i

Title Risks and Opportunities for Visual Arts Education in Europe

Riscos e Oportunidades para a Educação das Artes Visuais na Europa

Editors Ângela Saldanha; Cristina Trigo;

Maria Jesus Agra Pardiñas; Teresa Torres de Eça

Imagem de Capa Raquel Balsa

Paginação Ângela Saldanha

Publisher APECV

ISBN 978-989-99073-2-4

ii
INDEX
Introduction XVIII

Akimenko, Daria; Escudeiro, Nuno; Malla, Alatalo (University of Lapland, Finland)

Urban art and design intervention as a means of framing social and cultural issues 023

Aberasturi-Apraiz, Estibaliz; Correa-Gorospe, Jose Miguel; Goikoetxea, Ainhoa de Juan 024

(Universidad del País Vasco EHU-UPV, Spain)
Una oportunidad para detener el tiempo en el proceso

Araño, Juan Carlos (University of Sevilla, SP) 026

Moral Voyeurism, joint poisons

Arregui-Pradas, Rocio (Universidad de Sevilla, Spain) 051

Cartografía de afectos vegetales en Lisboa

Arriaga, Amaia; González-Vida, Reyes; Marcellán Baraze, Idoia (Public University of Navarra, Spain) 055
Jóvenes productores de imágenes digitales: la red social como oportunidad de aprendizaje

Barbero, Ana Maria (InSEA, Spain)

UnderdLights, an InSEA exhibition

Barbero, Ana Maria (InSEA, Spain) 060

Cartographies of Feeling

Baudouin, Alexandra (Universidade de Lisboa, Portugal) 073

“O que vejo de onde estou”

iii
INDEX
Baumane, Dina (Pardaugavas Music and Art school, Latvia) 075
Art in Architectural studies – wins and losses

BartunkovaI, Romana (Charles University in Prague,Czech Republic) 077

Theme of Values in Art and in Art Education

Beranguer, Helena (DSEAM -Direção de Serviços de Educação Artística e Multimédia, Madeira Portugal) 079
Expressão Plástica Na Ram: A Escola Em Interação Com A Comunidade (desafios e conquistas em 15
anos de projeto)

Berner, Nicole (Alanus Hochschule für Kunst und Gesellschaft,Germany) 084

Creativity – Comments on its Topicality and Relevance for Sustainable Learning in Art Lessons

Becerra Martinez, Laia. (Universidad del País Vasco, Spain) 086

REFLEXIONES SOBRE LA SITUACIÓN DE LA EDUCACIÓN ARTÍSTICA EN SECUNDARIA DE LA
COMUNIDAD AUTÓNOMA VASCA

Broekhuizen, Leontine (The Netherlands) 103

Developmental Self-Assessment In The Visual Arts

Buhl, Mie (Aalborg University, Denmark)

Evidence or advocacy? Visual art education in Denmark 105

Buschkuehle, Carl-Peter (Justus-Liebig-University Giessen,Germany) 114

Dimensions of Art and Artistic Competences

iv
INDEX
Buschkühle,Carl-Peter; Fritzsche, Marc; Haanstra, Folkert; Pataky, Gabriella; Schönau, Diederik; Wagner. 121
Ernst
Towards a Common European Framework of Reference on Visual Literacy. An opportunity

Chavannes, Marie-Françoise (InSEA Past-President, France) 123

Community Cohesion and Prevention of Violent

Carrasco Segovia, Sara Victoria (Universidad de Barcelona, Spain) 128

La construcción de la corporeidad y acciones performáticas en el proceso educativo formal, desde las
voces y las narrativas no hegemónicas

Cassian, Silvia & Fátima Pereira, Amélia Lopes (Faculdade de Psicologia e de Ciências da Educação do 140
Porto/Centro de Investigação e Intervenção Educativas, Portugal)
Thinking and feeling oneself and the world – Visual Education opportunities and arguments from (non-)
silenced adolescent-students

Chang, Ya-Ping (Taiwan Normal University) 147

Art education. Service learning. Experiential Education

Capelo Álvarez, Silvia (Universidad de Santiago de Compostela, Spain) 150

Pincho Pincho!!!! Installation/interactive performance

Cordeiro, Conceição (Escola Superior de Educação – Instituto Politécnico de Portalegre, Portugal) 153
The Blurring of borders in the work of Barry Reigate

Cruz,José J. & Ibarretxe, Gotzon (Universidad del Pais Vasco, Spain) 160
Arte y naturaleza en la formación inicial del profesorado de infantil

v
INDEX
Cohn, Greice (Colégio Pedro II, Brazil) 163
Art teaching: a poetic space

Cueva Ramírez , Maria Lorena and Ferrón Ramiro, Alicia (Universidade de Jaen, Spain) 164
Venimos, estamos, queremos llegar...

