DOCUMENT RESUME

ED 445 996 SO 032 137

AUTHOR Clark, Gilbert, Ed.TITLE Contemporary Technology.INSTITUTION International Society for Education through Art, Arnhem

(Netherlands).ISSN ISSN-0268-2346PUB DATE 1999-00-00NOTE 22p.

AVAILABLE FROM Cito/InSEA, PO Box 1109, NL 6801 BC Arnhem, The Netherlands;Fax: +31 26 3521202; Web site:(http://cspace.unb.ca/insea/).

PUB TYPE Collected Works Serials (022) Guides - Non-Classroom(055) -- Reports Descriptive (141)

JOURNAL CIT InSEA News; v6 n1 1999EDRS PRICE MFO1 /PCO1 Plus Postage.DESCRIPTORS *Art Education; *Art Expression; Art Teachers; *Childrens

Art; *Computers; Elementary Secondary Education; ForeignCountries; Global Approach; Higher Education; Travel

IDENTIFIERS Art Students; *Technology Integration; Web Sites

ABSTRACTThis theme issue of "InSEA News" focuses on contemporary

technology and art education. The articles are: "International Travel andContemporary Technology" (Gilbert Clark); "Recollections and Visions forElectronic Computing in Art Education" (Guy Hubbard); "Using Technologies inArt Education: A Review of Current Issues" (Li-Fen Lu); "Reflections on aChinese Past" (Doug Boughton); "Teacher Seeks Students' Artworks" (MaryScheesley); "A Morning Experience in a Brazilian Art Museum" (L. B. P.Frange); "The Garden of Earthly Delights" (Hal McWhinnie); "Latin Americanand Caribe Art Education Meeting" (Ana Mae Barbosa); "Using ComputerTechnologies: Some Questions" (Jenny Aland); "Early Childhood Art Websitesfor Young Children" (Barbara Piscitelli); "Minutes of the InSEA GeneralAssembly in Glasgow" (Diederick Schonau); "Tanay's Heart in the Middle of theWorld: Sparking International Dialogue" (Anna Martin); "Art Education on theRhine: The 1999 ESIS Art Conference" (Darren Trebel); "InternationalSymposium on Art Education: Taiwan Museum, Taichung, March 1999" (Ann C. S.Kuo); "Art Teachers Hampered by Lack of Training" (Marie Whaley); and"Piecing Together the Puzzle of Peace Building: The Canadian Kids Guernica"(Rita Irwin). (BT)

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

Contemporary Technology

InSEA News; v6 n1 1999

PERMISSION TO REPRODUCE AND

Cm)DISSEMINATE THIS MATERIAL HAS

BEEN GRANTED BY

1

DcCIA0-et&Ai

TO THE EDUCATIONAL RESOURCESINFORMATION CENTER (ERIC)

U.S. DEPARTMENT OF EDUCATIONOffice of Educational Research and Improvement

EDUCATIONAL RESOURCES INFORMATIONCENTER (ERIC)

This document has been reproduced asreceived from the person or organizationoriginating it.

Minor changes have been made toimprove reproduction quality.

Points of view or opinions stated in thisdocument do not necessarily representofficial OERI position or policy.

2BEST COPY AVAILABLE

Volume 6, Number 1, 1999 InEEM NEWSISSN #02682346 InSEA is the International Non-Governmental World Organization for

Education Through Art in Consultive Relations with UNESCO

r.

All illustrations not attributed to authorsare children's drawings from a calendarprinted in Taiwan.

International Travel and Contemporary TechnologyGilbert Clark, USAPresident's ReportKit Grauer, CanadaRecollection and Visions for Electronic Computing in Art EducationGuy Hubbard, USAUsing Technologies in Art Education : A Review of Current IssuesLi-Fen Lu, TaiwanTeachers to Experience Australian School LifeAIAEInSEA 30th World CongressAIAEReflections on a Chinese PastDoug Boughton, AustraliaTeacher Seek Students' ArtworksMary Scheesley, USAA Morning Experience in a Brazilian Art MuseumL.B. P. Frange, BrazilThe Garden of Earthly DelightsHal McWhinnie, USALatin American and Caribe Art Education MeetingAna Mae Barbosa, BrazilUsing Computer Technologies: Some QuestionsJenny Aland, AustraliaEarly Chilhood Art Websites for Young ChildrenBarbara Piscitelli, AustraliaSchool Kits and Frescoes OfferedNAEAMinutes of the InSEA General Assembley in GlascowDiederick Schonau, The NetherlandsTanay's Heart in the Middle of the World: Sparking InternationalDialogueAnna Martin, USAArt Education on the Rhine: The 1999 ESIS Art ConferenceDarren Trebel, GermanyInternational Symposium on Art Education:Taiwan Museum, Taichung, March 1999Ann C. S. Kuo, TaiwanArt Teachers Hampered by Lack of TrainingMarie Whaley, AustraliaPiecing Together the Puzzle of Peace Building:The Canadian Kids GuernicaRita Irwin, Canada

1

InEEM NEWS Volume 6, Number 1,1999

Editor: Gilbert ClarkAssociate Editors: Li-Fen Lu &Enid Zimmerman

Editorial Board:Doug Boughton, AustraliaAndrea Karparti, HungaryRiitta Heikkinen, FinlandNorihisa Nakase, JapanIvone Mendes Richter, BrazilEnid Zimmerman, USA

InSEA News is the official publicationof the International Society for Educa-tion Through Art.

Reprinting for educational purposes isencouraged. Credit should be given toInSEA News as the source.

Articles, Regional Reports, andAnnouncements are welcome at all times.Please send copy to:Gilbert Clark3240 N. Ramble Road EastBloomington, IN 47408-1093USAtelephone 812-336-0387e-mail clarkgil@indiana.eduFAX: 812-856-8440

Authors are encouraged to send allmanuscripts with disks and to includephotographs or art work.

Forthcoming Themes:

6-2: School/Museum Cooperation6-3 Successful Projects by Teachers7-1 InSEA World Congress in Brisbane

2

INTERNATIONAL TRAVEL ANDCONTEMPORARY TECHNOLOGYGilbert Clark, USA

My wife and I recently returnedfrom a week in Peru , South America,where we went, particularly, to seeMachu Picchu, the ruins of aspectacular, mountainous, pre - Incanvillage that was discovered relativelyrecently. We also went rafting on theUrubamba River; visited Chinchero, aQuechua weaving village at about12,000 feet above sea level; stayed inCuzco at about 11,000 feet, sawnumerous pre-Incan and Incan ruins,as well as many other fascinatingplaces, and went to Lima on the coast.This was a delightful trip that broughtus into contact with many people wewould never have met, historical andcontemporary cultures, and arts andcrafts we would never have knownwithout taking the trip.

As I sat down to write this editorial,there was a message on my computer,from the National Art EducationAssociation (NAEA), encouragingpeople to submit proposals about theuses of contemporary technology inteaching for the next NAEAconvention. "Electronic technologies,especially computers, represent thegreatest revolution in education, andin art, since the invention ofphotography in the 19th century....Computers and electronic imageryare powerful and immediate meansfor mass, global communications, andfor human expression," it claimed. Tosome extent, I agree. The announcedtheme of this InSEA News issue wasContemporary Technology, andseveral writers have addressed thistheme.

I sit at my computer andcommunicate with people who,literally, are all over the world and Ireceive manuscripts, electronically(meaning, immediately), from a greatnumber of art educators from manycountries. Certainly, the miracles of

contemporary technology arewondrous.

Nevertheless, the benefits of travelare even more wondrous! There isnothing to compare with actuallywatching a shopkeeper haggle withcustomers in Bangkok or Jerusalem,participating when a Native Americanor Peruvian shaman performs ahealing ritual, or contributing to thestructuring of an art educationprogram in Taiwan or Singapore.Even more important areopportunities to meet local people andshare their unique experiences.

As art teachers, we can share ideas,problem resolution, and imageselectronically. Personally, we can seeand experience the variety andwonder of classrooms and schools inmany parts of the world. Ourunderstanding of our own problems isextended and enriched if we traveland reach out to others who share ourwork in vastly differentcircumstances. As we travel, we canshare ideas and images with others,see and hear about art education ininternational perspectives, and meetothers who approach art educationinitiatives from different perspectives.These opportunities, I believe, arevery important and should not besubstituted for communicationthrough new technologies, althoughthese technologies are criticallyimportant to our work.

