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Ioanna Lytrivi, Deputy Minister of Education, Religious Affairs and Sports
Nikolaos Thomaidis, Professor,
Vice Precident of the Administration Council of the NKUA,
Chairman of the Property Management & Development
Company of the University of Athens
Achilleas Chaldaiakis , Professor,
member of the Administration Council of the NKUA
Christos Karagiannis, Assosiate Professor,
Vice-Rector for Administrative Affairs, Student Welfare and Lifelong Learning
Vassilis Tsafos, Professor, Dean of the School of Education
Konstantinos Karteroliotis, Professor,
former Dean of the School of Physical Education and Sports Science NKUA
Anastasia Georgaki, Professor, Head of the Department of Music Studies NKUA
Dimitrios Foteinos, Professor,
Head of the Department of Educational Studies NKUA
Κonstantinos Scordoulis, Professor,
Head of the Department of Primary Education NKUA
Dimitrios Karadimas, Professor,
Head of the Modern Greek Language Teaching Centre
Clio Fanouraki, Associate Professor,
Chair of the WAAE ATHENS SUMMIT 2024 Scientific Committee
Smaragda Chrysostomou, Professor,
Chair of the WAAE ATHENS SUMMIT 2024 Organising Committee
Sanja Krsmanović Tasić, WAAE Chair
Cecily O'Neill, PhD, Associate Professor Emerita Ohio State University
"Makers of the Future"
This presentation explores the Art-Reach program embedded in various art education units at Monash University. Showcasing our participatory arts-based educational approach, through multi-sensorial learning and ways we are learning-to-learn-with each other and Country, it simultaneously questions taken-for-granted approaches to art education. Valuing diversity and inclusion as foundational the presentation challenges taken-for-granted age/stage-based learning. It showcases the We Are Well: Intergenerational art-moving-well-being project where First Nations artists were central to the learning with tertiary students, children, seniors and McClelland Gallery as together we explored art-moving-well-being assets building social connections and understandings of culture and Country; while the Learning with the Land: Learning with Respect project (part of a larger SSHRC Grant (PI: Rita Irwin; 24 Co-Is/Collaborators), 2022-2025) shares how pre-service teachers, children, and parents work with First Nations artists, Faculty of Education and Monash University Museum of Art (MUMA) to move with Country and ‘make Country beautiful’ through biodiversity-inspired art experiences.
This research investigates the transformative potential of queer pedagogy and reparative reading in art education, focusing on agency reclamation. Experimental art projects were conducted in college-level courses to explore the reflexivity of art major students regarding intersectionality and the practices of reclaiming agency. The projects addressed self-intersectionality, social dynamics, and self-identity redefinition. Theoretical foundations centered on reparative reading and the critique of cultural colorblindness, emphasizing empathy and the need to recognize racial biases in queer discourse. The study identified key findings related to the discernment of subtleties in intraracial, interracial, and intergenerational dynamics. Artworks served as a medium for exploring intersectionality, unveiling systemic social issues, and fostering empathy. The research contributes to LGBTQIA2S+ discussions in art education, drawing attention to the intersections of art education, queer pedagogy, and racial identities.
The European-funded project "Critical Arts Education for Sustainable Societies" (CARE/SS) (2022-2024) explores the role of arts in fostering sustainable societies and active citizenship among future generations. This presentation briefly summarises the background and initiatives of a postgraduate distance learning course in Visual Arts Education offered in the context of CARE/SS. The course’s philosophy challenges assumptions in art education to address contemporary social aims, emphasising sustainability, experiential learning, and community engagement. A case study highlights a trainee's critical pedagogical approach in a Special Needs School, collaborating with her students and other staff members to address students’ personal and societal issues, specifically the effects of trauma. Evidence from collaborative theatre production and artworks demonstrates enhanced sustainability competencies in the students. The implications underscore the impact on teachers' professional development and children's holistic development through experiential arts-based learning, emphasising emotional experiences over knowledge accumulation.
The Pythagorean-Platonic view of harmony can be linked to art education in several ways. From a South African perspective, the value of interconnectedness and transformative learning environments are important in addressing deep-seated social and economic inequalities in different communities. Working with higher education art student-teachers in two communities; a children’s home and township youths, we found that the ubuntu spirit - I am what I am because of who we are –embedded in participatory project-based learning, nurture self-efficacy and visions of the youth’s future vocations. Learning together through art, dance and drama, the students merged their PART (participatory artist, researcher and teacher) roles and developed their mentorship abilities. The community youths in turn shared their aspirations and expressed themselves through visual and performing arts. I report on this and a changed narrative, indicating that learning through the arts has many hybrid points of departure to support harmonious ways of connecting.
Students of the Experimental School of ……….. studied the work of Antoni Gaudi, which in turn informed their own creations in paper and in clay. They created paper trencadis, and begun creating clay trencadis, by creating their own decorative clay tiles and by learning the technique of mosaic in order to break and reassemble their own tiles. Following that, and having studied the styles and art movements involved in the design of our school, which is famous for combining Bauhaus with local traditional architecture, students begun to make ‘tweaks’ to our school and to various other landmarks of our city. They transformed buildings and monuments in the spirit of Gaudi, and reflected on the meaning of his aesthetic preferences and on what they convey regarding his beliefs. They thus had the opportunity to learn by doing, by applying what they learned to their own artistic creations.
How can we create a world that is more about caring for each other? In their theory of fragility, Yener Bayramoğlu and Maria do Mar Castro Varela develop examples and stories of how we can think differently about the interactions between people, nature and technology. I would like to make this theory fruitful for art education through a hermeneutic approach. I would then like to outline various theories in art education that have the potential to develop the theory of fragility in art education. It will then be applied to an artwork by Nigerian artist Otobong Nkanga as an artistic example of the representation of fragility.
