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Grauer, Kit, Ed.Art Education for Children in Crisis.International Society for Education through Art,Arnhem (Netherlands).ISSN-0268-2346Aug 9429p.; For related theme issues, see SO 025 107-110.Photographs may not reproduce well.International Society for Education Through Art, P.O.Box 1109, NL 6801 BC Arnhem, The Netherlands.Collected Works Serials (022)INSEA News; vl n2 Aug 1994

MF01/PCO2 Plus Postage.*Art Education; *Art Therapy; Childrens Art; CrisisIntervention; Earthquakes; Elementary SecondaryEducation; Emotional Adjustment; EmotionalExperience; Emotional Response; Foreign Countries;*Violence; Visual Arts; WarBosnia and Herzegovina; California; Croatia

The articles in this volume reflect a resolutionpassed by the International Society for Education Through Art (INSEA)World Council to provide children with opportunities to work in thearts so that the healing process that the arts can foster can beinitiated. The lead article in this issue, "Heart Goes towards theSun: Work with Children Refugees and Displaced Children in Croatiaand Central Bosnia" (Emile Robert Taney), provides a glimpse of thepowerful words and images that led to this resolution. Commentarieson this presentation are "On Confronting Violence through Art"

(Jerome J. Hausman), and "War & Peace" (Debbie Smith-Shank). "InTimes of War and Fear" (Britt-Marie Kuhlhorn), reminds people that itis not only current children's images that can be the impetus forlearning in the art classroom. Kuhlhorn also focuses on therelationship of gender to artistic response as a research agendaworth pursuing. "Notes from the Epicenter" (Edie Pistolesi),describes the efforts to help children resolve the emotional upheavalsuffered as a result of a destructive earthquake in Northridge,California. "Art Education for Children in Crisis" (Nancy Lambert),puts the final perspective on this theme by examining three recentpublications. Lambert challenges teachers to listen to the childrenand help them to respond to crisis through their images. The articlesare followed by reports and news from INSEA members from various

world regions. (MM)

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Reproductions supplied by EDRS are the best that can be madefrom the original document. *

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ISSN #02682346InSEA is the International

Non-Governmental WorldOrganization for Education

hrough Art in consultative relationswith UNESCO

SE-1IrIEMEInEEMNEWS

Crystal Ilarte (16 yrs) BC CanadaPostcard to L.A. What is broken can hefixed through the help of friends."

VOLUME 1, NUMBER 2,1994

EditorialKit Grauer Canada

"PERMISSION TO REPRODUCE THISMATERIAL HAS BEEN GRANTED BY

lie

,p e StAlDIVALI

TO THE EDUCATIONAL RESOURCESINFORMATION CENTER (ERIC)."

Theme :Art Education for Children in Crisis

Heart Goes Towards the SunEmile Robert Tanay Croatia

On Confronting Violence Through ArtJerome J. Hausmen USA

War & PeaceDebbie Smith Shank USA

In Times of War & FearBritt-Marie Kiihlhorn Sweden

Notes From the EpicenterEdie Pistolesi USA

Art Education for Children in CrisisNancy Lambert Canada

U S DEPARTMENT OF EDUCATIONOtl.ce of Eaucabohy Research and improvement

EDUCATIONAL RESOURCES INFORMATIONCENTER IERIC)

co, umant has been reproduced as,ece,ved 1,0n, he person a orgamtabOnongmatmg .1Whor changes have been made to .mprove,eoroducbon ch..Yty

Pants ot vieM or Op.n.On5 stated ,h this clocument do not necessa,..r reYesent othcraIOE R, Dos.t,oe or Dot c,

REPORTS & NEWS RAPPORTS ET NOUVELLESInSEA Executive Report Herbert Read Award Europe :3rd European Regional Congress, Clara Botelho, Mario BarrosoSoares, Elisabete Oliveira, Ulla Arnell Asia: Taiwan .ArtEducation, Ann C.S. Kuo North America: Montreal Confer-ence Proceedings & Slides, CSEA & USSEA Conferences.

Coming InSEA Conference

South East Asia & PacificNovember 13-18, 1994

InSEA Asian Regional CongressDecember 25-28, 1994November 10-15, 1995

World Congress 1996July 8-14, 1996

Membership Form

BEST COPY AVAILABLE 2

Subic Bay, Philipines

Taiwan, R.O.C.

Lille, France

InSEM 1NSEA NEWS August 1994 1

INSEA NewsVolume 1, Number 2, 1994Editor : Kit Grauer

Editorial Board

Doug Boughton, AustraliaAndrea Karpati, HungaryMeri-Helga Mantere, FinlandNorihisa Naskase, JapanIvone Mendes Richter, BrazilEnid Zimmerman, USA

layout & design Peter Scurr

INSEA News is the official publication ofthe International Society for Educationthrough Art.

Articles and regional reports are welcomeat all times. Please send copy toKit Grauer, Faculty of Education,The University of British Columbia,2125 Main Mall, Vancouver, BC, CanadaV6T 1Z4.e-mail grauerk 45) unixg.ubc.ca

Abstracts are welcome with articles.Authors are encouraged to submitphotographs and/or art work.

Themes for articles for 1994/1995 arc

Art Teacher Education( October 15 deadline)Windows into art Classes(March 15, 1995 deadline)Community(June 13, 1993 deadline)Research Issues(October 15, 1995 d ead .e)

2 1NSEA NEWS August 1994

An EditorialKit Grauer

Art Education forChildren in Crisis

Last year two world crises movedfrom the headlines of newspapers and theevening television news into catalysts formy re-examing the significance of art educa-tion for children in crisis.

The first event was the war in theformer Yugoslavia. As disturbing as theimages and information about this warwere, the impact could be distanced. by mylack of personal involvement. Then, at theInSEA World Congress in Montreal last sum-mer, the displays of children's art work andpresentations and personal discussions withand by the members of the Croatian delega-tion led to the unprecedented drafting of aworld congress resolution by deeply affectedInSEA members. "The nitmbers of InSEAvoice concern and call attention to the plight oftraumatized refugee children worldwide. Therecent efforts of the Croatia?: Committee ofInSEA have reconfirmed the position held byInSEA, that making an plays a powerful role inthe healing process of desperate children. As arteducator.,, we have the responsibility to respondto this terrible social injustice. Educators andpolicy makers have the moral obligation to pro-vide children with opportunities to work in thearts so that the healing process that the artsfoster can be made possible.InSEA's 2000 members working in over ninetycountries throughout the world urge that all whoshape schools and their programs include the artsfor all of children, but especially for those whomost need the healing that the arts make possible.This resolution was unanimously passed bythe World Council. As educators, we re-sponded to the children's images that didfar more than document an impersonalwar.

The lead article in this issue by EmileRobert Tanay provides InSEA, members, aglimpse of the powerful images and wordsthat led to the formation of the World Con-gress resolution. Both the commentary byJerome Hausman and th? article from DebbieSmith-Shank are evidence of how two arteducators were also affected by sessions inMontreal. Throughout this last year, anumberof responses by other InSEA educa-tors resulted in everything from calls for artsupplies and classroom learning experiencesin schools and universities to reworkingpolicy documents at national and interna-tional levels. The impact of the war in onearea of the world affected children ( andadults) in many areas of our global commu-nity.

Britt-Marie KUlhhorn 's article" Intimes of War and Fear" reminds us that it isnot only current children's images that can

InSEE

be the impetus for powerful learning in theart classroom. She also focuses us on therelationship of gender to artistic response asa research agenda that is worth pursuing inart education.

The second world event that shockmy consciousness was not a political crisisbut a natural one. Edie Pistolesi describes theearthquake that destroyed much ofNorthridge, California and the way educa-tors in Northridge attempted to help thechildren in their charge resolve much of thatemotional upheaval. The shock waves fromthis earthquake were felt as far way asCanada both literally and figuratively. Binnyand Smith's Dream Makers Children's ArtExhibit was situated at Northridge prior tobeing sent to Canada for exhibition. TheFine Arts Gallery literally collapsed aroundthe children's art work. Teachers who hadbeen working with me preparing for thedisplay's arrival in Canada as a teachingresource , changed pedagogical objectivesand had their classes respond to the chil-dren in the LA area. Over MOO postcards ofhope and encouragement were producedby BC school children. To the children inBritish Columbia, the earthquake in Califor-nia could have easily happened to them.They are used to earthquake drills in theirschools and the threat of a similar naturaldisaster is very possible. Making images ofhope for other children was a way to con-front and alleviate their own fears. Crystal,accompanying her image with the words "This is to remind you what is broken can befixed through the help of friends'? is empa-thizing with her own fears as well as those ofher intended audience. Any crisis whichfocuses children on the value of art to ex-pr-ss deeply felt ideas, beliefs and emotionsis worthy of our attention as educators.

Nancy Lambert, puts the final per-spective on this theme by examing threerecent publications. In a carefully criticalway Lambert challenges us to confront ourassumptions and develop our pedagogicalthinking about art for children in crisis. Thesuffering that children experience from bothpolitical and natural crisis is a reality in ourworld. The challenge for teachers is to listento the children and help them respond notonly through words but also through theirimages. As art educators, we have the re-sponsibility to, in Lambert's words" rid thepeople of the beasts of their fear; chase downsome of the terrors of children in crisis."

Following the articles on the themeare the reports and news that members wantto keep them in touch with InSEA matters inthe world regions. The very successful Eu-ropean Regional Congress held in Lisbonthis summer is highlighted with two confer-ence reports and the keynote address givenby the wife of the president of Portugal,Maria Barroso Soares.

To Christa Volk, who tragically losther husband after the European RegionalCongress, we send our deepest sympathy.

HEART GOES TOWARDS THE SUNWork with Children Refugees andDisplaced Children in Croatia and Central Bosnia

Emile Robert TanayZagreb, Croatia

It was one September morning in1991,1 met the group of children aged 5 to 12at the garden of the Academy of Fine Arts inZagreb. They talked very little and couldtell me nothing about themselves. Theywere refugees from Vukovar, Tovarnik, Ilok,Rakovica and Petrovja in Croatia. I felt theurgent need to do something so I asked mywife Lilian and a teacher Mrs. Slisko to meetthe children who were housed in a home fordeaf mutes because of traumas they hadexperienced. There we found 35 displacedand refugee children. The mental and moralwounds caused by experiencing the destruc-tion and burning down of their homes andethnic cleansing brought these children toZagreb. The six-year-olds were aggressivetowards toys, afraid of us adults, afraid ofbeing left alone, and, I was told, they suf-fered from nightmares. The older childrencould not concentrate on work, they changedtheir place and walked around every 5 min-utes. Working with them I discovered theywere anxious about their parents, especiallyabout those on the front, and intrusively re-experienced traumatic events. Almost allsuffered flashbacks and sleeping problems.

I met the second group of children 9-13 years olds last February, after a terriblejourney through enemy encirclement byconvoy that was taking food to CentralBosnia from Zagreb. 1 smuggled watercol-ours, wax pastels, schoolbooks and a lot ofpaper. It was Valentine's Day when theconvoy left Zagreb.

In the first weeks the children inZagreb, as in Central Bosnia, generally spokelittle so I tried to build up, through music,little tactile games and visual games theelements of a relationship of trust betweenthe children and myself. Observing the waythe children produced their drawings I'veseen the individual difficulties at the incor-poration of new painful experiences intoexisting schemes and structures.

To know how each of those refugeeand displaced Croatian children readjustsand transforms these assimilated structuresinto new systems of adaptation, I asked thechildren these questions;

What do you remember most?Where are you now and how do you feel?What happened to you last summer?What is the taste, smell, surface and colour of thiswar?What are you afraid of and how?

We weie listening to classic music,and reading the poems. I wanted to providethe children with the possibility of subjec-tive control over negative experiences so Ioffered them ink, crayons, good quills, wa-tercolours and a lot of paper.

In the first drawings visual ideas andverbal (oral) symbols operated as an at-tempt to establish new relations and over-come fear and anxiety.The visual ideas were

Picture I (Fear)Ruza Drmich, 7 years. Tovarnik. "A happy

rabbit is singing a glorious song in a small tent,and the butterflies are singing with him."

burdened with images of destruction, ha-tred and fear.

Childrer interpret the meaning oftheir anxiety in accordance with the level oftheir cognitive structure. Trauma ,ormemory of a trauma, interrupts develop-ment through so-called "fixation on trauma"which children express in drawing by rep-etition, lines or dots, small lines in contrast-ing textures, repetition of zig -lag lines andthe same symbols through a longer periodof time.

