About the book: This volume has been brought together to generate new ideas and provoke discussion about what constitutes arts education in the twenty-first century, both within the institution and beyond. Art, Artists and Pedagogy is intended for educators who teach the arts from early childhood to tertiary level, artists working in the community, or those studying arts in education from undergraduate to Masters or PhD level. From the outset, this book is not only about arts in practice but also about what distinguishes the ‘arts’ in education. Exploring two different philosophies of education, the book asks what the purpose of the arts is in education in the twenty-first century. With specific reference to the work of Gert Biesta, questions are asked as to the relation of the arts to the world and what kind of society we may wish to envisage. The second philosophical set of ideas comes from Deleuze and Guattari, looking in more depth at how we configure art, the artist and the role played by the state and global capital in deciding on what art education has become. This book provides educators with new ways to engage with arts, focusing specifically on art, music, dance, drama and film studies. At a time when many teachers are looking for a means to re-assert the role of the arts in education this text provides many answers with reference to case studies and in-depth arguments from some of the world’s leading academics in the arts, philosophy and education.
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In clinical practice, formal elements of art products are regularly used in art therapy observation to obtain insight into clients’ mental health and provide directions for further treatment. Due to the diversity of formal elements used in existing studies and the inconsistency in the interpretation, it is unclear which formal elements contribute to insight into clients’ mental health. In this qualitative study using Constructivist Grounded Theory, eight art therapists were interviewed in-depth to identify which formal elements they observe, how they describe mental health and how they associate formal elements with mental health. Findings of this study show that art therapists in this study observe the combination of movement, dynamic, contour and repetition (i.e., primary formal elements) with mixture of color, figuration and color saturation (i.e., secondary formal elements). Primary and secondary elements interacting together construct the structure and variation of the art product. Art therapists rarely interpret these formal elements in terms of symptoms or diagnosis. Instead, they use concepts such as balance and adaptability (i.e., self-management, openness, flexibility, and creativity). They associate balance, specifically being out of balance, with the severity of the clients’ problem and adaptability with clients’ strengths and resources. In the conclusion of the article we discuss the findings’ implications for practice and further research.
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Over the past fifteen to twenty years we have witnessed Dutch and European higher art education become increasingly more international, a development that is reflecting globalisation in the art world in general. The artists we work with in many of our institutes and (master) programmes come from a diversity of cultural backgrounds, sometimes covering almost all continents.My doctoral research Global Encounters at a Dutch MFA focuses on the manifestation of cultural differences within and the conditions for an intercultural dialogue about art and artistic concepts within higher art education. The question is whether these cultural differences are made explicit within the dialogues conducted in educational settings and if and how students profit from this diversity in the development of their individual practice.In higher art education students and tutors exchange views on art and artistic concepts through regular conversations. Verbalizing what they see, experience and think is therefore an important ingredient of all the encounters happening at MFA programs: a Western master program focused on art always requires room for and installs a culture of conversation. But within this conversation, cultural confusion can arise. A South-Korean student at our institute recently described her experience of how coming from another, non-Western country, being raised in a different art context, confronted her with many underlying concepts in art she did not necessarily share or even could recognize and describe as such: “I was more like an estranged Babylonian that did not understand the exchanged language of ‘ways of seeing’ […] How can I say what I see, what can I see, or more likely what should I see and after all, what do I see? If I cannot say it, don’t I see it?” This experience is not a merely individual one. Hosting a wider range of cultural backgrounds increases the diversity in concepts and constructions that are implicitly underlying the discussions and conversations within the program. As much as we would like to think that every conversation at an art program leaves room for cultural differences to be made explicit, openly discussed and fruitfully addressed, it might be the case that in the daily educational practice many of them still remain rather under the surface.
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MUSE supports the CIVITAS Community to increase its impact on urban mobility policy making and advance it to a higher level of knowledge, exchange, and sustainability.As the current Coordination and Support Action for the CIVITAS Initiative, MUSE primarily engages in support activities to boost the impact of CIVITAS Community activities on sustainable urban mobility policy. Its main objectives are to:- Act as a destination for knowledge developed by the CIVITAS Community over the past twenty years.- Expand and strengthen relationships between cities and stakeholders at all levels.- Support the enrichment of the wider urban mobility community by providing learning opportunities.Through these goals, the CIVITAS Initiative strives to support the mobility and transport goals of the European Commission, and in turn those in the European Green Deal.Breda University of Applied Sciences is the task leader of Task 7.3: Exploitation of the Mobility Educational Network and Task 7.4: Mobility Powered by Youth Facilitation.
Energy transition is key to achieving a sustainable future. In this transition, an often neglected pillar is raising awareness and educating youth on the benefits, complexities, and urgency of renewable energy supply and energy efficiency. The Master Energy for Society, and particularly the course “Society in Transition”, aims at providing a first overview on the urgency and complexities of the energy transition. However, educating on the energy transition brings challenges: it is a complex topic to understand for students, especially when they have diverse backgrounds. In the last years we have seen a growing interest in the use of gamification approaches in higher institutions. While most practices have been related to digital gaming approaches, there is a new trend: escape rooms. The intended output and proposed innovation is therefore the development and application of an escape room on energy transition to increase knowledge and raise motivation among our students by addressing both hard and soft skills in an innovative and original way. This project is interdisciplinary, multi-disciplinary and transdisciplinary due to the complexity of the topic; it consists of three different stages, including evaluation, and requires the involvement of students and colleagues from the master program. We are confident that this proposed innovation can lead to an improvement, based on relevant literature and previous experiences in other institutions, and has the potential to be successfully implemented in other higher education institutions in The Netherlands.
Students in Higher Music Education (HME) are not facilitated to develop both their artistic and academic musical competences. Conservatoires (professional education, or ‘HBO’) traditionally foster the development of musical craftsmanship, while university musicology departments (academic education, or ‘WO’) promote broader perspectives on music’s place in society. All the while, music professionals are increasingly required to combine musical and scholarly knowledge. Indeed, musicianship is more than performance, and musicology more than reflection—a robust musical practice requires people who are versed in both domains. It’s time our education mirrors this blended profession. This proposal entails collaborative projects between a conservatory and a university in two cities where musical performance and musicology equally thrive: Amsterdam (Conservatory and University of Amsterdam) and Utrecht (HKU Utrechts Conservatorium and Utrecht University). Each project will pilot a joint program of study, combining existing modules with newly developed ones. The feasibility of joint degrees will be explored: a combined bachelor’s degree in Amsterdam; and a combined master’s degree in Utrecht. The full innovation process will be translated to a transferable infrastructural model. For 125 students it will fuse praxis-based musical knowledge and skills, practice-led research and academic training. Beyond this, the partners will also use the Comenius funds as a springboard for collaboration between the two cities to enrich their respective BA and MA programs. In the end, the programme will diversify the educational possibilities for students of music in the Netherlands, and thereby increase their professional opportunities in today’s job market.
Lectoraat, onderdeel van NHL Stenden Hogeschool
