Virtual Walks
Details on how to participate will be announced after the opening ceremony of the conference!
LIST OF ALL SPEAKERS
& PAPERS
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and search for the author
Adámková Turzová Magdalena
Department of Art Education, Faculty of Education, Palacký University Olomouc, Czech Republic
Same Ol‘ Pictures
The author presents a series of paintings created during the coronavirus lockdown. The process of painting almost always takes place in a certain loneliness and isolation. In this respect, this period did not bring much change for painters. The difference was more in the ability to respond to the outside world; our radius of action has changed and for me personally the inspiration was more of a home environment. I focused my attention on the issue of an image in an image. Be it a screen, a display, an image in a frame or a distorted reflection, the meaning can be found in the context of the observed image or object and its surroundings. The name of the cycle refers to a certain exhaustion given by the repetition. We follow the constellations of the ‘old familiar’ image and the space in which it is currently located.
Adeniyi Olusegun
Caleb British International School, Lagos, Nigeria
Virtual Learning Space and Its Impacts During the COVID-19 Pandemic Lockdowns: A Case Study of Art Educators’ Hangout
There is a growing demand for global competence and cross-cultural skills, and that international experience is invaluable for teachers and their students; but the lockdown due to the COVID-19 pandemic has put a halt to so many social and academic gatherings. For this reason, Teaching Visual Art has created a virtual meeting place for art educators tagged Art Educators’ Hangout. Reality of today’s world during the COVID-19 pandemic is that things are no longer the way they were. The world is observing social distancing and this has made it impossible for art educators to come together physically as the boarders are closed and countries are on lockdown. The Art Educators’ Hangout has offered the art educators the platform to discuss their works, interact and inspire one another towards advancing the learning field of Art and improving the quality of art education on the continent of Africa. The initiative is to foster dialogue and sharing stimulating art projects to improve creativity and art appreciation with the vision to build network of art educators across the continent of Africa that are locally relevant and influential with global perspective. This presentation provides the broad overview of the virtual learning space, Art Educators’ Hangout and its socio-economic impacts on Art educators during the COVID-19 pandemic lockdowns.
Adenle John Oyewole
Department of Creative Arts, Faculty of Arts, University of Lagos, Nigeria
Developing Coping Mechanism during Covid 19 Lockdown through the Art of Paper Folding
The outbreak of Covid 19 pandemic all over the World was unprepared for, Nigeria was among the first countries in Sub-Saharan Africa to identify COVID-19 (corona virus) cases and has since implemented strict measures to contain the spread of the virus. Lockdown became inevitable to curtail the spread of Corona virus. Although government relaxed the lockdown on some days when people go out to stock the house food and essential needs, yet the psychological torture from this confinement is evident in idleness, feeling of stress, loneliness and boredom as a result routinely eating, playing, sleeping and perhaps a few other things away from their gainful engagement of the past. It was house arrest indeed, time is ticking, morale at a very low ebb, voluntarily or mandatorily because of the suspension of active economic, social and religious engagements. This study discusses the how engaging of youths in art related activities helped and provide a form of coping mechanism and escape therapy from boredom during Covid 19 lockdown. 50 participants were were selected online based on interest and engaged in creative paper fold called Origami therapy challenge. The results shows that engaging hands on hands on skills at a time of lockdown and isolation as witnessed during this pandemic would be a positive intervention to boost morale and serve as escape avenue from stress and boredom.
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Akutsu Taichi
Okayama Prefectural University, Seisa University & Shujitsu University, Japan
Musicking philosophy into practice: Online virtual workshop on the theme of Beethoven’s 9th Symphony "Ode to Joy"
Musicking is the term originally introduced by Christopher Small (1998) that simply means the act of music making. For Small (1998), music is not a fixed artwork, but an act, which is defined by singing, listening, playing, practicing, composing and dancing (Small, 1998). Dissanayake (2015) criticized the contemporary changes in the concept of overemphasis on performance outcomes, which, like sports, requires tough competition, and ignores the community sense of musical sharing. According to Dissanayake (2015), in a traditional society in any culture, music was originally shared in community from the religious ceremony to the local carnivals, and there was no wall between performing and listening. Everyone used to participate in music in a shared sense either by singing, dancing, playing instruments, composing. Although there is a vast array of literature describing musicking as a philosophy, there are very few examples of practicing musicking, especially in the field of educational settings. Ultimately, this study aims to construct a practice model of musicking by offering online virtual workshop via Zoom on the theme of Beethoven’s 9th Symphony "Ode to Joy".
Almeida Teresa
Faculdade de Belas Artes da Universidade do Porto. Av. Rodrigues de Freitas, Portugal
Contextualized Art/education between Brazil and Portugal: mosaic and glass
This work aims to discuss Art / Education contextualized from experiences carried out in the mediation of Professor Teresa Almeida from the University of Porto, Portugal, in Juazeiro / BA, Brazil. That researcher was in August 2016 in the city with support for the visiting researcher scholarship via CNPQ. In addition to conducting thematic workshops, from mini degree courses, students, technicians and professors from the Federal University of Vale do São Francisco - UNIVASF, guided in the Mosaic area and the Glass area. Given the above, we analyzed what artistic / educational possibilities were built and reflected on the context of Art / Education contextualized since the semiarid. Finally, we intend to demonstrate the characteristics of the activities carried out in terms of research, teaching and extension and how a collaborative work between bridges can establish broader views on the teaching / learning processes.
Alvarez-Rodríguez Dolores
Facultad de Educación. Universidad de Granada, Spain
Back to basic in art education in corona time: the contribution of arts to the lockdown at home
In this period of several moths when the society is at home, and the community has been restrained to the minimum expression, one the activities more developed in family the has been the artistic ones. This phenomena has been common in several countries. This is just the oposite to what happen in a regular school situation when the movements are free and the daily activity led people express themselves, including children, without apparent restriction. It is interesting to analyse why what happened that and how has been developed, obtaining data from what has been shared and published in different social networks. Indeed, the artistic activities developed, and also the theoretical background, seems to reflect a tendency to the basic in art education.
