Educating in the Arts (eBook)

Contents 8
Introduction by the Series Editors 12
Preface 15
Acknowledgements 17
Contributors 18
Introduction and Overviews 22
The Arts – Unifying Principles in Education 23
1. Introduction 23
2. Arts Education in Schools – the UNESCO Mandate 25
3. Valuing the Arts in Education and Research 26
4. The Social Impact of Educating in the Arts 29
5. The Arts and Community Regeneration – No Longer Just for Arts Sake 30
6. Research in the Arts for Pedagogy and Sustaining Communities 31
7. Educating in the Arts and Culture to Overcome Exclusion 32
8. Interaction Between NGO’S, Community Groups, Parents and Young People 33
9. Economic Alliances and Human Resources 36
10. Brief Summaries of Essays 37
10.1. Section One: Introduction and Asia Overviews 38
10.2. Section Two: Arts Education Programmes: Iran, Hong Kong and Cambodia 39
10.3. Section Three: The Arts, the Gallery and the Cultural Landscape – Japan/ Australia, Kyrgyzstan and Thailand 41
10.4. Section Four: Creativity and Expression in the Digital Age – Singapore and Japan 42
10.5. Section Five: The Arts, Education and the Community: Uzbekistan, Hong Kong, China, Thailand and the Philippines 43
10.6. Section Six: Music Programmes for Education, Multiculturalism and Human Development – Japan, Malaysia, Sri Lanka and Korea 45
10.7. Section Seven: Theatre, Dance and the Holistic Experience 46
Further Reading 49
Masters and Pupils 51
1. The Establishment of the Schools 52
2. The Rivalry of the Local and the Foreign 60
3. Art Schools as Centres of Artistic Life – and Ferment 63
4. And in More Recent Times 64
References 64
Art for Education 66
1. Introduction 66
2. A Snapshot of the Realities for Many Schools in Rural Asia 67
3. Art and Education: Two Perspectives and Case Studies 68
4. Ways Forward 71
References 71
Arts Education Programmes: Iran, Hong Kong, Cambodia 72
Arts Education in Iran 73
1. Art Education: a Luxury or a Necessity? 73
2. The Art Curriculum in the Education System of Iran: Elementary Level 75
3. The New Arts Programme 78
4. Critique, Evaluation, Final Words 80
References 81
The Arts-in-Education Programme 83
1. Background 83
2. Programme Implementation 84
2.1. The Arts and Language 84
2.2. Media Arts and Traditional Culture 84
2.3. Integrating the Arts 85
2.4. Concept Assimilation with the Arts 85
2.5. The Arts and Learning Diversities 85
2.6. The Arts and Creativity 86
3. Project Evaluation 86
3.1. Lesson Observations 86
3.2. Semi-Structured Interviews 87
3.3. Focus Group Meetings 87
3.4. Student Attitude Inventory 87
3.5. Schools’ Final Reports 88
4. Findings 88
4.1. Motivation and Interest 88
4.2. Arts-Specific Knowledge and Skills 89
4.3. Improvement in Other Subjects and Local Culture 90
4.4. General Intellectual Skills 92
4.5. Artist’s Behaviour and Collaboration Between Artists and Teachers 93
5. Implications 94
5.1. Further Implementation and Study of an Integrated Curriculum in and Through the Arts 94
5.2. Finding a Place for Drama in the Curriculum 95
5.3. Provide Opportunities for Artists and Teachers 95
5.4. The Importance of the School Support 96
5.5. Collaborating with Community Resources 97
5.6. The Importance of the Government Support 97
6. Conclusion 98
References 98
Arts Education in Cambodia 100
1. Introduction 100
2. The Significance of Arts and Culture in Khmer Society 101
2.1. Cultural Value and Preservation 101
3. Educational Systems in Cambodia 102
3.1. Ministry of Education, Youth and Sports 102
3.2. The General School 102
4. Cultural Institutions Responsible for Khmer Culture 103
4.1. The Ministry of Culture and Fine Arts 103
4.2. Royal University of Fine Arts 104
4.3. Faculty of Music 105
