

The project was organized in four different municipalities in Finnish Lapland.
Students of art education and students of social work were working together with youngsters and
the local youth workers and partly with schools, too. The project produced information of youth
experiences in present-day Lapland and developed art-based, innovative and functional models for
early interventions. Important part of the project was also youth workers further education, they
took part to the workshops. One of results of the project was a handbook of the artistic methods
published for further use.

The aim of the project was to increase the understanding of how youth interact and construct their
identity through art. Youth experiences were reflected in the context of participation and well-
being. The project included also a study about the state of the wellfare of the young in Lapland.
The project paid attention especially to time after a comprehensive school and support the young
people in their process of independency and growing up. For young people in sparsely populated,
remote area like Lapland, that time means big changes and challenges.

In my presentation I will evaluate the main results of the project and especially draw a comparison
between the findings of three different action research projects made by participating art education
students in this context: Ulpi Riikonen & Viena Rissanen (2010): "Action Research of Community-
based Metal Sculpture Project in Ranua"; Henriikka Kolari &Lotta Linnamaa (2011): "From the
roots to the wings an action research on photography-based art action facing the well-being of

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the ninth-graders" and Sanna Ahola & Elina Koivula (2011): "Tss ja tulevaisuudessa - Digital
Photographing Workshop as an Anchor of Youth Well-Being".

11:20 11:40
S42.4
Effect of Kolbs experiential learning theory and model (KELT&M)
on learning of fine art and praxis in Uyo secondary schools,
Nigeria

Anthony Okonofua, University of Uyo, Akwa Ibom State, Nigeria
Comfort Ekpo, University of Uyo, Akwa Ibom State, Nigeria
GRAND
HALL C

The prevalent rate of poor academic performance of secondary school students in Fine Art
subject in Uyo, within the context of empirical evidence and government official records, is very
high. This has become great concern to Art Educators. The reason for this poor performance has
been attributed to lack of specific learning theories and models for Fine Art instructions and the
ineffectiveness of conventional expository instructional strategy among other variables. Against this
background, this paper examines the academic relevance of the concrete-abstract-continuum
concept of Kolbs Experiential Learning Theory and Model (KELT&M) to learning and praxis of Fine
Art at secondary level of education. Based on the assumption that by integrating Kolbs theory into
the artistic process, a new paradigm in Art Education might evolve, having potency of stimulating
greater cognitive, psychomotive and emotive development among students, the study adopts a
non-randomized pre-test, post-test, control group quasi- experimental design. In order to test the
efficacy of Kolbs theory and model on learning and praxis of Fine Art in secondary schools, two
groups; experimental and control, are exposed to the same instructional treatment. The study
reveals that students in the experimental group performed better than those in the control group.

11:45 12:05
S42.5
Learning through visual praxis in the post-literate age: an
Australian pre-service teacher education case study
Kathryn Gruska, University of New Castle, Australia
Nicole Goodlad, University of New Castle, Australia
GRAND
HALL C

Within our growing knowledge economy, students are increasingly encountering visual media
images as knowledge representations. Education now intersects with new media technologies and
visual popular culture in the reproduction and manipulation of knowledge. We live at a time when
students prefer to engage with visual media rather than written text. In the post-literate age
(Rosenstone, 2001) everyone can read but no one will. Because of this, there has been debate
about whether due to this preference; teacher education programs are producing sufficiently
visually literate teachers (Lea & Jones, 2010). There appears to be the need, therefore, to further
explore issues relating to the knowledge and beliefs of pre-service teachers in order to inform
effective visual pedagogy practice in the classroom.

This paper reports on the findings from an Australian University research project for pre-service
teacher educators. The results of the case study indicate on the impact of visual digital
technologies in presenting new ways of representing and working with knowledge, beyond the
illustrative.

The survey, learning outcomes and interview findings of the study, will be used to elaborate on an
innovative pre-service teacher-training course in which a cross-curricula cohort of secondary
teachers employed visual performative competencies to produce inter-textual narratives using
Adobe Photoshop. The pedagogies employ visual culture references and demonstrate that the
manipulation of image and text offered by digital technologies, builds new meaning strategies and
awakens latent creativity. Such findings argue that the skill of visuality and the use of images for
meaning making are relevant to the contemporary learner and essential for the teacher.

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SESSION 43 (S43):
THE ROLE OF THE LEARNER AND THE TEACHER (V)

TEVKROS / 9:45 10:30

CHAIR: Vicky Karaiskou

9:45 10:05
S43.1
Holistic Learning for students and teachers in Bangladesh as an
Art Education Project 2009 2011

Michaela Vamos, Private University of Education of the Dioceses of
Linz, Austria
TEVKROS

Pre-service teaching students from the Kindergarten Teachers Training College in Vcklabruck,
Austria created and developed in their Art Education classes learning materials for a primary
school in the Satarkul slum area of Dhaka, Bangladesh. While their focus was on exploring a
holistic learning approach, as compared to the didactic model more typical in this program, a
significant outcome was a teaching package that was subsequently provided by a selection of
these students, as an in-service development tool for Bangladeshi teachers. Both cohorts of
teachers learned how important visualisation, playing and interaction in the classroom are for
successful learning.

10:10 10:30
S43.2
Science, Art and Evolution

Antri Kafa, Lykeio Agiou Ioanni, Cyprus
Maria Loizou Theodosiou, Lykeio Agiou Ioanni, Cyprus
Maria Panagiotou, Lykeio Agiou Ioanni, Cyprus
TEVKROS

The primitive man perceived science and art as means towards the same goal, the discovery of
the truth and the laws governing nature and life. Both science and art were identified with the
desire to evolve and escape ignorance. Mythology constituted mans very first effort to interpret the
world, and it was depicted through painting as well as oral speech, the primal form of literature.

We may thus deduce that the incessant combat between science and art is nothing but a delusion.
Charles Darwin is the most representative example of the unity between science and art. Darwin
greatly esteemed art; he believed that it offers the ideal balance between reason and passion, and
considered that to confine oneself solely to science has highly negative moral and intellectual
consequences. His own words describe the ideal man as the one who does not separate science
from art, and function as evidence of the ignorance of the contemporary scientist who defies the
value of art, as well as that of the contemporary artist who refutes the significance of science.
Darwin himself was a skilled artist who derived inspiration from both art and poetry. He managed to
record his scientific activity with remarkable eloquence in his writings, and masterfulness in
painting. In fact, the theory of evolution was formulated by his grandfather, Erasmus Darwin, a
poet. It is even said that a statement by his favourite poet, Samuel Coleridge, during a lecture on
philosophy, is what inspired Darwin to develop the theory of evolution.

Apart from being influenced by literature, the theory of evolution had a powerful impact on literature
in itself. Its contribution to the formation of Naturalism was immense. The important role of heredity
in the theory of evolution drove the Naturalists to exhaustively analyze the environmental and

$&*

hereditary factors which define their literary characters. The theory of evolution also had a
significant effect on Greek authors such as Alexandros Papadiamantis, Kostis Palamas, Emmanuel
Rhoides and Pavlos Nirvanas.

In painting, central concepts of the theory of evolution were outstandingly depicted largely through
the Impressionists. The Impressionists, due to the education which their social position allowed
them to acquire, followed closely the scientific theories of their era. Like it is mentioned in a letter of
the Impressionist Edgar Degas towards a friend of his, the Impressionists anxiously anticipated
Darwins theory of evolution to be translated in French. Moreover, they had close social
interactions with scientists of their time and their progress was, by some, even assimilated to that
of scientists.