Visual and verbal symbolisationshows that children are trying to find a wayof defending. With some children the sys-tem is overburdened and unassimilated fear

4

Picture 2Mateja Gavranovic, 10 years, girl, Petronja."My house has been surrounded by a spider, mydoll is crying after me, and a butterfly is savingher, and my Petronja and my house are cryingweeping because I am gone."

Picture 3Jelena Drmic, 8 years, girls. She was 6 in 1991

when she came from Tovarnik. She couldn'tspeak for weeks. The drawing made in April

1993 was one of many similar, similar ones."The beauty giving her hand to the beast."

InSHE INSEA NEWS August 1994 3

Picture 4POST TRAUMATIC STRESS DISORDERJelena Chartolovni, 8 years, Vukovar: "In thekingdom of numbers".

and pain pr'. Vent the child from assimilat-ing signs and symbols. This is reflected inthe unusual rendering of objects and people,in a presentation without a relationship to-wards other objects and in which space isunknown. The children lose the function ofaccommodation.

ao

41111r..-

Picture 5POST TRAUMATIC STRESS DISORDERJelena Chartolovni, 8 years: "Letters with littlestars".

There is regression to the pre-operational phase of consciousness in visual expres-sion. A conditioned fear obstructed the childrens capacity to plan while drawing and to usealternative approaches. This is reflected in repetition of visual signs and a lack of curiosityand exploration when selecting symbols.

Since the outer world is full of destruction, almost all children suffer flashbacks andnightmares: 25% had witnessed acts of torture, a majority saw war deaths firsthand, 43%suffered acute hunger, 25% thought they would die from grenades. Such a world cannot beassimilated into the child's subconsciousness without resistance. The result of the uncon-scious ego resistance is in unusual symbolisation.

Picture 6Ana Bunuc, 7 years. "Tank shooting a house and the house looking what's going on."

4 INSEA NEWS August 1994 IriSEE

Picture 7THE UNUSUAL SYMBOLISATION

Mario Karadza, boy, 8 years old from Bosnia. As many of the children of refugees he witnessedacts of torture. "I am from Jajce, I am from Jajce ..., spider is climbing but it can't reach by

climbing ..."

To induce this symbolisation we usedcreative games emphasizing fear as a protec-tive force and auditive explorations intomusic and poetry; thus transforming fearinto creative power. Enabling the children toconfront their memories, their problems onthe emotional, 'and during the appraisal oftheir drawings on the cognitive level weurged all the age groups of children to drawand to talk.

The picture which reflects the personal perception of a traumatic experience marksthe beginning of change from the phase of subordination to shock to an effort to overcomea confused state and turn to new symbols. In this way we try :o give the childreninstruction that will help them use the system of symbols belonging to their culture to battlethe destructive effects of their own consciousness, space, time and themselves. Thenightmares are children's reality. I asked them to "catch" the monster or spider by lines onthe paper and put the school bag on it, and to go sleep again. Many of the children I met inBusovacha (a small town in Central Bosnia) were for 22 months isolated in enemy encircle-ment and cannot draw human figures any more.

6

In Croatia there are 150,000 displacedCroatian children. 219,000 children fromBosnia are registered in Croatia. 90,500 pu-pils (18% of the total number of pupils inCroatia) are still without their elementaryschools. In Croatia 200 children were killedin the war. 294 children are wounded, thelargest number are between 7-14 years ofage.

In Central Bosnia there were 12,500children of refugees. Among them 164 seri-ously wounded; 68 were killed by grenadesand 55 were killed with snipers. Childrenhave begun to put themselves in unneces-sary danger and no longer protect them-selves from bullets or shelling. As war brokeout and villages have been destroyed, manyparents tried to save their children. Nowwith the war slowing in many parts of Bosniaparents of the children displaced in 42 coun-tries, are looking to be reunited.

Dear Colleagues, I am try-

ing to confront the problems

with the children and by means

of the arts help them to develop

their personal strategy. I teach

the children to observe. They

teach me to see. We all can try to

see deeper into ourselves and to

heal the heart of the children. It

is a small contribution for the

healing of the heart of the world.

Picture 8Ivan Cholich, boy, 8 years old. Tovarnik . Aclown invited from UNICEF has visited manyplaces in Zagreb (schools, kindergartens, refugeecenters). "My name is Fool (on the left) and"Mackare" (the carnival masks). The drawingshows the intention to communicate not just torepresent.

InSE2 1NSEA NEWS August 1994 5

Jerome J. HausmanUrban Gateways, Chicago, USA

"Children are the innocent victim of the develop-ment of the warmongers weapons. They are oftenthe last to be saved, treated and rehabilitated.And yet, children are our future, whatever theirrace or religion A human chain between na-tions". Catalog, Statement: children of War,1914-1993. Museum of Civilization, QuebecCity, Canada, 1993

We, in Art Education, have longknown of the dynamics of self-identifica-tion, self- expression, and self-adjustmentand realization. Authors such as ViktorLowenfeld ( Creative and Mental Growth)have long ago made the case for artistic andcreative experience in the growth and devel-opment of all students. What is important tonote is that the implication foe whatLowenfeld and many others have writtenshould not be left as academic rhetoric to fillour research journals and library shelves.Nor should we fall into an "express yourself"or anything goes" orientation. The simplefact is that children can give visual form totheir ideas and feelings. Art teachers cancreate circumstances of personal freedomand psychological safety in which studentscan" risk" making their ideas and feelingsknown to others. To be sure, art teachers areusually not trained psychologists. They can,however, guide their students in ways thathelp focus on imagination and quality in theexpression of deeply felt ideas.

During the International Society forEducation Through Art Congress held inMontreal (August, 1993), a paper was pre-sented by Emil Robert Tanay in which hedescribed his work with a group of youngrefugees from the North Eastern part ofCroatia. These were children aged front fourto eleven years old.They came from villagesthat had been totally destroyed. Their trau-matic stress was such that they could notspeak ( even though they were not mute ordeaf). Tanay involved the children in artclasses where they drew and painted im-ages drawn from their experiences: soldiersand tanks destroying homes and villages,battered ships in a harbour, crosses markingthe graves in cemeteries, and a lonely dove

6 INSEA NEWS August 1994 InSME

of peace with a blood stain. Along with afellow art educator from Crotia, Josip Roca,an exhibition of the children's drawings wasdisplayed at the Conference. Yes! Childrendrew what they have experience. In thisinstance, their visual expressions were per-vaded with images of destruction, hatredand fear. Yet, through it all, their was anaffirmation of their strength in dealing withadversity. Gradually, it was reported, theybegan to speak again. One is reminded of thekind of strength and human spirit of a youngperson like Anne Frank whose diary stillserves as an inspiration to us all.

One need not go as far as Croatia orSomalia or South Africa or South Americafor the painful and disturbing accounts ofviolence and despair in the lives of children.Here in the United States, in all too many ofour communities, gangs, drugs, and vie -.lence are part of the daily experiences arenot subject matters to be swept "under thetable" while we, as teachers, deal withmore"proper" artistic concerns such asaesthetis form oor techincal competence. Ofcourse, it should not be a matter or ":either","or." We should pay attention t6 aestheticform and technique. We should also keep inmind the importance of using one's ownexperiences, of identifying with and giveingform to deeply felt ideas and beliefs. Throughsuch visulaization we may better under-stand and deal. with these images and theanti-social behavious they reflect.

Presenters at the INSEA Research pre-conference and the INSEA RegionalCongress in Portugal are invited to sub-mit papers for consideration, written inEnglish, for possible inclusion in theERIC database.

Submit to:ERIC: ARTc/o ERIC CHESSSmithRescarchCenter10th and BypassBloomington, IN 47405USA

WAR & PEACELessons from Croatian friends

Debbie Smith - ShankNorthern Illinois UniversityDeKalb, Illinois, LISA

Once in a while, we meet people whomake a direct impact on our lives. This hap-pened to me last year's INSEA conferencewhen I met Emile, Josip, and Ana, fromZagreb, Croatia. They had come to the beau-tiful and peaceful city of Montreal, in orderto testify to, and allow us to witness throughtheir stories, the horrors that were happen-ing in their country. In formal presentation,as well as in informal conversation, I wasintroduced to a was which had previouslybeen for me, only headlines in '.he ChicagoTibune.

School started soon after the confer-ence ended, yet I continued to think aboutAna, Emile, Josip, their war-torn country. Ivividly remembered the artwork I had seen;painted and drawn by children who hadbeen physically and emotionally scarred bythis war. Even as I remembered their stories,I told them to my students. I was teaching aclass of pre-service elementary teachers atthe time, and they were very moved by thestories I relayed. The class, on their owninitiative, began collecting news items aboutthis at and other wars happening through-out the world. We started looking at, andtalking about, war artwork. Then we exam-ined symbols of peace throughout art his-tory. War and peace became a theme in ourart education course, and in our lives.

On March 1, I received a letter fromJosip explaining the "War & Peace in Fan-tasy and Reality" international child rens'exhibit which was being prepared by theCroatian National Counsel of INSEA. Ishared this letter with my students, andtogether we decided to participate in thisinternational effort for peace. We were un-der tight time constraints since we receivedJosip's letter on March 1, and the finishedartwork had to be in Croatia by April 25.Allowing for a month to ship the artwork,we had less than three weeks to completethe project. Still, my students were willing towork with me to meet the deadlines, andwork we did!

First of all, and most importantly, weneeded children to teach. I telephoned BillMitchell, the art teacher of Clinton-RosetteMiddle School in DeKalb, Illinois, who hadtaught my own daughter, and asked it wecould borrow a sixth grade class for a lessonabout warand peace. After securing permis-

sion form his principal, Mr. Burski, we weregraciously invited me to teach Mitchell'sfirst hour class for two days.

We then had to write a lesson plan.Together, the students and I co-developed atwo-day lesson plan specially designed forsixth grade class of students living just be-yond the suburbs of Chicago. We live in anarea which was until recently, mostly farmland. Chicago is about sixth miles to theEast, and the only war most of these childrenhave know directly is the "War on drugs."

WE knew we had to talk about war,and decided that the best way to begin wouldbe with a discussion of war and peace in art,especially focusing on two paintings by MarcChagall. In a discussion of Chagall's paint-ing, the children discovered that Chagallhad not only served as a documenter of war,but had also incorporated symbols whichshowed hiss feelings about war. Studentsalso identified symbols of peace.

We looked at a map and foundCroatia and Bosnia. Most of the children didnot know about the current war, so we sharedwith them stories I had heard from Josip,Ana, and Emile, as well as newspaper ac-counts of the war. While we shared thestories, the children were silent, attentive,and it seemed they were working very hardto understand. One boy pointed to Chagall'spainting and began uncovering similaritiesbetween the war in Bosnia and Chagall'swar. He, and soon others, especially notedthe symbols of religion that serve to unite aswell as divide groups of people.

Still, the war in Bosnia was a very faraway and abstract war. To bring the conceptof war closer to their own experience, theywere then asked to close their eyes and takea mental walk" around their own town.They were asked to "see" it as it is now, andthen to imagine the town as it would look ifwe had been at war for several years. I wasamazed by how quiet these 30 sixth gradestudents became during this mental exer-cise.

When they opened their eyes, thestudents were then asked to paint" whatthey saw in their minds." The results of theirefforts were two paintings; diptychs of asingle location in their own town, DeKalb,

during peace, and at war.Two days are not enough for this

lesson. Several of the students worked ontheir paintings during study halls and atlunch in order to finish them. I would haveloved to spend more time at the end of thelesson returning to the Chagall paintings toexplore similarities and differences betweenhis works and theirs. However, we accom-plished many of our goals, and it was arewarding experience for the sixth graders,the pre-service elementary teachers, andme. We all left the lesson knowing moreabout Croatia, Bosnia, symbols of war andpeace, and very proud that we had theopportunity to take part in this global effortfor a peaceful world.

Emile Tanay, Debbie & Josip Rocca in front ofthe Croatian children's art exhibit at theIn SEA World Congress.

in522 INSEA NEWS August 1994 7

IN TIMES OF WAR AND FEAR

Britt-Marie KiihlhornKonstfack Llnive7sity College of Arts, Crafts & Design. Sweden

There Is A Collect.on Of Children'sDrawings, "The Swedes In Time Of Worry",from 1943, preserved in the Nordic museumin Stockholm, coming from one of manycompetitions that were held in Sweden dur-ing the 1940s. They show in a convincingmanner how the Swedes in the 1940s pre-pared themselves and how the children ex-perienced the threat of war. I was aston-ished over how outstanding and well-ex-pressed these drawings were. I wondered ifyoungsters of today could produce picturesof such high quality.