What would happen if we approached teaching as choreography? The extended notion of choreography proposes an expanded practice defined as organization, structure and protocol that can appear with many contents. This approach brings the embodied dimension of all these forms to the foreground, leaving the possibility for artistic practices to enrich the educational practice in general. The experience of working with dance companies which use improvisation, highlighted the importance of deepening in these practices and the possibility of extracting pedagogical principles and methods. This proposal suggests that such a direction particularly develops the interconnection with the environment (animate and inanimate), which contributes to the cultivation of empathy and soft skills. Both are necessary for the development of social skills, the formation of active citizens and the cultivation of critical thinking on a planet in danger.
The examination of painting and dance, two different fields of research, in a single perspective, is an interesting synthesis of the two arts and its analysis can lead us to valid conclusions. The possibility of the art of painting to express itself through the expressive means of dance, that is, how the means of a still art are transmitted to the fluid movement of a choreography, is the theme of this paper. Nature inspired many works of visual art. Τwo dominant painters whose visual inspiration is associated with nature were Turner (English) and Hokusai (Japanese). The Belgian-French choreographer Daniel Lommel was inspired by the natural landscapes (aquatic and terrestrial) of these two painters and choreographed two works which will be analysed to show the interaction between painting and dance on the theme of nature.
This paper examines the teaching-learning methods and practices that take place during the “open dance classes” in the public urban space of the Municipality of Hellinikon-Argyroupolis (Greece), as part of the “Dance in the Square” project. Data collection is based on participant observation during ethnographic research. Analysis and interpretation of data involve the use of the conceptual dichotomies of “participatory/presentational” dance and dance event, and traditional dance in its “first/second existence”. Focusing on the interaction and the interrelations among the dance instructor, the participants and Greek traditional dance –the subject matter– within the context of the “open dance class” in the public square, it is argued that the event balances between a teacher-centered dance lesson and a participatory dance event. It lies in an intersection between “first” and “second existence” of traditional dance, where one learns both by an “expert” and, in a traditional way of acquisition, through participating.
Dance, and especially Greek traditional dance, as a subject with cognitive and kinesthetic content, constitutes -in an educational context-, a powerful tool for motor education and learning involved in literacy practices. The aim of this paper is to evaluate critical thinking skills of students taught Greek traditional dance with the morphological method of teaching, in the light of dance literacy. For that purpose, ethnographic research was conducted with three phases. Data collection was based on observation and interviews, while analysis and interpretation were based on the classification of “Delphi’s Report” critical thinking skills and “thick description”. It is determined that in both groups dance performance was improved, while differences imprinted in critical thinking skills, with the students that were taught with the morphological method to prevail. In summary, this teaching method meets all the criteria to rephrase Stolz’s notion of embodied learning, to learn “in”, “through”, and “about” dance
In today's digital age, it is becoming increasingly difficult to protect the authenticity of digital documents and creative works. Technology, particularly artificial intelligence, has advanced to the point where alteration of digital media is not only possible, but highly sophisticated. Authenticity of sources, validation of information and integrity of content are fundamental components for successful teaching and learning. The main objective is to introduce and propose the use of blockchain technology as an effective way to ensure the integrity of digital content, thus counteracting the alteration of online resources. The proposed method involves the time-stamping of digital educational resources stored in a digital repository. The paper discusses the successful application of the proposed approach in a digital repository for teaching Greek language and culture through music. The use of blockchain technology has promising potential in the field of arts education. It promotes a sense of trust and encourages collaboration by ensuring the authenticity of shared resources.
This ongoing Sino-International research, a collaboration between China, the UK, Nepal, and Ireland, investigates the impact of hybrid Project-Based Learning (PBL) on engaging children and families in music education and cultural understanding. It aims to train intergenerational digital skills within a structured project framework, integrating digital tools. Initial results indicate that hybrid PBL enhances the appreciation of music, digital literacy, and immersive learning in a family setting. The approach's success demonstrates its adaptability and encouragement of active participation, equipping learners for modern challenges. Emphasising bilingual instruction, the research promotes inclusivity and expands the understanding of digital literacy, extending the reach of PBL in music education to facilitate intergenerational learning music, art and culture.
Community Music (CM) practices have long existed, offering an alternative to standard music education. This approach focuses on the development of musical and social skills of its participants. An example of such a community music project is El Sistema. El Sistema has succeeded in Venezuela, inspiring the development of similar philosophy programs worldwide and in Greece with El Sistema Greece's (ESG) foundation in 2016. Even though technological advancements have entered the field of music education, integrating technology in CM programs is difficult due to its participants' usually low socioeconomic status. This research aimed to integrate the music notation software Musescore in ESG and find how and to what extent it served ESG’s goals. A mixed methods design combining qualitative and quantitative techniques was chosen. The results indicated that Musescore’s integration enhanced students' musical skills, creativity, autonomy, and agency.
This paper investigates the potentialities of working with Soundscape Composition (SC) with young children. SC was introduced and developed by Truax (2019) in the context of the World Soundscape Project, but has not yet been fully approached by Music Education practice and research. In this paper I will present the results of an action research study developed in a nursery school in Portugal where children engaged in SC. Data for this paper refers to 10 sixty-minute sessions and includes participant observation, field notes, informal conversations with children and video/audio recordings.Findings suggest that young children, when engaged with SC, create new meanings for the sound worlds that surround them, establishing deep and meaningful relationships with the environment. At the same time, a new idea of music seems to emerge, characterized by an openness to all sounds and sound possibilities. Implications to music education practice and research will be discussed.
The continuing evolution of technology changes the physical and digital musical worlds, providing new opportunities for expression, interaction, and education. The proliferation of digital media has brought about a paradigm shift, providing extended ways of learning experiences that deviate from conventional teaching environments. Research delves into the design and development of learning environments in line with the Music Education 4.0 perspective. The primary purpose was to examine the incorporation of immersive technologies (virtual, augmented, and mixed reality) and artificial intelligence through educational scenarios that align with the transdisciplinary ST(R)E(A)M framework (Science, Technology, Reading/Writing, Engineering, Arts, Mathematics), on elementary school music education. The research methodology followed a qualitative Design-Based Research approach. Based on the findings, children demonstrated a keen interest and willingness to participate facilitating the acquisition of diverse musical and technological proficiencies. From a broader perspective, current study aims to contribute to the ongoing discourse on the effective integration and novel strategies and innovative pedagogical frameworks for incorporating emerging technologies into music classrooms.