It is therefore easy to conclude that science and art are inseparably linked, and even identified,
since together they constitute the means to achieve mans most ambitious and highest goal: the
discovery of the truth and the laws which direct nature. Today, the clash between the two is sadly
owed to the disorientation of man from these noble and superior goals and the replacement of
those goals with vile and ephemeral motives. In his effort to comprehend nature, man destroyed it.
Since the cause of the conflict between science and art and the environmental problems
threatening the planet is the moral degradation of man, the sole solution to these problems is moral
improvement and the return to his initial goals; only thus can visions concerning sustainable
development be realized.


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SESSION 44 (S44):
PROMOTION OF CULTURAL UNDERSTANDING THROUGH
ARTS EDUCATION

TEVKROS / 10:35 12:05

CHAIR: Aravella Zachariou

10:35 10:55
S44.1
Transmission of fine arts from a children's lesson to a wider
society: Workshops at buddhist temple as a bridge between
school lessons and lifelong learning

Shimpei Takeuchi, Bukkyo University, Japan
TEVKROS

In Japan, the fine arts, unlike music or sports, exist separate from everyday life, and according to
certain reports based on opinion polls, they are judged differently. Therefore, we must recognize
the importance of any attempt to make the fine arts more a part of the mainstream society in
Japan. This research analyzes the process and effects of the transmission of the fine arts into a
wider society by children who had learned fine arts through a lesson at an elementary school. A
Buddhist temple was chosen as the site for the social experiment of this research. The workshops
in the temple were conceptualized as a bridge connecting the elementary-level fine arts education
and a lifelong learning of fine art.

The procedure of this research was as described below. First, I gave fine arts lessons at an
elementary school, teaching fifth graders the art of Japanese ink painting. Japanese ink painting is
a classic mode of expression that employs various graphic motifs using sumi, water, and Japanese
paper. After the lesson, I conducted a workshop at a Buddhist temple near the elementary school.
The intent was for both parents and children to experience Japanese ink painting firsthand.
Children of various grades and their parents participated in the workshop. Since the fifth graders
already had some experience in and knowledge of Japanese ink painting from the lesson at the
elementary school, they taught the parents some of the techniques that they had learned. To
investigate the effects of the transmission of this fine art to the adults from the children, follow-up
interviews with the parents were conducted. Further, text mining (IBM SPSS Text Analytics for
Surveys 4.0) was performed on the interview content. Before performing the text mining, oral
comments were converted into text data and were somewhat refined through rational judgment.
The following three trends were observed after the analysis of the keyword maps obtained through
text mining.

(1) Although they were not familiar with fine arts, the parents participated in the workshop because
the children had asked them to join.

(2) The parents readily agreed to participate in the workshop because it took place in a religious
institution in a local-area and the elementary school had cooperated.

(3) The parents enjoyed themselves not only in techniques of painting but also while receiving the
knowledge as an outcome of the transmission of the fine arts through the children's learning.
Judging from these three findings, the transmission of fine arts to a wider society was effectively
done through the use of the children's learning while utilizing a religious institution in the local area.


$&,

11:20 11:40
S44.2
The social discourse of childhood and the children's notions for
the childhood's characteristics

Anastasia Fakidou, University of Thessaly, Greece
Apostolos Magouliotis, University of Thessaly, Greece

TEVKROS

The need for education of critical thinking citizens is widespread. In order to develop critical
literacy skills to primary students we need to study their preexistent notions in various issues and
discourses.
The aim of the research was the investigation of the position that 6th grade students take to the
social discourse of childhood. Particularly, we studied student's notions as they revealed through
(a) their verbal statements, (b) their idea's visualization by the creation of a visual artwork, (c) their
responses to pictures with visual representations of children.

The theoretical context consisted of (a) the concessions of Visual Culture Education Pedagogy for
the development of critical literacy through the investigation and deconstruction of the discourses
that hide into the artifacts of visual culture, (b) the theory of Cultural Studies for the potential
positions of the viewer to decode the meaning of cultural artifacts, (c) the considerations of
Childhood Studies that recognize the childhood as social phenomenon -namely that the various
discourses of childhood depend on societal beliefs, values and historical context- and that the
discourses of childhood are reflected through images.The sample was 112 students of 5 primary
urban schools. Data had been collected through anonymous questionnaires and processed by
ATLAS ti program. The methodological tools were critical discourse analysis and semiotics.

We discovered that in their verbal statements the students attributed characteristics that refer to
the child's nature, the sentiments, the interpersonal relations, the type and place of children's
action. Their statements for the end of childhood vary from the 10th year of age to all life long.
The representational content of their pictures for their own childhood, in contrary to their general
statements for childhood focused to natural environments mainly, and to places specifically
constructed for children secondarily. We observed that some students depicted landscapes without
people, quite a few depicted lonely portraits of themselves, while the most students that depicted
other persons they preferred friends and a few their parents. Their responses to images
concerned the resemblance of the representational visual content to their own lived experience,
their preference to colors and figures and, to the characteristics that are attributed to children
broadly.

Interrelating their verbal statements, their visual artwork and their responses to images of visual
culture we concluded that most students espoused the dominant discourse for childhood in relation
to categories of the child's nature, the sentiments, the type and place of children's action.
Negotiated position took -through their visual artwork mainly- to the category of the interpersonal
relations. Oppositional position took some students representing forms and actions that oppose the
discourse of the "romantic child" that plays cheerfully into green fields and, they communicate
their intention to enter in the urban social space challenging their presence and voice.
We propose the development of critical literacy skills of primary students through the decoding and
deconstruction of various discourses that are embedded in artifacts of visual culture.


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11:45 12:05
S44.3
Durga Puja Installations in Kolkata, India: Public art as social
responsibility and resource for art education
Mousumi De, Indiana University, United States

TEVKROS

The Durga Puja Installations are thematic art installations created by masses of artists and
organizers during the Durga Puja festival in the city of Kolkata, India. These artists seek to engage,
inspire and influence the general public who come from diverse backgrounds to experience the
artistic, spatial and temporal aesthetics of the environment created by these installations. While the
concept of public art in India is still nascent and burgeoning, with little understanding of public as
audience and receptors of art in the public domain, these installations can be seen as a form of
public art that serve as socio-cultural, artistic and educational resources for the public. Based on an
ongoing research project since 2008, this paper presents various aspects of Durga Puja
Installations and provides insights into how this practice is redefining the notion of public artist and
the concept and functions of public art. In particular, this research contributes to the growing body
of literature on visual culture, especially in non-Western cultures, the impact of globalization on art
and public art in non-Western cultures.


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SESSION 45 (S45):
CURRICULUM DEVELOPMENT

EVAGORAS / 09:45 11:40


09:45 10:05
S45.1
A comparison of art education curriculum policy: Ireland and the
United States
Richard Siegesmund, Northern Illinois University, United States
EVAGORAS

This paper reflects on the authors engagement with the current reappraisal of the Irish Leaving
Certificate for secondary art education and his efforts to reform the Georgia Department of
Educations curriculum standards for art education in the United States. In both Ireland and the
U.S. state of Georgia, educational policy is faced with the dilemma of what innovations in
contemporary practice to incorporate into teaching while critically appraising which aspects of the
existing curriculum to preserve. Art education is challenged to maintain a vigorous Janus vision.

In the past, the paradigm of education that the United States has worked under is based on the
content of the discipline. This paradigm requires a curricular focus on the acquisition of skills and
demonstrations of core knowledge. An emerging paradigm of education is based on navigation of
information. This requires students to demonstrate skills in critical assessment of information and
application of information to appropriate contexts.

Similarly, Irish art education curriculum, as presently realized in its Leaving Certificate, is rigorously
focused on skills and knowledge. In fact, the art examination is so difficult that many students who
would consider taking art in secondary education eschew this choice out of fear that they will not
make high marks on the Leaving Certificate.

