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"Listening to nature" – the rewards of an eco-creative curriculum
Get PDFFrom creativity to wellbeing, young people stand to gain tremendously from interactive outdoor learning. Amanda Bayley and Jill Parsons share results of the Hear Water project and some excellent starter activities for teachers
Corpo seco
No full textBahia, Brazil. Faron's destiny changed in a moment of heartbreaking betrayal. Accidentally killing his mother in an explosion of justified rage, the distraught son of a plantation owner and slave falls swiftly to the retribution of the other servants. But even though he's brutally punished and buried after an execution, he's shocked when he wakes transformed into a cursed being of myth.
Fleeing to the Amazon jungle for a spiritual cure, Faron discovers he can temporarily transform into his old self in exchange for another person's life. But in his search for redemption as a murderous monster with an insatiable appetite for flesh, he arrives on the Gold Coast, West Africa where he stumbles upon an albino orphan, a beautiful woman, and creatures far more deadly than himself
THIS IS NOT A POSITION: rethinking productivity: as art / as pedagogy / as research
Get PDFIn this essay Jo Addison, Jenny Dunseath, Natasha Kidd, Kelly Large, and Magnus Quaife describe a course organised by them in Helsinki for students of three Nordic art universities. There were participants from the Academy of Fine Arts at Uniarts Helsinki, the Royal Danish Academy of Art, and the Oslo National Academy of the Arts. The main goal of the course was to examine collectively what it means to be an artist, by employing the methodology ”Inventory of Behaviours” developed by Addison and Kidd. The method produces an evolving artwork from the instructions written by the artists taking part of taking
part in the artwork, and which reflect their work in the studio. The course aimed at bypassing stereotypical views of the activities of an artist, and directing detailed attention towards their everyday behaviour and relationship with art making. What was especially interesting about the course was the perceptions of the participants
about the peripheral activities external to their creative
process. Based on the shared discussions, the authors summed
up several modes of such behaviour. These include for example resistance and methods for readiness and modes of care. They argue that this kind of activity has previously remained unnoticed as a possibility of rethinking art pedagogy. The essay presents the concrete results of the course and reflections also as a two-sided poster included in this book. In making the poster, the participants
of the course tested alternative forms of academic writing.
By doing so they tried to better manifest the forms and methods of meaning-making characteristic of artists, arts education, and art research. The poster conveys the experiences and embodied knowledge emerging from collaboration – confusion, joy, insight, annoyance, humour, and exhaustion. The poster also brings forth
the trust and compassion towards vulnerability that emerged
amongst the teachers and participants of the course, enabling experimental and innovative collaboration
On the resilience of the dead silence and the crisis of imagination: walking and asking questions in a UNESCO World Heritage City
No full textPeace education in a time of war: the Museum of Peace in Rivne, Ukraine as a space of memory making and hope
Get PDFPeace museums play an important role in peace education by offering visitors informal and non-formal education. As sites of remembrance, peace museums are rich pedagogical spaces for experiential learning and reflection. Educating children in the spirit of peace, tolerance and harmony between nations has been central to the work of the Museum of Peace in Rivne in Ukraine. Whilst peace museums usually engage in peacebuilding and memory making in times of peace, post conflict, this article reports on the work of the Museum in Rivne in a time of war. Wartime brings difficult questions about engaging in peacebuilding in the face of military aggression and about sustaining memory-making work when violent conflict makes memories too immediate and painful. As explained in the article, the reinvigorated peacebuilding effort at the Museum in Rivne demonstrates that, in a time of war, it is even more important to promote peace, in opposition to war. Through the annual event ‘I Vote for Peace’, the Museum has sought to create a network of schools committed to global tolerance and peacekeeping, as well as offer Ukrainian children a space for talking about their experiences and their hope for a peaceful future
But is it purposeful? Why we dethroned the essay...
No full textThis session will ask you to come on a journey with Bath School of Art, Film and Media as we looked to dethrone the essay in favour of what be considered more authentic, certainly more creative assignments ... the session will outline the driving factors behind this change to our learning, teaching and assessments and the impact it has had on the learning environment