4.4. Department of Arts and Performing Arts 106
4.5. City and Provincial Cultural Groups 106
4.6. Non-Governmental Organizations 106
5. Arts Education in the General School Curriculum 106
5.1. Traditional Forms of Cultural Transmission 107
5.2. Efforts in Transmission and Documentation 108
6. The Impact of Arts Education in Cambodia 109
6.1. Investment in the Youth 109
6.2. Education of the Mind 109
6.3. Economic Development and Growth 109
6.4. Tourism 111
6.5. Privatization 112
6.6. Artist Village 113
7. Conclusion 113
References 116
The Arts, the Gallery and the Cultural Landscape: Japan, Australia, Kyrgyzstan and Thailand 117
Representation of Japanese Art at the Art Gallery of New South Wales ( Sydney, Australia) 118
1. Introduction 118
2. Personal Background 118
3. Work as the Curator of Japanese Art at the Art Gallery of New South Wales 120
4. Exhibitions 1998–2002 123
5. Exhibition ‘Seasons: the Beauty of Transience in Japanese Art’ 129
6. The New Japan Gallery Display 133
7. Conclusion 134
References 134
Further Reading 135
Mountains in the Evolution of Visual Arts in Kyrgyzstan 136
1. Traditional Decorative Arts of Kyrgyzstan 137
2. Kyrgyz Painting Tradition of the Soviet Period 142
3. Conclusion: The Fine Arts of Independent Kyrgyzstan 147
References 148
Development of Contemporary Art in Thailand 149
1. Art Institutes in the Early Days 149
1.1. Modern Art Institutes and Realism 150
2. The National Art Exhibition 151
3. From Realism to Diversity 152
4. Semi-Abstract Art 153
5. From Contemporary Art to Internationalism 153
6. Art for Social Criticism and Art for Life 154
7. Presentation of New Materials and Methods 155
8. The Expansion in the Study of Art and Contemporary Art for the Young Generation 155
9. Multiculturalism in the Borderless World 156
10. The Economic Crisis and Contemporary Art in the Thai Way of Living 156
Creativity and Expression in the Digital Age – Singapore and Japan 158
Information Technology, Art Education and Creativity in Singapore 159
1. Singapore and the Renaissance City 160
2. The Hardware and Software of the Renaissance City 161
3. A Broad Overview of Art Education 165
4. A Visit to an Art Studio in a Secondary School 167
5. Reflections on the Visit 170
6. Conclusion 171
References 173
The Power of Creation and Expression in Digital- Age Children 175
1. Workshop Collection 2004 175
1.1. Policy to Raise the Standards of Creativity and Expressive Capabilities 176
1.2. CANVAS 177
1.3. Studying the Cultural Background 178
2. Workshop Examples (Visual Workshops) 178
2.1. Summer Camp at the University of Tokyo (Films and Animation) 179
2.2. Clay Animation 179
2.3. Film-Making 180
2.4. Creative Photography 181
2.5. Video Clip 182
2.6. Digi-Camp 182
2.7. Mirror of the Brain 182
2.8. Dragri 183
2.9. CG Character Creation 183
2.10. Relay Pictures 183
3. Workshop Examples (Music and Performance) 184
3.1. DJ 184
3.2. Drum Circle 185
3.3. Sword Fighting 185
3.4. String Telephones 185
3.5. Creating a Radio Programme 186
3.6. Making a Robot with a Cricket 186
4. Conclusion 187
The Arts, Education and the Community: Uzbekistan, Hong Kong, China, Thailand, and the Philippines 188
Art Education in Uzbekistan 189
1. Main Stages of Art Development in Uzbekistan and Methods of Education 189
2. Development of Art and Formation of Art Education in Uzbekistan in the Twentieth Century 191
3. Problems of Art Education During the Period of Independence. Education as a Fundamental Requirement of Creativity, and Not an Obstacle to it 193
4. How to Stimulate the Creativity of the Student 195
5. Miniatures in the System of Modern Academic Education 196
6. Theories of Art as an Important Part of Art Education 197
7. Forms of Teaching in the Traditional Sphere of Art 198