The current shifts in our paradigms of how we think about the learning outcomes of art education
create a historical opportunity for change. If art educators will make the effort, a more authentic
alignment of policy to practice may be possible. Policy could more accurately reflect the learning
aspirations that we, as teachers, hold for our students.

An example of this conceptual redirection is in the new Georgia Visual Arts Performance Standards
that allows the teaching of aesthetics to be interpreted as the teaching of five levels of care: the
care of materials, the care of self, the care of others, the care of school, and the care of the
community. The new standards do not mandate that aesthetics be taught through this lens; they
allow more traditional views of aesthetics aesthetics as judgments of beauty and aesthetics as
cultural practice to be taught. Nevertheless, the Department of Education has officially allowed
an alternative view of visual art curriculum to emerge.

Another example of a challenge to existing curriculum policy is presented with the shifting
conceptualizing art education curriculum as navigation of information. This change opens art
education to more inquiry-based curriculum. In Ireland, tertiary curriculum has already made this
shift as demonstrated by the admissions brief to the National College of Art and Design(NCAD)in
Dublin. However, the Irish Leaving Certificate does little if anything to prepare students for the
expectations of study at NCAD, and thus creates a disconnect between the learning objectives of
secondary education and entryway learning expectations of tertiary education. Such a widening
disjuncture is also present in the United States.


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10:10 10:30
S45.2
5 X 5 25? Research activity for personal inquiry in fine arts
Roco Arregui Pradas, University of Seville, Spain
EVAGORAS

This paper tries to describe an activity in a Fine Arts subject called Life Drawing. Composition.
and exposures the results.

The practice of the subject is mainly based on the practice of drawing with nude human models but
it also includes theory lessons and some extra-school works. When we first had to teach this
subject we thought students are not encouraged enough to personal inquiry so we decided to
change the way to carry it out. So we made a proposal to the students to work outside the class
with this main objective: to look for themes and ways of expression.

We couldnt changed the curriculum, so the work was included in an activity called Expressive and
dynamic line values and it consisted on: They had to choose five themes and work up them in
five different procedures using lines only. Them they had to create five drawings mixing procedures
and developing a personal interested topic. Each drawing might be adjective with five words and
the five final ones might be argued with a longer paper.

Students, working topics with not chosen procedures, are driven to find new ways of expressions.
Reflecting about each drawing forces an analysis of the results. So that, students are introduced in
personal inquiry in a gradual way.

We think a lot of Fine Arts Schools or Faculties still remain old objectives. They are mainly based
on procedures and techniques development, and the University of Seville has been a typical
example of this. When Seville students goes out other foreign Schools discover they have no
resource to create without models or guides, but they also found they have more ability to draw.
Weve tried, trough this workshop, to reflect about some questions: Is it useful for a contemporary
artist to get a high ability to draw? Is it necessary to keep on drawing nude human models to get
this ability or is it more important to encourage personal inquiry? Must we do both things at one?
Of course, we dont have got firm conclusions and this topic is usually ignore by both parts: actual
art based curriculum defenders and traditional techniques based curriculum ones. We think is time
for us, Seville teachers and, we hope, similar school teachers too, to discuss and, if necessary,
change.

10:35 10:55
S45.3
Intercultural art education a dialogue between the members of the
society

EVAGORAS

Even though immigration has long been part of the human history, however, the state and
situation of immigrants has been a theme of study for only a few decades. It has only been in the
recent years that the importance of an education system that would facilitate and assist the
children of immigrants, to assure them a better future and help them to integrate into the society
and help to build a more successful multicultural society has been realized.


$'&

11:20 11:40
S45.4
Developing an arts curriculum for a bilingual school through a
collaborative action research project

Alfredo Palacios Garrido, E.U. Cardenal Cisneros. Alcal University,
Spain
Noem Pea Snchez, Faculty of Education. Valladolid University,
Spain
EVAGORAS

Bilingualism in public schools in Spain has become more than a linguistic challenge. It also
constantly requires from the teachers an attitude of developing methodological improvements that
could meet all those needs that arise within the context of teaching through the CLIL approach.

In this presentation we show an initial phase of a collaborative action-research project that aims to
develop teaching materials that would guarantee the development of artistic competences
throughout the six years of primary education. This project is carried out by the Federico Garca
Lorca public school in Camarma de Esteruelas (Madrid) and the Teacher Training College
Cardenal Cisneros, in Alcal University (Madrid). We also have collaboration with other universities
timely. From the very first moment, we have conceived this project as a learning partnership of
equals between school and university.

This collaboration finds its motivation in the awareness that no materials available in the market
were truly able to lead a student from first to sixth grade through learning Arts with consistency.
Avoiding the use of a class book was the initial goal in the primary school. However, there was also
a conviction that the class book had to be replaced by an alternative project.

We must highlight the fact that this project requires a tight school-university collaboration through
team work based on a constant flow of proposals and feedback guaranteed by fluent
communication that would deal with a wide range of aspects going from the most theoretical such
as curricular issues through methodological issues on teaching of Arts to dealing on how to
use/teach English in this process. First steps that have been taken in this project have been:

The writing of a document that draws up the curricular guidelines for the area. This document has
been agreed by both university and school teachers.

Holding meetings with the teaching staff from the school and the university to deal with general
aspects that define the outlines of the project.

The creation of a virtual space for collaborative work to offer a resource centre as well as forums
to discuss a variety of issues.

First contacts with students to have an initial assessment through an observational approach.
Some experiments have been carried out with some groups already with the presence and
collaboration of university teachers.

An implementation calendar has also been established, with the first didactic projects that will be
piloted during this academic year and that will later be discussed and analysed by the teamwork.

We must say that the beginning of this project has shown to be both challenging and encouraging
for both sides. We are aware that new challenges are ahead of us that will require some
collaborative skills from us as well as the need to adapt to each others needs and to develop a
fluent and effective communication. These factors can only enrich the project with a wide new
range of experiences which will also raise awareness of the importance of Arts in schools as well
as raise awareness of the reality of educational experiences in our primary classrooms at
university.


$''

SESSION 46 (S46):
PROFESSIONAL DEVELOPMENT

ONISSILOS / 09:45 10:30

CHAIR: Glen Coutts

09:45 10:05
S46.1
Personal and professional development through dramatherapy
with the use of modern British drama: A pilot study with social
work students

Anastasia Karantzi, Democritus University of Thrace, Greece
ONISSILOS

This presentation focuses on the idea that Dramatherapy with the means of theatrical texts
drawing from Modern British Drama may be used to support personal and professional
development within life-long learning education. In order to explore whether Dramatherapy
techniques may be a useful tool to assist the development of professional self-awareness,
sensitivity to diversity and anti-oppressive practice among future professionals who are bound to
be involved in counseling with marginalized, oppressed and discriminated people an action
research was introduced.

The paper is based on the qualitative analysis of the pilot study which was conducted in
Democritus University of Thrace with Social Work Students during the school year 2010-2011. The
pilot study entailed a Dramatherapy group of third and fourth year Social Work students that used
original textual excerpts from theatrical plays of Modern British Drama as a main dramatherapeutic
tool. The topics of the particular texts were chosen specifically to reflect the theoretical issues
being dealt with at the same period of time during formal lecturing. The pilot study was concluded
with personal interviews of the Dramatherapy group members in order to evaluate the overall
experience and estimate whether Dramatherapy with the use of Literature can be of any assistance
to experiential learning, personal and professional development and whether it would be useful to
be implemented in the study curriculum.

