International Art Education Association (InAEA) and International Society for Education through Art (InSEA) would like to invite you to join us to celebrate 2015 UNESCO International Arts Education Week.
Theme: Arts Education for Sustainable Development·
Sustainable development is defined as development that meets the needs of the present, without compromising the ability of future generations to meet their own needs. (World Commission on Environment and Development, 1987)
It is recognised that sustainable development requires balanced progress in four
interdependent dimensions (Hawkes, 2001): Social, Economic, Environmental, and Cultural
In a globalized world, we face intense and pressing issues such as ethical, educational, humanitarian, economic, and sociopolitical conflicts. Art and visual culture fields have addressed these global concerns by both actively creating art and media projects and collaborating among groups of people on the planet with creative connection and networking, highlighting the power of art expressions, design, and creativity in order to achieve democracy, equality, and social justice. Educators in schools, museums, and other community settings also expand ways of teaching curricular content beyond local and regional issues to engage students in global civic projects as future democratic citizens. In this book, the contributors will discuss the power and resilence of contemporary art, new media, and social media and networking in various educational settings, either formal or informal, both addressing art’s critical role and impact on the mind of the next generation and citizens and sharing exemplary art-based global civic engagement projects.
The book aims to recognize and celebrate the empowering efforts and creative projects of researchers and educators who envision the critical role of global participatory learning and its impact on the mind of the next generation and citizens. Some of questions this book addresses are as follows:
How can we conceptualize and theorize emerging global civic learning and engagement?
How are art and new media forms created and involved in global civic engagement?
How can art and new media effectively address global issues and concerns?
In what ways are museum and community-based organizations involved with globalization and civic engagement?
In what ways does social media and networking facilitate social justice, diversity, and student empowerment?
How can students and community groups be involved with global civic learning?
How can we address global civic learning and engagement in the classroom, museums, and other educational settings?
Theoretical framework and perspectives on global civic learning and engagement
Critical and pedagogical theories to support global civic learning
Role of visual art and/or visual culture for global civic engagement
Globalization of visual culture or contemporary art
Global social justice and diversity issues
Development of new media and social networking for global communication and engagement
Globalization and civic engagement in art and media production
Curricular issues and concerns for global citizenship
Community-based art education and development for global engagement
Global participatory museum learning and development
Global media and participatory culture
Student-initiated collaborative learning
Student’s global learning and empowerment
Social and community activism through art, new media, digital games, and virtual world
Virtual world as critical and practical learning platform for new global educational space
Creative and effective use of social media and networking for global awareness and connection
Collaborative learning organized by museums
Global connections and collaboration between community art organizations
Global awareness and challenge against ignorance, intolerance, and stereotypes
Equal human rights
Environmental issues and global sustainability
Submission Procedure and Important Dates
Researchers and practitioners are invited to submit on or before May 30, 2015, a chapter proposal of 500 to 600 words clearly explaining the intention and concerns of his or her proposed chapter. Please submit the proposal through http://www.igi-global.com/publish/call-for-papers/call-details/1769. Authors of accepted proposals will be notified by June 15, 2015 about the status of their proposals and sent chapter guidelines. Full chapters are expected to be submitted by July 30, 2015. All submitted chapters will be reviewed on a double-blind review basis. For more information, please contact Ryan Shin at email@example.com.
April 10, 2015 – Tokyo Metropolitan Theatre – 7 p.m. Celebrating Peace, Culture and Diversity with Music and the Arts Violinist Mariko Senju, Cellist Ohad Bar-David, Conductor Reona Ito Suginami Amanuma Elementary School (Japanese Traditional Drum Ensemble), Yokohama International School (Koto Ensemble), Hiroshima Sotoku High School (Glee Club), Tokyo International School (Choir) Invited, Fukushima Asakareimei High School (Choir)
12 Artists – One Message of Peace “Peace Art Journey” Exhibit – World Tour comes to Tokyo! Showing at the Tokyo Metropolitan Theatre for Peace Concert, April 10, 2015 Will exhibit in Hiroshima and Nagasaki this summer!