Further Reading 199
To Strive, to Seek, to Find and not to Yield 200
1. Policy Development 202
2. New Directions 205
3. Arts Education Projects 206
4. Future Prospects 211
Note 212
Further Reading 212
Sustainable Education for Sustaining Communities: 213
1. Introduction 213
2. China: Renmin High School, affiliated to Renmin University of China HSARUC 214
2.1. Background 214
2.2. Strategies to Develop Life Skills and Deeper Understanding of Social Issues 215
2.3. Recent Developments 216
3. Thailand: Pilot Project Over Ten Provincial Schools (2) 217
3.1. Background 217
3.2. Assessment of the Case Studies Examined in Thailand and China 222
3.3. Outcomes 223
4. Conclusion 224
Notes 224
New and Varied Initiatives in Arts Education for Cultural Development in Philippine Society 226
1. Arts and Culture in the Philippines 226
2. The Situation in the Philippines of Art and Cultural Education 227
3. The Philippine Art Educators Association 228
4. The Philippine Educational Theatre Association 229
5. Kasibulan (Kababaihan Sa Sining at Bagong Sibol Na Kamalayan) ( Women in the Arts and an Emerging Consciousness) 230
6. Baglan, an Initiative in the Arts for Community Development 230
7. Dalubhasaan Sa Edukasyon, Sining at Kultura (Desk) an Academy in Education, Art and Culture 231
8. The Cultural Centre of the Philippines 232
9. Sub-Committees of the National Commission for Culture 233
10. The National Commission for Culture and the Arts ( NCCA) – Philippine Cultural Education Plan 233
11. Arts Education for Cultural Development in Philippine Society 234
Music Programmes for Education, Multiculturalism and Human Development: Japan, Malaysia, Sri Lanka and Korea 235
Crossroads for Cultural Education Through Music 236
1. A Paradigm Shift in Teaching Music in Schools 236
2. Inter-Subjective Approaches to Teaching World Music 238
3. Socio-Cultural Dimesions of Teaching World Music 240
4. Asian Music Educators’ Network 243
Further Reading 243
Symphony and Sa Re Ga 244
1. Introduction 244
2. Rationing Time 245
3. Surveying Music and Music Education in Sri Lanka 245
4. A Historical Overview of Music and Music Education in Sri Lanka 246
5. Music Education in Recent and Contemporary Times 248
6. Trials and Tribulations: Drafting a Pre-Service Course 250
7. The Pre-Service Music Teacher Training Course 250
8. A Summary of the Aims and Objectives of the Course 251
9. Musical Competencies Required, or Broad Areas of Study 252
Notes 252
References 253
A Paradigm Shift in Teaching Music in Schools 254
1. Why Multiculturalism? 255
2. Music Curriculum in Malaysian Secondary Schools 255
3. Current Limitations of Music Teaching 257
4. Example of an Instructional Approach in Music Appreciation Classes 257
5. Lesson Plans 258
5.1. Lesson Plan 1 (Wayang Kulit Kelantan) 258
6. Instruments (see Fig. 18.1) 259
6.1. Musical Elements 259
7. Intercultural Influences in Instrumentation and Musical Style 261
7.1. Lesson Plan 2 (Togunggu/ Togunggak) 262
8. Conclusion 263
References 265
Layers of Thought on Korean Music, Music Education and the Value of Music and Arts in the Context of Education and Human Development 266
1. The Background to the Current Musical Culture of Korea 266
2. The Consequences 268
2.1. A Lack of Cultural Identity 268
2.2. Why is Identity Important? 269
3. Korean Attitudes to the Arts 269
3.1. A Study of School Principals 270
3.2. Disparate Realities 270
3.3. Realities of Music Education in Korea 270
3.4. Music Education in Arts Schools (Special Purpose Schools) 271
3.5. Music Education in Alternative Schools 272
3.6. Music Education in Private Institutions (Studio Teaching) 272
3.7. A Study of the Value of Musical Abilities to Educational Development 272