10:10 10:30
S46.2
Visual journals and trainee teachers professional development

Emese Hall, University of Exeter, United Kingdom
ONISSILOS

This presentation will discuss the findings from a small-scale, interpretive study focusing on the
use of visual journals with trainee primary teachers in a UK university. The rationale for the
research is driven by three interrelated areas of interest: the value of reflection in teacher training
(e.g., Hatton & Smith, 1995), the use of journals as reflective tools (e.g., Moon, 2006), and the
power of visual images (e.g., Berger, 1972).

The aim of the research is to explore the trainees use of visual journals and understand how
images can support professional reflection. The main research question is: How do visual journals
support trainee teachers in reflecting upon their professional development? Sub-questions include:

What do participants choose to reflect upon in the journals?
How are images used in the journals?
To what extent is the journal viewed as an art object?
What types of reflection are evident?
Does the use of the journal change over time, either in content or form?


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The visual journal - an A4 sketchbook - was conceived as a creative space for expressing
experiences, ideas, and feelings using images. The trainees were told that they would be free to
use the visual journal however they liked, but ideally they should make at least one entry (e.g., a
page or double-page spread) per week during the taught course: a Primary Postgraduate
Certificate in Education [PGCE]. All the trainees in my tutor group (31 art specialists) were given a
visual journal and five female trainees agreed to take part in the research.

Qualitative data collection is planned to include two individual, audio-recorded, interviews - in terms
one and two of the course. In addition, photographs will be taken of all visual journal
entries. Following data-driven analysis, using member-checks to ensure meanings are ethically
interpreted, the findings will be used to construct case studies of individual participants to allow for
inter-case comparison.

At the time of writing, the research is at an early stage: the first set of interviews has been
conducted, and the related photographs collected, but without full analysis. However, emerging
findings show that the visual journal is valued by all the trainees as a personal - and often
therapeutic - space for reflection on a variety of topics related to academic and social
concerns. Additionally, in terms of form, there is considerable variance in individual preference for
image making and image-selection based on the trainees particular artistic interests.


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SESSION 47 (S47):
ART EDUCATION AND CULTURE

ONISSILOS / 10:35 12:05

CHAIR: Seija Ulkuniemi

10:35 10:55
S47.1
Exploring the relationship between environmental and art
education in the context of pre-school education
Marianthi Kalafati, National and Kapodistrian University of Athens,
Greece
Maria Daskolia, National and Kapodistrian University of Athens, Greece
Evgenia Flogaitis, National and Kapodistrian University of Athens,
Greece
Titika Salla, Athens School of Fine Arts, Greece
ONISSILOS

Natural environment constitutes not only the life support system for human beings, but also a
source of inspiration that challenges human inventiveness and leads human creativity. The
relationship between art and the environment has been always very close and complementary as
people have been using the arts from the early beginnings of history to represent nature, express
their awe for the surrounding world and describe their visions for their existence within this world.
Environmental education is an innovative educational movement that made its appearance in the
late 60s in order to pedagogically address contemporary environmental problems having been
caused by the unlimited technological and economic development that triggered environmental
imbalance and social inequalities. Environmental art was introduced as a parallel expression of
current environmental movement aiming also to raise awareness through various art forms with
regards to environmental degradation and lowered levels of life quality in our planet. A combined
version of the above-mentioned movements known as art-based environmental education or eco-
art education is based on the belief that art can make a difference in raising environmental
awareness among people.

In this presentation we discuss the relationship between environmental and art education having as
a point of reference the design and implementation of a pedagogical project which focuses on the
enhancement of critical and creative thinking among preschool children in relation to an
environmental issue. We aim to explore creative ways in which these two fields can be combined
to develop a curriculum which promotes the values of sustainability and uses art as the main
pedagogical tool. More specifically, our discussion is centered on how environmental and art
education can be integrated in a new type of learning about the environment and sustainability in
the context of preschool education.

11:20 11:40
S47.2
Doctor of arts (art & design), master of education, photographer
Seija Ulkuniemi, University of Lapland, Finland
ONISSILOS

BORN TO BE A TEACHER?

a narrative of becoming an art educator-artist-researcher

This article deals with a way one may end up being an art educator-artist-researcher. I reflect on
my on my whole life a period that has lasted almost half a century. Using my own experiences I

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figure out which and how various things have influenced my career choices, way of thinking, and
my art.

Childhood surroundings had a great impact on my valuing the nature, which can be seen both in
my work and my art. Both my mother and father were being teachers, which partly affected my
career choice. Being the eldest made me to be the good girl and to achieve the goals with good
results. I lost my mother when I was 20. This gave me understanding of lifes fragility and put me
ponder about its meaning. My home religion was Christian; I try to find out what it means to me and
how to put it in practical level in my daily life.

I reflect on my schooling from elementary to university level: why I chose to continue studying art
after having become a classroom teacher. I also ponder about my thoughts concerning research
from the first step, the masters degree in Education to the last, Doctor of Arts: how and why my
thinking has changed during the twenty years between these.

Feelings of oppression, especially at work, have led me to create art that deals with ways of self-
healing and ways of isolating people. Also the strange logic of working places has given me a
feeling of living in a surrealistic world, which I have also dealt with in some of my works.

Arts, especially some paintings and books, have had a great effect on my thinking. In general, I find
myself being extremely physical person, and this has impact on my teaching practises. But music
has made me even to consider an alternative work as a sound/voice therapist.

I find family and friends important co-creators and by-standers for whom I want to be faithful. But to
be true, becoming a mother gave me in the first place insecurity and lots of questions concerning
education.

International encounters with colleagues via participating teacher exchange have made me
appreciate education in various cultural settings. InSEA-community has helped me to trust in that
crossing the borders sometimes even without words can be possible

11:45 12:05
S47.3
Enhancing Cultural Education to Students of Different Ethnic
Minorities: A Path to Achieve Individual Identity and Multicultural
Understanding among the Students in the Primary Education
Konstantinos Kalemis, NATIONAL CENTRE FOR PUBLIC
GOVERNMENT AND PUBLIC ADMINISTRATION, Greece
ONISSILOS

In our days, everybody can easily see that humanity is facing multiple, complex problems that
are interdependent at all levels: local, national, regional and global. Every problem or issue has
multiple interlinked dimensions that may be political, social, economic, technological,
environmental or cultural, and cannot be solved simply from one perspective. With the advent of
globalization, economic, political and technological considerations have mostly dominated, while
socio-cultural and environmental implications have received a lower priority. We are now
experiencing the consequences of this imbalanced approach, in terms of environmental
degradation and increasing social conflict, both within and beyond territorial borders, accompanied
by economic turmoil due to greed and excess. With no doubt, culture is reflected in our language
and colloquial expressions, dress, food, laws, heritage, history, technology, and the values or
attitudes that are reflected in our conversations and relationships, in the ways we relate to each
other as family and friends, and in the way we do things. It is also expressed in the arts, music,
dance, theatre, architecture, literature and in the festivals we celebrate. Many of these determine
the face of sustainability in each society, and therefore also form the basis for the content of a
curriculum in intercultural understanding. In the past, it may not have been as important to foster
intercultural understanding or to affirm, strengthen, celebrate and develop pride in ones own
cultural identity and heritage through schooling, because learners were surrounded by their culture
in every aspect of their lives. Standards of behavior were well known and were transmitted

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consistently to children both at home and at school; the situation is very different today, as children
are exposed to other cultures constantly within their own community and through the presence of
the media, necessitating education in intercultural understanding to strengthen their own culture
and to gain deeper understanding of others. The kindergartens and schools must change. For
example, if the minorities in a country are defined by their crime statistics, it is difficult to
demonstrate that one of the most important values in the country is equality. Or if minority groups
are set up against the other groups in vulnerable situation, or society is divided into us and you,
then it will affect the attitudes of both minorities and the majority population.