Volume 6, Number 1, 1999 I SEM NEWSPRESIDENT'S REPORTKit Grauer, Canada

1999 has been very active forInSEA, and for me, personally. I havehad the great fortune to spend timewith InSEA members around theworld and participate in veryenlightening, international events. InJanuary, I was involved with WorldCouncilor, Alice Panares, in acurriculum development project heldin Thailand. Under the direction ofSPAFA, an organization dedicated topromotion and advancement of finearts and archeology in ten SoutheastAsian countries. We met withparticipants from Laos, Cambodia,and Vietnam to develop elementaryarts education curricula in those threecountries. The director of the project,Elmer Ingles, will be writing an articleabout this. I experienced greaterunderstanding of the art, culture, andeducation of Southeast Asia and waspleased to bring new colleagues intoInSEA.

In early March, I was invited by theBeebie Foundation to give lectures inWellington, Christchurch, andAukland, New Zealand. FoundingInSEA member Bill Barrett wasinvolved actively in this and I met anamazing group of New Zealand arteducators. I cannot speak highlyenough about New Zealandhospitality, culture, scenery, and artprograms. This country has a lot toshare with the rest of the world aboutits art education.

In March, World Councilor AnnKuo hosted another internationalconference about art education inTaiwan. As well as four intensivedays of sessions, Kid's Guernicabanners were displayed andhighlighted. For those who have notseen these extraordinary examples ofchildren's art, they will be displayedat the Brisbane World Congress.

The NAEA conference, inWashington, DC, was site of our

spring InSEA executive meetings.NAEA and Michael Day have beenextremely generous to offer us sessiontimes and host a reception formembers of the InSEA executive andWorld Council. The United StatesSociety for Education Through Art(USSEA) hosts an internationalluncheon every year at NAEA that,this year, provided a meeting place forInSEA, USSEA, CSEA, and NAEAmembers to learn a bit more abouteach other and our respectiveorganizations. A highlight of thisluncheon was USSEA's presentation oftwo Ziegfeld Awards to InSEAmembers Weislaw Karolak andPatricia Sturh, art educators who havemade outstanding contributions tointernational art education.

InSEA executive meetings involvedbusiness and planning of InSEAprograms, activities, and events. Wehave received many submissions forthe UNESCO/InSEA web site and willbe setting that up this summer. It willbe opened officially at the BrisbaneWorld Congress. A major focus wascongress proposals and planning, witha report from Robyn Stewart, AdeleFlood, and David Hawke about theInSEA World Congress to be held inBrisbane, Australia, in September.This congress has been exceedinglywell organized and is shaping up as anevent not to be missed. Otherproposals discussed were a EuropeanRegional Congress (summer, 2000),and plans for another World Congressin New York (2002). Both events willbe discussed further at the WorldCouncil meeting and in presentationsat the Brisbane World Congress.

The InSEA General Assemblyusually is held every three yearsduring a World Congress. All InSEAmembers are invited and encouragedto attend. Our agenda will includeintroduction of the new World Council

and Executive (elections areunderway currently), the President'sReport, announcement of the SirHerbert Read and the Mahmoud El-Bassiounny Awards, resolutionsproposed by members, andannouncement of future InSEAConferences.

I look forward to bringing aproactive and positive report to thesociety in September, and toparticipate with you in the BrisbaneWorld Congress. Your views aboutorganization and direction for InSEAare always welcome. Please contactme directly or convey your thoughtsto any Executive or World Councilorfrom your region. The strength ofInSEA is the strong commitment ofour members to art education.Please, make your voice heard.

Kit Grauer, University of BritishColumbia, Faculty of Education, 2125Main Mall, Vancouver, BC,CANADA, V6T 1Z4. Telephone:(604) 822-5327; fax: (604) 822-9366, e-mail: kit.grauer@ubc.ca or http:/ /cspace.unb.ca/insea/

InSIEM NEWS Volume 6, Number 1, 1999

RECOLLECTIONS AND VISIONS FORELECTRONIC COMPUTING IN ARTEDUCATIONGuy Hubbard, USA

In many walks of life, including art education, people arelikely to be involved with electronic computing. Moreuniversal interests include Internet applications, such as e-mail and the World Wide Web. Word processing andsimilar applications are used everyday. In addition, artists,designers, and art educators are likely to be attracted byforms of computer graphics and desk top publishing.

Thirty years ago, most of these ideas were pipe-dreams,with their possibilities in the distant future. A 1967 articlein Life magazine triggered an idea for solving problems inart education that were frustrating. That article describedthe potential of electronic computing for all forms of datamanagement; I believed this could as easily be art lessons.Given the capacity of computer memory to store largeamounts of information, and retrieve it rapidly, teacherscould have many more instructional possibilities than byusing textbooks or personal repertories of art lessons.

Such a database also could offer opportunities forinstruction where students could enjoy largely unknownfreedoms. They might work individually at areas of artthat appealed to them, and at their own speed. If text couldbe handled in this way, so could pictures, speech, andsound.

As a result, I wrote prototype instructional materialsorganized as a database; lessons were accumulated withlinking pathways to provide numbers of choices. Duringthe early 1970s, print-based materials had been available tocollege and high school students. Some were placed in thecomputing resource at the University of Illinois.Fundamental features of these worked well, although mycomputer-based efforts were eventually abandoned. Onlya handful of schools had access to computers and thisseemed unlikely to improve. Very few educational leadersat that time saw the potential of this new technology.

It should be mentioned that, in the early 1970s, themicroprocessor had not been invented. The first modestlypriced microcomputers appeared in 1977 and computersdidn't find general acceptance in schools until the mid tolate 1980's. My development of an art instruction databasecontinued throughout the 1970's and early 1980's, usingsuch authoring programs as Pilot. Publication ofHyperCard offered even greater opportunities for thoseworking on Macintosh computers, even though addingcolor and sound were clumsy. Publication of Linkway forDOS-based computers added capability for color; althoughcolor made files very large and slow-to-display. The finalproduct was a collection of art lessons with color imagesand audio capabilities. At first, it was assembled and

4

stored on a large university server for use with campusstudents, although the advent of CD ROM disks madepossible dissemination beyond our campus.

In addition to my interest in instructional databases, Ibegan a parallel enterprise of offering courses for teachersand adolescents in computer graphics. I assumed image-making with computers would appeal to anyone whoenjoyed making art. The response was strong, probablybecause making art is such a fundamental urge forartistically inclined people. Computer graphics hascontinued to grow in popularity, judging by the number oflistings in convention programs. While argumentscontinue about whether computer generated graphics aretruly art, young people embrace them eagerly. It hasbecome a natural medium for art instruction in schools.

A substantial proportion of art skills and concepts can becommunicated by means of computer graphics. Were thisto be adopted, it could reduce reliance on expensivelyequipped art classrooms and costly art materials. Subject-matter in art could be expanded to include drawn andphotographic motion, arts continuously present in studentconsciousness but rarely included in school programs. Thebiggest obstacle I encountered, however, was resistance tothe idea of abandoning traditional art media. As aconsequence, I concentrated on further databasedevelopment. Opportunities for graphics in school artprograms remain to be explored, and people are sure tocarry it forward.

The present situation is now quite different than when Ifirst became involved. Computers have been embraced byeducators and students use word processers commonly.Students use the Internet for e-mail and search the Web forall forms of information. In addition, students make gooduse of graphics and desktop publishing programs.Fundamental ideas for adjusting art teaching to make thefullest use of the electronic revolution are less common.Compare the art education with what has happened inproduct design, graphic design, architecture, movie-making, and medical illustration.

When educational computing began, much activitywas the result of people working locally or in small groups.Some truly innovative efforts demonstrated how teachersand students could modify school curricula. These led todevelopment of instructional alternatives that broadenedthe appeal of learning. It became evident that electronicmedia could transform learning opportunities open tostudents. The question that remains is just how long willstudents have to wait before these changes begin to taketheir rightful place in classrooms throughout the world?