Harmony For Peace Foundation Presents Peace Project Japan 2015 A series of art, music and cross-cultural initiatives for young artists Instagram Peace Art Contest Calling Young Artists “Illustrate Global Friendship and Understanding” Contest Begins: February 8, 2015 Contest Ends: March 20, 2015 “Sound” By Ai Yamanaka Who Can Enter: Youth between the Ages 6-18 Prize: 20,000Yen – First Place in all age categories More Information and Submission:http://harmonyforpeace.org/content/instagram-art-contest
We invite your participation in and support for the world’s premier children’s celebration—the 5th World Children’s Festival—this July 2nd to 4th at The National Mall.
First launched in 1999 as the “Olympics” of children’s imagination and co-creation, the WCF has grown into the world’s premier children’s celebration and is now a permanent quadrennial event in our nation’s capital. The WCF advances a grassroots movement for children’s creative and empathic development sparked some twenty years ago by the International Child Art Foundation as the building block for universal prosperity and peace.
At the WCF2015, children will celebrate Creativity, Diversity, and Unity as an example to the world. In a setting of global community, the production and exhibition of their amazing works that include electrifying performances by young musicians and dancers as well as the co-creation of “peace murals” by professional artists and child artists, and the exhilarating activities and workshops by eminent educators will collectively create a synesthetic experience—a total work of art on The National Mall and a transformative experience for all. www.WorldChildrensFestival.org.
Curators: Laura Beyer,Tiffany Bragunier, Mary Cate Fruehan, John Guilyard, Gabby McDaniel, Madi Mock, Yenni Nguyen, Anastasia Richeal
A ED 322: Visual Culture & Educational Technologies Facilitators: Karen Keifer-Boyd and Leslie Sotomayor
“Act. React. Repeat." is a collection of works unified by themes of repetition and participation. The works demonstrate how cultural practices and institutions, such as consumerism and creation of art, are influenced by interactions between people and how these interactions evolve through repetition. — Mary Cate Fruehan
This exhibit seeks to challenge and question our notions of our view of society by providing specific lenses of sight. More specifically, it highlights the dichotomy between the essences of what makes the halves of a person’s identity. Through appropriation, satire, and craft, the show sheds light on contemporary issues that may otherwise often be overlooked. — Yenni Nguyen
This collection of works is open to interpretation and is intended to create a different experience for each viewer and what they bring with them to the space. However, when putting together the collection of works, I had hopes of having viewers question what they alongside of society thinks is a "good girl," hence the name of the exhibition. This series deals with stereotypes of the female gender, alter egos, distortion, identity both in terms of surface level and deeper, as well as questioning what creates a person’s identity and how we all go about creating, reading and judging that. — Gabby McDaniel
"G is for Gender" is a grouping of works that is intended to spark a conversation among the viewers about the roles of gender in our society and what impact that has on individual gender expression. Much like the very elements that make up our being, gender identity plays a vital roles in how we dress, act, and see the world. Works focus on topics of gender policing, varying gender expressions, and breaking norms, gender and otherwise. — Tiffany Bragunier
explorations in(Gender) seeks to invite viewers to reconsider their assumptions about gender and identity. By contrasting and juxtaposing many different artworks that all highlight different aspects of how gender can be percieved, the viewer can consider and approach the idea of gender in a more open and all inclusive way. This exhibit works to not only demonstrate how the gender binary is flawed, but indeed remind the viewer that the binary itself is artificial. — Laura Beyerle
"Irritated." This is a series of work around the idea of being irritated by lack of control of the environment. The show features pieces in three different mediums all unified by the feelings portrayed within the subjects of each piece. It shows feelings of irritation and then allows the viewer to interact with the sporadic netart that will bring them to a deeper understanding of the show. — John Guilyard
"WHO" is a collection exploring the scaffolding of identity in relation to censorship. The inclusion of disorienting mirrors, obstructed portraiture, and the exploration of traditionally censored terms of identification emphasize the journey to reaching one’s identity. — Anastasia Richeal
The 2015 USSEA Regional/InSEA endorsed Conference will examine art education in classrooms, museums and community arts organizations. Art education provides critical tools to enhance individuals and communities in their self-reflection, ways of being, and interpreting and resolving problems. While these settings are often separate entities, this conference will examine ways that participants might share resources, knowledge, and expertise to enrich their respective disciplines.
Art in the classroom encourages young people to develop their talents that will benefit individuals and society as a whole. Museums have a long history in providing comprehensive information, including culture, history and science. However, it is in recent decades that there is an attempt to make museums accessible to all groups of individuals by adopting a policy of inclusion. Community arts can offer a deeper understanding of social dynamics and help to break down intergenerational biases.