There are many ways in which to understand culture and diversity. Kindergarten and schools must
reflect on what they mean by being an intercultural institution. If a teacher or an educator has
negative attitudes towards children or people from other cultures or religions, or the diversity
between children and parents are not appreciated, then no national action plans or laws have a
real effect to make this kindergarten or school an intercultural institution.

Social changes such as economic globalization and international mobility have led to an increase
in the number of people who spend substantial periods of time in more than one cultural context.


$',


09:45 10:55
Curriculum connections with Visual Culture: Meaningful,
interactive and contextual learning in art education
Nicoleta Avgousti, Cyprus Ministry of Education and Culture, Cyprus
Doug Boughton, Northen Illinois University, United States
Kerry Freedman, Northen Illinois University, United States
Andri Savva, University of Cyprus, Cyprus
GRAND
HALL A

Recent curriculum reform in Cyprus brought to attention many aspects of learning and teaching
art in schools. The discussion will attempt to identify and elaborate upon the theoretical,
philosophical and practical issues of structuring a quality art curriculum as a necessity for the
creation of learning conditions, contexts and procedures that lead individuals to social and cultural
change. Considerations for a 21st century curriculum and its implications for learning and teaching
the visual arts will be discussed emphasizing art as an open concept and art education as a field
incorporating contemporary discourses. The dialogue will draw on references from the Visual Arts
National Curriculum in Cyprus and the inclusion of Visual Culture and critical theory. Practices and
strategies important for contemporary art education will be addressed.

The issues that have been immerged include the following questions:
Why elements and principles of design should be reconceptualised in curriculum and art learning?
Why a focus on provoking and authentic issues and practices is critical to contemporary art
education?
How we construct knowledge in art and what is the role of Visual Culture? What is the role of visual
technologies in viewing and making art?
How we understand art in relation to cultures and histories?
What is the role of environmental contexts and situationality and how this influences curriculum
praxis?

Panelists:

Panelists:
Nicoleta Avgousti will discuss theoretical and practical issues concerning the role of technology as
part of Visual Culture in Cyprus schools, and how this is affecting curriculum praxis in relation to
the Visual Arts National Curriculum.

Professor Doug Boughton will emphasize aspects of curriculum policy, practices and alternative
forms of assessment in the light of students learning and engagement in Visual Culture.

Professor Kerry Freedman will focus on the relationship of curriculum to art, culture and technology
and discuss issues concerning students learning and engagement with Visual Culture surrounding
curriculum change.

Dr Andri Savva will discuss how Visual Culture is placed in Cyprus society and education and how
it affects students art learning. She will refer to the role of Visual Culture and its influence on
Visual Arts National Curriculum in relation to Cyprus context,environment and culture.


$(-

9:45 10:55
Teaching Controversial Issues

Rachel Mason, University of Roehampton, United Kingdom
Fotini Larkou, Ministry of Education Cyprus, Cyrpus
Nurit Cohen Evron, School of Art Beit Berl College, Israel
Carl Peter Buschkuehle, Justus- Liebig-University, Giessen, Germany
Mousumi De, Indiana University Bloomington, United States
SALAMINIA
A

Social conflict is a global phenomenon although the form it takes varies in different places and at
different times. The participants in this panel discussion all believe that schooling should address
and not deny situations of human conflict. The session will commence with brief presentations of
art based curriculum strategies designed to address situations of conflict in Israel, India, Cyprus
and Germany. This will be followed by a critical discussion of these strategies by panel members.
Then the audience will be invited to participate. The focus of the session throughout will be on the
challenges and ethical dilemmas educators and students face when they engage with controversial
human issues and on identifying the strengths and weaknesses of using visual arts education as
vehicle for social change. Each panel member will submit a background paper for the conference
report.


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D. POSTER PRESENTATIONS

SALAMINIA B / 11:20 12:30

P1
Dances of life: Art and music co-work videos from 2001-2011

Tonu Talve, Laulasmaa Kool, Estonia
Anne Aaspllu, Mrjamaa Music- and Art School Teacher, Estonia

I have been teaching art and woodwork almost 25 years. Belong to InSEA and EstSEA
from 2003. Worked at ordinary schools since 1985. Worked as an artist from 1989 and had
art exhibitions almost every year since. Been a founder/member of Fragile professional Live
art-and-music lessons project at 1995. Done quite many videos on DVD-s since 2001. Been a
founder/member of Aerosfaer Live prof art-and music project at 2009. Participated with videos
and Live presentations at InSEA-s 2003 Stockholm-Helsinki-Tallinn, 2004 Istanbul, 2005
Barcelona, 2006 Viseu, 2007 Heidelberg-Karlsruhe, 2008 Osaka, 2010 Rovaniemi, 2011
Budapest. At Cyprus InSEA there will be Live action-painting performance with cypriot
musicians. Also the presentation of Live art/n/music - rock, jazzrock and etnorock music DVD-
s, done 2001-2011.
http://talvetonutd.blogspot.com/ Works http://www.youtube.com/ENMuseum#p/a/u/0/3ehC-
IwNeCE Aerosfaer http://www.areng.ee/?id=12708 Fragile

P2
Watch the recorded interviews!
Dora Aguila Sepulveda, COEDUCARTE, Chile
Andrea Maria Melendez Teutsch, COEDUCARTE, Chile
Marlen Thiermann, COEDUCARTE, Chile

Experts opinions collected from the InSEA World Congress 2011 in Budapest, Hungary
and others in the Southern Cone of Latin America are shown as a random sample. The basic
question for interviews was: In your opinion what is the most important thing about teaching
the visual arts in the school? Through an analytical study of the answers to this question, it
was deduced that there are different points of view and multiple approaches to art education.
This exploratory study will be displayed on a poster artwork built on video recordings. Images
showing the geographical origin and the portraits of the interviewees, their names are inserted
on the poster.

Dots of different colors corresponding to the major axes in arts education show different
points of views, experts opinions about educational theories that underlie the classroom
practices.

P3
Teaching aesthetic literacy in primary school: Between preconditions
and standards
Claudia Birkner, Ludwig-Maximilians University or Human Science Centre,
Ludwig-Maximilians University, Germany

In 2000, the surprising findings of the PISA-study highlighted a noteworthy gap between
teachers assumptions regarding German students literacy skills and their actual test results.

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Consequentially, the conference of German cultural ministers agreed on the necessity of a
definition of precise educational standards for school education based on empirical research.
However, essential research is lacking for many subjects, especially for the domain of the fine
arts (art, music, theatre, creative areas of languages, in sports and dance). This aspiration is
addressed by the doctoral program Kompetenzbildung in den knstlerischen Fchern und
Fachbereichen der Schule" (Creation and recognition building competencies in the artistic
subjects and departments at school).

Within this framework the following poster presentation will introduce a project, which focuses
on childrens preconditions regarding the attainment of visual literacy. A qualitative-empirical
research design is used to explore the heterogeneities in first-graders concerning their visual
and aesthetic experiences and abilities. The design provides for a triangulation of different
tests and interviews. For the purpose of gaining the data a board game is designed. Focal
points of the exploratory study are metacognition and motivation. The poster of the project will
depict the concept of the board game, which is modeled according to preliminary tests and
the results thereof. Furthermore, a few findings of how children learn to see pictures will be
formulated. In 2000, the surprising findings of the PISA-study highlighted a noteworthy gap
between teachers assumptions regarding German students literacy skills and their actual
test results. Consequentially, the conference of German cultural ministers agreed on the
necessity of a definition of precise educational standards for school education based on
empirical research. However, essential research is lacking for many subjects, especially for
the domain of the fine arts (art, music, theatre, creative areas of languages, in sports and
dance). This aspiration is addressed by the doctoral program Kompetenzbildung in den
knstlerischen Fchern und Fachbereichen der Schule" (Creation and recognition building
competencies in the artistic subjects and departments at school).