Volume 6, Number 1, 1999 InSEM NEWSUSING TECHNOLOGIES IN ART EDUCATION:A REVIEW OF CRITICAL ISSUESLi-fen Lu, Taiwan

Many art educators advocate using technologies aspower tools to reform art education and many art teachersuse technologies and computers as new art media. Theyoften believe technologies are advancing art teaching andart education reform. The impact of technologies,however, might not always be positive. Although newtechnology has become a fashion, it is risky to assumestudents will always benefit from its use in art instruction.It is imperative that art educators and teachers face theproblems that arise from using technologies in teaching artand explore ways to deal with these problems.

How teachers teach traditional art curricula has beenshaped by new technologies. As a new teaching tool,computers contribute to art instruction through networkingand hypermedia. With computer networking, students canaccess a wide range of written and visual resources on theInternet (Freedman, 1997) and these can expand students'perspectives and enhance communication across differentcultures (Greh, 1997). In addition, these resources offervaluable experiences for students; their visual sensibilitiesare enhanced by visiting webpages of art museums,galleries, and artists, and by creating their own webpages.Students can construct meanings with a great deal ofeducational and personal autonomy, according to theirown interests and abilities. Computer technology,networking, and hypermedia can be considered effectivevehicles for assisting art instruction in the information age.

A unique feature of computer use in art education lies inits function as a new art medium. Created with computers,computer art now has become an accepted art form. Thisart form provides new content to teach in art education. Inproduction, for example, a number of art teachersenthusiastically teach students to create their artworks withcomputers. It also has become important for students tolearn about making aesthetic judgments when theyencounter computer generated images on the Internet or onCD -ROMs. How to critically analyze and judge the qualityof computer generated images, as well as how to appreciateand understand them, is a component of effective artteaching.

Two other reasons technology can play a significant rolefor art education are important. One is that currenttechnologies can provide students with postmodern visualexperiences. Freedman (1997) described these as"fragmented, often contradictory, multidisciplinary, andintercultural." In a postmodern society, students arefrequently exposed to visual images that are availablethrough mass media and they need to learn to critiquethose. The second way technology can support art

education reform is because technology advances veryrapidly, every advancement provides a variety of possibleavenues for learning and teaching about art. As a result,new technology can become a catalyst to ignite newchanges in art education reform.

These new power tools, however, may have negativeinfluence when they are not used toward positive ends.Social dynamics and computer control become two majorissues in the use of power tools in art education. There issome concern that students have little interaction withothers while working alone on computers (Gregory, 1995).Other researchers, however, found that, when computer-based art instruction was well designed, students increasedtheir cooperative behaviors and task-oriented verbalinteractions (Freedman, 1991). In addition, it has beenshown that they can benefit from knowledge constructiontasks on hypermedia programs. Cooperative learning withcomputer based instruction, therefore, has the potential tosupport students' social interactions.

Whether or not students have interactions with others,while using computers, depends on how instruction isdesigned and what instructional strategies are used. It is ateacher's responsibility to determine whether studentsreceive positive or negative outcomes from their use oftechnology. Fancy effects on a computer graphics programmay make students' artworks look stereotypic, however;students often rely solely on such readily providedfunctions, if they do not receive proper instruction. Whenstudents learn new programs, they seem to focus onattention to technical effects, rather than conceptual orideational aspects of their artworks (Stokrocki, 1986).Freedman and Relan (1990) concluded that students shiftfocus from manipulative and technical , to conceptualaspects of computer generated images, only after they gainsufficient experience. Art teachers need to consider thesefindings and guide students with different needs andresponses in how to use computers effectively to enhancetheir learnings in art.

There are other problems that have been identified whenusing computers to teach about art. The first is thatteachers usually teach computer art in much the same waythey teach the use of other, more traditional media. Theother is that teachers do not know how to anticipatestudents' general responses to computer art; they assumestudents will have the same responses they would have totraditional art forms. When teachers are not sure whatstudents' reactions to computer art may be, they are notwell prepared to teach students to critically appreciate orjudge computer art.

7

5

InEEM NEWS Volume 6, Number 1, 1999

Technology may have both positive and negativeinfluences on what students learn about art and how artteachers teach them. In the future, computers will be usedmore frequently in classrooms. Art teachers can play keyroles in deciding how students benefit from the power oftechnology in art instruction. This is the new challenge forall art educators and teachers in this technological age.

References:Freedman, K. (1991). Possibilities of interactive computer

graphics for art instruction: A summary of research. AAEducation, 43(4), 41-47.

Freedman, K. (1997). Visual art/virtual art: Teachingtechnology for meaning. Art Education, 50(4), 6-12.

Freedman, K. & Re lan, A. (1990). The use of applicationsoftware in school: Paint system image developmentprocesses as a model for situated learning. ournal ofResearch on Computing in Education, 23(1), 101-112.

Gregory, D. (1995). Art education reform: Technology assavior. Art Education, 49(6), 49-54.

Greh, D. (1997). New technologies in the art classroom.In D. Gregory (Ed.) New technologies in art education:Implications for theory, research, and practice. Reston, VA:NAEA.

Stokrocki, M. (1986). Qualitative interpretation of amicrocomputer graphics course for gifted and talentedadolescents. Art Education, 39(1), 44-47.

6

Volume 6, Number 1,1999 InEEM NEWSTEACHERS TO EXPERIENCE AUSTRALIANSCHOOL LIFEAIAE

Visual Arts educators from all over the world will haveopportunities to experience Australian school life as part ofan international congress being staged in Brisbane,Australia, later this year. The Australian Institute of ArtEducation (AIAE) will host the 30th International Societyfor Education through Art (InSEA) World Congress at theBrisbane Convention & Exhibition Centre, September 21 -26, 1999.

While the main congress will present speakers,workshops, and exhibitions, an associated fieldworkprogram, which runs September 13 - 17, in which delegateswill have opportunities to visit and work in schools in theeastern states of Australia, is proving a popular additionfor overseas delegates. Program coordinator, Ms. DeborahCohen, said there already has been great interest from bothschools and delegates wishing to participate.

"We have schools in the outback, such as Mt. Isa, andschools on the beautiful coast, such as Townsville, willingto accept delegates," according to Ms. Cohen. She said thatparticipating schools would pay travel and accommodationcosts for a delegate to the school. Delegates from manycountries have nominated themselves to attend thisfieldwork program. We also have two artists, from SouthAfrica, wanting to do a workshop in figurative claysculpture and doll making, traditional among indigenouspeople of their country.

Delegates can nominate what they want to do, workingwith students or teachers. A sister association can beformed between schools, children's artwork can beswapped, or schools can decide to set up web sites and chatlines The possibilities are endless.

President of the hosting body, AIAE, Ms. Adele Flood,said the Congress would create unique training andprofessional development opportunities for teachers. Itwill provide opportunities for teachers and academics tomeet educators from other countries, share ideas,collaborate on future work, and discover new ways ofteaching and learning.

For registration and inquiries, contact Ozaccom,Conference Services, tel: +617 3854 1611; fax: +617 38541507; Email: ozaccom@eis.net.au or http: / /www .qut. edu.au/ insea99/insea

InSEA 30TH WORLD CONGRESSBrisbane Convention & Exhibition CentreSeptember 21 26, 1999

The International Society of Education through Art(InSEA) was founded in 1951, after a seminar convened byUNESCO. Following the end of World War II, it was seenas a means of forwarding world peace, to be achieved byencouraging understanding of cultures and exchange ofideas through visual arts education. Today, the society has2,000 members in 88 countries.

The first InSEA World Congress was held in Bristol,England, in 1951 and brought together visual artseducators from all over the world. The 1999 WorldCongress, to be held in Brisbane, Australia, in September,hopes to attract 1,500 delegates, representing primary,secondary, and tertiary levels, as well as members active inmuseums, art galleries, and other aspects of visual artslearning. It will be hosted by the Australian Institute of ArtEducation (AIAE), the major professional association ofAustralian arts educators, and an affiliate of InSEA. Sincewinning the bid for the Congress, a Queensland-basedcommittee, in consultation with AIAE, has planned theevent. Arts Queensland funded an Aboriginal artist,Aarone Meeks, to design the Congress logo.

Attendees will gain professional development throughsharing ideas and knowledge of visual arts educationtechniques, beliefs, attitudes, and research from around theworld, to enable them to lead students into the nextMillennium. The theme of the 30th Congress is Culturesand Transitions, which recognizes the complexity ofdiverse cultures in the world today.

