Joubert Educating in the Arts

The Asian Experience: Twenty-Four Essays
2008
ISBN: 978-1-4020-6387-9
Verlag: Springer Netherlands
Format: PDF
Kopierschutz: 1 - PDF Watermark

E-Book, Englisch, Band 11, 358 Seiten

Reihe: Education in the Asia-Pacific Region: Issues, Concerns and Prospects

Written by leaders in a wide range of creative fields and from all corners of the Asian region, this collection of essays presents arts and education programs which reflect traditional and contemporary practices. The volume aims to encourage the use of the arts in developing international understanding, celebrating cultural diversity, building cultural bridges and creating cross-cultural dialogue throughout the Asian region.

Autoren/Hrsg.

Joubert, Lindy

Inhaltsverzeichnis

1;Contents;8
2;Introduction by the Series Editors;12
3;Preface;15
4;Acknowledgements;17
5;Contributors;18
6;Introduction and Overviews;22
6.1;The Arts – Unifying Principles in Education;23
6.1.1;1. Introduction;23
6.1.2;2. Arts Education in Schools – the UNESCO Mandate;25
6.1.3;3. Valuing the Arts in Education and Research;26
6.1.4;4. The Social Impact of Educating in the Arts;29
6.1.5;5. The Arts and Community Regeneration – No Longer Just for Arts Sake;30
6.1.6;6. Research in the Arts for Pedagogy and Sustaining Communities;31
6.1.7;7. Educating in the Arts and Culture to Overcome Exclusion;32
6.1.8;8. Interaction Between NGO’S, Community Groups, Parents and Young People;33
6.1.9;9. Economic Alliances and Human Resources;36
6.1.10;10. Brief Summaries of Essays;37
6.1.10.1;10.1. Section One: Introduction and Asia Overviews;38
6.1.10.2;10.2. Section Two: Arts Education Programmes: Iran, Hong Kong and Cambodia;39
6.1.10.3;10.3. Section Three: The Arts, the Gallery and the Cultural Landscape – Japan/ Australia, Kyrgyzstan and Thailand;41
6.1.10.4;10.4. Section Four: Creativity and Expression in the Digital Age – Singapore and Japan;42
6.1.10.5;10.5. Section Five: The Arts, Education and the Community: Uzbekistan, Hong Kong, China, Thailand and the Philippines;43
6.1.10.6;10.6. Section Six: Music Programmes for Education, Multiculturalism and Human Development – Japan, Malaysia, Sri Lanka and Korea;45
6.1.10.7;10.7. Section Seven: Theatre, Dance and the Holistic Experience;46
6.1.11;Further Reading;49
6.2;Masters and Pupils;51
6.2.1;1. The Establishment of the Schools;52
6.2.2;2. The Rivalry of the Local and the Foreign;60
6.2.3;3. Art Schools as Centres of Artistic Life – and Ferment;63
6.2.4;4. And in More Recent Times;64
6.2.5;References;64
6.3;Art for Education;66
6.3.1;1. Introduction;66
6.3.2;2. A Snapshot of the Realities for Many Schools in Rural Asia;67
6.3.3;3. Art and Education: Two Perspectives and Case Studies;68
6.3.4;4. Ways Forward;71
6.3.5;References;71
7;Arts Education Programmes: Iran, Hong Kong, Cambodia;72
7.1;Arts Education in Iran;73
7.1.1;1. Art Education: a Luxury or a Necessity?;73
7.1.2;2. The Art Curriculum in the Education System of Iran: Elementary Level;75
7.1.3;3. The New Arts Programme;78
7.1.4;4. Critique, Evaluation, Final Words;80
7.1.5;References;81
7.2;The Arts-in-Education Programme;83
7.2.1;1. Background;83
7.2.2;2. Programme Implementation;84
7.2.2.1;2.1. The Arts and Language;84
7.2.2.2;2.2. Media Arts and Traditional Culture;84
7.2.2.3;2.3. Integrating the Arts;85
7.2.2.4;2.4. Concept Assimilation with the Arts;85
7.2.2.5;2.5. The Arts and Learning Diversities;85
7.2.2.6;2.6. The Arts and Creativity;86
7.2.3;3. Project Evaluation;86
7.2.3.1;3.1. Lesson Observations;86
7.2.3.2;3.2. Semi-Structured Interviews;87
7.2.3.3;3.3. Focus Group Meetings;87
7.2.3.4;3.4. Student Attitude Inventory;87