Arts education in Australia exists in the space between forces of, at best, benign indifference, curriculum marginalisation and active exclusion. This panel examines an agenda for change in current contexts. Each speaker draws on their life autobiography in arts education to stimulate action in others. What have been the enablers and constraints in your own development as an arts educator? We address the conference themes of policy, philosophy, and pedagogy in a world in flux to drive positive transformation. In what ways might these inform (a) pedagogy (practice)? (b) understanding and the thinking that can inform it (philosophy), and (c) change that is sustaining (policy)?
The Lab for Aesthetic Education (LAeB - Labor Ästhetische Bildung) is a new research facility at the University College of Teacher Education Vienna. The aim is to explore and practically implement the methodology of Education through Arts in cross-curricular areas of teacher training. Two European research projects, SLIDE and ACIIS, are currently located in the LAeB. The projects focus on the transformation of art education through service-learning on the one hand and drama education on the other. The idea is to test and research exemplary lesson development in non-rivalrous and collective settings. The panel session consists of a presentation of three parts "Service-Learning", "Drama Education", and "Inclusion & Diversity Guidelines". In a further step the aspects empowerment, diversity and resilience are discussed. The Session ends with a short common performance activity.
The study, utilizing drama-based pedagogy, investigated whether a specially designed Drama Pedagogy program for the processing of issues related to the national and religious anniversary celebrations of the Greek school could promote the principles of interculturality, cultivating the intercultural ability of the students at the Primary school. The program, implemented with 6th-grade students, consisted of three sub-programs structured based on M. Bennett's empathy development model. Utilizing D. Kirkpatrick's program evaluation model with a semi-experimental design, the study employed pretest and posttest measures, applying both quantitative and qualitative research data collection methods. The findings highlighted the program's positive impact on promoting interculturality principles, cultivating students' intercultural competence, and introducing the concept of interculturality into a school context traditionally characterized by a strong ethnocentric orientation.
This paper explores the correlations between theatre and drama-based pedagogy and the Reference Framework of Competences for Democratic Culture (RFCDC). Our study examines the efficacy of educational theatre practices in developing the competences outlined by RFCDC, hence evaluating their transformative potential. Through the utilisation of innovative theatrical and dramatic techniques, examination of real-life examples, and joint endeavours, we elucidate a fresh and tangible educational framework for teaching through theatre and drama, while fostering the development of competences for a democratic culture. Our interdisciplinary study aims to emphasise the collective impact of using theatre and drama as educational tools for fostering the development of democratic values, critical thinking, and active citizenship. Our goal is to motivate educators, researchers, and policymakers to recognise and integrate the fundamental connections between theatre/drama-based pedagogy and democratic competences. By doing so, we hope to create inclusive and participatory educational environments that promote democratic citizenship.
This article proposes a reflection on the transformative value of socially and politically engaged art created in non-formal contexts (Helguera, 2011; Trione, 2022), focusing on the emancipatory and caring potential of these artistic practices from a pedagogical-educational perspective.The experience of the transfeminist performances of the international collective Our Voice will be analysed as a case study based on real life events. The research was carried out thanks to participatory practices that allowed us to abstract theoretical points regarding the educational processes inherent to collective artistic practice (Freire, 2014).The study demonstrates how collective contexts can be fertile places for transpedagogical artistic activities (Helguera, 2011) which give life to a kind of art that conveys its human and social value, beyond aesthetics, thus becoming a tool for mobilizing and raising the awareness of its audience (Paz Rey et Korol, 2022 ).
How can we turn the teachers into active citizens, into catalysators in their local communities, that can use performative arts and the power of creativity and experiential learning to combat xenophobia and to promote respect for human rights? How can we provide them with the necessary resources and tools for the promotion of tolerance, solidarity and peaceful co-existence between the local community and the refugees? As a response to the above questions, “It Could Be Me – It Could Be You” project, as an awareness raising project on human rights and refugee issues, using experiential learning, theatre and educational drama techniques, is implemented since 2015 in Greece, by the Hellenic Theatre/Drama & Education Network (TENet-Gr) in association with and the support of the UN Refugee Agency in Greece. The project is accredited by IDEA-International Drama/Theatre & Education Association and approved as an "IDEA Land and Home" project.
This study delves into the integration of the Hero's Journey into the university curriculum, focusing on the course "Hero's Journey: Topics of Interdisciplinarity Studies in Arts". The researcher, a course participant, advocates for its wider adoption, emphasizing its transformative impact on self-awareness and mindfulness through a unique "ritual" process design. The study draws on the researcher's participation and observations to explore the hero's journey concept and its alignment with theological discourse. Employing a mixed-method approach, combining qualitative data from participant observation and interviews with quantitative pre- and post-test questionnaires, the study aims to investigate the impacts of integrating Hero's Journey concepts into the university curriculum. The findings highlight challenges in implementing interdisciplinary literacy in teaching and learning, emphasizing the importance of student-oriented, authentic activities and teacher guidance. Overall, the study contributes insights into the planning, implementation, and practical application of the Hero's Journey in university courses.