The Congress will be complemented by a researchconference, International Baccalaureate Workshops, and anassociated fieldwork program in which delegates can visitand work in Queensland and New South Wales schools.The Congress will incorporate presentations by keynotespeakers, workshops, and arts exhibitions. Major nationaland international children's exhibitions also will form partof the Congress, which will run concurrently with the Asia-Pacific Triennial at the Queensland Art Gallery. ThisCongress is being sponsored by Arts Queensland andEducation Queensland, with significant support from theUniversity of Southern Queensland and the QueenslandUniversity of Technology.

For registration and inquiries, contact Ozaccom,Conference Services, tel: +617 38541611; fax: +617 38541507; Email: ozaccom@eis.net.au or http://www .qut. edu.au/ insea99/insea

7

InEEM NEWS Volume 6, Number 1, 1999

REFLECTIONS ON A CHINESE PASTDoug Boughton, Australia

I want to describe an exhibition organized by theEuropean Office of the International BaccalaureateOrganization (IBO) in response to an idea proposed byMichael Gulbenkian. International Baccalaureate Art andDesign students from around the world, in late 1988, wereasked to respond creatively to sketches of ancient Chinesejade sculptures owned by Mr. Gulbenkian.

Selected student works were exhibited, alongside theoriginals artifacts, at the Theosophical Society Gallery inLondon, in May of 1999. This activity was jointlyorganized by IBO and UNESCO in the context of its'Education for a Culture of Peace' program. Proceeds fromthe exhibition will be used to assist schools in developingcountries wishing to undertake international educationprograms, such as those offered by IBO.

TEACHER SEEKS STUDENT'S ARTWORKMary Scheesley, USA

I am interested in exchanging student artworks from myschool, in Panama City, Florida, with other elementary agestudents from other countries. Any school (other than inthe U.S.) interested in an exchange should mail 10 to 15pieces of student artwork to:Mary SheesleyGlobal Art ExchangeSmith Elementary School5044 Tommy Smith DrivePanama City, FL 32404USAA photograph of students who created each artworkshould be attached to each piece, if possible. Artworksfrom elementary students in Florida will be sent to yourschool in exchange.

I have found this to be an invaluable tool in teachingabout art from other cultures. My students are extremelyinterested in viewing artworks from other countries. Theyoften go to our library, to research a country, when theydiscover a piece of their artwork is being sent there.My students are more interested in viewing artworksexhibited on our walls, than viewing it on the Internet. Ifyou need additional information about this Global ArtExchange Program, please write. I will be glad to respond.

8

A MORNING EXPERIENCE IN A BRAZILIAN ARTMUSEUMLucimar Bello P. Prange, Brazil

The Museu Universitario de Arte (MUnA) belongs to theFederal University of Uberlandia, in Minas Gerais in thecenter of Brazil. The Art Department offers courses in finearts, interior decoration, architecture, and urbanism.MUnA publishes a magazine titled Cademo de Arte (Art'sNote-Book). The aim of MUnA is to inform, disseminate,and publish research performed by teachers and studentsin the areas of art, art education, room decoration,architecture, and urbanism, as well to teach these subjects.

A university museum is a space for teaching, research,and extensions in classrooms at the university, but goesbeyond these by interactions with communities andsociety. There is an aesthetic, cultural, and socialengagement with many other people in democratic spaces.The museum is committed to sustainable, economicdevelopment of a region, its habitants and social groups,and people in other regions

Current museology links conservation, documentation,communication, and cultural and educational actions.MUnA supports diversified knowledge about museology,curators, art education, and experiences of artists,architects, students, researchers, and scientific, cultural,and management technicians. We need partners, becauseconception of an exhibition always has relationships withcommunities and society.

The museum implies important and fundamentalconnections between people and social and historicaldimensions of cultural objects, because it is based onpeople, spaces, and cultural memories. We work withrelationships of spaces, contextualizing human beings andcultural objects. Art is knowledge and it links scientific,cultural, and specific aspects of philosophy, culture, andscience. Research about art focuses on, and analyses of, artproduction, based on historical, critical, anthropological,and semiotic aspects.

In December, 1998, MUnA held an exhibition of Artists-Professors-Researchers of the Art Department. Theseartists were considered as archaeologists or utopians; theirresearch was based on structures, formalities, materials andtechniques, symbolism, and connections that transformtheir images and concrete forms. In January, 1999, The ArtDepartment offered a Specialization Course on ArtTeaching and I was its first professor.

We lived a significant teaching experience. First,students produced drawings from memory. Later, wewent to an exhibition at the university and they had tochoose an artist and artwork to dialogue with, and makeanother drawing. I'll consider only the production of threestudents who chose two artworks by Darli de Oliveira and

Volume 6, Number 1, 1999 nEEM NEWSHello de Lima.

Darli de Oliveira workswith earth and naturalpigments and tempera overused, old canvas. In herworks, she moves fromnarrative artwork toabstraction. Her paintedcanvas is similar to anarcheological life, with severalcoats of natural materials thatallow us to see anterior colorsand materials. She uses tonesof whites, blacks, oranges, Darli de Oliveira

yellows, strong blues and reds,and many grays and greens.

Helio de Lima constructs watercolors over white cottonfabric. In one work, there may be memories andremembrances. Her images are smooth, transparent,flirtatious, sad, and cheerful ghosts with many possibilitiesof humor and behaviors. Some figures come in, others goout. Legs are wings; heads are bodies; bodies are squares,ovals, spirals, or amoebas. Some colors go beyond of thefigures. Some figures fly, look around, catch, crawl, takesomething, throw things away, etc..

Three students, who were also teachers, (Vera, AnaFlavia and Nueli) chose two artworks and made otherimages. Vera told us she had never drawn in her life andhad chosen the Darli artwork to dialogue. with. Herdrawing was made during her experience in the museum.Ana Flavia had been working as an art teacher and shechose the same Darli artwork. Her drawing was madeduring a visit to the museum. Nueli chose Helio's artwork.Her image was made in the classroom, before visiting themuseum. Nueli's drawings were made in front of Helio'sartwork.

In these rapid exercises, and all the works of the thirty-one students, it is possible to perceive relationshipsbetween artists-artworks, students-spectators, andsignificant experiences for them all. Each one saw,assimilated, and contextualized, from different points ofview, experiences and visions and created other images. Ican affirm that images speak and we can look, perceive,and dialogue with them in different ways and contexts bytheir, and our, languages.

eit

Vera

Nueli Nueli

Illustrations for this article were provided by the author.

9

NEWS Volume 6, Number 1, 1999

THE GARDEN OF EARTHLY DELIGHTSHal McWhinnie, USA

The Garden of Earthly Delights is a public, ceramic artsgarden that has established an Institute for Arts Educators.This institute will focus on development of listservs forartists/teachers, and on distance education courses invarious aspects of arts education.

The institute now maintains three weekly listserves: TheGlaze of the Week, The Fractal of the Day, and TheDrawing and Thought of the Day. Beginning in April,1999, the curriculum consists of three online distanceeducation courses: Ceramic Glazes, Drawing on the WholeBrain, and Chaos and the Arts. All of these are free toartists, art teachers, and students.

In the fall, we hope to include an advanced course inglaze calculation and analysis, history of art education, andfractals and chaos theory. Other courses are planned forthe future. These online courses will' be offered three timeseach year. Teachers may preview a course one quarter,then schedule it for their students the next. Suggestions areinvited for changes that can be individualized for specificinterests.

These courses are delivered as e-mail with attached fileson the Internet. A limited amount of interactivity betweenstudents and me is encouraged. These courses will berevised as needed and others are encouraged to designother courses that can be delivered by the Institute.

10

LATIN AMERICAN AND CARIBE ART EDUCATIONMEETINGAna Mae Barbosa, Brazil

Organized by V. Kon and A. De Vicenzi, a CLEAmeeting for Latin America took place in Buenos Aires,Argentina, November 4th to 8th, 1998. The 420 participantscame from Brazil, Chile, Columbia, Mexico, Uruguay, andVenezuela.