7.2.3.5;3.5. Schools’ Final Reports;88
7.2.4;4. Findings ;88
7.2.4.1;4.1. Motivation and Interest;88
7.2.4.2;4.2. Arts-Specific Knowledge and Skills;89
7.2.4.3;4.3. Improvement in Other Subjects and Local Culture;90
7.2.4.4;4.4. General Intellectual Skills;92
7.2.4.5;4.5. Artist’s Behaviour and Collaboration Between Artists and Teachers;93
7.2.5;5. Implications ;94
7.2.5.1;5.1. Further Implementation and Study of an Integrated Curriculum in and Through the Arts;94
7.2.5.2;5.2. Finding a Place for Drama in the Curriculum;95
7.2.5.3;5.3. Provide Opportunities for Artists and Teachers;95
7.2.5.4;5.4. The Importance of the School Support;96
7.2.5.5;5.5. Collaborating with Community Resources;97
7.2.5.6;5.6. The Importance of the Government Support;97
7.2.6;6. Conclusion;98
7.2.7;References;98
7.3;Arts Education in Cambodia;100
7.3.1;1. Introduction;100
7.3.2;2. The Significance of Arts and Culture in Khmer Society;101
7.3.2.1;2.1. Cultural Value and Preservation;101
7.3.3;3. Educational Systems in Cambodia ;102
7.3.3.1;3.1. Ministry of Education, Youth and Sports;102
7.3.3.2;3.2. The General School;102
7.3.4;4. Cultural Institutions Responsible for Khmer Culture ;103
7.3.4.1;4.1. The Ministry of Culture and Fine Arts;103
7.3.4.2;4.2. Royal University of Fine Arts;104
7.3.4.3;4.3. Faculty of Music;105
7.3.4.4;4.4. Department of Arts and Performing Arts;106
7.3.4.5;4.5. City and Provincial Cultural Groups;106
7.3.4.6;4.6. Non-Governmental Organizations;106
7.3.5;5. Arts Education in the General School Curriculum;106
7.3.5.1;5.1. Traditional Forms of Cultural Transmission;107
7.3.5.2;5.2. Efforts in Transmission and Documentation;108
7.3.6;6. The Impact of Arts Education in Cambodia;109
7.3.6.1;6.1. Investment in the Youth;109
7.3.6.2;6.2. Education of the Mind;109
7.3.6.3;6.3. Economic Development and Growth;109
7.3.6.4;6.4. Tourism;111
7.3.6.5;6.5. Privatization;112
7.3.6.6;6.6. Artist Village;113
7.3.7;7. Conclusion;113
7.3.8;References;116
8;The Arts, the Gallery and the Cultural Landscape: Japan, Australia, Kyrgyzstan and Thailand;117
8.1;Representation of Japanese Art at the Art Gallery of New South Wales ( Sydney, Australia);118
8.1.1;1. Introduction;118
8.1.2;2. Personal Background;118
8.1.3;3. Work as the Curator of Japanese Art at the Art Gallery of New South Wales;120
8.1.4;4. Exhibitions 1998–2002;123
8.1.5;5. Exhibition ‘Seasons: the Beauty of Transience in Japanese Art’;129
8.1.6;6. The New Japan Gallery Display;133
8.1.7;7. Conclusion;134
8.1.8;References;134
8.1.9;Further Reading;135
8.2;Mountains in the Evolution of Visual Arts in Kyrgyzstan;136
8.2.1;1. Traditional Decorative Arts of Kyrgyzstan;137
8.2.2;2. Kyrgyz Painting Tradition of the Soviet Period;142
8.2.3;3. Conclusion: The Fine Arts of Independent Kyrgyzstan;147
8.2.4;References;148
8.3;Development of Contemporary Art in Thailand;149
8.3.1;1. Art Institutes in the Early Days;149
8.3.1.1;1.1. Modern Art Institutes and Realism;150
8.3.2;2. The National Art Exhibition;151
8.3.3;3. From Realism to Diversity;152
8.3.4;4. Semi-Abstract Art;153
8.3.5;5. From Contemporary Art to Internationalism;153
8.3.6;6. Art for Social Criticism and Art for Life;154
8.3.7;7. Presentation of New Materials and Methods;155
8.3.8;8. The Expansion in the Study of Art and Contemporary Art for the Young Generation;155
8.3.9;9. Multiculturalism in the Borderless World;156
8.3.10;10. The Economic Crisis and Contemporary Art in the Thai Way of Living;156
9;Creativity and Expression in the Digital Age – Singapore and Japan;158
9.1;Information Technology, Art Education and Creativity in Singapore;159
9.1.1;1. Singapore and the Renaissance City;160