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Amaral Gabriela
Higher School of Education of Paula Frassinetti, Av. Jean Tyssen – Oliveira do Arda, Portugal
COVID-19: Art education for the awareness of today's society
The dizzying spread of the pandemic - Covid-19- is producing unprecedented social, economic, educational and cultural challenges and changes and has sown discomfort, uncertainty, insecurity and fear around the world. There are many measures to prevent the spread of the virus, which has impacted the lives of the population. Children, not being detached from the society in which we live, have also been subject to major changes in their way of being and relating to others. The aim of this conference is to understand the perceptions of pre-school children about the pandemic through artistic education. The choice of this area of knowledge lies in the proximity it establishes with children not only as an artistic language but as a pedagogical tool that enables expression and communication but also because of the possibility it offers children to access a “reading of the world”, enhancing more and better your participation in today's society.
This work focuses on qualitative research. The data collection instruments included direct observation of the activities carried out by the children and their individual narrative. The results showed that artistic education is a privileged way for children to express themselves and share feelings, concerns and ask questions, giving them greater confidence and social responsibility and inducing them to be transforming agents in the community in which they live. We also realized that we need to reorient artistic education towards responsible citizenship, prepared to make decisions around problems that humanity faces.
Ash Andrew
UCL IOE, 20 Bedfrod Way, London, UK
InSEA ERC panel discussion: re-learn, re-think, re-frame
Members of the InSEA European Regional Council will reflect on the pandemic and offer insights from five different European countries perspective (Finland, Germany, Greece, Hungry & UK). We intend to share experiences and examples of good practice. The panel will ask questions of the past, present and future art teaching. The panel hopes to generate a discussion on pedagogy, curriculum and speculate on the future challenges for art teachers. It is intended that the audience will be active participants in the discussion and therefore opportunities will be generated for the audience to engage with the panel and explore ideas. It is intended to be a generative and inclusive session designed to share and explore possibilities for Post Pandemic art teaching.
Bakalová Andrea
Ateliér dušetvorby Kvark, z. s., Brno, Czech Republic
Art therapy group at the time of coronavirus pandemic
Specifics of art therapy approach in a closed group. Description of the course of a six-member art therapy group during 8 weeks during the coronavirus crisis. An attempt to define the characteristics of this period: manifested in the creation and actions of clients, in the overall character of the group, in the approach of an art therapist. What new phenomena has the coronavirus crisis brought in the area of client creation? How can these phenomena be used in further art therapeutic work?
Baker Sabrina
University of Melbourne, Victoria, Australia
Balsa Raquel
Apecv, Portugal
Bartoš David
Department of Art Education, Faculty of Education, Palacký University Olomouc, Czech Republic
Baštanová Pavla
Department of Art Education, Faculty of Education, Palacký University Olomouc, Czech Republic
Untitled. Undated.
Our workshop is based on the project of the same name, which deals with the methodological support of art education. It is based in the web platform www.nedatovano.cz (with accompanying Facebook and Pinterest pages), where you can find animated videoclips and worksheets with ideas for art education. This project has gained special significance during quarantine (in the Czech Republic the period started in March 2020, when all schools had to be closed), when it developed greatly and became an important volunteer-based activity that provided support not only to teachers, but also to children and their parents. In our workshop, participants can try one of the ways to implement distance art education. We will offer participants five animated videoclips and a set of worksheets inviting them to dive into a creative activity and to share their works. The materials will be available to download and to be used freely.
Belzová Denisa
Start-Art, z.s., www.start-art.cz, Brno, Czech Republic
Distance learning, teaching art techniques and topics online
How to teach art lessons at a distance? We dealt with this topic throughout the corona period, when we had no choice but to teach at a distance. We have developed e-learning courses. We created the first lessons and tried online lessons. E-learning is a project for us that we want to develop further and we are looking for friendly organizations and financial support for our projects.
Blazey Miranda
York University Faculty of Education, North York, Canada
Teaching Visual Arts Online to Teacher Candidates
My workshop will provide participants with three interactive arts based projects that can be used in teaching and learning in Faculties of Education for teacher candidates. The projects can also be used by intermediate and secondary educators. The projects that will showcased will include a collaborative line drawing, an animated collage and a folded and fractured mix media photo. The workshop will include lesson plans, powerpoint presentations and accompanying assessment and evaluation methods.
Blažek Timotej
Faculty of Education, University of Ostrava Department of Art Education, Ostrava, Czech Republic
Spatial Art in the Context of Online Education
The paper discusses the benefits of online education in the field of spatial art, and describes its considerable pitfalls. It focuses on creating a lecture as a document – a stand-alone ‘living’ file – a video that is always accessible and that combines elements of visual communication and visual language. The teacher views the emerging document from the perspective of the interpretation of the static and moving image. In the lecture as a documentary, the teacher – creator consciously works with mise-en-scène, montage and editing, sound and music and narration with the help of a moving image editing program. The paper compares the way of developing a classic lecture and a lecture as a separate document in the form of a video.
Object Art and Artistic Jewellery [online]
The paper presents one of the options for substituting contact teaching of the subject titled the Art Studio of Metal Works, Object Art and Jewellery, which has been transferred to the online environment. Using software that has helped produce videos with instructional elements, it was possible, at least partially, to overcome the irreplaceability of contact teaching of the given subject, which is commonly based in the demonstration of techniques and work procedures while students work on their half-year artistic assignments. The paper analyses the processing of the videos and the available software tools, as well as the nature of the videos with instructional elements, which relate to technological procedures and working with tools. The conclusion of the paper points to the demands placed on the teacher and a brief confrontation of the classic lesson with the videos, that is, a direct demonstration of the techniques and procedures on one hand with the instructional videos on the other.