Deus, Helena (Novafoco, Portugal) 169

Shared Training Experience For Science And Art Teachers – An Approach To Natural And Architectural
Heritages

Elliston, Beth (Lake Elementary/Kids Create Art, USA) 172

Shedding Light on Color

Elzerman, Hester (Cumbe - Cultuuronderwijsmetbeelden, The Netherlands) 174

Meaning making in visual art education.

Dudek. Antje (Burg Giebichenstein University of Art and Design Halle, Germany) 177
Bridging the Gap between Performance Art and Art Education

Feio, Helena 186

Relação entre Escola-Museu: Olhar crítico sobre o concurso “A minha escola adopta um museu”

Frenssen, Tobias (University College Leuven-Limburg, Belgium) 188

Encounter as shared methodology for artists and educators

Fritzsche, Marc (BDK / Justus Liebig University, Germany) 191

Perspectives of digital media in art education

vi
 INDEX
Fulkova, Marie (Charles University in Prague,Czech Republic) 192
Breaking the Glass of Art Education Selfie: Regimes of Visibility and Procedures of Expression

Fojtikova, Katerina (Faculty of Education, Charles University in Prague,Czech Republic) 194

Introducing language of “new media” to institutionalized art education


Jana (Faculty of Education,Charles University in Prague,Czech Republic) 197
Visual humour and the concept of freedom in Europe

Ganga, Rafaela (IS-UP / FLUP, Portugal) 203

Tate Liverpool, Šiuolaikinio Meno Centras and Serralves Museum of Contemporary Art: Arts Education
Structures, Concepts and Strategies’

Gila-Ordóñez, Juana-María; Callejón-Chinchilla; María-Dolores; Regis-Sansalonis, Pedro-José 205

(Departamento de Didáctica de la Expresión Musical, Plástica y Corporal / Universidad de Jaén, Spain)
Art, Participation And Process of Transformation: Installation Art As Educational And Therapeutic
Resource

Guerra, G. Regina (UPV/EHU, Spain) 208

La estudiante rumiante

Glińska, Anna – Lachowicz (Opole University, Poland) 219

Dance as a Visual Art

Gregory, Peter (Canterbury Christ Church University) 220

Portfolio: more than just an art competition?

vii
INDEX
Haanstra, Folkert (Amsterdam School of the Arts,The Netherlands) 221
A review of assessment instruments in arts education

Häggström, Margaretha (University of Gothenburg, Sweden) 223

Become Your Opposite Person- Participation and Communication by Visual representation

Hall, Emese (University of Exeter, Graduate School of Education, UK) 239

Creative communities: professional networking in art and design education

Hannula, Leena (Sinebrychoff Art Museum, FNG, Finland) 242

Museums and Art Education finding Audience Experiences

Herraiz García, Fernando; Aberasturi-Apraiz, Estíbaliz; Rifà Valls, Montserrat; Correa Gorospe, José 244
Miguel, Montse (Universidade de Barcelona, Spain)
Algunos diálogos en torno a géneros y sexo. Trans-it

Hoekstra, Marike (Amsterdam School of the Arts/University of Chester) 245

The implications of the artist teacher for pedgogical practice

Huerta (University of Valencia,Spain) 248

La Educación Artística Como Motor De Cambio Social: Derechos Humanos Y Diversidad Sexual/Art
Education For Social Change: Human Rights And Sexual Diversity

Ibarretxe, Gotzon & Cruz, José (Universidad del País Vasco, Spain) 271
Comunidades de aprendizaje transcultural y colaborativo a través de la red: un estudio sobre las danzas
tradicionales

viii
 INDEX
Ibarretxe, Gotzon & Cruz, José (Universidad del País Vasco) 275
El uso de la tecnología móvil en la formación inicial del profesorado de música

Itkonen, Tuija H. & Paatela-Nieminen, Martina (University of Helsinki, Finland) 278

How is the Other Produced in two Finnish ABC (e-)books – An intertextual Reading


John Goldsmiths (University of London, UK) 280
Finding Art Educations Place in Contentious Times

Jarchovska, Lenka (Charles University in Prague,Czech Republic) 284

Qualitative research, art education, ceramic, students with special needs, relations, perception of reality

Jaume Adrover, Magdalena and Berbel Gómez.Noemy (Spain) 286

Sombras Sonoras. La liberación de la escucha, la mirada, el movimiento

Kafková, Helena (Arts Education Dept., Faculty of Education, Charles University in Prague, Czech Republic) 304
Modernism of the Elementary Level

Kallio-Tavin,Mira & Tavin, Kevin (Aalto University, Finland) 306

Challenges and opportunities for Finnish art education in a European and global context