9.1.2;2. The Hardware and Software of the Renaissance City;161
9.1.3;3. A Broad Overview of Art Education;165
9.1.4;4. A Visit to an Art Studio in a Secondary School;167
9.1.5;5. Reflections on the Visit;170
9.1.6;6. Conclusion;171
9.1.7;References;173
9.2;The Power of Creation and Expression in Digital- Age Children;175
9.2.1;1. Workshop Collection 2004;175
9.2.1.1;1.1. Policy to Raise the Standards of Creativity and Expressive Capabilities;176
9.2.1.2;1.2. CANVAS;177
9.2.1.3;1.3. Studying the Cultural Background;178
9.2.2;2. Workshop Examples (Visual Workshops);178
9.2.2.1;2.1. Summer Camp at the University of Tokyo (Films and Animation);179
9.2.2.2;2.2. Clay Animation;179
9.2.2.3;2.3. Film-Making;180
9.2.2.4;2.4. Creative Photography;181
9.2.2.5;2.5. Video Clip;182
9.2.2.6;2.6. Digi-C182
9.2.2.7;2.7. Mirror of the Brain;182
9.2.2.8;2.8. Dragri;183
9.2.2.9;2.9. CG Character Creation;183
9.2.2.10;2.10. Relay Pictures;183
9.2.3;3. Workshop Examples (Music and Performance);184
9.2.3.1;3.1. DJ;184
9.2.3.2;3.2. Drum Circle;185
9.2.3.3;3.3. Sword Fighting;185
9.2.3.4;3.4. String Telephones;185
9.2.3.5;3.5. Creating a Radio Programme;186
9.2.3.6;3.6. Making a Robot with a Cricket;186
9.2.4;4. Conclusion;187
10;The Arts, Education and the Community: Uzbekistan, Hong Kong, China, Thailand, and the Philippines;188
10.1;Art Education in Uzbekistan;189
10.1.1;1. Main Stages of Art Development in Uzbekistan and Methods of Education;189
10.1.2;2. Development of Art and Formation of Art Education in Uzbekistan in the Twentieth Century;191
10.1.3;3. Problems of Art Education During the Period of Independence. Education as a Fundamental Requirement of Creativity, and Not an Obstacle to it;193
10.1.4;4. How to Stimulate the Creativity of the Student;195
10.1.5;5. Miniatures in the System of Modern Academic Education;196
10.1.6;6. Theories of Art as an Important Part of Art Education;197
10.1.7;7. Forms of Teaching in the Traditional Sphere of Art;198
10.1.8;Further Reading;199
10.2;To Strive, to Seek, to Find and not to Yield;200
10.2.1;1. Policy Development;202
10.2.2;2. New Directions;205
10.2.3;3. Arts Education Projects;206
10.2.4;4. Future Prospects;211
10.2.5;Note;212
10.2.6;Further Reading;212
10.3;Sustainable Education for Sustaining Communities:;213
10.3.1;1. Introduction;213
10.3.2;2. China: Renmin High School, affiliated to Renmin University of China HSARUC ;214
10.3.2.1;2.1. Background;214
10.3.2.2;2.2. Strategies to Develop Life Skills and Deeper Understanding of Social Issues;215
10.3.2.3;2.3. Recent Developments;216
10.3.3;3. Thailand: Pilot Project Over Ten Provincial Schools (2);217
10.3.3.1;3.1. Background;217
10.3.3.2;3.2. Assessment of the Case Studies Examined in Thailand and China;222
10.3.3.3;3.3. Outcomes;223
10.3.4;4. Conclusion;224
10.3.5;Notes;224
10.4;New and Varied Initiatives in Arts Education for Cultural Development in Philippine Society;226
10.4.1;1. Arts and Culture in the Philippines;226
10.4.2;2. The Situation in the Philippines of Art and Cultural Education;227
10.4.3;3. The Philippine Art Educators Association;228
10.4.4;4. The Philippine Educational Theatre Association;229
10.4.5;5. Kasibulan (Kababaihan Sa Sining at Bagong Sibol Na Kamalayan) ( Women in the Arts and an Emerging Consciousness);230
10.4.6;6. Baglan, an Initiative in the Arts for Community Development;230
10.4.7;7. Dalubhasaan Sa Edukasyon, Sining at Kultura (Desk) an Academy in Education, Art and Culture;231
10.4.8;8. The Cultural Centre of the Philippines;232
10.4.9;9. Sub-Committees of the National Commission for Culture;233
10.4.10;10. The National Commission for Culture and the Arts ( NCCA) – Philippine Cultural Education Plan;233