This interinstitutional portuguese project called Inside out /Outside in: Correspondence of Graphic Diaries" - a Citizenship and Social Inclusion project, initiated in 2023, is a collaboration between the Polytechnic University of Leiria , Francisco Rodrigues Lobo High School , Leiria Prison Establishment, and OASIS- Support and Solidarity Organization for Social Integration. It aimes at fostering social reintegration and education through art, At the beginning the project involved students from various academic backgrounds and young inmates co-creating and corresponding graphic diaries. Recently there were integrated participants with intellectual and motor disabilities. The initiative is part of the National Arts Plan Observatory (PNA) and promotes correspondence between participants aged 16-80 through these logbooks incorporating drawings, paintings,text and collages. Evaluations show the project enhances motivation, empathy, and communication, serving also as a therapeutic tool. Preliminary exhibitions highlighted the inmates' creative expressions, including themes like identity, freedom, and family. This project emphasizes the role of art in citizenship education and community integration, Aligning with the principles of the Porto Santo Conference to extend artistic practices beyond institutional settings and engage marginalized communities, thus advocating for a broader societal impact of art education and art participatory practices.
This presentation will explore the pedagogical benefits of Negotiated Drawing, an interactive method of teaching drawing to children. The findings presented in this paper are the result of its application to several primary and preschool Greek classes the last ten years. This action based research soon brought to prominence art education’s potential to encourage not only artistic competence, but unexpectedly, wider educational concerns. Using the trial/error method of learning, this practice encourages inclusive modes of communication for the classroom population and the teacher-student relation as an on equal basis exchange of knowledge. It introduces a multimodal approach to art teaching involving different drawing contexts of reference and drawing itself as a process-oriented learning enterprise and not an individualistic endeavour leading to a desired end-result. Finally the findings indicate that the heightened motivation of the students to participate in this process advanced both their language competence along other modes of communication.
The present study is about to represent the results of an implementation of a STEAM program which encompasses activities planned out by engineering design. In particular, students of secondary school are supposed to design and construct a piece of Jean Tinguely’s art˙ the Swiss artist Jean Tinguely represents 20th century’s kinetic art. Pieces of art that Tinguely made were full of Science, Technology, Mechanics, Art and Mathematics as the five aspects of STEAM Education. The main assumption of this study was the establishment of 21st century’s skills by a STEAM educational program.
The World Alliance for Arts Education (WAAE) summit conference provided a platform for interdisciplinary discussions, converging on the intersection of education, technology, and nature as a catalyst for positive transformation through the arts. This extended abstract delves into the multifaceted connections between cultural literacy, personal development, environmental awareness, and the fostering of Social and Emotional Learning (SEL) within the context of arts education. After drawing on (1) selected theoretical frameworks encompassing social cohesion, SEL, and arts education, (2) a presented qualitative research delves into the interwoven connections, investigating the impact of specific three-dimensional artistic practices on teenagers' SEL competencies during an academic year. The findings of this dissertation study, affirm SEL cultivation in art classes, highlighting the substantial effect of the pedagogical and didactical approach and the pivotal role of the learning context. This underscores the significance of ongoing interdisciplinary research in arts education.
Considered to be an enigmatic obscure figure in Greek history of art, Giannoulis Chalepas (1851-1938), was one of the most important sculptors in Greece. His creations jumped from Classicism and Romanticism to Realism and Symbolism. However, in the last phases of his artistic production (1902-1938) he made Modern Art, while he was constantly returning to the thematic of his youth. The Chalepas’ sculptural solutions were always well-accepted by the art theorists and the public in Greece, from the late 19th century up to date. Adopting the sociological method of interpretation of art works, the paper will present the reception of Chalepas’ work in the modern Greek cultural scene of that era.
This research project aims to analyze and systematize the model of pedagogical monitoring and supervision in the field of artistic (performative) education implemented in the educational establishments of the Autonomous Region of Madeira, focusing specifically on the 1st Cycle of Basic Education. With a duration of 42 years, this model has experienced advancements, setbacks, and adaptations that have involved various educational agents over time. Through this study, a model with 7 dimensions was identified, which served as the basis for the investigation. Thus, the main objective was to understand and seek to define the current model and describe the mechanisms inherent to its various dimensions, providing guidelines for its eventual replication in similar contexts.
In the global context, the recognition of the pivotal role played by out-of-school arts education in fostering holistic development has gained widespread acknowledgment. In China, a great number of students learn artistic skills and knowledge by taking part in out-of-school education; and some of them take lessons in Youth Palaces which are government-funded public institutions. This study aims to provide insights into the status of out-of-school arts education, by exploring Youth Palaces in Shanghai. The presentation will focus on reporting two objectives: 1) To explore the current state of out-of-school arts education in Youth Palaces. 2) To investigate the arts learning experiences and impact of students engaged in these institutions. In sum, we seek to contribute valuable insights that extend beyond the local context, providing a nuanced understanding of the broader implications for global educational practices and the role of government-sponsored initiatives in shaping the future of arts education.
The poster presentation will present the State of the Art of teaching rhythm in instrumental education and specifically in individual piano lessons. It is part of a larger study that aims to investigate the benefits of connecting the familiar musical tradition (Greek-Mediterranean) of the participating students to the unfamiliar western musical culture of the official piano curriculum in state secondary music schools. The starting point of the literature review will be the nature of rhythm and the cognitive perception of it and will continue to the different rhythm teaching philosophies, theories and approaches in instrumental education. The poster will problematise the role of rhythm teaching in piano pedagogy through the literature review that is conducted and suggest several ways to research in depth the effectiveness of the various theories and approaches
Embracing the power of artificial intelligence (AI), physical education (PE) and early childhood education (ECE) are poised for a transformative shift, leveraging innovative technologies to enhance engagement, personalize learning, and optimize performance. AI-powered educational robots, big data analytics, and wireless networks are revolutionizing these domains by providing tailored instruction, adaptive learning pathways, and real-time feedback. These technologies empower teachers to tailor teaching to individual student needs, fostering active participation and maximizing learning outcomes. AI-driven systems analyze vast amounts of data to identify patterns, measure intervention effectiveness, and personalize learning plans, ensuring that each student receives the most appropriate instruction. Additionally, IoT-based PE systems track student movement, heart rate, and physiological parameters, enabling progress tracking, health monitoring, and injury prevention strategies. While challenges like technology cost and teacher training persist, affordable technology development, curriculum integration, and parental engagement can pave the way for AI's transformative impact in PE and ECE, leading to more dynamic, effective, and personalized learning experiences.