Boček Ronovská Anna
Department of Art Education, Faculty of Education, Palacký University Olomouc, Czech Republic
„InkApril“ – Art Lessons during Corona Time
Project „InkApril“ has been focused on practicing of drawing every day, as a daily creative routine. Designed for art students to work continuously on their own sketches, ideas, drawings. Sharing on social sites was the way they could communicate through art during Corona time. #inkaprilWorkshop is a remake of project „InkApril“, which was started April 1st 2020 and happened to last whole month. Project was focused on practicing of drawing every day, as a daily creative routine, designed for art students to work continuously on their own sketches, ideas, drawings. Sharing on social sites was the way they could communicate through art during Corona time. #inkapril So now you can follow! Make one drawing every day. Register here https://classroom.google.com/c/MTUzMzQzMTE5NTk1?cjc=eyqf6lg You can also share it via social sites under the hashtag #inkapril on FB or Instagram. Share your drawing with others and make creative communication around the world! Invite other colleagues / friends / artists!
Art Projects during Coronavirus Time | Experimental Art, Body and Landscape Projects
The workshop was conceived as encounter of artists and students in order to enrich the experience of body perception with the art. Program offered an approach to somatic art and focused on deep immersion to the principles of mindfulness, but in motion and art. Accenting Covid 19 situation, climate changes and local problems was trying to inspire students to find a path leading to peaceful but conscious state through creative process.
Buček Robert
Department of Art Education, Faculty of Education, Palacký University Olomouc, Czech Republic
Ceramics at the Time of Quarantine | Workshop
The workshop is a continuation of the project, which took place during the quarantine within the subjects of Ceramics at the Department of Art Education, Faculty of Education, Palacký University Olomouc (CZ). Students could not visit a fully equipped studio, and from this limitation came the idea to explore the possibilities of "home" production of ceramics. The aim of the workshop is to find soil rich for clay in nature, prepare it with primitive equipment for working and then create any object (statue or utility vessel) from it. Then dry this product and burn it in homemade kiln – I attach a few examples of the whole process as inspiration, but participants can find their own solution.
4 + 1/3 + kk
A videopresentation titled 4 + 1/3 + kk presents the exhibition project of Robert Buček, which was interrupted by quarantine in March 2020. This unique exhibition project was designed for five gallery and non-gallery spaces in the centre of Olomouc. Each realisation was connected to either an established gallery, a non-profit gallery, or a university or sacral space. Thus, the project presented the centre of the city of Olomouc with a great aesthetic potential.
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Caban Noel
Pratt Institute Center for Art, Design and Community Engagement, USA
Unmask. A Study of Pandemic Form.
Last January, our school canceled classes, we went into quarantine. As the days and news dragged, ambulances screamed late into the night, Brooklyn and the Bronx were hard hit with Corona, as our spread and death counts soared. I often thought about my students, their health, sanity, and what kinds of things were they making or not. If being quarantined was stressful for adults, I couldn’t imagine what kids in lockdown must be going through. Then came the riots – so much distrust with the structural and racist systems in place. Shops boarded up. People marched day and night, the police and their helicopters took to the streets and air. Black Lives Matter, and so do Latino, indigenous, and the lives of countless others. The media cacophony was deafening as the collective we yelled, screamed, and raged against real and perceived social and political inequities. By July, New York’s death count stabilized. We made headway into a flattened curve, and so did our spirits in the wake of devastating loss. Against this backdrop, I was tasked to develop an online class curriculum for the Fall. The work would also have to engage parents as supervisors. I accepted the challenge and ran with it, it's why I teach art. Soon, I will be teaching virtual classes, this time we will be building a city out of cardboard. As New York struggles with how to reactivate one of the largest school systems in the nation, my students will be busy building and making. Over the trajectory of this pandemic, I've debated how can artists respond or create in the wake of so much pain and loss? How do we stay relevant and make work that isn’t about decorating living rooms or gallery walls? These are questions central to my art practice, as well as the use of the found, situated and discarded.
Cieslar Milan
University of Ostrava, Czech Republic
Virtual Plein Air Workshop
It has been decades since the Department of Art Education of the Faculty of Education of the University of Ostrava started to organize summer and autumn plein air workshops, where students consolidate theoretical and practical knowledge and skills acquired during their studies in the field. The plein air workshops, as a traditional part of teaching art education at universities, was unfeasible in its usual form this year due to the global pandemic situation. As it is an indispensable part of teaching, teachers and students had to look for another alternative. The chosen solution was a virtual plein air workshop, which took place in the form of electronic communication in MS Teams. The paper will be an evaluation not only of the operating conditions, but also a reflection on the inputs and the achieved results of the chosen teaching form.
Coleman Kathryn
University of Melbourne, Victoria, Australia
Learning to Teach from Home as a Radical Collaboration: Becoming Art Educator in Lockdown
This is a moment to capture and archive for art education; a moment in time to recall later in a career embarked upon in a global pandemic. This paper presents how we have continued to ‘learn to learn’ how to teach, while learning at home and teaching in remote virtual placements from home as a form radical relatedness (McKernan, 2004). We have developed new agile, responsive and ethical ways to design and co-design learning experiences to create curious and critical encounters for students who were also at home (Coleman & MacDonald, 2020). We have been working in our home studios developing new ways of learning art pedagogies and practices as individuals, as well as within an a/r/tographic collective. We have remained connected several physical ways: co-writing a speculative pandemic zine and sending artworks to each other while sharing all learning experiences as a co-lab for becoming.