Klimešová, Petra (Faculty of Education,Charles University in Prague, Czech Republic) 308

Perception of beauty

Lee, Boo Yun ( KoSEA / Hanyang University,South Korea) 311

A Study on the 3 types of STEAM programs based on Visual Art

ix
INDEX
Lee, Boo Yun (KoSEA / Hanyang University,South Korea) 319
A Study on the role of Visual Art in STEAM education

Letsiou, Maria (Oreokastro School, Greece) 320

The Practice of Taking Selfies in Art Education

Madariaga Lopez, Itsaso (UPV-EHU. Leioa. Bilbao, Spain) 326

La Fotografía Como Recurso Didáctico Para Reflexionar Sobre Nuestra Ciudad

Marcinkowska, Anna (Opole University, Poland) 335

New direction through flowing robes

Martinez , Ruth; Seoane, Ana (Universidad de Vigo, Spain) 337

¿APRENDIZAJE Situado O No?

Ma, Rui (Universidade de Jaen, Spain) 346

Educación artística ante el estereotipo cultural. El caso de la cultura china en España

Maksimovic, Maja and Bulajic, Aleksandar (University of Belgrade, Serbia) 355

Art in Education/Education in Art – a Ritual of Becoming a Woman. An exploration of “learning femininity”
in the context of making the performance CRVENA (THE RED): SEX and CONSEQUENCES

Martínez Morales, Maria (University of Jaen, Spain) 367

El cuerpo como narrativa. Acción como investigación artística desde una perspectiva artográfica’

Mayr-Melkonyan, Elisabeth (Austria)

WORLD-WIDE-WEST Project

x
INDEX
McDonnell, Jane (Liverpool John Moores University, UK) 373
Doing democracy differently…with a little help from the arts

Meireles, António (Instituto Politécnico de Bragança, Portugal) 375

Working spaces of drawing

Miles, Richard (Leeds College of Art, England, UK) 376

Education; Damnation; Revolution

Molina Mercado, Carmen (Colegio Público Alcalá Venceslada, Jaén, España) y López-Peláez 379
Casellas , Mª Paz (Universidad de Jaén, España)
La Mujer En Los Cuentos Tradicionales Infantiles: Una Propuesta Didáctica Interdisciplinar Desde El
Aula De Música

Morén, Sol (Umea University, Sweden) 385

Virtual art studio – relational creativity in a shared blog

Moreno, Isabel (University of Jaen, Spain) 388

BOÑIGOSA ¿Qué ocurre cuando una bosta va a la universidad? O cómo las prácticas artísticas
intermedia sirven a la educación.BOÑIGOSA ¿Qué ocurre cuando una bosta va a la universidad

Moreno, Cristina Pablon ( UAM, Spain) 398

Taller Uso del cuerpo para la expresión artística” con el método MeTaEducArte/WORKSHOP “Using the
body for artistic expression”with MeTaEducArte methodology

Ornelas, Marta (Universidade de Barcelona, Spain) 401

Questioning the Relationship Between Schools and Museums

xi
INDEX
Olivera-Tabeni, Olga (Spain) 403
La maleta del “artist teacher”.Video installation

Ostan, Nina (Senior consultant for art history at Educational Institute, Slovenia) 419
Confronting Contemporary Social Issues With Art Event

Paatela-Nieminen, Martina & Itkonen, Tuija (University of Helsinki, Finland) 420

Pedagogies of multiliteracies in art education – the world is open

Paeglite, Dace (Pardaugavas Music and Art school, Latvia) 422

Traditions. Risks. Contemporary Approach. Challenges for International Art Exhibitions of Children and
Young people, and Art Education in the Region of the Baltic States – Latvia, Estonia

Palau-Pellicer, Paloma (University Jaume I of Castellón) 425

Instrumentos de investigación basados en el grabado desde una perspectiva a/r/tográfica Research
tools based on printmaking an a/r/tographic approach

Palhares, Sandra (Instituto de Educação, Universidade do Minho, Braga, Portugal) 432

The educating role of visual arts

Pataky, Gabriella (ELTE University, Hungary) 436

Contemporary Art in the teacher training. International collaboration, students’ dialog in visual language

Pataky, Gabriella (ELTEUniversity, Hungary) 438

Research and practice in the 3-6-12 Visual Skills Lab

xii
INDEX
Pallag, Andrea (Hungarian Institute for Educational Research and Development, Hungary) 440
The developmental effects of complex art education

Paterson, Susan (Royal Mebourne Institute of Technology University, Australia) 443

Education in Remote villages of Papua New Guinea

Pavlou, Victoria & Kadji-Beltran, Chrysanthi (Visual Arts Education/ Frederick University, Cyprus) 448
Building partnerships for promoting visual arts teacher education under the framework of education for
sustainable development