All of these countries were experiencing nationwideeducational reforms, financed by the World Bank or InterAmerican bank. It was no surprise, therefore, that all had alot in common. Their educational plans had foreignadvisement, for example, but were written by universityprofessors. In Brazil, most of the reformers were from theUniversity of Sao Paulo, the Catholic university in Chile,and UBA in Argentina. There is no doubt that the best,most famous professors were chosen and producedvaluable documents.

Our concern is about the control of these reforms by aSpanish educator whose national reforms in Spain havefailed. In addition, lack of participation by classroomteachers (in some cases consulted only after the newcurricula were prepared) makes us unsure about theirsuccess. Discussions these curricula prompted, however,are important for the development of art education in LatinAmerica.

A lecture, by Dr. G. Klimovsky, called attention tosimilarities between processes of learning in sciences and inart. A panel that followed, "What Art for WhichEducation?" generated a broad view about the potential ofanalyses of Modernism, Post-Modernism, CulturalPlurality, Cultural Cannibalism, and other topics.

Members of a panel, R.M. Ravera and A.M. Barbosadefended a hybrid point of view, I. Rodriguez spoke anationalist view and was popular with the audience. S.M.Britos, L. Errazuriz, A. Jimenez, and D. Aguila discussedproblems of curricula in different panels. This was a 'hot'issue for the audiences. V. Fuenmayor produced discourseabout body and liberation, moderated by S. Azar and L.Suassmen. M. Pantigoso (who was elected the day beforeas General Secretary of CLEA) was the final speaker.

V. Kon did an amazing job reorganizing CLEA, now anactive association. Pantigoso, a poet and art educationauthor, will continue the good work of Kon because he hasstrong institutional support from the University RicardoPalme in Lima, Peru.

It is important to mention the Seminar on Administrationand Cultural Planning, coordinated competently by 0.LOlaya, because it attracted many participants. We all leftBuenos Aires believing InSEA now has its regionalmembers consolidated in Latin America.

Volume 6, Number 1,1999 InEEM NEWSUSING COMPUTER TECHNOLOGIES:SOME QUESTIONS?Jenny Aland, Australia

How are students using computer technologies in visualarts classrooms and how are teachers responding to urgingfrom school and public sectors to incorporate computertechnologies into visual arts curricula? How imaginative,inventive, experimental, artistically valid, or culturallyrelevant is this use in terms of curriculum? Are studentsbeing encouraged to use computer technologies toconceptualize and express ideas or does their practicerevolve around the anachronistic practice of using toolsthat simulate traditional hand tools, such as typewriters,paintboxes, drawing tables, or spreadsheets?

What are artists making and doing with new media andtechnologies? As Penny (1991, 1995) has observed, artistsare at work creating computer forms (multi-media,interactivity, simulations, and virtual reality) that can existnowhere else. These are media upon which computer artof the 21st century will be based (Penny, 1991). Given thatmuch visual arts classroom practice draws fromunderstanding of art practices, how closely does studentwork parallel that of contemporary artists who usecomputer technology? Is what visual arts students arebeing asked to do appropriately contemporary or sufficientfor the twenty first century?

How do we know that works produced using computertechnology are worthwhile as art? Recent research hasrevealed that one practical problem in displaying newmedia work is the absence of art worthy of exhibition. Apositive interpretation of this might be that multimedia iscurrently at a daguerreotype stage. The relative dearth ofthematic exhibitions in new media is related. In otherwords, while the medium is still the main message, thecapacity of this art to reflect meanings is limited (Murray,1998).

New digital media certainly promise new territories, butmuch writing, theoretical considerations, and argument isneeded before there will be acceptance and understandingof such work. These new forms demand reconsideration ofart production and consumption. New dimensions andcapabilities of interactivity, instantaneous multipledistribution, and ephemerality demand generation of newaesthetic models, ethical standards, and conventions ofconsumption (Lovejoy, 1992).

How do artists using computer technology explain theirart practices? How are works created using computertechnology different from those made in other media? Aresuch works different from how we interpret, discuss, orrespond to works of art conceptualized in other arenas ?

I am currently conducting research designed to answersome of these questions. This is based on the assumption

that connections should exist between the practice of artistsin contemporary contexts and that of secondary visual artsstudents using computer technology. What I want to do isdevelop a heuristic model for art education for the mostappropriate uses of computer technology in artsclassrooms. This research involves conducting interviewswith Australian artists, senior secondary visual artsstudents using computer technology, and their teachers.

Preliminary interviews with Australian artists indicatethey consider ideas, issues and themes to be the mostimportant aspect of their work. They use computertechnology as a means to an end and not as an end in itself.They came to computer technology from a diversity ofbackgrounds, including computer science, film and videoproduction, photography and fine arts. They were notable, or chose not, to identify peers working in the samearena whose work had interested or influenced them. Theyall indicated they preferred to work alone; although eachacknowledged it often was necessary to work with otherartists with particular expertise to achieve desired ends.

Preliminary interviews with male, secondary artsstudents indicate that they appear to be predominantlyinterested in developing works around themes involvingspace, aliens, or other worlds. They were interested inusing three dimensional modeling tools to replicate effectsachieved in large-scale animated adventure movies andelectronic games. They were articulate about ideaspursued in their art works, i.e. they could argue for social,political, technological, cultural, and personal purposes.They had access to computers and computer games froman early age (8 to 10) and were likely to have such access athome.

Responses from female, secondary arts students indicatethey appear mostly interested in designing twodimensionally, i.e. magazine covers, posters, orillustrations drawn from photographs. They were morefocused on design and composition of their works than onideas or themes pursued. They came to computertechnology from a background in photography, painting,drawing, and printmaking, and experienced the creativeuse of computers late in their education (ages 14 to 15).

Both male and female students claim they prefer to workalone, although most all appreciated that multimediarequires collaboration for composing music, acting,videotaping, or script writing. They were unable toidentify particular Australian artists using computertechnology, and their teacher's skill with software andhardware was important to their creative work.

Teachers' responses indicate that teaching skills relating

3

11

InEEM NEWS Volume 6, Number 1,1999

to use of software programs was of paramount importance.Encouraging students to pursue creative ideas followedfrom the teaching of skills. Keeping up with rapid changesin computer hardware and software, and pressure from themultimedia industry, was often frustrating. Lack offunding for visual arts departments was an extremelylimiting factor in support of students' practice. They hadlittle knowledge of the work of Australian artists usingcomputers. Much of their time was spent trying to keepahead of their students in the use of software. Finally, theyindicate the quality of visual arts curricula is very relianton personal enthusiasm and expertise of teachers.

A multimedia presentation of the findings from thisresearch will be offered as a research component of the 30thINSEA World Congress, to be held in Brisbane, fromSeptember 21-26, 1999.ReferencesLovely, M. (1992). Postmodern currents.Penny, S. (1991). Computer art: Critical issues in teaching.Artlink 11:3, pp. 24-26.Penny, S. (Ed.). (1995). Critical issues in electronic media.State University of New York Press.Murray, K. (1998). Report on training for curators in newmedia. Australian Network for Art and Technology,Adelaide. Australia.

12

EARLY CHILDHOOD ART WEBSITES FOR YOUNGCHILDRENBarbara Piscitelli, Australia

These websites were selected by early childhoodeducation students at Queensland University ofTechnology. They are meant as starting points for peoplewho want to use the Internet for children's art exhibitionsand education. The list includes museums, commercialsites, and virtual galleries.

HYPERLINK http://chilarensmuseum.orgThe Children's Museum of Indianapolis is an interactivesite with things to do, exhibits to explore, and good projectsfor young children.

http:/ /www.bonus.com/bonus/card/artgall.htmlThe Children's Art Gallery offers children opportunities topresent their drawings and information about themselves.As a visitor, you can browse through children's drawingsand exhibitions, or select certain drawings you want toview (child, age, country, year, teacher, school or project).

http: / /www.csun.edu/ vceed009 / arthtmlProvides access to a wide range of sites to visit under thefollowing headings: Lesson Plans and Classroom Activities,Kids' Online Artwork; Museums, Galleries and Exhibitions;and Other Resources for Teaching Art.

http://www.eric-carle.com/Eric Carle's home page has information about the artist, a'caterpillar' exchange for parents and teachers, and a shop.There are ideas for follow up activities to do after readingan Eric Carle book.

http://www.icaf.org/The International Child Art Foundation gives links todrawing sites, galleries, and contests with publications andresources, and an event calendar. You also can become amember.