Coles Susan M
Artist, Coach and former President of the National Society for Education in Art & Design, United Kingdom
Networking and advocacy, or The Wisdom of Crowds
I want to explore the theme of collaboration through networking. In his book "The Wisdom of Crowds" James Surowiecki, the American writer and journalist, contends that groups of people can be collectively more effective at solving problems, undertaking innovation and decision making than individuals or elite groups. What happens when you also start to learn collaboratively and together in a network? How does the community of inquiry create learning space, and also support the well being and self esteem of those involved? Our community, our collaboration, our networks – they all give us opportunities to promote and to defend art craft and design education. This then, is my story.
Cope Paul
Independent artist and researcher, United Kingdom
A Sequence of Artworks Made in Response to Lockdown
In this research, I set out to document creatively the experience of domestic isolation during the pandemic. Finding ourselves listed as vulnerable, I began the practice of depictive drawing on paper folded into simple sketchbooks. At the end of each day, I have posted images of the drawings onto social media, finding an audience and a community online. The drawings map the disordered attention span of lockdown, track incremental changes and closely examine domestic space. The daily paper’s folded faces and TV news on various screens reflects the wider crisis. The drawings represent a sort of mindfulness practice, an engaged distraction, keeping busy with a creative project. Using a visual research methodology, I have accumulated data through a creative process to explore themes of isolation and reclamation of creativity in a time of crisis. The research is an ongoing art project. The presentation in the form of an mp4 file will represent a documentation of the continuing visual research.
Coutts Glen
InSEA, University of Lapland, Rovaniemi, Finland
Welcome and Introduction: Three C's for Art Education?
Welcome and introduction speech as President of the International Society for Education through Art
Drop in Question and Answer Session with InSEA President Glen Coutts
Glen Coutts, the president of InSEA, will host a discussion room on Monday 12 October, 2020 from 15:00 EST (14:00 GMT). You are all welcome to join the meeting that will take place in ZOOM. We will provide the link and the log-in details to the discussion room at the commencement of the conference. This drop-in session will offer delegates the chance to find out about the International Society for Education through Art (InSEA). He will answer any questions you may have about InSEA; its aims, what it does, how it operates, how you can contribute and how to join the worldwide community of education through art.
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Čapandová Tereza
University of Ostrava, Czech Republic
Virtual Plein Air Workshop
It has been decades since the Department of Art Education of the Faculty of Education of the University of Ostrava started to organize summer and autumn plein air workshops, where students consolidate theoretical and practical knowledge and skills acquired during their studies in the field. The plein air workshops, as a traditional part of teaching art education at universities, was unfeasible in its usual form this year due to the global pandemic situation. As it is an indispensable part of teaching, teachers and students had to look for another alternative. The chosen solution was a virtual plein air workshop, which took place in the form of electronic communication in MS Teams. The paper will be an evaluation not only of the operating conditions, but also a reflection on the inputs and the achieved results of the chosen teaching form.
Čermáková Terezie
Muzeum umění Olomouc, Olomouc, Czech Republic
EDU on Wire │ Series of Educational Videos of Olomouc Museum of Art
We invite you to join our on-line workshop and to watch and try one of the five creative activities presented through the educational videos from the series EDU on wire prepared by the lectors of Olomouc Museum of Art for the summer holidays of 2020. The lectors reacted in this way on the new demand of distance education during the pandemic period. In total, they have created nine videos offering ideas and suggestions for creative activities inspired by the world of visual arts. These are focused on children and are suitable for indoor performance at home. These videos have been presented during the whole summer holidays. During the conference programme, you can try all the ideas and get creative, too. If you send your work to horak@muo.cz, we will publish it on our website. Do not forget to add your name, age and country.
Daniel Tara
Heide Museum of Modern Art, Victoria, Australia
Visual Art as Provocation for Contemporary Performance Making
The presentation will include an overview of three projects undertaken with secondary school students who created performances in response to artworks and performed them alongside the exhibitions in the galleries. It is a model that has been refined to suit the needs of schools and arts institutions.
Dell Agnese Liliana
Universidade Anhembi Morumbi, São Paulo, SP – Brazil
How to Teach Art History, for High School, Online
The present work presents a series of classes developed with high school students, aged between 14 and 15 years old, held at the State School of São Paulo – Brazil. The lesson planning provides for the presentation of periods of art history with online classes. The contents were taught with projection of visual images and historical context (period, artist, works and technique used), through the TEAMS platform. The educational proposal aims to give the student a base of theoretical and expository classes, in online form, and from the information received, create, write and design their own art history book, with the essential characteristics that determine each period and creative layout to compose his work.
Dočkalová Hana
Národní galerie Praha, Czech Republic
A Buried Spring or Why Do Students Need Art Education During the Crisis? How Was Art Taught during the School Closures?
Does it make sense to teach art remotely? Or should instruction focus on math and languages? The contribution presents the results of a survey among art and art history teachers, conducted by the Programming Department of the National Gallery Prague, and reveals what the emphasis on the "main" subjects during the lockdown distance learning meant for art education. Why is art education important? What can it offer students in the time of crisis? Conference contribution: Lucie Štůlová Vobořilová in collaboration with Hana Dočkalová, both educators at NGP. The animation was created by the artist Matěj Smetana. Because the contribution also discusses the results of a survey concerning the situation in Czech schools during the period of remote learning, it will be presented in Czech with English subtitles.
Dokoupilová Monika
Department of Art Education, Faculty of Education, Palacký University Olomouc, Czech Republic
My Place (on Earth) Imprinted in Clay
The workshop will focus on working with ceramic material, with malleable material. Working with clay – with natural material has a broadscale effect on a person, a pupil, on anybody. The workshop will take us from the haptic, relaxing, therapeutic effect that working with clay has on an individual, through perfecting one's own realisation while reflecting on creativity, to having control over technological pitfalls. An object will be created in the reaction of the creator to the environment that s/he knows best, that s/he can identify with, in which s/he resonates. This time we will work with clay without the final burning process, the material will be returned to nature by its gradual disintegration.