3.8. A Comparison of Musical Ability Scores to Mathematics and Other Behavioural Traits 274
4. Summary 274
5. Layers of Thought 276
Further Reading 277
Theatre, Dance and the Holistic Experience: India, Hong Kong and Malaysia 278
Rasa – A Life Skill 279
1. The Natyasastra 280
2. The Rasa Sutra 280
3. Rasa in Education 281
4. Case Studies 282
4.1. Where Dance has been used as Purely a Creative Art Form ( Abacus School, Chennai, India) 282
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
4.3. Where Dance has been used to Aid the Educative Process ( Avvai Home, Chennai, India) 283
4.4. Where Dance was Substituted in a Moral Science Programme at a Juvenile Correctional Centre ( Purasuvalkam, Chennai) 284
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
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
4.7. Where Dance was Used to Aid Dogs: With the SPCA ( Bangkok, Thailand) 285
4.8. Where Dance, Legend, Death and Immortality were Interwoven with Village Children in Indonesia with Local Children ( Pajangan, Indonesia) 285
5. Benefits Observed 286
6. Possible Negative Outcomes, Issues and Questions 287
7. Conclusion 289
7.1. The Process of Realizing rasa is as Important as the Actual Experience 289
Further Reading 290
Tertiary Dance Education in Malaysia 292
1. Traditional Dance Training 293
2. Western Dance Training 297
3. Choreography 298
4. Challenges 299
5. Recommendations 302
Further Reading 303
Theatre and Education: 304
1. Background: The Theory and Practice of Community Theatre 304
2. The Value of Community Theatre in Community and Personal Development 307
2.1. Community Development 308
2.2. Social and Political Personal Development 308
2.3. Spiritual and Emotional Personal Development 308
2.4. Cognitive Personal Development 309
3. Steps for Mounting a Successful Community Theatre Group 311
The Black Box Exercise 315
1. The Black Box Contains Records of Flying 315
2. What do You Understand by a ‘Black Box’? 315
3. An Exercise and an Arts Education Experiment 316
4. An Attempt to Define and Redefine Arts and Education 317
5. The Stages of Black Box Activities 317
6. Black Box Creative Concepts in Relation to Arts Education and Globalization Culture 318
6.1. An International Arts Education Curriculum 318
6.2. Creativity on a Fair and Common Ground 318
6.3. Inclusion Versus Exclusion 319
6.4. Freedom and Its Limits 319
6.5. Individuality Versus Collective Creativity 320
6.6. A Bottom–Up Approach to Developing a Civil Society 320
6.7. Art Versus Institutions and Systems 320
6.8. Form and Content of Representation and Communication 321
6.9. Cross-Community/Cross-Discipline and Cross-Culture 321
6.10. An International Arts Education Curriculum 321
7. Black Box Exercise Principles 322
7.1. Hands-On Activities 322
7.2. Project-Based Learning 322
7.3. Role Playing in Real Time 323
7.4. Community Sharing 323
7.5. Replicablity of the Model 324
8. The Black Box Exercise Characteristics and Approaches 324
8.1. Installation Art 324
8.2. Workshop Based 325
8.3. Artists’ Involvement 325
8.4. Ownership 325
8.5. A Cross-Regional Exchange Model and Network 326
8.6. Zuni Icosahedron (Founded in 1982, an Independent Cultural Collective) 328
Conclusion 332
Conclusion 333
1. Valuing the Outcomes of Educating in the Arts 333
2. The Vital Role of NGOS When Educating in the Arts 335
3. Building Educational Opportunities 336
4. UNESCO’S Leadership Role in the Arts in Education 337
5. The Future 338
5.1. Who will Benefit and how? 339
5.2. Current Strategies are Insufficient 339
5.3. Educating in the Arts using ICTs Meets the Challenges of our Societies 340
Further Reading 342
Author Index 344
Subject Index 347