Modern museum policy has as its main priority the educational nature of museums. The proposed activities aim to be a new experience for families with young children or/and teenagers who are the group of the public with the highest attendance in the category of technological (industrial) museums, complementing their thematic sections. They seek to help raise awareness of tangible and intangible pre-industrial water-related heritage, such as traditional fountains, that need protection and promotion. These activities and the proposed art-historical exhibition can be implemented by industrial museums located at a reasonable distance from a settlement or town with traditional fountains, following an interdisciplinary research program which connecting scientific and artistic approaches, such as visual and performing arts and the creation of artworks with a variety of means of representation and suitable educational material. In this paper we select as a case study a vernacular settlement and an industrial museum in Arcadia.
This interdisciplinary education project centers on cyanotypes by Anna Atkins, aiming to integrate art and science in the classroom. It explores the historical significance of cyanotypes and women's roles, referencing Atkins. The method involves students researching and implementing cyanotype processes, creating posters, and incorporating performing arts to explain scientific concepts. Results, uploaded on PADLET, were gratifying, with an 85% correct understanding of scientific concepts. The experience fostered motivation and interdisciplinary learning, aligning with Sustainable Development Goals (SDG) on educational quality and biodiversity. This innovative approach, inspired by Atkins, enhances understanding of scientific and artistic aspects, emphasizing biodiversity conservation in the Canary Islands. Overall, the project contributes to holistic education, addressing environmental and educational goals.
The TIM (Theater in Mathematics) educational methodology aims to address the issues related to mainstream math teaching. It builds on and combines two existing approaches that have been developed in previous years: The approach “Mathemart ” and the approach “Process Drama”. The combination of these approaches has been done in the light of life skills for school wellbeing in line with relevant studies and recommendations from the World Health Organization. It is important to underline the crucial role of the teacher - animator: he/she must know the life skills related to the activity chosen In this context, stories and activities were written to inspire primary and secondary school mathematics teachers to teach using the performing arts. The proposed activities accompanying the stories were created based on the TIM methodology.
This poster presents the theoretical basis, design and methodology of the Horizon Europe project d@rts. The project investigates and creates performing arts education contexts where enhancing cultural literacy leads to social cohesion and inclusion through music, dance and drama. d@rts focus on five European countries (Norway, Finland, Germany, Italy, Serbia) and two non-European countries (Uganda and Aotearoa/New Zealand). Our target groups include all ages and social positions in school systems and community arts initiatives. The poster gives an overview of the project's work packages, including policy, survey, ethnographic and participatory research, and the development of evaluation tools, performative dialogical arts education actions and policy recommendations. d@rts imagines new futures and creates hope and social cohesion through performing arts education. By creating participatory spaces and facilitating dialogues, we listen to voices seldom heard. d@rts thus advances cultural literacy, and enhances social cohesion and resilience, to build an inclusive future for Europe.
The field of Neuroeducation emerged at the cross-road of Neurosciences and Education. This new field provides a framework where educators could be informed and apply neuroscience findings to improve their educational praxis. However, as the dialogue increases between neuroscience and education there is a growing concern about the prevalence of misconceptions (neuromyths) generated by a misunderstanding of scientific facts among educators. In an online survey, 60 in-service music teachers and 60 in-service generalist teachers (non-musicians) evaluated 15 possible music neuromyths and 15 scientifically substantiated neuro-educational theses as incorrect, correct or do not know. Preliminary results show evidence that there are major misconceptions in in-service generalist teachers beliefs concerning children’s musical abilities and brain development. We discuss findings and we suggest that teacher’s misconceptions about children music and artistic development must be firther explored and clarified in order to ensure sustainable educational environments for a holistic and fruitful development for all children.
The present proposal (POSTER) is about the creation of an artistic book of stories that addresses the figure of the Iberian lynx (Lynx pardinus), the most endangered feline on the planet, and its recovery in the last twenty years. The book includes various themes in its chapters, which delve into the figure of this emblematic feline, whose ears are topped by the so-called “brushes.” A simile that translates into the brushstrokes obtained in the natural environment and that represent an added and differentiating value in this project. The book addresses, from artistic experience, knowledge of the environment and the agents involved in the management and conservation of this emblematic species. The development of graphic content, in the format of informative stories as a travel notebook, aims to serve as a knowledge transfer tool for both the academic and general context, as well as in its social dimension regarding its interaction with the natural environment.
The relevance of the topic is determined by the need for art education in the profession of architect. The process of preparing projects by artists or architects is closely related to drawing - as sketches or drafts. The search for an artistic image in sketches always takes place in the drawing. Historically, the ability to draw by hand has been central to the architectural profession – all ideas, concepts and final design projects were drawn by hand only. Today, with the introduction of CAD software, the situation has changed. Architecture students often want to use digital tools to look modern, but the skills are not yet there and as a result - the basic skills to sketch an idea quickly and easily are lost, drawings become sloppy and are submitted incomplete. The authors in the study provide insight and analyse methods that will be useful to any art education educator. The work was developed at the RTU Institute of Architecture and Design.
The proposed poster is based on my educational experience in 1st Model High School of Athens (Gennadeio) where I am in charge of a theater group. Ι will present the benefits of theater through the educational act at the high school level. Ιn particular, I will focus on the experimental application of theater that is implemented in our school in collaboration with the Τheater Studies Department of the Νational Κapodistrian University of Athens. The purpose of my presentation is to reflect on the essential inclusion of theater education in greek secondary education.