Within this framework the following poster presentation will introduce a project, which focuses
on childrens preconditions regarding the attainment of visual literacy. A qualitative-empirical
research design is used to explore the heterogeneities in first-graders concerning their visual
and aesthetic experiences and abilities. The design provides for a triangulation of different
tests and interviews. For the purpose of gaining the data a board game is designed. Focal
points of the exploratory study are metacognition and motivation. The poster of the project will
depict the concept of the board game, which is modeled according to preliminary tests and
the results thereof. Furthermore, a few findings of how children learn to see pictures will be
formulated.

P4
Narratives in visual arts teaching graduation
Flavia Maria De Brito Pedrosa Vasconcelos, Federal University of San
Francisco Valley, Brazil
Sebastiao Gomes Pedrosa, Federal University of Pernambuco, Brazil
Erinaldo Alves Do Nascimento, Federal University of Paraiba, Brazil

This research is focused on how the teacher can work with narratives in Visual Arts
teaching Degree Course. First, it is explained this way of investigation in Art Education to my
students, showing the differences between oral report, life histories and narratives. Having
this difference made clear it follows a discution about Visual Arts teaching and didatical
procedures upon some contemporary theoretical views: Triangle Approch, Visual Culture
Education, Interculturalism and Multiculturalism, Interterritoriality, A/r/tography and Art and the
enviroment.

We sugested the students to research teachers actuation on different stages of education in
Visual Arts at schools and also in non-formal spaces of education, with two main question:
how the teacher teaches? What the teacher uses to teach?

The results are very similar, they found teachers with no formation, acting in the field of Art,

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teaching and using views that cames since the begin of the 20th century, some of them still in
the Renaissance ideas. The practice of many Art teachers must have revisited. Now, we are
in review of the results, exchanging this reseacrh with other reseachers that works with
narratives and reflecting about some main points.

P5
Interpreting voices

Teresa Eca, ESAM, Portugal
Ana Teresa Lobo Soares, ESAM, Portugal
Paula Soares, E.S. VIRIATO, Portugal

Interpreting voices was an arts education project hold during the IDEAlAboratoires Comenius
Project in Viseu , Portugal, during 9 and 10 November 2011. Teachers, local artists and
students from 4 countries participated. The aims were to introduce concepts of dialogic art to
students by doing a community art based project in the host city with local artists from
different fields of arts. The topic was social issues and acceptance. Interpreting Voices
purposes was to reflect upon the experience of the region of Viseu by local people mixing it
with the touristic experience of the foreign students who arrived in the city. During October
students from Viseu collected stories and images with people who usually do not have a
strong voice in the society. During two days in November the foreign students with local
students interpreted the stories with the help of local artists ending up with final products such
as: a drama performance; an installation in an empty store of the old city, street art in the city
park, a modular object , prints and drawings.

P6
A trip into the world of Byzantine art: an educational program in the
Byzantine museum of the Archbishop Makarios III Foundation, in
Lefkosia, the capital of Cyprus
Efi Ioakim, Ministry of Education and Culture, Cyprus
Christiana Matsoukari, Ministry of Education and Culture, Cyprus
Tzoulia Eliadou, Ministry of Education and Culture, Cyprus

The Byzantine Museum of the Archbishop Makarios III Foundation hosts the richest and
most representative collection of Byzantine artworks from the 6th until the 19th century that
originate from all over Cyprus. In the Byzantine Museum children have a chance to take a trip
into the world of Byzantine Art through an educational program entitled: A trip into the world
of Byzantine Art. The program is organized and run with the cooperation of the Ministry of
Education and Culture of Cyprus and the Byzantine Museum of the Archbishop Makarios III
Foundation of Lefkosia. It refers to the fifth grade primary school children (10-11 years of
age).

The program aims to help children get a deeper knowledge of the Byzantine Art, which has a
central place in the cultural and social life of Cyprus. Its basic methodology is a viable
approach aiming to cultivate childrens observation, exploration and creativity. The program
also aims to help children understand, appreciate and respect their cultural heritage.
The program is supported with the use of audiovisual material and activity book for students.
Through a pleasant and a fun way of learning, the children stop at stations where they
approach the chosen icons and communicate with them by taking part in various activities
such as puzzles, theatrical games, completing mosaic icons, and drawing.

With this presentation we are going to describe how the specific art program introduces
children to the artistic heritage of their country and into the world of Byzantine art, helps them
appreciate and respect both their own culture and others and gives them inspiration for their

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own artistic work in order to gain a more comprehensive, aesthetic education.

P7
The Dancing Statue educational programme: Bank of Cyprus Cultural
Foundation

Lefki Michaelidou, Bank of Cyprus Cultural Foundation, Cyprus
Christodoulos Hadjichristodoulou, Bank of Cyprus Cultural Foundation,
Cyprus
Eleni Zapiti, Bank of Cyprus Cultural Foundation, Cyprus
Maria Loizidou, Bank of Cyprus Cultural Foundation, Cyprus

The programme has been especially developed for children of Elementary and Secondary
Education, with the aim of enabling our young friends to get to know specimens of Ancient
Cypriot Art in the context of a private collection. By recognizing shapes, sketches and forms
that touch a chord and leave room for identification, children will eventually grasp the common
thread that runs through the history of a land. The programme persistently reserves the
leading role for the child, with the aim to command their attention for a fair amount of time that
is both pleasant and effective.

P8
Cyprus gallery art education
Fotini Larkou, Cyprus Ministry of Education and Culture, Cyprus

This poster focuses on Cyprus Gallery Art Education. It aims to present the context of
gallery art education in Cyprus by discussing some general trends within gallery art education
in Cyprus, the programs and activities offered, the roles of gallery educators and school
teachers.

Educational programs in art galleries have been given a high priority during the last ten years
by the Department of Primary Education. There are two art gallery educational programs that
have been designed, developed and run by a group of people working for the Ministry of
Education and Culture of Cyprus including inspectors of art and advisors of art education.
This poster presents their context by discussing some general trends within gallery art
education in Cyprus, the programs and activities offered and the roles of gallery educators
and school teachers.

They are designed to meet the outcomes of the national art curriculum adopting an
interdisciplinary approach. Through wide ranging educational activities, gallery educators aim
to provide relevant information and experiences that stimulate and broaden interest,
enjoyment and understanding of the works of art.

The educational program at the National Gallery of Contemporary Cypriot Art was the first
program to be implemented in a gallery by the Department of Primary Education in
collaboration with the Cultural Services of the Ministry of Education and Culture. The program
was designed around the theme of "Motherhood." It aimed to introduce children to their
artistic heritage, helping them appreciate and respect both their own culture and others.
The educational program at the Limassol Municipal Art Gallery has the same aim with the
above mentioned program which is to promote access, enjoyment and understanding of the
visual arts through gallery education. The program entitled Our Island through the Artists
Pallet, gives children the chance to meet the work of recent and older Cypriot artists.

During these two programs gallery educators encourage students to get engaged and be
inspired by the relevant artworks. Specifically, students have the opportunity to look at more
closely and communicate with artworks and explore ideas, concerns and messages they

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convey aiming to promote visual literacy. Through a pleasant and creative way of learning,
children have the opportunity to adopt roles, get involved in discussions and playful activities.
Emphasizing the role of the senses, mediated by dialogue with others, is an approach that
encourages alternative ways of thinking.

Gallery art education in Cyprus today is on an exciting path. Children and teachers have
spread creativity in learning, boosted visual literacy, and adopted social skills through art
programs in galleries. However there is a need for more training and research, and there is
still room for innovation. Gallery art education continues to develop and redirect its role in
response to changes in art practice and society, students needs, and changes in formal and
informal education.