Pé Curto, Mafalda; Deus, Helena; Trindade, Isabel (Portugal) 451

ArtSci: Student’s Sketchbooks for Art and Science

Pelayo, Raquel (University of Porto, Portugal) 453

Reassembling Drawing: An Alternative Vision for Art Education

Penha, Paula (Escola Secundária de Cacilhas-Tejo Portugal) 455

Remake de Obras de Arte: Um Novo Olhar Através da Fotografia

Peña Zabala, Miriam; Alazne Porcel, Ana Rasines, Miren Josu Arriolabengoa, Aintzane Camara (UPV/ 457
EHU, Bizkaia, Spain)
Un bosque: La apropiación del espacio como estrategia motivadora

Petenji Arbutina, Sibila; Jelena Kovačević Vorgučin (The higher technical school of professional studies, 462
Serbia)
Photography as a medium of communication within the campaign for raising awareness of controlled
consumption of television contents

xiii
INDEX
Phivi, Antoniou; Markidou, Tereza & Theocharous-Gkantzidou, Gianna (Ministry of Education and Culture, 470
Cyprus)
Creative Partnerships – Artists in Schools’: Reflections on the outcomes of a collaborative programme
between art teachers, pupils and artists in Cyprus

Pinto, Paulo Emílio & Dori Nigro (Coletivo Tuia de Artifícios; Pernambuco/Brasil) 473
A língua do Boi

Pereira, Anabela (Agrupamento de escolas General Humberto Delgado, Loures, Portugal) 475
Obra de arte e construção de sentido

Prevodnik, Marjan (The National Institute of Education, Slovenia) 477

Could we speculate that Rodin’s ‘The Thinker’ was thinking and (also) advocating visual arts education?

Queiroz, João Paulo (University of Lisboa, Portugal) & Mirian Celeste Martins (Universidade Mackenzie, 478
São Paulo)
Art and education, Portugal and Brazil: innovation needed in teacher training

Ramírez Contreras, Alfonso (Universidad de Jaén, Spain) 487

Videojuegos y acción artística o como saltarte las reglas para expresarte

Rasmussen, Helle (Aalborg University Copenhagen, Denmark) 490

Digital Picture Production and Picture aesthetic Competency in It-didactic Design

Romero Sanchez, Monica Marcell (Universidad de Barcelona & Universidad Nacional de Colombia) 492
Construcción de sentido desde lo vivido. Relaciones entre discursos y prácticas presentes en artistas-
docentes universitarios.

xiv
INDEX
Romero González, Antonio Pablo; Marian Strong; Estefania Sanz; Felipe Pérez Velarde; Maria Zaldivia 494
Universidad Autónoma de Madrid, Spain)
Visual Narratives and Creativity throught the Scroll Painting

Ruffoni, Jose Alberto (Facultad de Educacion, Universidad de Cádiz, Spain) 495

Un viaje en el tiempo. La educación artística se baja del cuadro

Sarvanovic, Ana (Teacher Education Faculty, University of Belgrade, Serbia) 497

Position of visual art education in the first four grades of Serbian primary schools

Saldanha, Angela (i2ADS, Faculdade de Belas Artes da Universidade do Porto) & Medina, Teresa (CIIE, 500
Faculdade de Psicologia e Ciências da Educação da Universidade do Porto)
Intervenção participada na Comunidade

Saura, Angeles (UAM) 502

Exhibition“Un ARTE realmente útil”

Schönau, Diederik (CITO, The Netherlands) 504

Developmental selfassessment in visual arts education

Schreibelmayr, Wolfgang (University for Art and Design Linz Austria) 510
Power and Potential Analysis – a Navigator Tool for Visual Art Education

Sederholm, Helena (Aalto University, Finland) 512

Intersecting art and science in education

Serjouie-Scholz, Ava (University of Erfurt, Germany) 513

Afghan Children’s drawings in Asylum camps and inclusive art education

xv
INDEX
Špidlová. Zdenka (Charles University in Prague,Czech Republic) 516
New Media in Visual Arts Education

Steers, John (England) 520

Do schools encourage creativiy?