What would my pupils (about 14years old) pictures of today's times of worrylook like, compared to these?

My Pupils' WorkFew Swedish children who went to

school in the 1940s had direct experience ofwar themselves, but I am sure that theycould feel the fear of war also striking them.

Perceptions of threat among Swed-ish pupils are today to a high degree influ-enced by massmedia. But we have alsomany pupils that have had direct experienceof war. Some of them were in my class.

My pupils and I decided to workwith the theme "War and worry". Amongothers we wanted to study how war is de-scribed in massmedia.

We organized the work as a researchproject:Phase 1Collecting material (own sketches, pictures,photos, articles, historicalmaterialFormulate the problemPhase II

AnalysisProduction (about what they have learnt,own commentary pictures)Phase III

Presentation of resultsEvaluation

We started to look at the TV-news,put together from different news programson TV. They were all about war, the war informer Yugoslavia and the "Gulfwar".

After discussion my pupils chose towork with the following themes:

Battles (including soldiers and weapons)Victims and sufferingHostages

8 INSEA NEWS August 1994

Losers and enemiesVictors and heroes

The Boys' PicturesThe boys chose the theme "Battles".

Several news-pictures were analysed andthe boys came to the conclusion that war isalways terrible. They also collected comic-strips and fairy-tales, which they studied.

They presented their results with theirown commentary in the form of pictures. Inthose pictures they describe war as a system,a connection between heroes, warriors,weapons and machines. They have exam-ined the concept of war.

The Girls' PicturesThe Gulfwar *was described in

massmedia as a "clinical" war. But there arealways victims in war. Aysel, the girl fromKurdistan knew that.

She had access to photos that we oth-ers had seen very little of in the medias.These photos were taken by a documentary-photographer in Halabja in Iraq. This townwas attached with poison-gas in 1988 bySaddam Hussein. 5,000 people were killed.

The three girls who had experiencedwar realized that massmedia does not showwhat really is happening in a war.

Aysel's painting is very realistic. I

have seen very few pictures with such astrong expression of death!

Nasrin's painting of war has a re-markable perspective. She was there!

The 1940s and 1990s in ComparisonBoys today choose motives which are

the same as the boys in the 1940s. They takeup machines and action.

The girls' pictures from the 1940s tellabout homelife, how the women roll theirsleeves up and take care of the men's work.Girls today identify themselves with thevictims, and they tell about war from thepoint of view of the victim. Here is a cleardifference compared to the pictures fromthe 1940s.

The largest difference between pu-pils' pictures of today and of the 1940s is thenumber of signs and the way they organisethe signs in the picture.

The pictures of the 1940s, both ofboys and the girls, show persons in full

InSEB

figure or at a distance. They are full ofdetails, both in colour and form. All picturesmake propaganda for standing up for thecountry and defending it.

The pictures of the pupils of todayoften show persons in full or half-figures orin close-ups. There are few colours andforms and few signs. However, the picturesof the boys contain more details than thepictures of the girls. The girls, however, usemore colours. They work with accents ofcolours and colour-symbolism. There ishumour and satire in the pictures of the girlsare, instead, full of empathy with the victimsof war.

What strikes me most in this com-parison is how enormous the influence ofmassmedia is on the way school childrenexpress themselves through pictures. I thinkthat I can establish the fact that this differ-ence in manner of expression in picturesbetween the 1940s and 1990s is general. Therole of the massmedia is quite clear..

I think, however. that the importanceof own experiences when someone wants totell or describe something is great. And ifthe experience is direct, instead of indirect, Ithink it will increase the capacity for expres-sion.Make Pictures to UnderstandThe aims of this work were:

to let the pupils work out their thoughtsabout war and experiences of war.

to let the pupils study how war is de-scribed in massmedia.

to develop the pupils ability to expressthemselves in "the language" of pictures.

to compare the pupil's pictures with thoseof drawings from the 1940s.

It is important to develop knowledgeof the language of pictures, the concepts, sothat pupils can talk about both pictures theysee and pictures they create. It is not enoughjust to talk about pictures. The practiCalwork on a theme is important. That is bestdone in the form of research projects.

Returning to the question I asked atthe beginning: "Can youngsters today cre-ate as 'good' quality and expressive picturesas they could in the 1940s?"

It is quite clear that the pictures oftoday are different from those of the 1940s.They are strong and expressive, but they usedifferent techniques. Each time seems tohave its own expressions!

_AIL_ a

n aa ow a a

,,,*4r 4

',IP

Kerstin , girl, 13 years, 1943

the boys 'picture of war 1991 above documentary photo from I Inlabja, Kurdistan, 1988below Aysel, a girl, 15 years, 1991

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NOTES FROM THE EPICENTER :Northridge, California

Edie PistolesiCalifornia State University, Northridge California

Thealarm clock flew across the roomand stopped forever at 4:31 AM. It wasMonday, January 17,1994. It was the morn-ing we didn't need our alarm clocks. Anearthquake that registered 6.6, and laterupgraded to 6.8 on the Richter Scale broughtus our wake-up call. We found the clockdays later while picking up debris and bro-ken glass. We decided to keep it as a souve-nir along with the green tag that had beentaped to our house by the building inspec-tors. Green meant that there was no appar-ent structural damage and that the housewas safe. We were lucky. A yellow tagmeant that serious structural damage ex-isted and only limited entry was allowed. Ared tag taped outside a front door meant thatthe structure was condemned, and therecould be no entry.

In the hours that followed theNorthridge earthquake (the one seismolo-gists now refer to as 'The Medium One"),the people in my neighborhood stood out-side of their houses wearing bathrobes andmismatched shoes. We were dazed andshaken by this big and awful thing.Neighbors who we rarely saw were walkingover to us and asking, "Are the kids allright? Did you get the gas turned off?" Littlegroups of people stood in clusters, ridingout theaftershockson front lawnsand drive-ways. We live directly behind CaliforniaState University, Northridge, and I couldsee the dormitories being evacuated fromacross the track field. The first light of dawnseemed to take forever, and when it didcome, the bigness and awfulness of thisearthquake began to reveal itself. Therewere fires behind us and in front of us. Theone fire was an apartment building, burnedto the ground, and no fatalities. The otherfire was on campus: it was the ScienceBuilding. There were rumors of a radioac-tive Ere which were later proved untrue. Ablock or so southwest of us, the NorthridgeMeadows Apartments had collapsed, and16 people were dead.

People all over the world saw thepictures on CNN. They saw the collapsedfreeways and apartment houses and otherdevast :ion before we did, because we hadno elo:tricity. We sat in our yards andlistened to battery powered radios and

guessed the magnitude of each aftershock.We watched our kids. We wondered howthis earthquake would affect them.

At first we were all too busy tofhinkbeyond moment to moment survival. Entirefamilies became homeless after that twentysecond jolt. Emergency tent cities becamethe homes of many children and their fami-lies during those first weeks after the quake.The basic needs of water, food, clothing,shelter, and medical care were our top pri-orities.

Another priority of grown-ups is toreassure kids and make them feel safe. Withthe ground continuing to shake under ourfeet, we grown ups, still jittery at the soundof a loud noise or unexpected movement("Was that an aftershock or a big truck driv-ing by?") have severely limited powers ofreassurance. It is a fact that "The Big One"will happen. The children of Los Angelesare sitting on a time bomb and may not havethe luxury of feeling safe for a long time.

However, over the past three months,we have made our lives "go back to nor-mal." One by one, schools have reopened.Teachers and kids now practice earthquakepreparedness in the classroom. Evenpreschoolers know about "duck and cover."

While even very young Childrenknow exactly what to do during an earth-quake or aftershock (around here, they getplenty of practice), the big question is, howis this experience affecting them? One wayto find out what children are thinking is toask. The following spoken, written, anddrawn images give us, directly from thesource, some insights into the ways childrenof Los Angeles have reacted to this disaster.

One of the first things many teachersdid when schools reopened was to have kidstalk about their earthquake experience,.Catherine Leffler, a fifth grade tea,: her atEncino Elementary School lost her homeand nearly all of her belongings, as didmany of her students. After she and herstudents finished sharing all of their sad andoften tragic stories, Mrs. Leffler commentedto them that sometimes even in the middleof a disaster, things can happen that areactually funny. Immediately, her studentsresponded with stories that they consideredto be hilarious. Their most hilarious storieswere the ones about grown-ups running out

10 INSEA NEWS August 1994 InSEE

into the street in various stages of nudity .They were also quite amused by the fact thatthe earthquake caused the breakage of allthose fragile objects in their houses that they,as children. were never allowed to touch.For once, they noted with satisfaction, "theydidn't do it."

Calahan Street Elementary School inNorthridge, provided me with a copy of the"Special Earthquake Edition" of the CalahanChronicle, a student run newspaper wherechild reporters interviewed their classmates.Some of the Calahan children Lived in theNorthridge Meadows Apartments. The fol-lowing comments are exerpted from thoseinterviews:

"J. H., age five . . lived in the NorthridgeMeadows apartments, one of the buildings thatcollapsed. When the earthquake hit, she scurriedunder her coffee table and watched her dad kickthe apartment door open. "' I wanted the earth-quake to stop,"' . . . When the shaking did stop,her dad turned the gas off."

"R. L., a third grader, had to climb out ofthe window to get out of his Northridge Mead-ows apartment. "'At the time I.thought I wasgoing to die,"' he rPcalis. When we got out, wewent to our grandma's house and then we helpedher c.san her house. Now I am living with mygrandmother.

"Fifth grader M. N. also lost her apart-ment in the 6.7 earthquake on January 17. "`

waited until the earthquake stopped . .. then I gotout of bed, went outside and saw the sidewalk wasthe same height as.me.

The children who attend 32nd Street/USC Visual and Performing Arts MagnetSchool in Los Angeles are no strangers todisaster. They have lived through fires andfloods, and for a number of the children, theL.A. riots occurred in their ownneighborhoods. After their school reopened,these children turned their attention to cre-ating images about the earthquake. Hereare two of their stories.

THE EARTHQUAKE4th grader

I slept through the earthquake. I later awoke . Mymom was in my room and everybody was allpanicky anf' scared. I overheard someone sayearthquake and I said, "Earthquake? What earth-quake? Was there an earthquake?"

My friend was over during the earth-quake. We were able to reach her mom rightaway. All her china bro her t.v.'s fell over,mul

her chimney fell over, caved in the roof of hergarage, and smashed her car.

As for my house, a few things fell, but allthat broke wasa little glass dish and a plastic t "pecase. All our animals were really scared (exclud-ing our turtle. lie's still in hibernation).

My sister and I hal to take out Dustbunny(my sister's rabbit), Ratty (my oldest rat), andRodentia (my youngest rat) so we could comfortthem, and that's all that happened in the earth-quake.

E ARTHQUAKE STORY4th grader

When the earthquake started, my momgot up. She was not scared at all but she wasscared about me. When my mom woke me up Iwas a little scared. I got dressed and looked forsome broken things. Everything slipped off itsplace. My cups fell, but they did not brake. !sic!One egg fell out of the refrigerator. Then I wentoutside with my friends. We saw a broken waterfounta;n. Then we went to a parking lot and wesaw a lot of people there. My friends and I saw achurch missing one cross. After that, we wenthome to sleep.

Gloria Liggett and Jody Krupil,teachers from 32nd Street School asked stu-dents to express in sonic visual way thejumble of simultaneous sounds and wordsand feelings that occurredor that the chil-dren imagined were occurringduring thefirst moments of the earthquake, both aboveand below the ground. Along layered jag-ged lines and shapes, children drew in blockletters such words as: "HELP HELP HELP,PRAY PRAY PRA`', DIE DIE DIE, RUNRUN RUN, COLL. PSE COLLAPSE COL-LAPSE.

CONCLUSION, IF THERE IS ONEEvery morning, I put my daughter in

the car with her snack and we drive one mileto her pre-school. When we drive pastNorthridge Meadows Apartments, she cansee th, flowers that have been placed next tothe chain link fence in memory of those whodied there. Some of the flowers are fresh, butmany of them arc withered and brown. Shesees people (tourists?) walking up and downthesidewalk with theircameras, and guardswith 2-way radios, sitting on lawn chairs.She sees earthquake tee-shirts being sold ina parking lot nearby. At school, children areplaying and laughing. Teachers are smilingand hugging children. What can we knowabout kith, (and grown-ups) who livethrough a disaster? We know that some-times, humour helps to ease the tension, andthat returning to a daily routine is comfort-ing to their spirits. I give my daughter a hugand a kiss good-bye, and I tell her that I'll seeher "in a little while." 1 head off to work. Thebuilding where I used to work has been redtagged, so now I work in a trailer in aparking lot. The routine gives me a sense ofsecurity. Things are, back to normal.