Power sharing is a dynamic, continual process necessary in achieving equity in the community, in museums, and in classrooms. For this reason USSEA will partner with the traveling project, An Inclusive World, to continue their common mission to broaden the definition of inclusive models through the integration of art education and art in society. An Inclusive World’s ethos celebrates all creativity without a hierarchical order, bridging groups of artists to advocate for a policy of inclusion.
Participants will explore a variety of workshops, presentations and panels over the three day conference to provide a comprehensive investigation into using effective and innovative ways to reach diverse populations. In addition, the travelling project, An Inclusive World, will exhibit the works of artists of diverse backgrounds.
We welcome proposals that address issues and concerns in art education and art in society. The following topics are only a guide for proposals.
Topic 1: INCLUSION IN LEARNING COMMUNITIES
In the 21st century, understanding how to live and interact with diversity becomes increasingly important. The conference will offer ethical perspectives for dealing with stigmatization based on cultural identity and other forms of differences, such as religion, race, gender, sexuality, and learning abilities. The social experience of people within a learning community opens the possibility that their own views may be enriched through exposure to the perspectives of others.
In summary, how can we meet the greater demand for inclusion in the:
Public School System
Cultural Art Institutions
Topic 2: EFFECTIVE TOOLS FOR DIVERSE COMMUNITY ENGAGEMENT IN THE MUSEUM
In recent decades museums use visual thinking strategy (VTS), and other participatory, collective modules to connect with diverse groups of people. Rather than using the content knowledge of a museum collection, the goal is to draw on the visitors’ interactions with the artworks. Museum access programs use a variety of tactile and VTS tools to engage and sustain the interest of diverse people. With the growing demand of meeting everyone’s needs, museums are faced with challenges to foster a productive learning experience. What methods are effective to create group collaborative efforts for family members, and community residents?
Examples of methodologies:
Play and learning
Family members and community residents
Topic 3: DEBATING THE STIGMA OF “OUTSIDER ART”
The term “Outsider Art” has been a popular, and controversial topic. Some see it as empowering a group of people who are placed on the periphery of the mainstream, while others view the term as a marketing tool to gain more visibility for a marginalized population. On the other hand, “Outsider” also has the potential to stereotype and further marginalize the population. How might we:
Bridge communities through the arts
Foster an innovative space in which we respect each other’s differences
Topic 4: ART AND SOCIAL PRACTICE
Art and social practice provide creative solutions to socio-political issues. What is the role of aesthetics in politically and socially engaged art? Is the debate concerning aesthetics versus socio-politics still relevant in the art world? How might this conversation be enriched through dialogue in the classroom, museum, and arts organization?
How art projects might be viewed as potential models for:
Social and environmental sustainability
Topic 5: HIGH AND LOW TECH TOOLS FOR 21St CENTURY ART EDUCATION
In the 21st Century there is a growing need for educators to use technology so that students have the skills to compete in a global work place. Accessibility and integration of technology is a growing concern, particularly in the classroom. Educators need to provide high-tech tools, but are faced with the economic disparities in underserved communities.
How can educators use high and low-tech tools to differentiate for:
English language learners
Heterogeneous class populations
Students with a variety of needs
Artists for aesthetic expressions
Call for Presentations:
January 31, 2015 opens the submission process that will continue until
March 31, 2015 which is deadline for submissions
Notification will be by April 20, 2015
Please submit your proposal and direct questions to
En charge de concevoir et construire le métro du Grand Paris, la Société du Grand Paris lance une
PORTANT SUR LES ACTIONS CULTURELLES.
Après avoir défini un projet culturel pour ce réseau de transport unique, la Société du Grand Paris souhaite sélectionner une équipe à même de définir et mettre en place une programmation artistique et culturelle innovante, tant dans la diversité des formes et formats proposés que dans la prise en compte des usages et usagers des territoires.
Date limite de remise des candidatures :
21 novembre 2014 à 12h00
Informations sur le projet culturel et modalités de la consultation :
In charge of building the Grand Paris transportation network, the Société du Grand Paris launches an
ON CULTURAL ACTIONS.
After defining a cultural project for this unique transportation network, the Société du Grand Paris will select a team able to define and implement an innovative arts and cultural programming, both in proposing a large variety of artistic expressions and forms and in taking into account uses and users of the territories.
Application deadline :
21st November 2014 at 12 am
For more information on the cultural projet and the call :