Svatosova, Zuzana (Charles University in Prague,Czech Republic) 530

Gender in Art Education

Suominen, Anniina (Aalto University, Finland) 535

Ethics and practices of sustainable art education

Tipton, Teresa (Anglo-American Univesity, Prague, Czech Republic) 537

Visual accountability: stereotyping, social media, and censored discourses

Tomsic Cerkez, Beatriz (Faculty of Education, University of Ljubljana, Slovenia) 555

Perceptual Literacy and the Construction of Meanings within Art Education

Tõnu,Talve (Laulasmaa School, Estonia) 557

Hatch of the Cage. Dance of Life

Torregrosa, Apollinie; M. Falcón, Roberto (Universiy Paris IV, France) & Pérez, Pilar (UAM, Spain) 558
La fisura artística como reencantamiento de la formación/investigación

Terraza, Cristiane Herres (Brazil) 560

A arte na educação de adultos em contexto de ensino técnico

xvi
INDEX
Tünde Irén, Simon (Hungarian Institute for Educational Research and Development) 565
Online assessment of visual communication skills of students aged 10-12

Ulkuniemi, Seija (University of Lapland, Finland) & Palacios Garrido, Afredo (Cardenal Cisneros 567
University, Spain)
People And Heritage In Interaction- Integrative Art Education Project Connecting Finland And Spain

Varela Casal, Cristina and Paz García,María Begoña (Univerisdade de Vigo) 572
El diseño gráfico como estrategia/herramienta plástica de aprendizaje en la Educación Infantil: Un caso
práctico de ensayo tipográfico

Vasconcelos, Flavia Pedrosa and Vasconcelos, Danilson. (Universidade Federal do Vale do São 584
Francisco – UNIVASF, Brazil)
Ceci n’est pas un dessin

Vassiliadou, Maria (Frederick University, Cyprus) 588

Fostering sentimental health among children with different cultural identities through artistic creation

Vella, Raphael (University of Malta) 595

From Iconoclasm to Artistic Erasure: Education as Resistance

Vidal, Ana (University of Santiago de Compostela, Spain) 598

Sculpture as an emotional territory of form and space. Reflections on its teaching and learning in
Secondary Education

Vergara, Jiménez Maria Inmaculada (University of Jaen, Spain) 600

Sensory fashion

xvii
INDEX
Wade-Leeuwen, Bronwen (Macquarie University, Australia) 604
The Reformer’s Brush: Intercultural creative and arts-based inquiry approaches to teacher education

Vorosova, Marketa (Charles University in Prague, Czech Republic) 619

Connection between drama and art education

Wienk, Janeke and Phillippo, Fabian (ArtEZ Institue of the Arts, The Netherlands) 620
Touch the base; a search for new basics in contemporary art education

Weingart, Petra (Universität Würzburg, Germany) 623

LTTA – Learning through the Arts – How to learn with “ARTS” and Aesthetical Awareness?

Woodlock, Carole & Byrne, Peter (Rochester Institute of Technology, USA) 626
Collaboration, change and dislocation: Two Painters reinventing their creative voice through digital
entanglement

Yang,Yi (Doshisha University, Japan) 629

The Policy and Practice of Arts Education in Chinese Higher Education

Zupančič,Tomaž (Slovenia) 630

A Happy Marriage of Art and Pedagogy through the Mediation of the Creative Portfolio

Zubiaga, Augusto and Cilleruelo, Lourdes (Universidad del País Vasco, UPV/EHU, Spain) 633
Arte y ciencia; Redes neuronales como fuente de inspiración para una experiencia artística

Zubiaga, Augusto Pedro & Cilleruelo Gutierrez, Lourdes ( Spain) 640

Cuidados intensivos/ Critical Care

The 2015 LISBON LETTER for Visual Art Education 642

xviii
INTRODUCTION

This E-book compiles the papers presented during the InSEA

Regional Conference: 'RISKS AND OPPORTUNITIES FOR VISUAL
ARTS EDUCATION IN EUROPE', held in LISBON, PORTUGAL,
during 7-9 JULY 2015.The congress addressed formal, informal and
non-formal arts educational contexts through practice informing
research. Current problems and alternative models of artistic
education and education through the arts in Europe were discussed
in relation to theory and praxis. Presenters from Europe and other
continents brought diverse ways of thinking and making in visual
arts education in university schools, museums and community
centres. Their valuables experience helped to construct a high level
of discussion about issues in curriculum; assessment; and
contemporary art practices. Through presentations, workshops;
posters; performances, installations and exhibitions the pressing
topic of the survival of art education in a world where little space is
left for humanistic learning was widely analysed - current
paradigms of arts education in Europe were highlighted - especially
those related to ethics and the Politics of arts education.

xix
The 2015 InSEA Lisbon Congress was another attempt, in Europe,
to raise issues and build suggestions towards a 2015-2030
Agenda for Arts Education. We firmly believe we need to initiate
effective local actions to impact upon global politics in arts and
education. But we also understand that alternative formats for
presenting, sharing and create contents are utterly needed in the
world of visual art education. By starting the congress with the
Survival Kit performance in the space of the first keynote we opened
up the possibility to use arts based communication process to
present research. Performances, installations and exhibitions in the
congress were a key axis of the event, having the same value as
traditional oral presentation in the programme. We hope other
InSEA art education congresses will follow this format, although we
understand it is not easy to organize.