Northridge , California ,student,student, 32nd Street School

Northridge , California , student, 32nd Street School

12

Shaun Johnston, Delta, BC, response postcard to L.A.

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ART EDUCATION FOR CHILDREN IN CRISISDrawings of War and Peace"

Nancy LambertUniversite de Montreal, Montreal, Canada

A partir de dessins d'enfants, incluantdes exemples tires de trois livres, le phenomened'images de guerre dans I'art des enfants estidentifie. Par cette comparaison, nous apprenonsque dependamment de la proximite de la situa-tion que l'enfant dealt, et reprise par l'adulte quiparte en son nom, l'enfant-dessinateur est, alors,plus ou moins bien reprisente dans sonintentionnalite.

Delegates at the 1993 INSEA WorldCongress in Montreal were greeted with anexhibition of children's work from over thirtycountries. Among the many national collec-tions were displays of artwork from theKurd community (fig ure #1 ), and the Pales-tinian community, from Mozambique, andfrom Croatian children in refugee camps.Also circumscribed by political concernswere works from such countries as GreekMacedonia, Rumania, Nicaragua, Venezuelaand the ex-Czech Republic. Because the del-egates were all familiar with the politicalcontexts within which the work had evolved,they "read" the various contributions withgazes which were looking for representa-tions of certain psychic or physical states orexperiences. Connoisseurs of children'sdrawings were here offered a quite uniqueopportunity to see and compare the waydrawing as psycho-social intervention in ahealing process can reveal the experience ofchildren in war-torn lands. The question is,how do connoisseurs manage to "read" suchheavily symbolic work? Are there any con-ventions governing such imagery?

War as a genre in the repertoire ofchildhood drawing is well-known to thosewho are interested in recurring and pre-ferred themes in childhood graphic render-ing. The following in an example. ( figure #2) Replete with projectiles and explosions,we can all see that it is expressive but whoknows what it is expressive of. This wasdone by an 11 year old boy in Canada whohas never been a victim of anything otherthan his own appetite for watching televi-sion. Teachers will recognize the drawing astypical of the war drawings genre. How-ever, were it slipped into a port folio of worksdone by traumatized children, one couldwonder how it might be read.

The intention of this paper is to cometo a better notion as to how art educators

confronted with the evidence of sufferingcan trust what their gaze is telling them. It isunderstood that looking at such work shouldbe an empowering experience rather thanone of paralyzing culpabilisation. To beempowering, it must impart something tous: it must give us something to act upon.The only way to do this is to be assured thatthe viewer is informed correctly about someof the meaning of the work. This brings us

fig. 1

fig. 2

12 1NSEA NEWS August 1994 InSE2

into the realm of interpretation theory andsince it is important to avoid being unwit-tingly manipulated by the sensational na-ture of children's war drawings, certain pa-rameters will be sought.

In order to deal with this question,the reading and the classifying of children'sdrawings about war, three books will beconsidered here within the general contextof children's drawings of war and peacel.

13

That is, since a method for establishing atentative iconography of war drawings isneeded, and this can be achieved only afterthe iconological field has been traced out,books will be used to help us find commonfeatures. The difference between iconogra-phy and iconology is that the first deals withwhat specific pictures say to people andwhat the people then say about what theyhave learned . The second, iconology, dealswith the theory of images. Panofsky ('55)2separated the two by differentiating the in-terpretation of the whole symbolic territoryof an image from the cataloguing of specificsymbolic motifs. Mitchell C8613 further gen-eralized the interpretive ambitions oficonology by asking it to consider the idea ofthe image as such. For this look at images ofwar made by children, we will be makingthe same assumptions as Mitchell and thuswill request of the viewer, that the "read-ing" of these images be circumscribed by anintention which is different to that of the

fig. 3

fig. 4

traditional art education project. All theartwork discussed here has been collectedby people whose involvement with childrenis as helper-healer within difficult life expe-riences. The work stands as the testimony ofexperience and to the extent that meaningcan be uncovered, serves as a means for theadult to more effectively care for the child inhis/her charge

Dessine-moi la paix: , le dessine fa guerreand The Political Life of Children are threerecent books which include children's wardrawings. While each is the result of a differ-ent kind of engagement between adults andchildren, all three share a common concernfor children as victims of power strugglesbetween adults. How does each help us torefine our own care-giving capacities byenabling us to correctly "read" the artwork?First Book

Dessine-moi la paix: is an album of 35high-colour images drawn from collections

19

of drawings and paintings made in refugeecamps and schools throughout the territory'what was formerly Yugoslavia.Theart worksand the accompanying texts represent thehealing process which teachers, therapistsand parents try to encourage through theexteriorisation of anxiety. UNICEF passeson the basic tenets of art therapy to its aidworkers, that the formal expression of feel-ing will enable the psychically damagedperson to regain some of the power whichwas wrested from him/her by the trauma-tizing event. Aid workers are taught suchsimple therapy methods as guided poetryand letter writing as well as drawing andpainting which are applied in field work tothe populations of children they seek tohelp.

The UNICEF album of poems anddrawings contains several prefaces whichset the scene for the children's work and isdivided into four sections under the head-ings; "Cruel War", "The Day They KilledMy House", "My Nightmare" and "I Dreamof Peace". Without the prefaces which tell ushow to read the poems and drawings, with-out our proximity through news media tothe events being depicted by the children,the images would bedifficult to understand.

For example, in the section "...MyHouse", the drawings on pages 29 and 30each shows a bombed home riddled withbullet holes being demolished by flames.Doors hang ajar and window panes aresplintered. The gardens, however, containremnants of childhood experience whichremain incongruously unscathed. ( figure #3) While mother and children flee from thedevastation of their home in Zagreb (p. 29) aswing and sandbox, carefully delineatedwith shading, perspective and realistic col-our, seem to defy the horror of the situation.Similarly, in the drawing by a 12 year oldfrom Moscenica (p. 30), a swing and a dog-house with leash and collar still attachedexist in the garden among the flowers, flam-ing d6bris and unexploded bombs ( figure#4). These images speak to us of life-worldsbeing uprooted, of urban residential envi-ronments very similar to our own being laidto ruin while the children cling to memoriesof the intense pleasures of their past.

On pages 40 and 41 are a poem and adrawing by a 13 year old from Dubrovnik.Without the text we would not understandthat Mario's drawing of a road sinuouslywending its way behind a hill and coveredwith people is the haunting depiction ofhundreds of women and children beingforced into a detention camp ( figure #5 ).His suffering becomes, in part, ours.What the First Book Tells Us

Three features of the book enable usto engage with the images in a fruitful man-ner: the selection of images from a single

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geo-political conflagration; the inclusion ofaccompanying texts by a number of UNICEFworkers; the organization of images withverbal testimony given by the children them-selves.Second BookJe dessine la guerre differs markedly from theUNICEF book by its in-depth treatment ofthe phenomenon. It does not dazzle us withthe rough beauty of the artwork of childrenin a war-torn country and thereby harnessour sympathy for the plight of the children:rather, it is an account of how two people,pedagogue and medical doctor, involvedover a period of fifty years in aid work tovarious youthful populations in difficulty,have adopted drawing as a crucial interven-tion tool and how their research into itsvariations have garnered specialunderstandings. Scientific in tone and philo-sophic in content, the analysis of 200 draw-ings from fifteen war-torn countries sincethe first World War (1915) until theGulf War(1991), is a summing up of the knowledgewhich the two doctors have gained throughthe long-term engagement with drawing asexpression and as communication.

The book is organized in three parts:first, the preface, introduction and the firstchapter trace the lives of the authors, outlinethe history of art therapy and of the practiceof collecting and exhibiting of children'swartime images and describe how the col-lections used in this book were gathered.The authors distinguish between pedagogi-cal inquiry which seeks to understand thedevelopment of childhood drawing and theirwork which is devoted to helping childrenin difficulty and which uses drawings as ameans to improve the lot of war damagedchildren.

Chapter two discusses the 200 d raw -ings according to twelve thematic catego-ries. Examples of categories are "Fears andAnxieties", "Sight of the Enemy" and "Draw-ings of Nuclear War" . Description includesreferences to the particular situation withinwhich the work evolved, details about thechild and sometimes verbatim testimonygiven to the aid worker at the time of thedrawing. The reader is given as much infor-mation as possible and is drawn into the"reading" process through the compilationof numerous details surrounding the art-work and through the richness of the expe-rience of the authors with whom we come toidentify.

The final section contains an analysisto determine similarities and disparities be-tween drawings and between collections ofdrawings This was more difficult to achievethan the attention to thematic consistenciessince the authors had distanced themselvesfrom the criteria of graphic developmentand thus are obliged to find their own ma-

14 INSEA NEWS August 1994 InEE2

trix. As well as noticing that there weresimilarities between drawings done in thesame region, that is, that war drawings donot escape the cultural influences so evidentall around the world, the authors noticedthat the graphic timidity associated withanxiety was actually more prevalent in"peacetime schools" than in "wartimeschools". But a a detailed comparison of thegraphic structure of a group of drawingscoming from these two disparate experi-ences revealed that whereas elements ofdecoration, framing, symmetry, elaborationof details beyond reality into fantasy and anattention to harmony of composition andwere common in drawings from "peacetimeschools," such was not the case for drawingsin "wartime schools". On the contrary, hereit was found that the more elaborate draw-ings often bespoke a repression of sensitiv-ity, particularly in the case of drawings ofcadavers. Usually, only those elements

fig. 5

fig. 6

which are essential to the narrative and whichare parts of the lived experience of the childare included. Strictly symbolic elements,such as those shown in this drawing by a 17year old victim of the war in Afghanistan,where red tulips symbolize the belief in thesurvival of martyr-hems ( figure #6) werevery occasionally borrowed from the adultworld but mainly, drawings of "war-chil-dren" are marked by a concentration on theevents as they happened. The only imagi-nary drawings are those which allow thechild to dream of beating the enemy. Theauthors, whodevelop a comparative methodof reading thedrawings using both thedraw-ings of "war-children" and peace-children,"tell us that war is pictured as more dynamic,savage and fantastic by "peace-children"than by "war-children" .

The authors noticed that "war-draw-ings" contained specific characteristics. Thefollowing elements in the drawings wereidentified as often qualitatively different

15

from what is found in "peace-drawings":the human face, the house, fire and flames,projectiles and trajectories, the human fig-um including cadavers. Also, the authorsrealize that captions in or on the drawingwas important to the drawings and to theunderstanding of the drawings and thusthey develop a taxonomy of the variety ofcaptions identified in their research.

Two kinds of "war-drawings" aregiven special attention by the authors, theeyewitnessdrawingsand the memory draw-ings. We learn that a number of survivors ofan attack, even very young children, typi-cally represent the scene with essentially thesame geographic and human elements andthat there is a surprising coherence and com-pleteness of this "evidence". ( figure #7)Also, as demonstrated by 900 drawingssollicited from Hiroshima and Nagasakisurvivors in 1974, the childhood memorieswere :epresented by obsessive attention toone or two details remembered from withinthe moment of horror. The difference be-tween the drawn memories of adults andchildren was that the people who had beenchildren at the time never expressed theirmemeory in terms other than that of livedbodily experience while the people who hadbeen adults at the time gave more globalimpressions of what had happened.What the Second Book Tells Us

In summary, there are four ways thatthe work of the Brauners is of service to arteducators who want to learn to "read" the.work of young war victims. It gives us acheck list of the various situations of warwhich children draw. It provides us with awide sample of well-documented histori-cally and culturally situated drawings sothat we can familiarize ourselves with thephenomenon. It describes the graphic vari-ations and in so doing, demonstrates howinterpretation can be handled sensitively.Finally, by the example of long-term fieldwork, the Brauners give us a method forexamining this and other drawing genreswhich are recognized for their significancewithin the cultures of childhood.Third BookThe Political Life of Children is Robert Coles'account of his inquiry into how childrenexperience politics. Drawings play an im-portant role in his demonstration becausethey serve as a particularly efficient way of"listening" to the children's discourse aboutpolitics and they provide us with extremelysynthetic documents of experience, both realand imagined. Contrary to the UNICEF andthe Brauner books, the Coles book exploreshow children represent ideas about war aswell as the lived experience of war. Forexample, the following is a drawing done byAlain, a nine year old from Quebec ( figure#8). He describes how the Quebecois jets on

fig. 7

the right rise to defend their honour againstthe tall impressive "Anglophone" city onthe left. It is part of a long interview withAlain, his family, and his teacher duringwhich Coles pieces together and interpretsinformation about how a particular childadopts and thee, formulates a political stance.