Arts engagement may be associated with cognitive outcomes of developmental importance, yet evidence from population-based, representative sources is scarce. This study employed population-based educational records from all students enrolled in public secondary schools in British Columbia, Canada, who either took no school arts or any of four school arts subjects, to examine predictive associations between various forms and levels of engagement in instrumental music, vocal music, drama, visual arts and exam scores in English, Science, and Mathematics. Participation in school arts exhibited differentiated predictive associations with high school academic achievement, suggesting variation in associated processes and activities (e.g., development of executive functions through high levels of skills in instrumental music over long trajectories). Rigorous, consistent engagement in some of the arts contributes to high school achievement in other subjects. Findings and implications are discussed within the broader inter-disciplinary literature on school arts education and activities that foster Positive Youth Development.
This presentation focuses on pedagogical strategies to promote diversity given that critical race theory (CRT) is being used to prohibit its promotion. CRT is about civil-rights scholars and activists who seek to examine racism embedded in US economic, political, and social institutions that lead to inequality and injustice for people of Color. While this theory is not taught in K-12 schools, it is the bogeyman use by politicians and right-wing pundits who are unwilling to acknowledge the impact of racism on the socioeconomic situations of people of color. Art educators can and must provide the leadership in schools to promote diversity despite these challenges, because without an understanding of the power of diversity to help us image what we can become, our society will be worst off for it.
This paper presentation explores two research projects focusing on the potential and challenges for increased collaborations between arts/creative professionals and other sectors, and the research and education needed to support these aims. The first presented arts and entrepreneurship education development project aimed at identifying networks and stakeholders; understanding gaps in knowledge, skills, attitudes, and dispositions; and generating ideas for tackling the identified challenges or obstacles through research, degree education, and professional education. The second, an on-going co-research project explores how creative sector may enable growth in other sectors while collaborations are established in mutually beneficial and ethical partnership and contracting strategies. These projects, founded in artpreneurship orientation, centralize arts and creative thinking as well as emphasize and critically evaluate ethics, integrity and sustainability of all actions and aims.
The study aims at investigating if the music curriculum guidelines affect students’ learning achievements. The researcher analyzed and compared the guidelines among the three regions in China, providing insights into educational policies and practices variations. The study was grounded in the Curriculum Theory, which explores the philosophies, ideologies, and models guiding curriculum design and practice. For the methodology, the researcher used Content Analysis to compare and analyzed the differences of the curriculum guidelines of the three regions. Then, the researcher further assesses participants’ music leaning achievement with and Gordon’s “Intermediate Measures of Music Audiation’. After cross comparison, the results demonstrated that students’ learning outcomes were varied along with different curriculum guidelines. National curriculum guidelines are essential in shaping and guiding education systems. They provide a framework and standards that define what students should learn at each stage of their education, influencing their learning directions and outcomes.
This paper examines the correlation between the EU’s eight key competences for lifelong learning, “Cultural awareness and expression competence”, and the arts education curriculum. We determine whether this competence is reflected at the programmatic level of education, and if there are any differences in its implementation across Member States of the EU. In the present paper, we focus on the findings from a comparative study of three Nordic countries: Denmark, Finland, and Sweden. Findings demonstrate that the curricula share significant similarities. Each country defines arts education using common concepts of knowledge, skills, and attitudes that align with the EU’s recommendation on cultural awareness and expression competence. However, despite the EU’s revision in 2018, which emphasized ethical concerns regarding cultural ownership and the promotion of intercultural understanding, the arts education curriculum primarily focuses on skills related to creating and performing arts in various forms.
Arts have been a way of self-expression and communication for thousands of years. Communication is multidimensional. In second language (L2) multilingual and multicultural classrooms, teachers constantly try to find (new) ways to facilitate the learning process, motivate their students and foster effective, creative and free communication in the L2. In this paper, we argue that painting can be used as a means of achieving those goals and as a link to other artistic creation like poetry and music. Furthermore, art exhibitions created by the learners combine task-based activities, project techniques, group work and lead to experiential learning. Specific reference is made to students’ paintings exhibitions at Modern Greek Language Teaching Center. Our exhibitions bring the L2 lessons into a more realistic dimension, outside the classroom, where language use is motivated by the need to express feelings, share ideas, transmit experiences and interact with other L2 speakers. L2 performance is thus improved through creative communication in an appealing context.
The main topic of the presented project is research on the educational potential of the collection of modern and contemporary art as a potential source of study and cognition for the educational field of Mathematics and its applications in art museum education. Specifically, the reported part of the research focuses on the medium of printmaking, in the sense of classical printmaking and its overlap with digital printmaking and the context of new media. The project´s first aim is to subject the current functional forms of graphic art involvement in art education and gallery education to didactic analysis. The second aim is to create an offer of educational programs focusing on mathematics. The author will present the results of research in the area of contemporary graphic art with geometrical aspects refers to mathematical principles used by its authors and interdisciplinary educational potential of printmaking collections within art museums education.
The study is part of the research project "Promoting innovative learning environments in teaching and learning for engineering students on green transition topics", which is co-financed by the Republic of Slovenia, the Ministry of Higher Education, Science and Innovation and the European Union -NextGenerationEU. Ninety engineering students from the University of Ljubljana (from the Faculty of Chemistry and Chemical Technology, the Faculty of Electrical Engineering and the Faculty of Maritime Studies and Transport) were introduced to innovative approaches to learning through the arts – dance, drama, and puppetry. Topics included sustainable issues. Students' reactions to this type of teaching were sought through a questionnaire about their experiences of learning through arts experiences. The integration of creative movement, drama and puppets is proving to be a successful teaching approach not only for young children but also for engineering students who are not normally exposed to the arts as part of their studies.
As part of the Erasmus+ program, we designed and developed activities and materials, attempting to connect the arts, nature, technology and education. Students and teachers, collaborated experientially based on Arts and Cultural heritage and created communication bridges between students and teachers from five different countries, and different educational systems. In our presentation we will focus on two workshops: A) visual art, with the theme: "Red-figure and Black-figure Vessens" and B) music, which concerns the teaching and performance of the song "Menexedes and Zoumboulia".We dealt with the intangible cultural heritage as, with its dynamics, it is a suitable means for international communication and respect for diversity, the promotion of global understanding and social cohesion, the cultivation of the ideal of peace and sustainable development in the world.