P9
A study on curriculum development for clay art education to create a
peaceful society: Concentrate on 'Wee project' of the Ministry of
Education and Science and Technology in Korea
Booyun Lee, Hanyang University, KoSEA, Republic of Korea

In accordance with the policy of the Ministry of Education and Science and Technology in
Korea, they are building six major tasks for 2011. Under it, they build a category 'Happy
schools that build better character.'
They listed three major categories comprising of 'Facilitate democratic education,' 'Step up
support for students in need of extra care,' and 'Free schools from violation and safety
accidents.'
The Korean Ministry of Education and Science and Technology, following the 'Step up
support for students in need of extra care' policy, is emphasizing 'Strengthen support students
with adjustments issues'. For this purpose, 'Expand programs for students' mental health,'
and 'Expand Wee project' have been set.
The word 'Wee' is derived from two concepts: we +education and we + emotion. Planned by
the Korea Ministry of Education and Science and Technology, Wee project is a support
program to help students gain confidence and stabilize their emotions. In line with this
program, they are running 'Wee class,' a program that fosters communication and close
friendships.

Through the regional educational bureau, they built 'Wee center,' a supporting system for
students' personal, educational and social life. They built a professional diagnostic,
therapeutic, and counselling programs with the support of governmental. Through this
program that foster strong relationships, as well as support by schools and regional
educational bureaus, we expect better students' emotional development and help them to
communicate with society in a positive manner. Wee project is a program that aims to open
students' emotions to the world.

Through this study I'll investigate how 'Wee' project in Korea runs in educational field and
schools and develop art educational curriculum in accordance with the spirit of 'Wee'.
Especially, I'll use clay art which is creative material to follow 'Wee' project in Korea to make
peaceful society.

P10
Museums and learning in Cyprus
Diamanto Solomonidou Zisimide, Cyprus Ministry of Education, Cyprus
Eleni Manoli, Cyprus Ministry of Education, Cyprus

The Museums potential as a lifelong learning resource has increased as a result of

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changing perspectives of the museums role and the importance of museum education.

Museums are a major expression of cultural identity in every society. A museum is only alive
when it is open and visitors are present. Childrens visits to these treasure houses give them
a special opportunity to spend time in rich learning environments, get up close to things they
usually see in books and also to enrich and broaden their cultural experiences.

This presentation aims to discuss the context of museum education in Cyprus. New and
innovative museum educational programs have been designed specifically for young learners
of primary school with fun learning activities introducing children in museums by stimulating
their curiosity and thus making their visit more comprehensible.

Through these programs the Ministry of Education and Culture aims to achieve educations
primary objective which is the holistic approach to childs development through cultivating
multiple forms of knowledge, attitudes and skills needed for the society of the 21st century
(development of critical thinking, imagination, teamwork, interpersonal communication,
creativity and sensitivity towards art and culture).

The design of all the programs was made by teachers-counselors of museum education in
cooperation with the primary education inspectors and the museums curators and was based
on experiential learning and the cross curricular approach with a variety of activities. Children
make imaginary trips in the ancient times of Cyprus pretending to be......
......workers discovering copper,
.....artists making beautiful statues and idols,
.....sailors in the blue Mediterranean sea where the Cypriot Godess of beauty was born....

Recognizing the important role of museums in education we are going to present how
valuable collections and archaeological treasures in our museums inspire and amaze children
extending teaching and learning outside the classroom setting.

P11
Mental balance in ancient Greece
Georgia Michaelides, Laniteion Lykeio A', Cyprus
Freda Terzian, Laniteion Lykeio A', Cyprus

The poster deals with the beliefs that the ancient Greeks had as concerns mental illnesses.
It traces the gradual development of their ideas and how they eventually formed the basis of
modern psychology.

P12
Art Education and Art Therapy: Exploring strategies for supporting
childrens emotional and social development through art
Chrystalla Pafiti, Cyprus Ministry of Education and Culture, Cyprus

This study concerns the use of art therapy elements in art education as an attempt to
explore strategies for supporting childrens emotional and social development through art.
Based on the researchers background and teaching experience, it was observed that there
are a large number of students, in Cyprus public primary schools, with emotional and social
problems. Since a main goal of education is to address such problems, strategies for
supporting students emotional and social development is essential to being explored. The
use of Art Therapy elements was chosen since the main aim of art therapy is to enable
people to change and grow on a personal level. So, this research concerns an action
research (and a case study that emerged) that was conducted in a sixth grade class in a
public primary school in Cyprus in the form of eight art lessons conducted by myself as an art

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educator, using elements of art therapy. This research was based on qualitative methodology.
The sample was made up by 18 students aged 11-12 years old. Three data collection tools
were employed, including observation, interviews and artworks interpretations. In order to
analyze the data the thematic coding approach was applied. Four major findings emerged
from this piece of research. First, three art therapy elements (activities, materials, circle
discussion) seemed to be relevant and accessible. Second, there was strong evidence of
students social development through a case study. Third, there was evidence that some
students benefit regarding emotional development. Last, no risks were evidenced while using
art therapy elements in art education. This study also offers recommendations for further
research.

P13
Archive of Cyprus Child Art (ACCA): Its contribution and utilisation in
art education

Kypros Pisialis, Cyprus Ministry of Education and Culture, Cyprus
Stella Pavlou, Cyprus Ministry of Education and Culture, Cyprus

This poster presentation focuses on the operation and utilization of the Archive of Cyprus
Child Art (ACCA), established in 1968, where selected children artwork from various public
primary schools of Cyprus are classified and maintained. Its collection is housed in public
primary schools in three different towns of Cyprus (Lefkosia, Lemesos, Pafos). The ACCA
belongs to the Ministry of Education and Culture of Cyprus, and the persons in charge for the
management of the overall organization and utilization of the archival material are the
Inspectors of Art in Primary Education.

The collection includes numerous artworks from 1968 to today and is a priceless source of
evidence regarding the evolution of child art in Cyprus, and the socio-cultural scene through
childrens eyes. The aim of the ACCA is to preserve childrens artwork, study and promote
child art, develop childrens aesthetic culture and creativity, and provide opportunities for
acquaintance and engagement with various art forms. Every year new childrens artwork
contributes to the growth of the collection. The archival material is utilized in various forms: for
exhibitions in Cyprus and abroad, participation in island-wide and international art related
competitions, and as source and as source of evidence for comparative study and social,
psychology and art research.

Over the last decade the digital technology is used to digitize the existing archival material,
which is photographed and classified by art teachers in charge to complete the digitization of
ACCA. Digitization, the process of converting documents, text, images, and objects from
analog to digital form, is probably the most appropriate way to address problems of
conservation of cultural heritage, since it ensures access to it, by protecting the archival
material from the ravages of time. The ACCA digitization will also provide audiovisual
material, which will be used in schools as educational resource in the art classroom and for
interdisciplinary approaches as well.