The idea of making a Survival Kit for the congress was proposed to opinions, different experiences and hypothesis as nodes for
the research group C3 from Santiago de Compostela, as a possible new connections. Some of the articles are nothing more
possibility to generate an aesthetic and political action , taking than abstracts or extended abstracts; others are full texts
irony and metaphor as tools to inoculate awareness for art intertwining with images and videos of the congress in a collage like
education as means to improve well-being of the people and groups organization that may provide new maps for navigation in art
in our communities. The kit is conceptual, a strategy for advocacy, education.
research and practice using the language of the arts to talk about
arts education. (The kit is available in English, Portuguese and The 2015 InSEA Lisbon Congress was also an attempt, to identify
Spanish at www.insea.org) problems and build suggestions towards a 2015-2030 Agenda for
Arts Education in Europe. We firmly believe we need to initiate
By editing this publication we intend to contribute to our network in effective local actions to impact upon global politics in arts and
the International Society for Education Through Art- InSEA, opting by education.
a collaborative vision of knowledge construction and grounded in
experiences from many countries. The e-book does not intend to be
just one more academic resource, rather we intend to bring up the
thinking in process and the voices of each one, entangle plural

xx
"Encantamientos", Pilar Perez, Lisbon, July 2015

xxi
The congress happened during conflictual times in Europe; non some academic paper, they gave raise to this publication and to the
tolerance; wars; economic crisis; forced migration; loss of faith in Lisbon letter on visual art education. The letter will fulfil its advocacy
the existing democratic structures; corruption; monetary control and intents, available for everyone who wants to use it. The open
other issues were challenging our hope for a more peaceful society publication will be spread away as far as possible to regain the
through education: We were witnessing the failure of long core of arts in education which is utterly needed in this period for
established models; institutional structures and specially continuous Europe. An attempt to collect our different voices, the voices of
loss of rights acquired during the last centuries by our ancestors. those who believe passionately in education through the arts, no
We felt and experienced in our countries that the fundamental right matter where, when and how it may be done.
for the arts for all in education were at risk. Therefore the congress
was a platform for dialogue to make an ontological map of visual art
education in Europe. But how to make it? What are its forms, shapes
and colours; where are its territories; limits and cracks; where did it
come from; how can it be defined? Should it be designed in terms
of aims; actions, results and impacts? So many questions emerged
during the intense days of the congress! Art educators came from
east: central, eastern, southern and northern sites. Participants’
ages were between 25 and 76 years old, They came together to
think about questions that are more and more involved in the very
core of the aesthetic education:

How art education is doing in terms of exploring values?

How can art teachers, and art educators in cultural
institutions help breaking down barriers, reduce
ignorance and prejudice and empower learners to
engage with and be committed to their community – be it Teresa, Angela, Maria Jesus and Cristina
their school, local, national or international community? Porto - Santiago de Compostela, 27-10-2015
Who Am I who are you art teacher/educator/ artist -
teacher; facilitator; provoker?

The great questions and sub questions discussed were more than
just words, papers, texts that we easily forget in the references of

xxii
68

EDUCATION;
DAMNATION;
REVOLUTION
MILES, RICHARD

LEEDS COLLEGE OF ART, ENGLAND, UK

Keywords:

Art, autonomy, browne, commodification, debt, education,
exchange, gift, ideology, labour, neoliberalism, pedagogy,
politics, revolution

Abstract:

Recent, ideologically driven, governmental policy, specifically the
Browne Review (2010), has resulted in the near complete
removal of state funding from arts, humanities and social
sciences courses in UK Higher Education. In this refigured HE
landscape, the burden of financing education has been placed
squarely on the shoulders of the individual student, who is now
encouraged to view their education as a form of human capital
investment. As part of this system, art schools could now be
figured as disciplinary institutions (Foucault, 1975), or Ideological
State Apparatus (Althusser, 1970), reproducing neoliberalism via
what Jeffrey Williams (2009) has described as a ‘Pedagogy of
Debt’. This paper offers a critique of the current trajectory of the
neo-liberal UK art school through a critical case study of ‘The
School of the Damned’, London, which in many ways could be
considered its radical ‘other’. ‘The School of the Damned’ is a
one-year course, autonomously organised and run by its

377
students, who claim that it is equivalent in structure and rigour to an
accredited MA. There are no fees charged for studying on the
course and tuition is organized through a form of gift economy,
where an ever-expanding network of artists, academics and activists
contribute to the culture of the course in a system of educational
reciprocity explicitly critical of the commodification of education and
capitalist societal relations themselves. The current context of
escalating student fees and austerity, and the new educational
language of ‘value for money’, ‘institutional risk’ and ‘accountability’,
has created a shift in institutional priorities that Andrew McGettigan
has identified with marketization, privatization and monetization. Can
it be argued that autonomous models of educational organisation,
like ‘The School of the Damned’, offer the best contemporary
defence of the art school? Part of this critique will involve
questioning, following Readings (1996), the extent to which we now
inhabit the art school ‘in ruins’, and if so, in what new formations can
its disintegrating structure can be reconfigured? This paper will be
illustrated with visual material produced by students of ‘The School
of the Damned’ 2015 graduating year.