Contrasted with this conceptualdrawing are other depictions of politicalstrife which present the child's lived experi-ence. Here we see a drawing by twelve yearold Khek, a Cambodian refugee who dreamsof the day he can return to his homeland asa jet pilot ( figure #9). His life in Cambodiahad been marked by the extreme hardshipfor people on the ground who were vulner-able to many forms of aggression includingthat of tanks and flames while planes soaredin apparent freedom overhead.

Both Main and Khek (like S.Fouadof Kurdistan, Iraq shown in figure 1) areinterested in airplanes as symbols of power

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but one uses them in a fictional account ofrevenge, a sort of Canadian version of Davidand Goliath, while the other draws what hasbeen seen and known. The difference be-tween the meanings of these two drawingscan only be appreciated by reading RobertColes' description of his conversations withthe children in question. In truephenomenological style, trying to get to theroot of what politics is for children, he spendshours, days, weeks, conversing with thechildren. Drawings are just one part of thedialogue but in the case of this particularresearch question, they prove essential tothe understanding of the phenomenon.What the Third Book Tells Us

We learn here about the importanceof dialogue in the understanding of child-hood imagery and about the different cat-egories of experience which can be repre-sented. Many of the drawings appear at firstglance to be nondescript and sometimes

InEE2 INSEA NEWS August 1994 15

fig.9

even stereotypical. Only Coles' discussionof them and the way they emerged from orfit into his conversations with the youngpeople allow us to grasp the iconography.This book is based upon research over aperiod of twenty-five years and the authorcontinues to use a model for interpreting thedrawings which gives priority to an intui-tive dialogical approach.Summary: Children's War-Peace DrawingsSeveral characteristics run through thebooks: children's drawings, and most par-ticularly, children's war drawings, do notstand on their own. They require a certaintextualisation and the closer the adult writeris to the source of the drawing the easier it isto render a rich account of the dra wing. Allthe authors were concerned first and fore-most by the meaning of the expression forthe child and to varying degrees they foundways of passing on to us this meaning.

It is intriguing to note that the aver-age age of the children who did the artworkincluded in all three books is 11; we couldwonder whether this is because childrenbetween nine and thirteen will draw eventswhich they are unable to relate in words,whether this marks a stage of developmentat which the person is particularly expres-sive or alternatively, or whether the authorsfor some reason found that children at thisage are more interesting to discuss. Possiblythe answer is a combination of all threeexplanations.

The suffering of children from warand from adult power struggles is an on-going reality which communities every-

where deal with in their own ways. Thechallenge for teachers is first of all to hearwhat children are saying. There is an oldfolk saying that goes something like this: Idon't know why it is that those who havesomething to say can't say it, while thosewho have nothing to say keep saying it. Thecurrent literature on the subject tells us thatchildren of war have, by way of their draw-ings, a great do al to say. We as parents andeducators know that their saying it is impor-tant to their future well being. However,social-psychologists tell us that these memo-ries are more difficult to formalie in wordsthan in drawings, and that evidei tiv, once itis done, either spoken or drawn, that in allprobability it will not be understood. Ourwork is to assure that those who can't say it,find a way to say it and that once it is said,that it be heard, at least by us. Fear neverseems to retreat far from human conscious-ness. Workers in art education are fortunateto be able to, like Herakies, half-human sonof Zeus and the hero of the common man inancient Greece, who wrestled indefatigablywith the monsters to rid the people of thebeasts of their fear, chase down some of theterrors of children in crises.

16 INSEA NEWS August 1994 InEE2 17

Acknowledgements for drawingsFigure 1.From l'lnstitut Kurde de Paris, M. Skewki,Departement des Droits de l'Homme &Information; drawing by S. Fouad (1992),11 years, Halal* region of Kurdistan, Iraq.Figure 2.Front the Centre for the Study of YoungPeople's Art, Universitede Montreal; draw-ing by C. Lambert (1991), 11 years, Mon-treal, Canada.Figure 3.From Dessine-moi la paix; drawing by Hrvoje,11 years, Zagreb.Figure 4.From Dessine-moi la paix; drawing byMatteya,12 years, Moscenica.Figure 5.From Dessine-moi lapaix;drawingby Mario13 years, Dubrovnik.Figure 6.From J'ai dessine la guerre; drawing by NurMohammed Aziz, 17 years, Afghanistan(Central Asian Survey n° 5).Figure 7.From J'ai dessine la guerre; account drawingby a child witness of a government airattack, Salvador (in, Fire from the sky, Ed.Writers and Readers, New York).Figure 8.From The Political Life of Children; drawingby Alain 9 years, Quebec, Canada.Figure 9.From The Political Life of Children; drawingby Khek Van Trangh, 2 years, born inCambodia, living in California.

1 I Dream of Peace, Canada, Harper-Collins Publishers, (published simultane-ously as Dessine-moi la paix: La guerrevue par les enfants de l'ex-Yougoslavie, Paris,1,5 Editions du Chene,) UNICEF, 1994, 80pages.

Alfred et Francoise Brauner, J'aidessine la guerre: Ie dessin de ['enfant dans laguerre,. Paris, Expansion ScientifiqueFrancaise, 1991, 293 pages.

Robert Coles, The Political Life ofChildren, Boston/New York:The AtlanticMonthly Press, 1986, 341 pages.

2 Panofsky, Erwin. "Iconology andIconography: An Introduction to theStudy of Renaissance Art." In Mean-ing in the Visual Arts. Garden City, N.Y.:Doubleday, 1955.

3 Mitchell, W.I .T.. Iconology: Image,Text, Ideology. The University of ChicagoPress, I98,.

InSIBESir Herbert Read Award 1996

CALL FOR NOMINATIONSDEMANDE de CANDIDATURES

The Sir Herbert Read Award will be given atthe next World Congress to honour an indi-vidual who has made significant contribu-tion to arts education in schools and societyin his or her own country or throughout theworld. These contributions could take theform of either continuous and outstandingpractical contributions or contributions of atheoretical kind. For example, in some coun-tries individuals who have developed newand effective forms of education throughthe arts might be candidates for the award.In other places individuals whose scholarlywork has influenced the thinking of art edu-cators in his or her own country or t hrough-out the world might be candidates. The aimof the Sir Herbert Read Award is to ac-knowledge life long contributions, that iscontributions which have extended over asubstantial period of time as part of thecareer contributions that the individual hasmade to education through art.

Nominations may be submitted by anymember of INSEA. Deadline date for nomi-nations is JULY 15, 1995 ( Postmarked).

Mail nominations to:Priere d'envoyer le nom de votrecandidat a:

Dr. Maryl Fletcher De JongCHAIR, InSEA Sir Herbert Read AwardART- University of Cincinnati5052 Collinwood PlaceCincinnati, Ohio 45227-1412home (513) 272-1679work (513) 732-5334Fax (513) 735-5237

DEMANDE de CANDIDATURES pourl'obtention du PRIX INSEA SIR HERBERTREAD decerne par la SOCIETEINTERNATIONALE D'EDUCATION PARL'ART (INSEA)

Lors du prochain congres mondial del'INSEA, qui se tiendra a Lille en aofit 1996,un individu ayant contribue audeveloppement de l'education artistiquede facon significative dans son milieu oudans le monde, se verra decerner le PrixINSEA Sir Herbert Read. Cet individu doitavoir oeuvre dans le domaine de ]'educationpar l'art de facon continue et exceptionnelle.Theoricien ou praticien, it peut devenir votrecandidat.Le but de ce prix est de reconnaitre de faconofficielle l'apport de certaines personnesqui ont consacrees leurs vies de faconsubstentielle durant de longues annees etdont l'influence a change le cours del'education artistique.Les nominations peuvent etre soumises parn'importequel membre en regle de l'INSEA.La date limite pour envoyer une nomina-tion d'un candidat est le 15 JUILLET 1995( la marque postale faisant foi)

Sir Herbert Read AWARD CommitteeMaryl Fletcher De JongAmour MakniAnn KuoBritt Marie KiihlhomJose Ramon Gonzales PerezJudy FreedmanAlice PanaresRachel Mason

Application form is on Page 27 of this newsletter

cD

In529th World CongressLe 29e CongresMondial de ]'INSEAGrand Palais, Lille, FranceDate et endroit:8 au 14 juillet 1996,at the Grand Palais, Lille, FranceDate and locationJuly 8 to 14, 1996,au Grand Palais, Lille, France

Langues of ficielles du congres :Francais et anglaisCongress Official languages:English and French

Conference de Recherche:6 et 7 juillet 1996Research Conference:July 6 and 7, 1996

Coilt d'inscription: Au maximum 230dollars americainsRegistration fee: A maximum of 230American Dollars.

Theme:Art, Science, Environnementau 3ieme Millenaire:Divorce et ReconciliationTheme:Art, Science and Environment inthe Third Millenary:Divorce and Reconciliation

Contact:Univeriste de Lille IIIMaison de la RechercheInSEAMarie-Noel ThirionBP 14959653 Villeneuve D'Ascq CedexFRANCE

InSEM INSEA NEWS August 1994

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EXECUTIVE REPORT

WORLD COUNCIL MEETS IN LISBON.The InSEA World Council met on

Friday, July 16th, during the 3rd InSEA Eu-ropean Regional Congress, at the Universityof Lisbon. The complete executive commit-tee and fourteen councillors from allregions were present at this first officialmeeting of the World Council, since the elec-tions of 1993. Also present were representa-tives of the Organizing Committee of the1996 World Congress and members fromLithuania and Mozambique. Besides theregular administrative business, this meet-ing covered a variety of subjects, including amajor surprise.

Ms Judy Freedman, who reported onbehalf of the organizing committee of theInSEA World Congress in Montreal con-cluded her report by handing over a chequeof S10,000.00 CND as a gift to the InSEATreasury. Other items on the agenda wereless surprising but at least as noteworthy.InSEA News

World Council members were unani-mous in their appraisal for the 'new' InSEANews. The newsletter is the Society's mostimportant means of communication (and

also a major budget item). The first issue of1994 had assessment as its major topic andcoming issues will also deal with a centraltheme as well as reports on news items ofinterest to InSEA members.Future Congresses

Several members of the council re-ported on future congresses. There will betwo congresses in the Asian region, both inTaiwan (December 1994 and November1995); a SEAPAC congress will take place inthe Philippines, November 1994. Ms Marie-Noel Thirion and Ms ClairePruchniki reported on the preparations forthe 1996 World Congress to be held in Lille(France). This congress has received officialsupport from UNESCO. There is a possibil-ity that a UNESCO charter'on internationalart education might be ratified during thiscongress. Mr. Doug Boughton fromAustralia announced that Melbourne willbe a candidate to host the 1999 world con-gress.Development Plan

The major item on the agenda of thismeeting was the second draft of what isloosely called The InSEA DevelopmentPlan'.The plan is meant to serve as a guide to focusdiscussions about the future of InSEA andits activities. Important issues that were dis-cussed were the introduction of a voluntaryadditional membership fee to fund spon-sored memberships; a special aid fund thatwill enable the society to offer immediatehelp to art educators involved with childrenin need. Two reports, related to t he develop-

ment plan were briefly discussed: a reportby Mr. Geoff Hammond an Mr. Phil Perryon the future of Affiliated Organizations andRecognised National Organizations withinthe structure of the Society and a reportfrom Mr. Dough Boughton on policies onI nSE A's international research agenda. Thesedocuments caused the world council to re-evaluate changes to the society's constitu-tion and structure which have been in placenow for over ten years which were imple-mented with various degrees of success. Arevised version on InSEA's constitution andother documents will be put to vote duringthe World Congress in Lille in July 1996.New logo

Through mediation of the DutchRoyal Mail's Design Centre a young de-signer has been asked to restyle the logo insuch a way that it could be easily appliedunder all circumstances. The logo is basedon the old symbol but with one importantdifference, a lower case n. More importantthan the new logo are some of the features ofthe general styling, which will contribute toa more coherent image of the society. Logoand styling guide will be available soon inhard copy and digital format for MsDosand Apple.

For additional information contact:InSEA SecretaryPeter Hermans/ Diederik SchonauPO Box 11096801 BC ArnhemThe Netherlands

18 1NSEA NEWS August 1994 InSE2

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EM JEITO DE BALANCO DO 3oCONGRESSOREGIONAL EUROPEU DA INSEALisboa, 15 a 21 de Juiho de 1994

Clara BotelhoPresidente da Cornissa-o Organisadora

Foi uma experiencia Unica verreunidos em Portugal, vindos de todo omundo, todos estes educadores pela arte.