HYPERLINK http: / /www.kconnect.com/A network of education resources and materials with linksto other sites that may aid in your art curricula.

http://www.kidsart.comA child's art gallery that has anecdotes about childrendoing the work. There also are hands on art education forschool and home.

http: / /www.kinderart.comKinder Art is a commercial site with ideas about art andcraft projects for classrooms and home.

14

Volume 6, Number 1, 1999 InEEM NEWShttp://www.metmuseum.orgThe Metropolitan Museum of Art, New York, has aneducation page for kids. They have detailed activities forchildren and a good shop of book titles for children.

http: / / www.mincava.umn.edu/ drawings/image10.htmMINCAVA Children's Art Gallery is a gallery of art bychildren who have witnessed violence. This is acompelling, sad, and disturbing collection of children's artthat demonstrates its power to convey emotions andprovide means for children to express their feelings. Thiscould be useful for children dealing with similarcircumstances.

http. / / www.nga.gov.auThis Australian National Gallery web page has Aboriginalart, Asian art, Australian art, International art, a SculptureGarden, and a Kid's Area.

http: / / www.nma. gov.au /education/ index.htmThis National Museum of Australia site has informationabout its Australian collection and education services.

HYPERLINK http://www.qut.edu.au/edu/sec/casec/childart/children.htmlChildren Have Rights contains an exhibition of children'sdrawings and paintings on the theme of their humanrights. All the works were prepared in 1996 as part of thefirst Australasian Conference on Children's Rights.

SCHOOL KIT AND FRESCOES OFFEREDNAEA listing

PBS Video, a department of the Public BroadcastingService, is offering a Fresco School Kit to schools, colleges,libraries, and other agencies that includes a teacher's guideand video index to facilitate access to specific parts of thefile. Color slides also will be included. To order, call PBSVideo, toll free, at (800) 344 3337, from 9 to 6 EasternStandard Time, or write PBS Video, 1320 BraddockPlace,

Alexandria, VA, 22314-1698.

http: //www.aoc.gov/art/brumcorr.htmThe Brumidi Corridors, the U.S. Capitol, Washington, DC,USA are featured in this site. Born in Rome in 1805,Brumidi emigrated to the United States in 1852. He spentmuch of the next 25 years decorating the Capitol building.Works include The Cession of Louisiana, Columbus and

13

the Indian Maiden, and Bellona, the Roman Goddess of

War.

http:/ /www.christusrex.org /wwwl /icons / index.htmlThis site is maintained by the private, nonprofit ChristusRex et Redemptor Mundi organization. It includesnumerous links to images of frescoes by Giotto,Michelangelo, and Raphael.

http://sunserv.lcfki.hu/ arthp/bio/g/giotto/biograph.htmlThis site focuses on the Life and Passion of Christ, paintedin the Arena Chapel in Padua, Italy, by Giotto (1267-1337),

the first master of the Italian Renaissance. See http://sunsite.unc.edu/cjacicson/giotto/index.html for otherexamples of Giotto frescoes.

http: / /sunsite.unc.edu/cjackson/gozzoli/Works by Benozzo Gozzoli of Florence, Italy (1420-1497)are featured on this site. Gozzoli was an Italian painter ofthe early Renaissance and one of the masters of theFlorentine school, particularly adept at painting groups ofpeople against fanciful landscapes.

http:/ /sunsite.unc.edu/cjackson/michelan/This site includes many works by the famed sculptor,architect, and painter, Michelangelo (1475-1564), includingfrescoes from the Sistine Chapel, marble sculptures, andchalk drawings.

http://sunsite.unc.edu/cjackson/martini/Works by Simone Martini (1283-1344), of Sienna, Italy, arefeatured. He introduced fresco techniques to the Sieneseschool and one of his greatest frescoes illustrates scenesfrom the life of Saint Martin.

13

InEEE NEWS Volume 6, Number 1, 1999

MINUTES OF THE InSEA GENERAL ASSEMBLYGLASCOW, 13 JULY 1997Diederick Schonau, The Netherlands

WelcomeInSEA President Kit Grauer welcomed all attendants andproposed changes in the agenda to give Mr. Mo, from thePeople's Republic of China, an opportunity to address themeeting. There was no other relevant business.ApologiesApologies were received from World Council membersDeJong (who was ill), Hermans, Akolo, Lehmam,Branganca, Panares, Arnell, and Chavanne.IntroductionAll World Councilors present were introduced to theassembly. Gil Clark is introduced as new Editor of InSEANews. He is ex officio member of InSEA Executive.President's ReportKit Grauer took this opportunity to thank John Steers forhis enormous contributions to the Society, as President andin other functions in the World Council. She also informedus that, thanks to modern technology, InSEA can nowcommunicate through e-mail. The World Council is givenyearly hospitality at NAEA congresses. It is the intention ofthe Council to open regions and extend publicationpolicies. A book about the Getty sponsored InSEAconference on assessment has been published. A bookabout multicultural art education, by Rachel Mason, is tobe published. A sequel to the assessment in artcommunities book is also in production. Publication of abook about InSEA's 50 years of history is being considered.Contributions to the Glasgow Research Conference will bepublished by the Journal for Art and Design Education.

Members of the Executive Committee met several timeswith Tereza Wagner at UNESCO in Paris. A proposal forgrants by UNESCO is in preparation and will be submitted.Doug Boughton is presiding over InSEA's Research Boardand Don Soucy has organized an InSEA web page thatrecently became effective. Thanks to Doug Boughton, theInternational Baccalaureate is sponsoring a virtual galleryof works made by IB students, connected to InSEA'shomepage,

NSEAD has offered to process credit card payments forInSEA through their own facilities that have becomeeffective as part of this Congress. Diederik Schonau andPeter Hermans have agreed to continue their activities asjoint Secretary/Treasurer for another term.Past President's ReportJohn Steers referred to his report published in InSEA Newsearlier this year. His Presidency has met mixed fortunes.The joint Secretary/Treasury has made things much easier,but he warns that this situation will not be permanent. TheEuropean Congress in Lisbon in July 1994 was a great

14

success, thanks to the efforts of Clara Boteiho and her team.Life membership has been given to two surviving co-founders, Sam Black and Bill Barrett. John Steers attendedthe funeral of InSEA's Past-President, Eleanor Hipwell, inOctober 1994. She organized the 1970 Congress inCoventry. Publication of the book on assessment wasrealized, thanks to the initiative of Elliot Eisner, DougBoughton, and Johan Ligtvoet. In 1995, InSEA saw a verysuccessful Asian regional congress in Taiwan accomplishedby Ann Cheng Shiang Kuo. In 1995 the World Council losttwo members: Duane Hagen and Norman Tornini.

The World Council instituted the Mahmoud ElBassiouny Award to recognize long service to the Society.Our greatest disappointment was cancellation of a WorldCongress in Lille in 1996. In Lille, for political andeconomical reasons, the government withdrew its support,as did the city of Lille. John Steers finished by stating thatit was a great privilege for him to be President and hisspeech was followed by a long and warm applause.Financial ReportDiederik Schonau informed the Assembly about INSEA'scurrent financial situation. InSEA is totally dependent onmember's contributions. Cancellation of the Lille congresshad a negative effect on membership, although theGlasgow congress generated many new members. Thanksto Kit Grauer, as editor, expenditures for InSEA News havebeen very economical. The World Council is seekingadditional' income for special activities, such aspublications, summer academies, international exchangeprograms, etc.. Contacts have been made with UNESCOand the European Union and proposals will be submitted.All members are invited to strengthen our membership bybringing in new members. A mailing to all lB- schoolsrecently has resulted in 17 new members.AwardsBill Barrett was honored with a lifetime honorarymembership by Kit Grauer. She also commemorated SamBlack, who unfortunately was not able to attend. AlHurwitz was the first recipient of the El Bassiouny Award.He commemorated El Bassiouny, in a short speech,referring to his many accomplishments for art education,international understanding, and InSEA. Al was especiallyproud El Bassiouny's son came to this meeting and KitGrauer presented his son a special award. John Steers alsowas presented a lifetime membership. Kit Grauer used theopportunity to honor four former InSEA Presidents presentat this meeting: Hurwitz, Allison, Eisner and Steers. Prof.Mo, from the People's Republic of China, brought a specialpresent, two beautiful handpainted scrolls, and addressed

16

Volume 6, Number 1, 1999 InEEM NEWSthe audience. Kit Grauer thanked Prof. Mo and hoped thiswill mark the beginning of greater involvement of thePeople's Republic of China in InSEA.Constitution and RulesOur Constitution was redesigned in the early eighties, byBrian Allison, to strengthen the organization. This was amajor task and most of it has worked well. A problem,however, was representation of Recognized NationalOrganizations. The Constitution and Rules of the Society,therefore, had to be revised to make InSEA more accessible.It was also time to correct wording of gender bias. Finally,the Research Board needed a constitutional basis. Thesechanges had been discussed in World Council meetingsand all members were invited to react when the text waspublished in InSEA News. Brian Allison agreed with theobservations and, with Andrea Karpati, moved these newConstitutions and Rules, which were acceptedunanimously.