Dytrtová Kateřina
Department of History and Art Theory of the Faculty of Art and Design and at the Department of Fine Arts at the Faculty of Education, UJEP Ústí nad Labem, Czech Republic
Challenges to Educational Methods in the Time of Coronavirus
Using a number of examples, the presentation shows solutions to significant questions arising in the discipline at the topical time of a seemingly remote crisis. The Coronavirus threat of what are, to most of us, still unknown consequences and the quarantine, which had never before taken place to this extent, determined very naturally and very quickly an existentially exacerbated situation in the spring of this year. This has posed fundamental questions regarding the meaning of our efforts in the realm of work and leisure; the effectiveness of disciplinary methods; and the media’s agility and capacity for action. We have been trying to answer questions relating to reasons as to why share and not withdraw into uncertainty. This is to say, the context of instruction has changed so fundamentally that the merely “remote” and different quality, medialised teaching of “what I would have taught anyway” became insufficient.
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Ferreira Cristina
Faculty of Fine Arts, University of Oporto, Portugal
Stay Safe and Make Design" in the Design and Visual Communication course of the Degree in Communication Sciences, University of Oporto, Portugal
In this second half of 2020, the COVID-19 pandemic forced a sudden and necessary reshaping of the way students are taught and contacted. To this end, a work proposal was launched in the Design and Visual Communication course unit, in which students had to apply the content learned during the semester to graphically and imagetically translate the message that in recent months proved to be most essential. Thus, it was proposed to the students to design a graphic composition that would translate the idea of "Stay Safe". In this way, while performing a graphic exercise using shapes and colors, images and typography, they could process their emotions and experiences - sometimes difficult and restless - during such a new and peculiar moment. This proposal was embraced with great enthusiasm and the answers are in sight in the compositions they have elaborated. But the best experience was the working process itself, which, although stressful, was rewarding. The technology allowed to explore a new interactive way of teaching in a Design class, while requiring the students to communicate in a more visual than oral way.It also made it possible to search for references more quickly, use online resources, and make live notes on the work itself. All this contributed, in a holistic way, to the enrichment of each student's individual path, and in the end it was possible to observe a great evolution that might not have happened otherwise. Whenever the camera turned on and we shared a common space, even if it was virtual, the leitmotiv was "Stay Safe and Make Design".
Ferreira Célia
Quinta da Cruz-Estrada de S Salvador
Learning Spaces
The video is a visual narrative about a pilot experience with activist artists/social designers and art educators (Angela Saldanha; Dori Nigro; Celia Ferreira; Raquel Balsa; Matias Pancho) and other people from an organisation offering leisure and learning activities for people with mental disabilities. The experience, an arts based study, aims to enquire about learning spaces using photo voice.
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The list of all speakers and full conference papers of our speakers will be available from October 12, 2020. We look forward to your visit!
You can visit the grand opening with contributions from conference organizers.
You can look forward to the speeches of our keynote speakers.
You can visit the conference paper pages of our guests from all over the world.
Filipová Petra
University of Hradec Kralové, Faculty of Education, Department of Art, Visual Culture and Textile Studies, Czech Republic
Visual Artist as a Superhero
This contribution represents a particular experience from the pedagogical practice, which is focused on a connection between the art and popular culture. Within the framework of the project, pupils created superheroes action figures equivalents according to their own design concept, to which were given an appearance of chosen artists of the 20th and 21st century. This allowed pupils to apply visual information about the artists and their specific characteristics of their work processes, which are known from the field of popular culture in a way that fans of the artist recognised their hero and the figure was able to become a collectible item. The assignment and its realization took place in a period of coronavirus distance education at schools in the Czech Republic. Each of the students had a different reaction to the assignment, but what all the works have in common is that the students would get acquainted with so far unknown artistic personality, his or her artwork and discover that all of these artists indeed were and are (super)heroes of visual art.
Greenwood Janinka
University of Canterbury, Research Lab for Creativity and Change, New Zealand
Inside-Outside: A Post-Covid Exploration of the Possibilities of Art Education
At the same time as lockdown has isolated and insulated many inside the space of an apartment, in the world outside tempestuous movements rage. The virus, wildly infectious and minimally understood cuts an alarmingly rising curve. Hundreds of thousands mass in demonstrations about race, power, political interests, human rights, sectarian angers. Truths, speculations, petty gossip and lies mingle in social media and journalism. Economies teeter. Existing territorial and power disputes continue, perhaps grow. The power we have as individuals, always somewhat fragile and limited, now appears further restricted by enforced seclusion and technologically mediated communication. A widely lauded function of the arts is that art –making provides both a medium and a critical yet visceral framework to question, explore and make at least transient and perhaps troublesome sense of the inner human situation and the world outside. In arts education we probe how artists in our heritages have struggled with such sense-making and work to facilitate new relevant navigations into making meaning in the face of problems. In this post-Covid era (and I use the term post- in the sense of something begun but not yet completed) we have plenty of material that needs to be made sense of. However, it seems that many of our most familiar tools have been confiscated and our opportunities curtailed. Some arts may be made in solitude; others depend on physical interaction. All expect and need audience. The varied ways of using one or more of the arts as a medium for learning, for research or for health have developed in contexts that allow embodied and interactive collaboration. Can we usefully adapt our existing practices to survive the restrictions of this time? And can we do so with aesthetic flair as well as with educational effectiveness? This presentation will be in part theoretical, teasing out the core elements of what makes arts education effective. It will also examine some post-Covid examples of communal art-making that have sought to break through the barriers of separation, more or less successfully.
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Halvová Dominika
Moravská galerie v Brně, Czech Republic
Towards Performance Art: Embracing Beauty in the Mundane
The presentation is reflecting upon stay-at-home activities created by the Department of Public Programming of the Moravian Gallery in Brno that are inspired by the Gallery´s art collections, introducing the various art works with emphasis on the creative process instead of the result as an artistic object. The activities are aimed to reinforce collaboration and connection within families and communities and to inspire creative thinking in the context of the everyday objects or situations.