Podemos dizer que o Congress() foium sucesso, de uma maneira geral. Emtermos cientificos, culturais e socials. A

qualidade e diversidade dos trabalhosapresentados, quer na Conferencia deInvestigacao, nos dias 15 e 16, quer nassessees plenarias do Congresso, quer aindanas perto de f3Osesseesparalelas,justificaria,se por si, a nossa satisfacao.

Mas nao podemos deixar de darrelevo as actividades paralelas - exposicOese espectaculos - onde muito do que se faz emeducacao pelas diferentes expresselesartisticas pode ser apreciado nos seusresultadosconcretos. Tambem ha que referira componente social do Congresso, corn asvisitas de estudo e os passeios organizados,que permitiram, sobretudo aos que vieramde fora, ter uma visa° mais completa deLisboa e regiOes limitrofes.

Foi de facto uma experiencia Unica.Poder debater, confrontar, compararexperiencias corn colegas vindos dos locaismais variados, conversar e ate brincar nocontexto de um congresso desta envergaciura

foi coisa que os que se ocupam da educacaopela arte nunca tinhar:: podido fazer emPortugal. E essa a talvez a dimensao docongresso que os que nele participaramsentem mais. Porque as ideias ate se podemler nos livros, mas oconhecimento concretodas pessoas que estao por tras dessas ideias

sempre muito mais completo e profundo.Como conclusao, ficou a certeza de

que o empunhar da bandeira de umaverdadeira educacao artistica a umaurgencia. Recuperar e afirmar a vocacaohumanistica da educacao pela arte, nas sussverdadeiras dimensOes, proporcionando a

';

cada crianca a oportunidade de se expandircriativarnente, na construcao de urn futuro

sao ideias mais do que actuais,neste final de milenio tact carente de ideals.

No fim do Congresso, depois dealgurtsdias intensosem queo mundo pareciacaper nas paredes da Reitoria daUniversidade de Lisboa e na respectivaFaculdade de Psicologia e de Ciencias daEducacao, ficou uma certa sensacao de vazio.

Ficou tambern o desejo de, em Julhode 1996, irmos a Lille, em Franca, ao 290CongressoMundialda INSEA, que tern comotema: "Art, science et environnement au3eme millenaire: divorce et reconciliation".

Its -11111

1111,016

Clara BotelhoPresidente da Comissao Organisadora & Anna MaeBarbosa, InSEA Past President

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1

III EUROPEAN REGIONAL CONGRESSAesthetic Education through the Arts in Europe

Maria Barroso SoaresLisbon, Portugal

Education through art is the onlymeans to re-encounter the freedom of im-agery.

The paths followed by artistic educa-tion are not set out on the basis of theirusefulness; rather they are a way of achiev-ing the means to help the child to become apart of its environment and to find thereinthrough shapes, sounds and coloursthebalance needed for its full, harmonious de-velopment.

The demands made of individualsfitted to occupy the profitable positions ofsociety appeal to a closed, dehumanisedtype of school, in which the fundamentalconcern would be the gaunt, chill transmis-sion of knowledge, not a school of the typethat meets with our intentionsa school inwhich the great values are acquired and inwhich attitudes and behaviour are instilledand stimulated, in keeping with such val-ues.

Education through art is a means ofsatisfying our yearnings and our dreams. Itwill provide the child with the necessaryinstruments to express its thoughts and feel-ings in its own very personal way. It willalso contribute decisively to building up acitizen of the futurea citizen sensitive tothe surrounding world, open to the under-standing of other people, a lover of peace,conscious of his rights and his duties.

As Read has said, "In a world ofuncertainty, of a crisis of values and of reli-gions, art therefore remains as the sole ele-ment of social cohesion".

During many years it was thoughtthat music, the plastic arts and sport weresecondary activities in relation to subjectsconsidered as being noble, such as languages,mathematics, geography, and so on, andthat only those played a decisive role in theformation and structure of the child's per-sonality.

Contact with the arts was somewhatof an accessory matter, perhaps even a wasteof time. Rousseau's thinking, when he said"Dam I set forth here the best, the mostimportant, the most useful rule of educa-tion? It is not to gain time, rather it is towaste it", was ignored or cast aside.

Now Denyse Beaulieu statesandwe are pleased toquote her as a commentary

to Rousseau's thinking, "Le paradoxe del'education artistique reside precisementdans cette perte de tempscom me on dit acorps perduout la formation du petits del'homme renoue avec l'origine meme dumot 'education ducere', c'est a dire tirer asoi, faire aller avoic soi, dance le meme lieu,d'ou le verbe 'conduire' ...".

'Wasting time', gaining it; gainingtime for the education and enrichment forthat admirablebeing, the child; for the whole,integral development of the child, gainingtime for the society of the future, the gener-ous, open society that can be constructed.And for which we, today, are respon3ible!

The great leaders of this 'adventure'are the educators and the artists who, insideand outside the school, will awaken thesensitivity and the imagihatien of the child,stimulating its memory, its reasoning, itscritical sense, its capacity to adapt, its au-tonomy and even its capacity to put all thingsin their proper perspective.

The 'adventure' will also demand aneducation policy which will define objec-tives, delineate curricula, provide supportto educators both in human and in materialterms, and ensure the participation of pro..fessional artists.

Julio Pomar said that "It is very hardto do something alone, even consideringpainting as a solitary undertaking. Nothingis invented. He whom we call an artist is aperson who is heedful, one who sees whatthe others are doing. It is just that the artistreceives these things as soil in which theymay bear fruit".

Artistic education presupposes, to agreater extent than traditional education,the participation of a large numberof peopleand a great deal of resources.

Government participation is there-fore indispensable,. not only at the level ofdefining education policies but more par-ticularly in the subsidies required to sup-port and to stimulate cultural activities inschools, in the field of music, plastic arts,theatre, the heritage, cinema, architecture,photography, the applied arts, audio-visualarts, and so on. Art studios, founded, sup-ported and enliven 'd by teachers and pro-fessional artists, can and should play a veryimportant role in this kind of education, but

20 INSEA NEWS August 1994 in5122 21

Clara Bothelo, Maria Barroso Soares, & JohnSteers

they will only be able to do so if they are apart of the school curricula themselves.

Contact with art, in the case of music;is not aimed at producing instrument play-ers, nor ballet dancers in the case of dancing,nor film directors in the case of cinema.Rather, it is a means to attract the child towhat is beautiful, to help the child, to dis-cover itself and to discover the world, notjust that world which usually surrounds thechild but the other world that lies beyond,that entrances the child, one that the verychild can help to build.

In addition to its role in pedagogicrenewal, or even in its revolution, art mayhelp the child to see its surroundings moreclearly and, particularly, to create a criticalfaculty in relation to the society of which it isa part, tuning the child's sensitivity to theinjustice and violence presented daily bythis self same society.

From being a passive and impotentbeing, a mere spectator of its surroundings,the child will become an agent of transfor-mation of society itself.

Scholastic failure can be fought us-ing this kind of education, an educationthatshould the teachers and others in-volved be properly prepared and moti-vatedwill seduce those children who dis-play a lack of interest in the classic subjectsand disciplines traditionally taught. Theintensity (4 the task, the stimulus of thechallenge to the capacity tocreate new forms,

may create in the so-called poor student ahighly motivating enthusiasm.

This encounter of the child with artis, I think, essential, an art that touches thechild individually, that channels potentialaggressiveness, that opens up the its imagi-nation, that awakens and sharpens the emo-tions, acting even as a sort of catharsis.

Every human being has a need forpassion and for enthusiasm, a need to drawclose to what is true and beautiful. Everyhuman being has a need to love. Art isexactly the right instrument that can teach ahuman being to love.

Malraux was wont to say, 'The Uni-versity is to teach. Culture, the arts, teachone to love".

The relationship between the childand culture, between the demands of educa-tion and the experience of contact and fa-miliarity with art lead to an opening whichsomeone called 'the avenues of beauty'. Tofollow these avenues arouses in human be-ings a permanent interrogation, an openingup of the senses, of intelligence and of sensi-tivity, and will provide the child with anextraordinary lesson on life and set it on thepath towards something higher.

Education through art can thereforebe one of the waysin my opinion it iscertainly the best wayto humanise soci-ety. It appeals to tenderness, to sympathy,to unselfishness and to a spirit of tolerance,and it can thus draw closer those who areseparated by conflicts of economic, politicaland other interests.

Education through art has thereforean irreplaceable role to play in the fightagainst violence and in favour of peace andsolidarity among all mankind.

INSEA 3rd REGIONAL RESEARCHCONFERENCE

Elisabete Oliveira,Co-ordinator,INSEA Research Conference,

Doug Boughton,Board Chairman

Twenty-one presentations ap-proached relevant issues in the field of theVisual Arts, Drama, and Dance Education,at this Conference, by 25 presenters and thePortuguese Society of Sciences of Educa-tion, Art and Education Section; from 7 Eu-ropean countries - Finland, Netherlands,Portugal, Slovak Republic, Spain, Sweden,and the United Kingdom; from 2 Americancountries, Brasil and the United States; andfrom Mozambique.

Not surprisingly, the focus of re-search presentation was spread widely, andit is difficult to identify many coherentthemes. Given both the complexity anddiversity of the arts it is perhaps a good signthat such a range of research questions andmethodologies are evident.

One theme, that of the assessment ofstudent outcomes, was reiterated by severalspeakers. Discussions illustrated theimportance of the need to distinguish be-tween the various roles of student assess-ment.

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1. Assessment of outcomes for the purpose of national curriculum evaluation.

2. Assessment of outcomes for the purpose of improving student performante.

3. Assessment of outcomes for the pur-pose of informing teachers and studentsabout the value of arts for therapy.

Perhaps the most interesting researchquestion to arise from each of these is that ofmethodology.What is the most appropriate balance ofqualitative and quantitative methods to an-swer these research questions?How can quantitative assessment, on a na-tional scale, improve classroom practice?For example: Knowing the state of affairs isonly part of the equation ... Knowing whythey are the way they are, is another.

It would be useful to hear more dis-cussion about the relationship of methodol-ogy selected for research, and the questionsbeing investigated.

Perhaps the second important issuecan be identified, not so much in terms ofthat which was discussed, but that whichwas not discussed. Given the many nationswhich now are undertaking national cur-

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riculum reform, Portugal, Spain, Britain,Sweden, the Netherlands, Australia, andNew Zealand (to name a few), it was inter-esting to note that only a minor part of theresearch reported was in connection withthat reforms and no research examined theimpact of educational, of Cultural policy onclassroom practice. If it is the intention ofresearch to inform, and improve practice,then this is an area that surely needs someattention.

Even the most illuminating researchwill have little impact without appropriatepolicy infrastructure.

A third research issue rose whichconcerned the need for the discussion of thedefinition of research in art education asencompassing the construction of the artobject.

Elisabete Oliveira,Co-ordinator, InSEAResearch Conference

Dancers at Opening Session

In 522 INSEA NEWS August 1994

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REPORT 1993-94FOR THE MEETING OF THEWORLD COUNCILIN LISBON, JULY 1994

Ulla ArnellChair of the European Council of INSEA

1NSEA REPORTS ASIAART EDUCATION IN TAIWAN

Dr. Ann C.S. KuoNational Taiwan Normal University,Taiwan

During the year the European Coun-cil of INSEA consisted of national repre-sentatives of INSEA, INSEA-members co-opted to the Council 1992 in Helsinki and1993 in Hannover, and World Councillors ofthe Region.

The last regional Council meetingwas held in Hannover at the Sprengel mu-seum October 16,1993. Members from 14countries were present (encl. 1,2). The meet-ing was organised by Heinz Vogler andfinancially assisted by the Foreign Office ofGermany and B.DK, Bund DeutscherKunsterzieher. Written reports from 10 coun-tries were presented (encl. 3).

The contacts with the Council of Eu-rope was followed up together with HeinzVogler by a visit to the Council in Strasbourglast May and a meeting with Mr. MichaelVorbeck, head of the Section for EUDISEDand Education Research at the Directorateof Education, Culture and Sport. Mr.Vorbeck explained to us some of the strate-gies of improving education in Europe. Wereceived information on some importantprojects financed by the Council and dis-cussed possibilities INSEA might offer fordifferent educational projects in Europe andways of communication with the Council.

Correspondence has mainly dealtwith routine matters such as sendii-; infor-mation about 1NSEA and the Congress inPortugal. There has also been some infor-mation on European networks already inexistence and proposed ones, all in differentways related to INSEA.