Recent global conflicts and humanitarian crises have intensified polarization and xenophobia globally, permeating academic institutions and affecting students' lives, urging educators to confront these issues. In this paper, we examine the scientific perspectives of peace and conflict from peace studies. We focus on Galtung's theories for understanding violence and conflict prevention and examine the construct of conflict, conflict resolution, and transformation. It delves into conflict's construct, resolution, and transformation, presenting a pedagogical model based on Lederach’s conflict transformation theories for teaching constructive conflict resolution skills. Emphasizing art education's relevance, we highlight the potential of arts in teaching about conflict resolution skills. We suggest an interdisciplinary approach enhances art education's role in addressing peace and conflict issues. We acknowledge the complexities involved in teaching these concepts and suggest cautions and considerations for educators to navigate these concepts effectively, both in classrooms and teacher education programs.
The fusion of music, art, and grammar serves to strengthen language proficiency while stimulating creativity and personal expression. Teaching the imperfect/Past Continuous tense in Modern Greek as a Foreign/Second Language, particularly to adult Chinese learners at the B2 level, presents challenges due to morphological complexities and potential confusion with the Simple Past tense. To address these challenges, an experiential learning approach was adopted following a thorough coverage of morphological types. Beginning with the song "In my old neighborhood," notable for its diverse grammatical forms, students analyzed and visualized the lyrics, integrating melody and imagery into the classroom experience. This method facilitated a deeper understanding and application of target grammatical structures. Subsequently, students shared personal narratives, recounting childhood memories, experiences, fears, struggles, and moments using the imperfect/Past Continuous tense. Through this multi-faceted approach, which emphasizes morphological nuances and active student engagement, significant educational outcomes were achieved. This strategy underscores the effectiveness of integrating arts and experiential learning in language education, fostering both linguistic proficiency and creative expression.
In this research paper, we discuss how students’ engagement in a specially-designed learning environment, that combines mathematics and music through digital resources, can provoke aesthetic experiences and shape their mathematics learning. Eighteen 11th grade students participated in an activity for creating digitally animated figures moving through periodic functions, tuned and matched to specific musical pieces according to their own aesthetic criteria. Their dialogs, actions within the digital resources and body expressions were analysed through the CrEAM model that connects the sensory (connected to the senses) to the intellectual (connected to making sense) type of aesthetic experiences. The results indicate that students were gradually involved in richer and deeper sense-making on mathematical properties in order to express increasingly complex aesthetic criteria for their animations connected to ideas and emotions provoked by the music. This co-evolving relation between sensing and making sense mirrors the importance of cultivating aesthetic experiences in mathematics classroom.
The paper presents a qualitative research study that focuses on the application of augmented reality in art education and its potential to enhance students’ engagement, their learning and interpreting skills as well as their expressivity and creativity. Given the immersive nature of the experiences augmented reality affords, it can contribute to the development of students’ art appreciation skills, critical thinking, collaborative work, and visual and digital literacy. Inspired by the current museum presentation where augmented reality often plays the key role in making art accessible to all, AR was used in art lessons given to university students to unlock the hidden stories of the selected works of art by way of an animated film. The research thus also emphasises the benefits of interdisciplinary approaches to art education, here the combination of classical two-dimensional artworks and new media and animated film practices and technologies.
This paper introduces the Inquiry and Performance Learning Model (IPLM), an educational approach combining social constructivism, dialogical pedagogy, and Theater in Education. Inspired by Vygotsky's constructivism, IPLM employs collaborative learning and live performance, immersing students in profound philosophical inquiries within ancient Greek tragedy. Addressing these questions deepens comprehension of AI challenges in society, fostering global consciousness. The case study - "Oedipus Fest: What Does Oedipus Rex Have to Teach Us About Artificial Intelligence and Conscious Citizenship?" - details a multidimensional educational experience, emphasizing IPLM's three stages: students study, perform, and discuss ancient Greek tragedy, bridging ancient themes with AI concerns. The paper highlights IPLM's transformative power that creates a dynamic learning experience, transcending traditional educational boundaries and empowering students to navigate the complexities of an AI-driven society.
Contemporary art education based on four important knowledge aspects which representing in its entirety the pillars or foundations that determine the trends of art education in any society, and even the cultural features are formed through it. Perhaps one of the most important foundations is the interactive relationship between art education and society, which in turn represents the center of sustainable development. The goals of art education are represented in acquisition of knowledge, adapt with the community and its various institutions, self development and personal, technical capabilities. So the information age added and important educational dimension, represented in the career portal for the relationship of education with community, which recently submitted by art education through practical side of the social theory "functional constructivism", which confirms the existence of functional integration. The research aims to highlight the role of art education in enhancing the potential of community partnership for the purpose of society development through working on the individual, So the members feels the aesthetic as a necessary artistic value, and so Art is feeding the individual with an aesthetic values, and the individual in turn reflecting it as an aesthetic concepts in his daily life, which necessarily results a conscious behavior with the civilized practices which human normally seeks for it.
The purpose of this paper presentation is to share results from a Canadian critical participatory action research (CPAR) study to design and transform Grades 1 to 12 learning spaces using an interconnected pedagogy of arts-based multiliteracies. Study participants deeply engaged with and explored arts-based interdisciplinary themes of nature, sustainability, technology, environmental consciousness, human rights and more. Presenters will share research data that illustrates the potential for arts-based multiliteracies approaches to transform learning and to support equity, inclusion, well-being, resilience, identity, and agency for all learners. Research findings have the potential to inform current and future policy related to education.