Havlík Vladimír
Department of Art Education, Faculty of Education, Palacký University Olomouc
(Distant) Contacts
In 1990, I realised an event titled Contacts in the Olomouc park with students. It was about making visible the mutual connections in space, the experience of the relationship to nature, trees and to each other. It was about experiencing the closeness. In 2020, a remake of the original event will take place. Again, we will want to experience and make our relationships visible. However, the context has changed radically. I assume that the feelings of the participants will be quite different ... And you are all invite to do the event wherever you like.
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Hay Penny
Bath Spa University, UK
House of Imagination
House of Imagination provides a range of spaces for children and young people to collaborate with creative professionals. It is a home for improvisation, creativity and innovation and a place to make these visible through research. House of Imagination celebrates an experimental, research-based approach to explore the potential, challenges and opportunities in the area of creative resistance and how this invites a new pedagogical approach. Signature research projects include School Without Walls, Forest of Imagination and House of Imagination pop-up spaces. These research projects develop new ways to approach creative learning across the arts education sector, prioritising creativity, critical thinking and co-enquiry. Artists and creative professionals work alongside young people to co-design a creative pedagogy using the city/village as a campus for learning and an experimental pedagogical site.
Heretakis Lefteris
Alicante, IE University, Madrid, Spain
Design Education Talks Podcast. From Practice to Education
The voice of the practitioner’s will give us a more complete picture about the way we need to reshape Art and design education now and in the future.
Ho Ka Lee Carrie
University of Saint Joseph, Macau, China
Musicking philosophy into practice: Online virtual workshop on the theme of Beethoven’s 9th Symphony "Ode to Joy"
Musicking is the term originally introduced by Christopher Small (1998) that simply means the act of music making. For Small (1998), music is not a fixed artwork, but an act, which is defined by singing, listening, playing, practicing, composing and dancing (Small, 1998). Dissanayake (2015) criticized the contemporary changes in the concept of overemphasis on performance outcomes, which, like sports, requires tough competition, and ignores the community sense of musical sharing. According to Dissanayake (2015), in a traditional society in any culture, music was originally shared in community from the religious ceremony to the local carnivals, and there was no wall between performing and listening. Everyone used to participate in music in a shared sense either by singing, dancing, playing instruments, composing. Although there is a vast array of literature describing musicking as a philosophy, there are very few examples of practicing musicking, especially in the field of educational settings. Ultimately, this study aims to construct a practice model of musicking by offering online virtual workshop via Zoom on the theme of Beethoven’s 9th Symphony "Ode to Joy".
Horáková Romana
The Brno House of Arts, Czech Republic
ZET ZET
Martin Zet’s exhibition named Sculptor Miloš Zet: Walls, Plinths and Mock-ups, dealing among others with the profession of a sculptor, was one of the Brno House of Arts projects marked with the coronavirus crisis. Several worksheets have been prepared for the closed exhibition, thanks to which those interested could try the profession of a sculptor while comfortably at home. One of the creative activities allowed to get acquainted with the technique of casting – making a small-scale plaster model of Martin Zet’s large concrete sculpture.
Husová Beáta
Múzeum mesta Bratislavy, Slovakia
Stop boredom – Museum Online
Atelier Museum has a future, felt the effects of the COVID-19 pandemic by suspending the unique one forms of education in the museum. For this reason, the studio moved it's activities to the virtual space. We have created a virtual educational and playful space for children, their parents, and teachers. Successful cycle "How our parents played" ... was replaced with the event Stop boredom – museum online in the series "Stories from the Museum." From March to June, we entered homes every Friday with a new story of toys from the museum depository and a video tutorial on how to make their own paper toys. We played together and showed how our parents and grandparents played. The project aimed to promote intergenerational dialogue between children, parents, and old parents through games and toys. We focused on creative activities inspired by historical toys.
Chen Yu-Hsiang
National Taiwan University of Arts, Taiwan
Attitudes of Art Teachers Toward Implementing New Media Art
This study explored art teachers’ latent attitudes toward implementing new media artteaching by investigating their cognition. Postsecondary students studying art teaching were investigated. A technology acceptance model was used as the theoretical basis, and external variables were expanded to construct a questionnaire on art teachers’ perceptions regarding implementing new media art teaching. The questionnaire comprised six latent construct domains, including the ease of implementing new media art teaching, the effectiveness of implementing new media art teaching, attitudes toward implementing new media art teaching, the intention to implement new media art teaching, and facilitating conditions thereof. The maximum likelihood estimation of the structural equation model was used to analyze the relevant parameters and fitness index of the measurement mode to verify the rationality of the model. The model used to verify the hypothesis factor displayed a reasonably good fit, and the path of the structural model demonstrated that the research hypothesis was correct. The research results indicated that the facilitating conditions of teaching positively affect the ease and effectiveness of the implementation of new media art teaching. The attitude toward implementing new media art teaching, the ease of implementing new media art teaching, and the effectiveness of implementing new media art teaching positively affect the intention to implement new media art teaching. In particular, the effectiveness of implementing new media art teaching has a crucial effect on the intention to implement new media art teaching.