10.4.11;11. Arts Education for Cultural Development in Philippine Society;234
11;Music Programmes for Education, Multiculturalism and Human Development: Japan, Malaysia, Sri Lanka and Korea;235
11.1;Crossroads for Cultural Education Through Music;236
11.1.1;1. A Paradigm Shift in Teaching Music in Schools;236
11.1.2;2. Inter-Subjective Approaches to Teaching World Music;238
11.1.3;3. Socio-Cultural Dimesions of Teaching World Music;240
11.1.4;4. Asian Music Educators’ Network;243
11.1.5;Further Reading;243
11.2;Symphony and Sa Re Ga;244
11.2.1;1. Introduction;244
11.2.2;2. Rationing Time;245
11.2.3;3. Surveying Music and Music Education in Sri Lanka;245
11.2.4;4. A Historical Overview of Music and Music Education in Sri Lanka;246
11.2.5;5. Music Education in Recent and Contemporary Times;248
11.2.6;6. Trials and Tribulations: Drafting a Pre-Service Course;250
11.2.7;7. The Pre-Service Music Teacher Training Course;250
11.2.8;8. A Summary of the Aims and Objectives of the Course;251
11.2.9;9. Musical Competencies Required, or Broad Areas of Study;252
11.2.10;Notes;252
11.2.11;References;253
11.3;A Paradigm Shift in Teaching Music in Schools;254
11.3.1;1. Why Multiculturalism?;255
11.3.2;2. Music Curriculum in Malaysian Secondary Schools;255
11.3.3;3. Current Limitations of Music Teaching;257
11.3.4;4. Example of an Instructional Approach in Music Appreciation Classes;257
11.3.5;5. Lesson Plans;258
11.3.5.1;5.1. Lesson Plan 1 (Wayang Kulit Kelantan);258
11.3.6;6. Instruments (see Fig. 18.1) ;259
11.3.6.1;6.1. Musical Elements;259
11.3.7;7. Intercultural Influences in Instrumentation and Musical Style;261
11.3.7.1;7.1. Lesson Plan 2 (Togunggu/ Togunggak);262
11.3.8;8. Conclusion;263
11.3.9;References;265
11.4;Layers of Thought on Korean Music, Music Education and the Value of Music and Arts in the Context of Education and Human Development;266
11.4.1;1. The Background to the Current Musical Culture of Korea;266
11.4.2;2. The Consequences ;268
11.4.2.1;2.1. A Lack of Cultural Identity;268
11.4.2.2;2.2. Why is Identity Important?;269
11.4.3;3. Korean Attitudes to the Arts;269
11.4.3.1;3.1. A Study of School Principals;270
11.4.3.2;3.2. Disparate Realities;270
11.4.3.3;3.3. Realities of Music Education in Korea;270
11.4.3.4;3.4. Music Education in Arts Schools (Special Purpose Schools);271
11.4.3.5;3.5. Music Education in Alternative Schools;272
11.4.3.6;3.6. Music Education in Private Institutions (Studio Teaching);272
11.4.3.7;3.7. A Study of the Value of Musical Abilities to Educational Development;272
11.4.3.8;3.8. A Comparison of Musical Ability Scores to Mathematics and Other Behavioural Traits;274
11.4.4;4. Summary;274
11.4.5;5. Layers of Thought;276
11.4.6;Further Reading;277
12;Theatre, Dance and the Holistic Experience: India, Hong Kong and Malaysia;278
12.1;Rasa – A Life Skill;279
12.1.1;1. The Natyasastra;280
12.1.2;2. The Rasa Sutra;280
12.1.3;3. Rasa in Education;281
12.1.4;4. Case Studies;282
12.1.4.1;4.1. Where Dance has been used as Purely a Creative Art Form ( Abacus School, Chennai, India);282
12.1.4.2;4.2. Where Dance has been used to Bolster the Physical Education Curriculum ( a Survey as Part of My Master’s Thesis, with Help from the Madras Craft Foundation, Chennai, in Conjunction with Various Schools across Chennai, India);283
12.1.4.3;4.3. Where Dance has been used to Aid the Educative Process ( Avvai Home, Chennai, India);283
12.1.4.4;4.4. Where Dance was Substituted in a Moral Science Programme at a Juvenile Correctional Centre ( Purasuvalkam, Chennai);284