P14
Mail art network: Participatory art practice

Fabiane Pianowski, Universidad de Barcelona, Spain

Breaking away from the official circuits of art galleries and museums, mail art heralds a
new era for the circulation of artistic work, which focuses primarily on the collective. This
alternative means of circulation for artistic proposals and ideas brings forward the concept of
network that would later, with the birth of the Internet, become a highly significant issue for
contemporaneity. The use of mail in the 1960s and 1970s as a tactical instrument in the field
of art relates to the appropriation of the means of communication by the periods artistic

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manifestations a period in which establishing networks and communicating were crucial
cultural elements. Mail art is a collection of varied aesthetics, whose means of expression is
through official mail. Mail art appropriates this means of expression in a subversive manner to
configure an alternative cultural channel for the exchange of artistic messages. In the 1970s,
some critics and art historians considered mail art as one of the great phenomena of the
international avant-garde. In its broadest sense, its actions enabled the new artistic languages
to trigger communicational and structural situations, such as for example the anonymity. The
goal of the mail art community was to break away from medias one-way sender-receiver flow,
through the spectators active participation in the piece itself. That would socialize authorship
and dilute the borders that divide the artist and the public. In so doing, mail art democratizes
art. Unfortunately, there are few academic studies about mail art, probably because that field
of study is obdurately complex, the information is difficult to obtain. It is difficult to accurate
facts and datas. The documents and works were frequently intend as ephemera. In spite of
that, in this study we analyse in depth mail artists publications and interviews to build a mail
art database that serves to map those artists network and to understand their
communicational connections and strategies. The historical approach we propose intends to
recover the memory of this sort of art-communicational production, in order to understand and
also spread this artistic phenomena. The present study makes part of a doctoral research in
History, Critic and Theory of Art at Barcelona University.

P15
School chairs transformations to reflect the economic crisis: An attempt
to assimilate with the objectives of the new curriculum in art education
in Cyprus
George Savvides, 4th Primary School of Aradippou, Cyprus

One of the aims of the revised curriculum in Art Education in Cyprus is to help students
identify crucial socioeconomic issues which affect aspects of peoples everyday life and to
communicate them through the creation of artifacts. The purpose of this study is to
demonstrate a school-based art project as an example of successful instructional practice,
designed on the grounds of one of the benchmarks of the new curriculum that relates to
Sustainable Development and Social Life. The project aimed to foster childrens awareness of
the global economic crisis phenomenon through the creation of a modern collection of art
pieces which illuminate childrens understanding and concern on specific aspects of this
major socioeconomic issue. The participants were the 75 6th grade students of the 4th
Aradippou Primary School in Cyprus. The project lasted 2 months and it was organized in 3
phases. During phase 1, the students were engaged in group discussions based on various
printed material about the economic crisis and made a list of the various aspects of the
phenomenon (e.g. unemployment, poverty, etc.). They chose the classroom chair as the
medium of the visual representation of their subject; they agreed that the chair symbolizes
Power as the main reason for the economic situation. Of course, the fact that there were a lot
of unused chairs, which needed to be recycled, in the school warehouse strengthened their
choice. Each group chose an aspect of the crisis and determined the artistic intervention to be
applied on the chair. During phase 2, the students used their creativity to transform the chair
into a piece of modern art. They were encouraged to select materials that would better reflect
the anticipated results. In many cases the students revised or improved their initial plans as
new ideas were born during their interaction with the chair. During the final phase, students
organized an Art Exhibition at the school to present their artifacts. The exhibition, apart from
the 18 chairs, included a live performance by the students (interaction with a chair and use of
their body and face to express a variety of emotions that people who are affected by the
economic crisis experience). The data collected throughout the project (e.g. students ideas,
artifacts, group discussions, visitors feedback and evaluation) revealed that the project had a
positive impact on both the students who were involved and on the rest of the schools
students and staff. The students appeared to be able to express creatively their concerns and
feelings on a major problem that affects the society they live in, they enjoyed the whole
procedure, and at the same time they realized that there is a new approach to the art lesson

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which goes beyond the traditional method of using only a piece of paper to communicate
ones ideas. Finally, the teachers of the school gained a positive outlook of how the Arts
course could be approached through childrens eyes to communicate their ideas and
emotions about major socioeconomic issues.

P16
Art and the construction of their plastic perceptions in juazeiro - Ba

Euriclesio Barreto Sodr, Federal University Of San Francisco Valley, Brazil

The Sub-project "Art and the construction of their plastic perceptions" has built na
experimental methodology, which hs as guiding actions the Transversal Themes and the
Contemporary Art. During the year of 2010, the students of graduation that participate of the
project are developed a variety of activities such as: studies, classroom observations,
seminars, workshops and improved concepts of Art Education for students in two secondary
schools, Paulo VI and The Educational Center Argemiro Jose da Cruz, in the city of Juazeiro,
Bahia. In the year of 2011, different cross-cutting themes were in a organized unit with Ethics,
Cultural Plurality, Art and Enviroment, Technology and Consumption. The themes are suitable
as a essential knowledge in the formation of the citizen, thus creating a dialogue with
Contemporary Art and some of its fundamental characteristics: participation, the use of new
materials, the change of scale, repetition, appropriation, deconstruction. Each school
developed different proposals, which search to integrate the students of graduation that
participate of the project and the students of schools, to the concepts of Visual Arts,
producing installations, performances and artistic actions in general.

P17
The protection, rescue, evacuation and aftercare of cultural heritage
collections in accident and disaster situations

Heidi Wirilander, PhD student, University of Jyvskyl, Department of Art and
Culture Studies, Finland

The central topic discussed in my doctoral research is the protection, rescue, evacuation
and aftercare of immovable and movable articles as well as documentary heritage collections
in accident and disaster situations. The study examines 19 different incidents resulting in
need for protection, rescue work, evacuation and/or aftercare of the cultural heritage
collection. The researched incidents have occurred in Finland between 1990 and 2010 and
they represent both museum safety and museum security categories.

The main goal of my doctoral research is to develop general guidelines on how to apply
preventive conservation theories in accident situations to prevent or minimize collection
damages in the rescue, evacuation and aftercare working methods. The concept of cultural
heritage is approached from the procedural viewpoint.

The survey has a strong arts educational and cultural heritage educational orientation. These
educational theories are utilized to develop processes that could be used to prevent accidents
and disasters that may damage or destroy cultural heritage objects.

The educational objective of my study of cultural heritage is to identify the aspects that could
be used to prevent accidents and disasters threatening cultural heritage:

1. to whom education should be directed (public authorities, policy makers, the general public)
2. the circumstances in which the education is most effective (prevention work, rescue work
and after-care)
3. methods of education (information, education, learning by doing, sharing of gained
knowledge

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My study provides general information about how and with what type of mechanisms damage
collections in accident situations. The research data makes it possible to recognize the
primary and the secondary collection damages in researched accidents. Through the
analyzed data it is also possible to name potential working methods to minimize damages to
cultural heritage collections in accident situations.

P18
Body image, identity and art education - A case study in Hong Kong and
London

Shukfan Wong, HKUSPACE, Community College, The University of Hong
Kong, Hong Kong

The impact of western cultural ideals of thinness as a sign of beauty has been proposed to
cause dissatisfaction with body shape and weight concerns among many young people not
only in western countries, but also many Asian countries.

This paper explores how young people's personal and gender identities are influenced and
constructed by mass media, in particular, through the production of body images. It employs
semiotic theory from the work of Barthes and Perice to examine the symbolic representation
of body and identities. The work of Foucault and will also be applied to discuss the
relationship between gender identities and body images representations. The study will focus
upon the relationship between body images and eating disorders among young people (age
11-17) in the UK and Hong Kong. A survey was conducted in 2005 to illustrate the correlation
between a desired body image and eating disorders, as well as make a comparison of the
behaviours among secondary students in Hong Kong and London. The findings indicate that
the students in Hong Kong are more concerned with the perception of their body image when
compared with the UK students. It also shows that Hong Kong students are more susceptible
to peer pressure.

On the whole, the aim of the study is to investigate the impact of cultural value enforced by
the mass media on the desire for a slim physique and the negative stereotyping of obese
figures among young people who are from different culture and ethic backgrounds (i.e.
Europe and Asia). The other concern of the paper is to show the possibilities by introducing
the concept of visual literacy in art education to help students to develop a sense of aesthetic
openness, and also critically evaluate the production of standardized body images in the
mass media.


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ABSTRACTS Updated 31st May 2012

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InSEA 2012 European Congress

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