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Chorý Tomáš
Department of Art Education, Faculty of Education, Palacký University Olomouc, Czech Republic
Welcome speech by the Head of the Department of Art Education, Faculty of Education, Palacký University Olomouc (Czech Republic)
Christopoulou Martha
1st Regional Center of Educational Planning (RCEP) of Attica, Greece; National and Capodistrian University of Athens, Department of Early Childhood Education & AKTO Art & Design College
Teaching art education in time of Covid-19: Reflections on an art educator’s journey
This paper presents a reflective case study of an attempt to teach a studio-based art course for preservice early childhood teachers during the Covid-19 lockdown, between March and June 2020, in Athens, Greece. It presents my efforts to redesign the course syllabus and artmaking activities and create an interactive and supportive distance learning class environment to enable students to keep a creative mindset through this challenging time. Reflections on choices regarding synchronous and asynchronous instruction, lesson objectives and content, art making assignments and assessment illustrate the observations, feelings and lessons learned in regards to how teaching and learning has been kept up during lockdown and how it worked (or not) for students and me as an art teacher. This paper concludes with highlighting the strengths and challenges of the pedagogical and instructional responses used during this crisis and proposes changes in the curriculum instruction in order to facilitate transformative learning experience for diverse student needs, preferences and aspirations. It, also, suggests ways to incorporate the transformations made into my future teaching.
Jacobs Rachael
Western Sydney University, Australia
Adapting pedagogies in digital performance with young refugees and migrants
Inside. Outside. And Beyond is a digital storytelling project conducted with migrant and refugee youth in Ireland. The study used digital storytelling workshops and interviews, investigating how the 2020 lockdown affected students’ sense of belonging and motivation to speak English. Nested within a study on performative language learning and belonging, the study examined whether the lockdown restrictions have re-written the boundaries of inclusion and exclusion or sense of belonging in young refugees and migrants. This workshop demonstrates storytelling and drama pedagogies which were adapted for the online learning environment. We discuss successful aspects of the project that assisted in giving learners connection and agency in their learning environment, as well as the technological, personal and performative challenges.
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Jakubcová Hajdušková Lucie
Univerzita Karlova, Prague, Czech Republic
No miracle. Augmented reality in gallery education.
We would like to present brief case study from future teacher education environment. This text describes development of educational materials for gallery education in one group of students of Art Education at the Charles University, Faculty of Education (Prague, Czech Republic). The students were asked to design worksheet with augmented reality (AR). The aim was to use AR as educational tool - for example as solution verification. Lectures were interrupted with the Covid pandemic and closure of faculty but continued in distance learning mode.
Jedlička David
Department of Art Education, Faculty of Education, Palacký University Olomouc, Czech Republic
Painting of Students in the Period of Isolation
The painting medium as a classic and slow method, in contrast to new media, is characterized by necessity higher concentration on the painting process itself. The topic for a painting project is usually assigned as a semester work. In the past semester, students worked on works with the topic of Reality Construction. They were invited to deal with the concept of reality as a separate fact that cannot be neutral for the subject. At the moment of an attempt to interpret reality, our knowledge, assumptions, as well as projections of one's own mental state apply. Painting as an attempt to reinterpret reality, which presupposes its own restrictions and limits, is probably not a linear optical perception, but rather resembles an interpretive collage, which is based on meaning-laden perceptions, memories, ideas. Painterly realism thus finds itself in the field of researching the symbols and signs of the contemporary world, where the mediated information prevails over personal experience. In the current artistic context, the realistic conception of painting finds itself on the border between postmodernity and new surrealism. The period of coronavirus isolation set new conditions for creation. Unintentionally, the individual deviates from established stereotypes. The functional system, which, among other things, determines the place of an individual in society and defines his social role, is suddenly different. I would like to offer the results of the students' work as a pictorial presentation.
Jiroutová Jana
Czech Section of INSEA, Department of Art Education, Faculty of Education, Palacký University Olomouc, Czech Republic
Opening speech of the event organisers | Grand Opening
Untitled. Undated.
Our workshop is based on the project of the same name, which deals with the methodological support of art education. It is based in the web platform www.nedatovano.cz (with accompanying Facebook and Pinterest pages), where you can find animated videoclips and worksheets with ideas for art education. This project has gained special significance during quarantine (in the Czech Republic the period started in March 2020, when all schools had to be closed), when it developed greatly and became an important volunteer-based activity that provided support not only to teachers, but also to children and their parents. In our workshop, participants can try one of the ways to implement distance art education. We will offer participants five animated videoclips and a set of worksheets inviting them to dive into a creative activity and to share their works. The materials will be available to download and to be used freely.
Kaspar Jiří
Rugao International Academy, Longyou Lake Foreign Language School affiliated to Beijing Foreign Studies University
Case study of Rugao International Academy during the COVID-19 Pandemic and the Importance of Active Art During the Pandemic.
This paper lays out the context of Beijing Foreign Studies University affiliated Rugao International Academy (RIA) and the way it has tackled the COVID-19. The health and safety measures brought about a number of issues, such as isolation, frustration and boredom, often leading up to conflict and divorce, all stemming from the lack of social contact. At a time of online learning and general frustration and lack of motivation caused by the psycho-social factors, it was the active role of art that offered a means of mitigation of the negative effects of the isolation. Particularly the lack of access to resources and the absence of social contact is what made the students and the audience of UK’s show Taskmaster turn the disadvantage into an advantage.
Klesnil Svatopluk
Department of Art Education, Faculty of Education, Palacký University Olomouc, Czech Republic
Temporary presence, Mr. Oswald
The word ‘isolation’ in connection with human experience carries many meanings and connotations, both negative and positive. Both physical and emotional isolation, if not based on one’s voluntary choice, can leave its mark deeply affecting one’s life. In some cases, an affected person can transfer their trauma, even unconsciously, to next generations, and thus, such traumatic experience might become part of collective memory. It comes back to us and even future generations, often with the same intensity. After the end of World War II, the German population in Czechoslovakia became a subject to the principle of collective guilt and more than 90 % of ethnic Germans were expelled from their homes in Czechoslovakia without any compensation properties and property rights. The German family of Oswald P. (*1938) had lived on their family farm located in the North Moravia in Czechoslovakia since many generations ago. It was where Oswald and his three siblings were born and spent part of their childhood. In 1946, the family was forced to leave Czechoslovakia, as well as the rest of the village residents. It was their feeling of nostalgia and curiosity about what happened to their family home that encouraged them to visit the place of which they became only helpless observers, with no power to prevent its deterioration.