12.1.4.5;4.5. Where Dance was Included as a Part of a Vocational Training Programme for Professional Sex Workers, Child Sex Workers, Transvestites and People Affected with HIV, with Oxfam ( Phnom Penh, Cambodia);284
12.1.4.6;4.6. Where Dance was Included as an Optional After-School Activity in a Burmese Street Children’s Home with World Vision ( Yangon, Myanmar);285
12.1.4.7;4.7. Where Dance was Used to Aid Dogs: With the SPCA ( Bangkok, Thailand);285
12.1.4.8;4.8. Where Dance, Legend, Death and Immortality were Interwoven with Village Children in Indonesia with Local Children ( Pajangan, Indonesia);285
12.1.5;5. Benefits Observed;286
12.1.6;6. Possible Negative Outcomes, Issues and Questions;287
12.1.7;7. Conclusion;289
12.1.7.1;7.1. The Process of Realizing rasa is as Important as the Actual Experience;289
12.1.8;Further Reading;290
12.2;Tertiary Dance Education in Malaysia;292
12.2.1;1. Traditional Dance Training;293
12.2.2;2. Western Dance Training;297
12.2.3;3. Choreography;298
12.2.4;4. Challenges;299
12.2.5;5. Recommendations;302
12.2.6;Further Reading;303
12.3;Theatre and Education:;304
12.3.1;1. Background: The Theory and Practice of Community Theatre;304
12.3.2;2. The Value of Community Theatre in Community and Personal Development;307
12.3.2.1;2.1. Community Development;308
12.3.2.2;2.2. Social and Political Personal Development;308
12.3.2.3;2.3. Spiritual and Emotional Personal Development;308
12.3.2.4;2.4. Cognitive Personal Development;309
12.3.3;3. Steps for Mounting a Successful Community Theatre Group;311
12.4;The Black Box Exercise;315
12.4.1;1. The Black Box Contains Records of Flying;315
12.4.2;2. What do You Understand by a ‘Black Box’?;315
12.4.3;3. An Exercise and an Arts Education Experiment;316
12.4.4;4. An Attempt to Define and Redefine Arts and Education;317
12.4.5;5. The Stages of Black Box Activities;317
12.4.6;6. Black Box Creative Concepts in Relation to Arts Education and Globalization Culture ;318
12.4.6.1;6.1. An International Arts Education Curriculum;318
12.4.6.2;6.2. Creativity on a Fair and Common Ground;318
12.4.6.3;6.3. Inclusion Versus Exclusion;319
12.4.6.4;6.4. Freedom and Its Limits;319
12.4.6.5;6.5. Individuality Versus Collective Creativity;320
12.4.6.6;6.6. A Bottom–Up Approach to Developing a Civil Society;320
12.4.6.7;6.7. Art Versus Institutions and Systems;320
12.4.6.8;6.8. Form and Content of Representation and Communication;321
12.4.6.9;6.9. Cross-Community/Cross-Discipline and Cross-Culture;321
12.4.6.10;6.10. An International Arts Education Curriculum;321
12.4.7;7. Black Box Exercise Principles;322
12.4.7.1;7.1. Hands-On Activities;322
12.4.7.2;7.2. Project-Based Learning;322
12.4.7.3;7.3. Role Playing in Real Time;323
12.4.7.4;7.4. Community Sharing;323
12.4.7.5;7.5. Replicablity of the Model;324
12.4.8;8. The Black Box Exercise Characteristics and Approaches ;324
12.4.8.1;8.1. Installation Art;324
12.4.8.2;8.2. Workshop Based;325
12.4.8.3;8.3. Artists’ Involvement;325
12.4.8.4;8.4. Ownership;325
12.4.8.5;8.5. A Cross-Regional Exchange Model and Network;326
12.4.8.6;8.6. Zuni Icosahedron (Founded in 1982, an Independent Cultural Collective);328
13;Conclusion;332
13.1;Conclusion;333
13.1.1;1. Valuing the Outcomes of Educating in the Arts;333
13.1.2;2. The Vital Role of NGOS When Educating in the Arts;335
13.1.3;3. Building Educational Opportunities;336
13.1.4;4. UNESCO’S Leadership Role in the Arts in Education;337
13.1.5;5. The Future;338
13.1.5.1;5.1. Who will Benefit and how?;339
13.1.5.2;5.2. Current Strategies are Insufficient;339
13.1.5.3;5.3. Educating in the Arts using ICTs Meets the Challenges of our Societies;340
13.1.6;Further Reading;342
13.2;Author Index;344
13.3;Subject Index;347