Kit Grauer gave words to presenters for the AsianRegional Congress in Tokyo and the World Congress inBrisbane, in 1999. After these presentations, thanking allpresent for their attendance, she closed the Assembly.

15

InEEM NEWS Volume 6, Number 1, 1999

TANAY'S HEART IN THE MIDDLE OF THE WORLD:SPARKING INTERNATIONAL DIALOGUEAnna Martin, USA

During the early 1980s, I taught art in an inner city,multicultural neighborhood, in the Houston, Texas,Independent School system. At that time, refugee familiesfrom Central America, Southeast Asia, and the Middle Eastsettled our traditionally African American neighborhood. Inow teach at the Denmark-Olar Middle School, inDenmark, South Carolina and can be reached through:http: / /www.cedarnet.org/mar

My students and their families helped me learn about theeffects of violent conflicts on schools and education invarious parts of the world. This motivated me to attendgraduate school and look for solutions. When I heard Dr.Emil Tanay's presentation at the NAEA convention in SanFrancisco, I was impressed by his work in providing arteducation to displaced and homeless children in the formerYugoslavia.

He showed slides of art works by children on both sidesof a divided city and explained that the images changed asthe children began to express themselves through art. Atthat time, I was web-master for the Electronic MediaInterest Group at NAEA. We were interested in exploringthe possibilities of the World Wide Web. This seemed likea worth while and ideal project.

I asked Dr. Tanay for permission to build a web sitearound his book, Heart in the Middle of the World: Art ofHomeless and Displaced Children. I was delighted whenhe agreed to my proposal. A year later, the site wascomplete; sections include powerful images from Dr.Tanay's exhibit of student works, a biographical overview,a map and resource section, and a commentary page. Thisencouraged visitors to engage in ongoing dialogue aboutthe topic of art education in relation to international issues.Individuals from around the world have contributed manythoughtful comments to this section. The site is titled:Heart in the Middle of the World, and the url is: http:/ /cedarnet.org/ emig/children/

16

ART EDUCATORS ON THE RHINE:THE 1999 ECIS ART CONFERENCEDarren Trebel, Germany

Spring on the Rhine, in the city of Dusseldorf, was anideal location for art teachers from throughout Europe.Germany's advertising, fashion, and design capital washost to a professional development event sponsored by theEuropean Council of International Schools (ECIS). Theconference featured workshops by Dr. Enid Zimmerman(Indiana University), and Alan Heath (American School ofLondon) at the International School of Dusseldorf.

Richard Caston, a high school art teacher, made apresentation about channeling students' creativity. Headvocated student and teacher relationships that recalled aRenaissance studio, where teachers instruct throughexample, and often work in collaboration with students.

Dr. Zimmerman's day-long workshop about authenticassessment in art rooms engendered a great deal ofdiscourse among participants, who had come to Dusseldorfto acquire information on this topic. Many teachers wantto improve their authentic assessment practices and Dr.Zimmerman's presentation was appreciated by allattending. She followed that with another workshop,examining the problem of challenging gifted and talentedstudents in art rooms. Many participants commented theywere leaving with new appreciation for assessment anddifferentiating instruction in their own programs.

Alan Heath conducted a two-day workshop on how tointegrate art into the larger curriculum. His talk was verybeneficial; he blended art, history, culture, writing, andanthropology in his activities and will give anotherworkshop at this fall's ECIS conference.

Conference participants also had opportunities to visitmuseums, galleries, and architecture of Dusseldorf. Manyattended the studio of Gunther Uecker, where he talked ofhis life, the nature of painting, and role of artists in today'sworld.

On the last day of the conference, all attendeesexchanged ideas and approaches to teaching art. Teachersshared their thoughts about projects, assessment,technologies, and techniques, and many sharedpublications and photos of their student's works.

Seventy five teachers attended the 1999 ECIS ArtConference in Dusseldorf. This marked the beginning of anew role for the ECIS Art Committee, which plans similarevents in the future. We look forward to this fall's meetingin Nice, November 18-21, 1999.

Volume 6, Number 1, 1999 I SEE NEWSINTERNATIONAL SYMPOSIUM ON ARTEDUCATION:TAIWAN MUSEUM, TAICHUNG, MARCH 1999Ann C. S. Kuo, Taiwan

The largest international art education conference everheld in Taiwan took place in Taichung, March, 1999. Over60 academics brought their expertise to the theme,Prospects of Art Education in the 21st Century.Simultaneously, 23 Kids Guernica murals, painted bychildren from 18 countries, were exhibited. Thisconference was attended by scholars from 14 countries,including Hong Kong, Japan, South Korea, United States,France, Germany, Australia, Brazil, Nepal, Bangladesh, andthe Republic of China.

Dr. Ann C. S. Kuo, of Taiwan, welcomed guestsattending the symposium, and pointed out that Taiwan'sreliance on economic growth has led to neglect of culturalstandards among her people. "We now face the impact ofpostmodernism with its emphases on diversity andindividualism. Taiwan is proud of its scientific andeconomic growth, but its failure to implement art andcultural education has led to a new generation of businessleaders who lack cultural awareness. This is disturbing,because art has such an important role to play in releasinghuman potential." Educators should plan, promote, andsupport the broader development of art in Taiwan in orderto enhance aesthetic capabilities and improve our society

Dr. Christine Wulf addressed the meaning and functionof images in human life. Dr. Ana Mae Barbosa spoke aboutautonomous art education concepts in non-westerncountries. Dr. Brent Wilson clarified doubtful issues aboutDBAE concepts. Dr. Gilbert Clark introduced "Clark'sDrawing Abilities Test,' a new instrument for art educationresearch, and Dr. Enid Zimmerman called attention to anew focus on the relationship between creativity and arttalent development. Dr. Ana Kindler asked us not toneglect the influence of cultures on children's artisticawareness and development.

Nine scholars discussed the 'Kids Guernica' muralsdeveloped in their countries: Prof. H. Akira, Mr. M. Kaoru,and Mr. M. Akuyoshi (Japan); Prof. C.W. Ro (South Korea),Dr. A.C.S. Kuo (Taiwan), Dr. T. Anderson (United States),Dr. R. Irwin (Canada), Mr. J.U. Chowdhury (Bangladesh),and Mr. S.M. Baijuntha (Nepal). Their murals allowedparticipants to appreciate how children everywhereexpress aspirations for world peace.

During four days of intensive and fruitful discussions,participants devoted their energies to the future directionof art education. As Dr. Kuo said, "As the 21st centuryrapidly approaches, it is crucial for all art educators to havea clear understanding of the current instructional situationin order to ensure future improvements." This successful

symposium allowed participants to examine the currentstate of art education, and its prospects, but also resulted ininternational consensus on the influence of art on our livesand how we should fulfill these important responsibilitiesof our profession.

ART TEACHERS HAMPERED BY LACK OF TRAININGMarie Whaley, Australia

Visual arts teachers in Australia are struggling withinsufficient training needed to develop necessary skills toperform effectively, according to Adele Flood, president ofthe Australia Institute of Art Education (AEAI). Floodclaims the national curriculum requires teaching in five artsareas and has resulted in a nationally driven agenda forchange. "While most states are modifying the profiles,expectations on visual arts teachers are very demanding,"Flood claims, "Teachers are expected to have greaterproficiency in a broad range of art skills, yet, they arereceiving less training and professional development toprepare them for classrooms."