378
THE 2015 LISBON
LETTER FOR VISUAL
ART EDUCATION
FROM: International Society For Education Through Art
- InSEA

Website: http://www.insea.org/ Email: insea@insea.org

TO: European Parliamentarians: Committee Education

and Culture http://www.europarl.europa.eu/committees/
en/cult/members.html
As members of InSEA (The International Society for Education The arts remind us of our humanity by exploring aesthetics and
through Art), we wish to express our concerns about the right to ethics. While we believe that art education is particularly important
visual art education for all in European Countries. In addition, we for young people, we also think that every person in a democratic
are sending suggestions to the European Parliamentarians in order society has the right to lifelong visual art education in different
to raise the status and profile of visual art education status as a core educational and socio-cultural contexts.
subject in European Education systems.

Educational policies in Europe must integrate visual art education in

InSEA is an organization that advocates for art education as a the school curricula as a core subject in line with the ONU/UNESCO/
means of “fostering values and disciplines essential for full UNICEF seven post 2015 education goals as:
intellectual, emotional and social development of human beings”
Our organization had its genesis in the philosophies of Sir. Herbert
Read and other internationally respected philosophers, scholars, 1) unique learning experience within Culture and the arts domain:
and art educators, who, when reflecting upon the horrors of WWII, acquisition of creative arts specific knowledge and processes;
recognized the importance of nurturing youth to become empathetic cultural knowledge; self and community identity and awareness and
human beings. The founders of InSEA understood that through art, respect for diversity
young people might come to an appreciation of cultural differences,
be guided to think critically and analytically about problematic 2) thinking, communication and problem solving process to develop
situations and – in perceiving these issues through the viewpoints of physical well being; intellectual, emotional and social learning;
others - identify harmonious solutions to complex intellectual, social, learning and cognition and digital learning; literacies and
cultural, environmental and geo-political problems. communication

This letter is a response to official discourses about art education,

education through art and art in education (UN Global Education We have serious concerns about current trends in European
Goals, Education, sustainability and the post-2015 development educational policies which are fragmenting learning, separating the
agenda, OCDE; UNESCO/UNICEF and EU Reports). The letter is sciences and technology from the arts and humanities and over
one result of the conclusions of the InSEA Regional Conference: emphasizing technology and sciences to the detriment of the arts
'RISKS AND OPPORTUNITIES FOR VISUAL ARTS EDUCATION IN and humanities. In the last three years, in some European countries,
EUROPE', held in LISBON, PORTUGAL, during 7-9 JULY 2015, it visual art education in schools and time and resources allocated to
was compiled by a special panel of international researchers in art teacher training (in visual art) in Universities has been reduced. We
education and European members of InSEA. urge European Parliamentarians to investigate and question such
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agendas, because for the sake of the future of Europe we need arts includes a wide range of disciplines related to traditional and new
and humanities programmes with appropriate time and resources. media for example design, craft, architecture, digital art, film, and
We also need expert teacher in our schools to foster a holistic multimedia.
educational experience (cognitional, emotional, physical and
Education through art is possible at all ages and levels of
spiritual dimensions). Therefore, we need to maintain the arts and
development. Through well taught regular multifaceted art lessons,
humanities in educational policies to achieve the post 2015 goals
students learn about visual thinking, understanding different cultures
such as ‘Gender Equity and Empowerment’; ‘Preserving the
and essential tools that support full intellectual, emotional, and
Environment and Eco-system’; ‘Peaceful and Inclusive Societies are
social development necessary for productive human beings in
and how Human Rights are Honored’. Visual art education;
society (Winner; Goldstein;Vincent-Lancrin, 2013). However, we will
education through art, artistic/aesthetic education is essential to a
only achieve excellence in art education across our European
well-rounded education. We believe that art education in general
schools by having our art teachers trained in partnerships of
has enormous potential in educating people towards such goals.
Universities and schools working closely together.
The arts teach critical thinking, cooperation and encourage
Finally, we suggest the following recommendations:
creativity. They are essentially interdisciplinary and enable
individuals to effectively participate in the socio-cultural life of their • Visual art education programmes should promote critical thinking
communities. Art education brings to the curriculum the important together with visual media and digital literacy.
notion that there are often multiple ways to solve any given problem
and that there are many potential right answers. Furthermore, art • Governments in Europe should provide visual art education as a
education offers students the option of risk taking, essential to curricular subject of study for all with specialized teachers from pre-
innovation, which is at the heart of art (and craft and design). school to upper secondary schools (from 3 to 18 years old
students).
We strongly encourage those responsible for education policies in
the EU Parliament to think about the importance of visual art in our • Educational policies should ensure that schools allocate
educational systems. Above all, effective art education fosters considerable time for visual art education in the curricula, because
creative citizens who can think divergently, solve problems good quality art education needs time to explore and foster
creatively and serve the needs of the knowledge/information society creativity.
of the 21st century. The creative industries are increasingly • Ministries of Education in Europe should provide excellent
recognised as important drivers in the economies of many countries teachers for visual art education by ensuring that appropriate initial
a good art education is the foundation of people who work in such and in-service teacher training is in place.
industries. It is important to remember that visual art education