Information about the situation ofthe refugee children in Croatia, the plans forthe exhibition and the seminar organised bythe Croatian Society for Visual Arts andCultures has been distributed to the coun-tries in the Region.

In some cases there has been a func-tion serving as an intermediary paying thememberships from the new democraticcountries due to difficulties in buying andsending currency.

Served as a member of the Affilia-tions Board Group with the task of updatingaffiliation records and formulating propos-als for the possible reform of rules for affili-ated and recognized national organisations.

Efforts have also been given to findfinancing for the participation of INSEAmembers in the Congress in Portugal, espe-cially for members from the former EasternEuropean countries. This problem will needfurther attc...ion for future congresses.

The 29th World Congress of INSEAis scheduled for 1996 in Lille, France. TheScientific Committee of the congress held itsfirst meeting in April 1994 and Sent an invi-tation to the chair of the European Regionand thanks to their financial assistance theparticipation was possible.

The next meeting of the Council willbe held during the INtE A Congress in Lis-bon, July 18 (encl. 4).

Finally I once again want to point outthat the Council has no budget at its dis-posal. All the regular costs like postage,telephone and fax have been covered by myorganisation, Riksutstallningar, SwedishTraveling Exhibitions. Costs for travel havebeen granted by Statens Kulturrad, The Na-tional Council of Culture.

Costs for Heinz Vogler who servedthe work of the Council continuously weregenerously paid by BDK, Bund DeutscherKunsterzieh?r. This fact is something to bepaid attention to in all discussions of thefinancing of INSEA.

Britt-Marie Kuhlhorn, Ulla Arnell, & EnidZimmerman at World Council Meeting

22 INSEA NEWS August 1994 InSEE9

Taiwan, Republic of ChinaLocated off the eastern coast of the Asian

continent, Taiwan is a mountainous islandwith both tropical and subtropical charac-teristics. Off Taiwan's eastern coast is thePacific Ocean, and across the Taiwan Straitsto the west is the mainland province of Fujian.The island of Taiwan is long and narrow,shaped rather like a spindle. Measuring 394km from north to south and 140 km fromeast to west, it has a total land area of 36,000square kilometers. Home to approximately20 million people, Taiwan has the secondhighest population density in the world. Ingeological terms, Taiwan lies at the intersec-tion of the Eurasian and Pacific plates. It isendowed with diverse natural scenery and arich ecology. When Portuguese sailorslanded on Taiwan in 1344, they gave it thename of Ilha Formosa "beautiful island."

The Central Mountain Range is theboundary between Taiwan's eastern andwestern regions. The main summit ofYushan is the highest point nn the island,with an elevation of 3,930 meters. WesternTaiwan consists of densely populated, rap-idly developing plains, and industry andcommerce are the predominant forms ofeconomic activity. The eastern region hasbeen slower to develop and the populationis more dispersed; therefore, the area hasretained much of its native beauty. Agricul-ture, fishing, and mining are the chief modesof production in eastern Taiwan.

Taiwan has a wealth of human culture.Many relics of an active prehistoric culturehave survived, and the existing nine abo-riginal tribes have rich and complex cul-tures. More than three centuries ago, largenumbersof immigrants from the mainland'scoastal provinces settled in Taiwan. Subse-quently came Dutch and Japanese 'occupa-tions, World War 2., and finally, through theelectronic media, the powerful influence ofthe West. From agricultural to industrialeconomy, from colony to autonomous prov-ince, from traditional to modern society:such transitions have left a legacy of highlypluralistic cultural values.

Taipei City, the seat of the island's gov-ernment, is located in the Tait, i basin in theisland's northern region. It is tt, political,economic, and cultural heart of Taiwan. Overthe past forty years, rapid economic devel-

opment and internationalization has trans-formed Taipei into a major Asian coastalmetropolis.

Taiwan's Educational SystemPublic education in Taiwan can be

divided into four kinds: Public education,vocational education, teacher training andhigher education. At age seven to eight,children begin nine years of compulsoryeducation (six years of elementary schooland three years of junior high). Junior highschool graduates wishing to continue theireducation must participate in competitiveexaminations for admission to senior highschool, vocational senior high school, or five-year junior college. Senior high school gradu-ates wishing to move on to college (four toseven years) or junior college (two to threeyears) must likewise take the Joint EntranceExaminations. Students' performance onthese competitive examinations determineswhich fields and institutions are open tothem. College graduates may take furtherexaminations for admission to graduatestudy, or may move directly into the jobmarket.

Art Education in Taiwan, ROCEarly art education in Taiwan was

viewed primarily as a tool for emotionaldevelopment and for the development ofpractical skills. Since 1949, education policyhas gradually been normalized, and art edu-cation has been promoted in conjunctionwith national art exhibitions. The officialcurriculum has been modified through ref-erence to educational concepts current inthe United States, Japan, and other advancednations. The "creation-oriented" approachthat dominated the field for many decadeshas now been supplanted by the "educationthrough art" theory advocated by the Ameri-can art educator V. Lowenfeld and the Brit-ish art scholar H. Read. In actual practice,however, Taiwanese society's excessiveemphasis on material culture has resulted ina lack of attention to art education. There isa general lack of active, systematic curricu-lar planning, and stated objectives are sel-dom put into practice. The intense competi-tion for academic advancement resultingfrom the examination system is a primary

reason for the state of ongoing deteriorationcharacterizing art education achievement inTaiwan's elementary, junior high, and sen-ior high schools. The public school systemhas therefore been unable to achieve its offi-cial curricular objective of elevating the levelof aesthetic appreciation among the generalpopulation. In 1984, new curricular stand-ards were instituted calling for equal em-phasis on the three areas of "knowledge,""expression," and "appreciation," and forthe use of art appreciation teaching to pro-pel art knowledge and to stimulate artisticexpression and creative power. In spirit,this curriculum generally conforms to inter-national trends in art education placingprime emphasis on the teaching of apprecia-tion. Such ideals, however, have yet to berealized in actual practice.

Current school art education in Tai-wan comprises a dual-track system of gen-eral art classes and special ("gifted-student")art programs. the general curriculum inelementary, junior, and senior high schoolsincludes both required and elective art of-ferings. A number of schools at each levelalso offers gifted art programs beginningfrom grade three (nine to ten years of age).These programs are open to students dis-playing special artistic aptitude and arelinked in an ongoing curriculum extendingthrough the junior high, high school, andcollege levels. Although students are ad-mitted to these programs through specialscreening and testing, the classes are alsoopen on a limited basis to students in thegeneral curriculum. At the college level,non-art majors may enroll in art apprecia-tion courses to meet general credit ccquire-ments.

Teaching Facilities and ResourcesMost art education teaching at all

grade levels takes place in ordinary class-rooms. the government has recently initi-ated a project to establish special art educa-tion classrooms in elementary schools, andto selectively install equipment for teachingof pottery, printmaking, and other skills;however, there still remains a ubiquitouslack of special classrooms and art educationteaching materials except in those schoolsthat offer gifted art programs. There are alsoa severe lack of professionally qualified art

teachers. At present, many elementaryschool and junior high school art classes arestill taught by teachers who have not under-gone any specialized training. Meanwhile,those teachers with special knowledge orprofessional training are often not put toappropriate use. Teachers wishing to in-crease their professional knowledge lackchannels and resources for ongoing train-ing, with the result that art teaching in mostschools remains trapped in conventionalmodes. Prevailing social values .and thepressures of the competitive examinationsystem spur schools at all levels to takeexamination performance as the standardfor assessing teaching effectiveness. Bow-ing to social pressures and biases, schools,parents, and students place exclusive em-phasis on intellectual realm of learning atthe expense of the development of solid,well-rounded art teaching programs.

Future OutlookRapid industrialization has brought

"miraculous" economic development, andTaiwan's urban landscape is today indistin-guishable from that of the world's advancednations. However, the over-exploitation ofthe island's natural resources has been ac-complished by world-class environmentaldestruction. Dwindling natural resourcesand declining cultural standards have placedenvironmental issues and art education highon Taiwan's social agenda. Fortunately,there is a growing consensus across the pub-lic and private sectors that heightened envi-ronmental and aesthetic awa reness must bemade dual objectives of social education.Art museums, cultural centers, and socialorganizations are actively working to mar-shal the resources of the community and theschool syctem toward this end. Since theadvent of the information age, the peopleand government of Taiwan have becomeincreasingly consciousof the need to partici-pate more actively in the interdependentglobal village, and it may be hoped that thisconsciousness will bring increasing plural-ism and technological integration to the fieldof art education in Taiwan, ultimately help-ing Taiwan in its drive to become a moreeffective contributing member of the inter-national community.

InEE224

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INSEA NEWS August 1994 23

NORTH AMERICA

ADVOCACY SYMPOSIUM &VISUAL &PERFORMING

ARTSCONFERENCE

The Canadian Society for Educationthrough Art is hosting

a one-day pre-conference symposiumcalled

ADVOCACY THROUGHPARTNERSHIPS

October 26 (evening) and 27, 1994Regina, Saskatchewan, Canada

The Canadian Society for Educationthrough Art joins

Saskatchewan art, dance, drama, andmusic educators in launching the

conference entitled

THE COMMUNITY:A PLACE FOR THE

ARTS AND EDUCATIONOctober 27 (evening) 28 and 29, 1994

WHO MAY BE INTERESTED: Anyoneconcerned with integration of subjects acrossdisciplines and among the fine arts areas ofart, dance, drama, and music. Also, anyoneinterested in forming stronger communitypartnerships with arts related and culturalorganizations.

WHO IS INVITED: Visual and performingarts educators representing all levels of edu-cation. Also, heads of arts organizations areurged to attend.

THE AIM OF THE SYMPOSIUM: To nur-ture communication, advocacy, networking,and partnerships among arts education de-cision makers.

FOR REGISTRATION ANI;CONFERENCE/ SYMPOSIUMINFORMATION or PROPOSALFORMS, CONTACT:Rita L. Irwin and Anna M. KindlerCurriculum Studies in EducationThe University of British Columbia2125 Main Mall, Vancouver, BC, CanadaV6T 1 Z4phone: 604-822-5322 or 604-822-5328fax: 604-822-9366e-mail: irwinr@unixg.ubc.cae-mail: kinan@unixg.ubc.ca

24 INSEA NEWS August 1994

Indigenous People,Art& Place:Interactions of Culture &Environment in ContemporaryLife,Sept. 8- 11,1994, Asheville, NCSponsored by USSEA andWestern Carolina University.(704)227-7210 or Fax (704) 227-7705

or write:Lois Petrovich-Mwaniki, Dept of Art,Western Carolina University, Cullawhee,NC 28723.

This should prove to be an interesting pro-gram with several featured speakers, in-cluding Dr. Alexander Alland, LeoTanguma, Darcy Nicholas, & Dr.Jacqueline Chanda and one day spent atthe eastern Cherokee Reservation,Oconaluftee Indian Village andMuseum ofthe Cherokee Indian.

Notice to those interested in QualitativeResearch or Case Studies on Pedagogy andLearning: Copies of "Participant Observa-tion Research on Pedagogy and Learning"by Dr. Mary Stokrocki are available. Writeto Dr. Stokrocki at Arizona State University,School of Art, Tempe, AZ 85287-1505. Welost the list of international people inter-ested from the INSEA Conference in Mon-treal.

# yo110 e4

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InSEA is pleased to announce thatselected slides of the Children's ArtExhibit from the 28th World Congressare now available for purchase.

For information :ART IMAGE PUBLICATIONS, INC.61 Main Street, P.O. Box 568, Champlain,N.Y. 129191-800-361-2F 18 fax (518) 298-5433Canada1-514-495-1222 fax 1-514-272-6058

InSEE

Conference ProceedingsMontreal 93

The 1993 INSEA World CongressProceedings will be available September1994.

The English speaking Editors areDr. Cathy Mullen and Dr. ElizabethSacca,both from Concordia University, Montreal.The French speaking Editors are Dr. SuzanneLemerise anr' Dr. FrancineGagnon-Bourget,both fro -1 the Universite du Quebec aMontreal.

These Proceedings should be of in-terest to your Universities and we suggestthat you inform them of the possibility toacquire this exceptional report with articleswritten by such famous speakers asArthurDanto, Elliot Eisner, Brent Wilson, RachelMason, Brian Allison,Ana Mae Barbosa,Jerome Hausman, Al Hurwitz, IreinWangboje, Annie Smith, Stanley Madeja,Ron MacGregor, David Baker, Philip Perry,MaxKlager, Emil Tanay, Andrea Karpati,Fernando Hernandez, John Steers,etc.