Koudela Tomáš
University of Ostrava, Czech Republic
Virtual plein air workshop
It has been decades since the Department of Art Education of the Faculty of Education of the University of Ostrava started to organize summer and autumn plein air workshops, where students consolidate theoretical and practical knowledge and skills acquired during their studies in the field. The plein air workshops, as a traditional part of teaching art education at universities, was unfeasible in its usual form this year due to the global pandemic situation. As it is an indispensable part of teaching, teachers and students had to look for another alternative. The chosen solution was a virtual plein air workshop, which took place in the form of electronic communication in MS Teams. The paper will be an evaluation not only of the operating conditions, but also a reflection on the inputs and the achieved results of the chosen teaching form.
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Kučerák Michal
DOX Center for Contemporary Art, Prague, Czech Republic
Fake it! (Workshop)
The Internet and especially social networks are actively exploiting the phenomenon of popularity. More likes, followers, tweets, posts, blogs, photos… and we are tend to trust the virtual identity even more. But everything can be "fake". In the world of synthetic media, we find ourselves facing new challenges. The future is in our hands. But what does that mean? How do we imagine it? Where are its boundaries? What does it mean to live in a synthetic world and how to navigate ourselves in a reality in which it is no longer possible to believe our own senses? Online workshop is part of the long-term project of the DOX Center #DATAMAZE that deals with our digital and data literacy. Target group: 2nd grade elementary school and high school students.
Kulazhenkova Inna
ArtEZ University of Arts, Arnhem, The Netherlands
Distance for Closeness: Choreographing communication in art research
This paper portrays mutual urge to integrate artistry with education from a position of socially engaged practice by building a solid reciprocal connection between psychology science and movement art. This work is a search in a broadest sense. A search for an ultimate distances and optimal closeness, coherently acknowledging the diversity of perception and sensation of personal space for each individual.
Lamatová Hana
Muzeum umění Olomouc, Czech Republic
EDU on wire │ Series of Educational Videos of Olomouc Museum of Art
We invite you to join our on-line workshop and to watch and try one of the five creative activities presented through the educational videos from the series EDU on wire prepared by the lectors of Olomouc Museum of Art for the summer holidays of 2020. The lectors reacted in this way on the new demand of distance education during the pandemic period. In total, they have created nine videos offering ideas and suggestions for creative activities inspired by the world of visual arts. These are focused on children and are suitable for indoor performance at home. These videos have been presented during the whole summer holidays. During the conference programme, you can try all the ideas and get creative, too. If you send your work to horak@muo.cz, we will publish it on our website. Do not forget to add your name, age and country.
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Lee Soo Cheng
Yishun Town Secondary School, Singapore
"My Superhero" Art Lesson
Is art essential in a global crisis such as coronavirus? Can art “heal” the world? In Singapore, one had to quickly adapt to teaching and learning online. Domestic violence, separation anxiety, job security, lack of personal space and social interactions were some of the prominent challenges faced by our students. In such difficult times, teenagers lacked the platform to express their worries and frustrations as the external environment focused on tactical safety measures rather than emotional well-being. "My Superhero" Art lesson was designed to provide students with an avenue to express their fears and anxieties to address a situation that ws beyond their control. Resilience was nurtured through their imagination of a hero that could solve the world’s problems and gave them hope to carry on their daily living.
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Lee-Nasir Ranae
Very Special Arts, Singapore
Home-Base Visual Arts Lessons piloted by the ALERT PROGRAMME, Very Special Arts Singapore
This paper shares how the visual arts department reached out to learners through activity sheets, video recording and online learning. The Arts in Learning, Rehabilitation and Training (ALERT), offered home-based art lessons for its learners and tried two asynchronous models and one synchronous model; these were rolled out one at a time between the months of April to July (2020) during the circuit-breaker period in Singapore.
Leslie Jessica
University of Melbourne, Victoria, Australia
Learning to teach from home as a radical collaboration: becoming art educator in lockdown
This is a moment to capture and archive for art education; a moment in time to recall later in a career embarked upon in a global pandemic. This paper presents how we have continued to ‘learn to learn’ how to teach, while learning at home and teaching in remote virtual placements from home as a form radical relatedness (McKernan, 2004). We have developed new agile, responsive and ethical ways to design and co-design learning experiences to create curious and critical encounters for students who were also at home (Coleman & MacDonald, 2020). We have been working in our home studios developing new ways of learning art pedagogies and practices as individuals, as well as within an a/r/tographic collective. We have remained connected several physical ways: co-writing a speculative pandemic zine and sending artworks to each other while sharing all learning experiences as a co-lab for becoming.
Lian Bee Kehk
National Institute of Education, Nanyang Technological University, in Singapore
Re-thinking the meaning of art for children and adolescents and the type of art education for the future
The current pandemic has swept swiftly across the globe and destabilized many traditional social institutions that we are familiar with, and one such institution is schools. The present crisis has also forced us to confront fundamental issues in art education that we have perhaps, ignored or not taken seriously for a long time. Art education in schools is often subjected to political and social agendas and are ascribed roles that are consistent with and supportive of various governments’ ideals. While many of these roles of art education are reasonable and valid, it is timely for us to re-evaluate the meaning of art education for children and adolescents. In Singapore, we are fortunate that art is a mandatory subject for students from primary to secondary 2 level. However, what does art education mean to these young people and what can we do to create meaningful art experiences for them? In addition, present constraints brought about by the crisis such as social distancing measures, museum closures and online learning take away the very kind of learning in art that is anchored in actual physical viewing, demonstration, modeling and making. I will share experiences from Singapore’s context and discuss the need for art teachers to be technology-ready. I will also suggest that we think about why young people make art and the possible value it holds for them.