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• Educational systems should ensure that valid assessment Researchers John Johnston (Goldsmiths, University of London);
instruments in visual art education are used (authentic art evaluation Juan Carlos Araño (University of Sevilla); Seija Ulkuniemi (University
and assessment instruments to measure learning outcomes). of Lapland); Joaquin Roldán and Ricardo Viadel (University of
Granada); Maria Jesus Agra-Pardiñas and Cristina Trigo (University
• Curriculum developers should ensure that visual art education
of Santiago de Compostela); Maria de Lourdes Riobom (IADE);
syllabuses are comprehensive, flexible and can be contextualised to
Fernando Hernandez (University of Barcelona); Jose Maria Mesias
socio-cultural circumstances and contemporary art practices.
Lema (University of Coruña, Spain); Aderito Marcos (Universidade
Aberta /Artech-International, Research Centre for Arts and
Communication-CIAC); Ricard Huerta (University of Valencia); Mira
We therefore propose to the Education and Culture Committee to Kallio Tavin (Aalto University, Helsinki); Isabel Moreno and Dolores
create a task force to study art education in Europe, and to Invite Callejón Chinchilla (University of Jaen); José Pedro Aznarez
InSEA experts to dialogue with Members of the European Parliament (University of Huelva); Carlos Escaño (University of Sevilla); Angeles
and discuss these demands. Saura and Cristina Moreno (University Autonoma of Madrid); Pilar
Perez (University Autonoma of Madrid); Apollinie Torregrosa
(University Paris IV); Paloma Palau-Pellicer (University Jaume I of
Lisbon, 17-11-2015 Castellón); Margarida Calado (University of Lisboa, Faculty of Fine
Arts); João Paulo Queiroz (University of Lisboa, Faculty of Fine Arts);
Tomaž Zupančič (University of Maribor, Slovenia); Leena Hannula
InSEA President Teresa Torres de Eça; InSEA Past President Marie- (Sinebrychoff Art Museum, Finnish National Gallery);T Ângela
Françoise Chavanne; InSEA Past President Dr. John Steers; InSEA Saldanha, Célia Ferreira and Isabel Trindade (APECV/InSEA);
Past President Diederik Schönau; InSEA Vice President Glen Coutts; Estrella Luna Munoz, Silvia Casian (APECV/CIIE/FPCEUP);
InSEA secretary Vedat Oszoy; Chair of the European Council of Margarete Barbosa Nicolosi Soares (USP/i2ADS); Ana Barbero
InSEA Marjan Prevodnik; InSEA World Councillor Peter Gregory; (APECV/i2ADS); Rui Alexandre (APECV/Lab:ACM); Marta Ornelas
InSEA World Councillor Janeke Wienk; InSEA World Councillor (UB/APECV); Aldo Passarinho (Lab:ACM); Tiago Caldas (Lab:ACM).
Martina Paatela-Nieminen; InSEA ERC members
Buschkühle,Carl‑Peter; Fritzsche, Marc; Haanstra, Folkert; Pataky, And 265 more European art educators from Greece; Cyprus;
Gabriella; Schönau,Diederik; Wagner. Ernst. Portugal; Spain; UK; Belgium; Czech Republic; Slovenia; Moldavia;
Estonia; Latvia; Finland; Sweden; Germany; Poland; Ireland;
C3 art educators Maria Jesus Agra Pardiñas; Cristina Trigo; Ana Denmark and France who participated in the InSEA European
Vida; Guillermo Calvino; Ollala Cortizas; Manuel Miguéns; Carmen congress in Lisbon, July 2015.
Franco; Daniel Vilas León; josé Maria Mesías Lema; Silvia Capelo.

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