Les Actes du CongresNous sommes actuellement

elaborer les AMontreal 1993, lesquelsdevraient etre publies entre .

d u Congres, section francaise, serontSuzanne Lemerise et Francine Gagnon-Bourget, toutes deux de Universite duQuebec a Montreal. La section anglaise serasous la responsabilite de Cathy Mullen et d'Elizabeth Sacca, toutes deux attacheesal'Universite Concordia de Montreal.

Suzanne Lemerise, Marie-FrancoiseChavanne, Ana Mae Barbosa ,AnnaKindler BernardDarras, Elliot Eisner,Fernande Saint-Martin, Emil Tanay, AnaSobat, etc., demontrent de la qualite desauteurs.

$25.00 T'SCanadian Residents add 7% GST

Money OrderCertified ChequeCDNCheque US Cheque InternationalChequeBank Draft Cheque certifieChequecanadien Cheque InternationalMadat Postal Traite bancaireto the name of INSEA Montreal 1993Organizing Committee au nom duComite Organisateur INSEA/Montreal1993

INSEA 28th World CongressProceedings Actes du 28e CongresMondial de I'INSEAdo Luc Paquette, Tresorier du ComiteOrganisateur de l'INSEA647, rue Lesage, Duvemay, Laval-Montreal H7E 2Y6 - Canada

INSEA SOUTH EAST ASIA & PACIFICREGIONAL CONFERENCENOVEMBER 13-18, 1994Art Education: A South East Asia-Pacific Perspe-tive InEEE

Greetings from the entire member-ship of the Philippine Art Educators Asso-ciation (PAEA). We are happy to announcethat PAEA will be hosting theSecond INSEA-SEAPAC Regional Congress on November13- 18,1994 at the Subic Bay Freeport Zone inOlongapo City, Zambales, Philippines. Wetake this occasion to extend our warm invi-tation for you to join us in what is sure to bean invigorating and relaxing opportunityfor both the mind and the body.

And Subic Bay is a most fitting venueas it offers excellent meeting facilities, deluxeyet affordable accommodations and a natu-ral environment that combines sunset views,white sand beaches, fishing areas, grassyparks and virgin forests all in one large,expansive nature reserve. And oh, the shop-ping and dining facilities all within easyreach around our meeting site. Indeed, anart education congress in Subic Bay, Philip-pines is one encounter you just can't miss!

So, if you're keen on knowing more,do write to:

The Congress SecretariatSecond INSEA-SEAPACRegional Congress#5 Victory Street,San Juan 1500Metro Manila,PhilippinesTel. No.(632) 705-704 Fax No.(632) 700-164

Take that long, well-deservedbreak in Subic. We'll make itworth your while. See you inNovember!

Alice A. PanaresChairperson,InSEA-SEAPAC Council

Registration FeesFull DelegateINSEA membeNon INSEAStudentAccompanying Person

US520052255100580

All payments must be made in US dollarcurrency in the form of telegraphic transfer,bank draft or international money order.Payments by international credit card orpersonal/company checks will not behonored. Bank charges or remittance feesrelated to the payment transmittals will beborne by the registrant.

Accommodations(rate given is on a per room, per night basis,divisible by 2 pax for double occupancy and3 for triple occupancy)For pre- and post-congress stay in MetroManila, for the inclusive period of Novem-ber 10-13 and November 18-21:

US dollars Single DoubleJupiter Arms 558 567Robelle House 43 49

Triple57558

For congress proper in Subic, for inclusiveperiod of November 13-20:

US dollars Single Double TripleSubicInternational 562 572 59(1

All bookings and payments must be coursedfhiough the Congress Secretariat to avail ofdiscounted rates.

TransportComplimentary airport-hotel-airport trans-fers will be provided to all registered del-egates on condition that:port of entry/departure is the NinoyAquino International Airport (NAIA) inMetro Manila

arrival date is November 12 and departureis November 19

participant is booked at either Jupiter Armsor Robelle House in Metro ManilaRound-trip bus transfer (Manila-Subic-Ma-nila) is US515 (departing Manila on Novem-ber 13, 3:00 pm and departing Subic OnNovember 18, 4:00 pm).

26

Official CeremoniesThe Opening Ceremony and WelcLunch will be held in Metro Manila on No-vember 13, with the First Lady, Mrs. AmelitaM. Ramos in attendance.The Closing Ceremony and Farewell Lunchwill be held in Subic on November 18, withofficials of the Subic Bay Metropolitan Au-thority present.Both functions are open to all registeredparticipants.

Congress LanguageEnglish

ClimateThe Philippines is a tropical country. InNovember when the congress will be held,the climate is cool and dry, with tempera-tures ranging from 22C to 28C. Averagehumidity year round is 77%.

InSE2 INSEA NEWS August 1994 25

INSEA ASIAN REGIONALCONGRESS, 1995

Taiwam, R.O.C.November 10 -15, 1995

Welcome to Taiwan, R.O.C. and to theINSEA - ASIAN REGIONAL CON-GRESS, 1995

The 1995 Regional Congress of theInternational Society for Educationthrough Art Asian Region will be held inTaichung, TAIWAN, R.O.C. on November10-15.

This regional congress is organizedby the Taiwan Art EducatorsAssociation(TAEA) in cooperation withvarious cultural organizations, educa-tional and governmental agencies of theRepublic of China.

We are very happy to have INSEAmembers from all over the world, as wellas the delegates from the Asian region,here in Taiwan for this conference. It issure to be stimulating gathering of arteducators from diverse cultures and withdifferent educational experiences.

The city of Taichung where thecongress will be held has the best climatein Taiwan and is located 150 kilometressouth of Taipai with and altitude of 50meters above sea level. The area is en-dowed with be.utiful scenery and a richvariety of native cultures.

Regional and national exhibitions ofyoung people's art and crafts.

Tours to historical and cultural land-marks and museums. .

Cultural presentations and perform-ances associated with the native Arts.

Dinner and banquetsTours to local beauty spots.

CONGRESS LANGUAGEThe official Congress languages areChinese and English. Translation intoJapanese will be provided.

In addition to the Asian Regional Con-gress if INSEA, Taichung, TAIWAN, 1995,the Asian Regional Congress will bepreceded by the 1994 Asian RegionalCongress( stress on Art Practice domain)organized in cooperation with R.O.C.Children's Art Education Association onDecember 25-28, 1994.116 Chang Chun Road, Taipei, Taiwan,R.O.C. (02) 536 8366 (02) 551 2542fax: (02) 361 8868

26 INSEA NEWS August 1994 InSE22

CALL FOR PAPERSTheme of the congress:

Culture Society Art EducationThis provides an opportunity for arteducators to share and discuss theories,practices, problems and trends of arteducation in their own countries based oneach country's unique cultural back-ground and tradition.ART EDUCATORS INTERESTED INPRESENTING A PAPER OR WORK-SHOP ARE ADVISED TO REQUEST APROPOSAL FROM:

THE SECRETARIATINSEA ASIAN REGIONAL CONGRESS,

TAIWAN, 1995National Changhua University of Educa-tion, Art department1 Jinnder Road, Changhua, Taiwan, R.O.C.30058Tel:(04)721-1101Fax:(04)721-1185Final date for request of form March 15,1995Final date to return accomplished fromand paper Sept. 15, 1995

RETURN SLIPMay I request the following information:

RegistrationCall for papersExhibitsAccomodationsPost Congress Tours/EventsOthers (specify)

NameHome Address

Title/PositionOrganizationBusiness Address

Telephone (Home)(Office)(Fax)

RETURN TOINSEA -ASIAN REGIONAL CONGRESS,TAIWAN, 1993National Changua University of Educa-tion, Art Department, 1 Jinnder Road,Changhua, Taiwan, R.O.C. 50058

A

Sir Herbert

( in English, French

Read Award 1996NOMINATION FORM FORMULAIRE DE NOMINATION

REQUIRED INFORMATIONSpanish )( L' information require dolt etre presentee enfranoi. en anglais ou en espagnol)or

1. Name of candidate Nom du candidat:

2. Acceptance signature Acceptation du candidat:

3. Candidate's work address L'adresse professionnelle du candidat;

4. Candidate's home address L'adresse personnelle du candidat:

5. Name of nominator Nom du nominateur:

6. Nominator's professional designation Titre ( profession) du nominateur:

7. Nominator's work address L'adresse professionnelle du nominatcur:

8. Nominator's home address L'adressc personnelle du nominateur:

9. Enclosures Les documents suivants*a) Current vita of candidate Curriculum vitae du candidat;

b) Cover letter from nominator Leurc dc presentation du nominatcur:c) Letter of acceptance from candidate Acceptation a la candidature du candidat:

d) Minimum of 2 supplementary letters of recommendation Minimum de 2 autres lettres de rccommandationecrites par des professionnels:

c) Other support information Information supplementaire qui pourrait etred'interet a soutcnir la cause du candidat.

* ,t11 materials must he either In English, French or Spanish.* Tous les documents presentes dolvent etre rediges en francais, en anglais ou en espagnol.

Mail nominations to: Priere d'envover le nom de votre candidat a :Dr. Ma ryl Fletcher De Jong, CHAIR, inSEA Sir Herbert Read Award

ART- University of Cincinnati, 5032 Collinwood Place, Cincinnati, Ohio 45227-1412home (313) 272-1679 work (513) 732-5334 fax (513) 735-5237

InS22 INSEA NEWS August 1994 27

0 0

InEEMINTERNATIONAL SOCIETY FOR

EDUCATION THROUGH ART

PresidentJohn Steers, United Kingdom

Vice-PresidentsAna Mae Barbosa, Brazil

Kit Grauer, CanadaMaryl Fletcher de Jong, USA

Joint Secretaries & TreasurersPeter Hermans & Diederik SchOnau,

The Netherlands

World Councillors

Africa and Middle EastKamal El Masry, EgyptAmeur Makni, Tunisia

Zineb Lehman, Morocco

AsiaAnn Cheng-Shiang Kuo, Taiwan

Norihisa Naskase, JapanKong Zhong Qi, People's Republic of

China

EuropeRiitta Heikkinen, FinlandAndrea Karpati, Hungary

Britt-Marie Kuhlhorn, SwedenMeri-Helga Mantere, Finland

Elisabete da Silva Oliveira, PortugalPeter Wolters, Germany

Chair, European RegionUlla Arnell, Sweden

Latin AmericaJose Ramon Gonzales Perez, Venezuela

Ivone Mendes Richter, BrazilNorman Oscar Tornini, Argentina

North AmericaKristin Congdon, USA

Judy Freedman, CanadaDuane Hagen, USA

Enid Zimmerman, USA

Chair, North America RegionRita Irwin, Canada

South East Asia and PacificDoug Boughton, Australia

Geoff Hammond, AustraliaPhil Perry, Australia

Chair, South East Asia and Pacific,Alice Panares, Philippines

membershipMEMBERSHIP APPLICATION FORM DE MANDE DE CARTE DE MEMBREFees/Couts in $ US Fundsnew member/nouveau membre renewal/reconduite

Student/Etudiant 515.00

Regular member/membre regulier

Organizational/Institutional/Library subscription:Organisations/Instutions/Bibliotheques ef archive:

S25.00 ( lyr./lan)S45.00 ( 2yr./2 ans)560.00 ( 3 yrs./3 ans)

S50.00 ( 1 yr. /Ian)590.00 ( 2yrs./ 2 ans)5120.00 (3yrs./ 3 ans)

Make cheques or po. fat orders payable to Cito /InSEAEnvoi d'un mandat postal ou d'un cheque international a Cito /InSEA

Peter Hermans & Diederik Schonau,c/o Cito/InSEA, PO Box 1109, 6801 BC Arnhem, THE NETHERLANDStel./ FAX : (31) 85 521202

Name (Nom)

Address (Addresse)City (Ville)

State, Province (Etat, Canton,Province,Departement).Country (Pays)Postal Code, Zip (Code Postal)

AMOUNT ENCLOSED ( somme incluse) $

Methods of payment:

1. International Postal Money Order, in Dutch Currency (Via Post Office facilities).2. Eurocheque in Dutch guilders. Make Eurocheques payable to: Cito/InSEA3 Traveler's cheque, preferably in Dutch guilders or American dollars4. Cash, in Dutch guilders or American dollars (registered mail)5. Bank cheques in American dollars drawn on a North American Bank only. Please make those

cheques payable to: InSEA.

Please send all Cheques, applications or renewals to:Cito/InSEA, P.O. Box 1109, 6801 BC Arr,Item, The Netherlands.

28 INSEA NEWS August 1994 InSE2no