This has led to less arts being taught in schools,according to Flood. She claims that the staging, inBrisbane, of an international congress may createopportunities for Australia's teachers. The AEAI will hostthe 30th InSEA World Congress at the Brisbane Conventionand Exhibition Centre, September 21 to 26, 1999. Ms. Floodclaimed Australian art teachers and academics will meetwith educators from other countries and share ideas anddiscover new ways of teaching and learning.

"This Congress will raise consciousness about the visualarts, because Art unlocks creativity and lateral methods ofthinking, which are applicable to other areas of learning,"according to Flood. Brisbane was chosen for the Congressdue to its high profile for the arts in the community, andthe support of Arts Queensland and EducationQueensland.

Cultures and Transitions is the theme for the 1999Congress; it will highlight similarities and differencesbetween the arts of other countries. Over 1,500 delegatesare expected, from all over the world. Major national andinternational children's exhibitions will form part of theCongress, which will run concurrently with an Asia-PacificTriennial at the Queensland Art Gallery.

For registration and inquiries, contact OzacomConference Services by phone (+617 3854 1611), fax (+6173854 1507), e-mail (ozacom@eis.net.au), or website (http://www.qut.edu.au/insea99/insea).

17

In Sac. NEWS Volume 6, Number 1, 1999

PIECING TOGETHER THE PUZZLE OF PEACEBUILDING:THE CANADIAN KID'S GUERNICARita L. Irwin, Canada

In Canada, without civilor international strifeduring this century, warseems like a foreignexperience, although wehave had a recent influx ofimmigrants from countriessuffering from war andhardships. ManyCanadian citizens knowfamily members or friendswho have lost their lives inefforts to defenddemocracy. Canada isknown for its peacemaking in countries tornapart by bloodshed, ethniccleansing, or politicalupheaval. We are notwithout conflict, but havenot suffered from civil or international war.

Peace-building is an attitude each of us holds in ourhearts; we honor peace before we honor conflict. Peace iscreated by individuals who believe it is possible to promotepeace within families and local communities, and createconsciousness of peacethroughout our daily lives.It is on this basis that theKid's Guernica project is sopowerful. Througheducation and art, childrencome together to thinkabout, reflect upon, andcreate awareness of issuesrelated to peacethroughout the world. Theenthusiasm, energy,commitment, and learninggenerated from this projectsurpassed any of theorganizers' dreams. We

I aL

modeled activitiesdesigned to create harmony among diverse populations

Working with children as they interpret peace is activeand exciting. Our mural developed themes that resonateimages of Canada: deer and caribou, doves, prairies,waterways, etc.. Each symbol has a Canadian identity anda Canadian sense of peace. What does peace mean to

young people of Canada? It is about accepting diversity,traditions, religions,lifestyles, and familystructures throughunderstandingcommonalities ofhuman experience. Itis about respect,understanding, andcompassion. With allthis in mind,organizers of theCanadian muralbrought speakers whoaddressed peacearound the world.Through them, wewere reminded ofrealities millions ofpeople face daily. It isobvious we need to

help change the consciousness of the world.Our project began when Tom Anderson (University of

Florida) approached us with the idea of launching aCanadian mural. We began in the Richmond Art Gallery,although within months, our project included the

RichmondCommunity ArtsCouncil andvolunteers fromVancouver, BritishColumbia. Weinspired the childrenwithin by distributing14,000 discs,representing globes, toelementary schools.Children read aboutthe project and wereasked to submitdrawings or symbolsthey felt should beadded to a Canadian

mural. Over 1,000 disks were returned! Mural artistRichard Tetrault later conducted a workshop, leading somechildren through a collaborative process that facilitated thedesign we used.

Our mural was designed and painted in one week! Aschool holiday made it easy for children of all ages to

18

Volume 6, Number 1,1999 I NEWS

participate and two hour time blocks were well attendedand helped achieve the completed mural. It was paintedon the floor of the Richmond Cultural Centre, allowingthose passing by opportunities to see the progress of themural.

The enormous community involvement that broughtdiverse ethnic and economic communities together in oureffort to further cross-cultural understanding was apparentand a direct benefit of the project. Typically, art or peaceeducation receives limited acknowledgment, but thisproject changed all that. We were covered on television bynational news, reported in newspapers, and became acover story for a Canada Department of Foreign Affairsperiodical.

It was in our shared hope for peace that the beauty andmeaning of the project resides. What we need tounderstand is how to resolve conflict. Talking about andcreating murals was an important first step, although ourconsciousness raising must never stop. Peace is anindividual and collective process that the Canadian muralexemplify; it celebrates the process of negotiation. May thepeace-building continue to glorify the creativity found inour children and the hope that resides in all of us.

I want to thank Peter Harris, Jane Wheeler, Linda Atlee,and Richard Tetrault, as well as the many children whoworked on this project. Their energy and commitment area tribute to the notion of peace around the world.

thustrations for this article were provided by the author.

9 1

401

19

INTERNATIONAL SOCIETY FOREDUCATION THROUGH ART

PresidentKit Grauer, Canada

Vice-PresidentsJohn Steers, United Kingdom

Doug Boughton, AustraliaAndrea Karpati, Hungary

Joint Secretaries & TreasurersPeter Hermans & Diederik Schonau,

The Netherlands

World Councillors

Africa and Middle EastJima Akolo, Nigeria

Silva Braganca, MozambiqueZineb Lehmam, Morocco

AsiaAnn Cheng-Shiang Kuo, Taiwan

Norihisa Naskase, JapanChai-Woo Ro, Korea

EuropeRiitta Heikkinen, FinlandWieslaw Karolak, Poland

Britt-Marie Kuhlhom, SwedenBirute Maliauskiene, LithuaniaDiederik Schonau, Netherlands

Peter Wolters, Germany

Latin AmericaLucimar Bello P. Frange, Brazil

Ivone Mendes Richter, BrazilLuis Errazuriz, Chile

North AmericaMaryl Fletcher de Jong, USA

Annie Smith, CanadaMary Stokrocki, USA

Enid Zimmerman, USA

South East Asia and PacificAlice Panares, Philippines

Phil Perry, Australia

20

NEWS Volume 6, Number 1, 1999

membershipYes, renew my/our InSEA membershipPersonal memberO 1 yr 25.00 (US)O 2 yr 45.00 (US)

3 yr 60.00 (US)

Organizational member1 yr 50.00 (US)2 yr 90.00 (US)3 yr 120.00 (US)

Full-Time Student0 1 yr 15.00 (US)

InSEA welcomes any amount of financial support to sponsor memberships for arteducators all over the world who can not afford to become members of the Society

I am donating for sponsored memberships.I enclose:

Bank Cheque in U.S. dollars drawn on a North American bank located in theU.S. or Canada. Make checks payable to CITO/InSEA.Note: InSEA cannot accept cheques drawn on banks located in the Netherlands.Travelers Cheques in U.S. dollars or equivalent Dutch Guilders.Cash (U.S. dollars or equivalent Dutch Guilders; registered mail)International Postal Money Order, in Dutch Guildrers.

Charge my credit card with the equivalent of my membership fee in British Pounds:

Visa Card Card #

Expiration date

Master Card Card #

Expiration Date

Cardholder's Name

Cardholder's address

Signature

Note : Credit card payments will be processed through NSEAD, Corsham, UK

at current tourist rates.

Mailing Address (or use the address above as mailing address)

Surname First Name

Address

City Postal Code

Country

Send this formto: CITO/InSEA, PO BOX 1109, 6801 BC Arnhem, The Netherlands.

U.S. Department of EducationOffice of Educational Research and Improvement (OERI)

National Library of Education (NLE)Educational Resources Information Center (ERIC)

NOTICE

Reproduction Basis

ERIC

This document is covered by a signed "Reproduction Release(Blanket)" form (on file within the ERIC system), encompassing allor classes of documents from its source organization and, therefore,does not require a "Specific Document" Release form.

This document is Federally-funded, or carries its own permission toreproduce, or is otherwise in the public domain and, therefore, maybe reproduced by ERIC without a signed Reproduction Release form(either "Specific Document" or "Blanket").

EFF-089 (3/2000)