The panel attempts to answer questions about courses on Audiovisual arts and audiovisual studies within or beyond the school curricula. In such courses, pupils and students have the opportunity to watch and discuss about films, share their views and create audiovisual works. They deal with film language and embrace critical pedagogy approaches. They collaborate as film crew and research team, share the pleasure of participation and exchange views. We examine the necessity of such courses, the educational objectives and the content that might have, the pedagogical framework and the teacher/educator’s training. The four different points of view of the panel enlighten the topic: the necessity of Film-and-audiovisual education that combines audiovisual literacy and art education, the use of the “Flexible zone” of the Greek Schools after the daily timetable, the film teaching in secondary Greek schools specialised in arts, dance and theatre, and the frame work of the University education for the High School film educators.
Unity as the unpredictability of multiplicity. Examples of Film-documented Field Work in Performative ArtsFrom a cultural anthropological perspective, the idea of unity is a millennia-old phenomenon, for example, with cultures living close to nature, often based on holistic world views. In some Western traditions of thought, various cultural and artistic currents have tried to recapture an integral view of things, also the view of unity, albeit with a different slant. Unity appears as the unpredictability of multiplicity. This interwoven idea allows diversity and polyvalence to exist in unified forms. Against this philosophical-aesthetic background excerpts from cross-over projects in performative arts are presented and discussed, field work in the context of arts education, carried out with people from various fields of study, work and life. The aim of the work is to develop and apply integral forms of cultural and social participation with artistic means in the unpredictability of diversity.
This paper presents the content and evaluation of the educational programme Inclusion in Action, which was implemented during the school years 2022-23 and 2023-24, in mainstream and special education schools. The evaluation of the pilot educational programme was mainly based on observation and carried out during the two phases of the programme (a. preparation in the classroom and b. screening at the Greek Film Archive). The observational data were complemented and cross-checked with the data from the group semi-structured interview with the project developers on the one hand, and with the data from the responses to the individual semi-structured interview with the teachers participating in the project on the other. The results of the evaluation of the pilot phase, although identifying areas for improvement (e.g. space setting, communication-interaction of the students, disability approach), highlighted the contribution of the programme in creating an inclusive diversity culture through the art of cinema.
This study centers on a recently concluded student organization-led song production project of tertiary level music education students that aims to develop audio-visual materials about sustainable development goals with and for members of an early childhood care and development (shortened as ECCD) center community. The main data sources of the study are narratives of the early childhood music educator authors as key project mentors and the end products of the project - an illustrated zine and an online video compilation of the students’ composed songs. The authors framed the data set using the four key elements of Work Integrated Learning (WIL) projects mainly, authentic problem, problem framing, solution framing, and solution design (Thuan, 2022).
The aim of this paper is to examine the benefits of drama-based interventions to promote the well-being of individuals in prison. Connecting with others, physical activation, focus, learning, sharing, which are key components of well-being, are addressed in drama-based interventions. The paper concerns anecdotal evidence from a series of courses developed at the Department of Theater Studies of the University of Peloponnese on educational drama in socially oriented institutions. The courses and the corresponding actions were implemented from 2016 to 2023 in the Agricultural Prisons of Tiryns. The main idea of the paper is that promoting and supporting the well-being of people in prison has clear links to safe and supportive learning environments, including educational drama and drama-based interventions. Obviously, the findings presented are limited, but they are indicative of the potential of drama-based interventions to promote prisoner well-being.
Dramatherapy was ‘born’ from the encounter of ritual, therapeutic elements of theatre and art with education and psychotherapy. Dramatherapy and theatre education share a common history and common influences. These disciplines however, although sharing common notions such as the transitional space and dramatic reality, have developed their own distinct theory and practice. Besides this, the pioneers of dramatherapy, Robert Landy and Sue Jennings, seem to have begun their journey in the field of education and remedial drama. In this paper presentation we aim to explore the ways in which dramatherapy can support the educational settings by offering a different but not unknown perspective through drama and creativity in order to address issues on classroom dynamics, difficulties students might struggle with, and also offering creative supervision to the educational staff, that find themselves struggling within the educational system, the needs of the students and the demands of the parents.
This paper will examine how Drama in Education, as taught in the Greek educational system, is related to the development of resilience in children and adolescents. Resilience refers to people's ability to recover and adapt positively, after difficult and traumatic events and can be enhanced by various protective factors. The paper will analyze how the objectives, various techniques and processes of Drama in Education, along with the collaborative nature of the subject and the chance to investigate social and moral issues, can enhance students resilience.
The proposed paper critically analyses the learning processes that were taken in α drama/theatre education University course addressing to future teachers in order to propose a holistic transformational education, which can inspire positive social change towards a more just and democratic world. Drawing on the theoretical framework of Dewey's educational philosophy and its democratic dimension, Freire's problem-posing education, the basic principles of peace education, as well as the possibility of self-regulation in democratic society, as argued in Castoriadis's theory, the University students had the opportunity to deepen in drama/theatre education approaches as well as in contemporary performing arts forms and work on collective, participatory, critical and contingent learning. The results from the learning experience as well as the practical action in professional activities in which the students were engaged reveal the catalytic role of drama/theatre education in promoting personal growth, defining collective identities and seeking for social change.
This is a presentation of my PhD research project on what it feels like to do care as a teacher. Coming from the perspective of a teacher and artist, the research proposes an intimately artistic way to examine the nuanced experience of performing care in teaching. It does so through the medium of a performance framework, through performance art and participatory performance. It thus contributes crucially to the newly established research area of care aesthetics by examining a group of professionals that has not been previously researched from a performance perspective. This framework allows a novel perspective of the experience of care of the teacher towards students, as performance that resembles artistic, aesthetic making. Starting from the personal, the project responds more broadly to the context of teachers’ burnout and stress epidemic and suggests performance as an effective, yet unacknowledged way towards understanding the importance of the teaching/caring experience.
This paper aims to explore the relationship between mind and body and it’ s involvement in modern educational techniques in Secondary Education. We will analyze the indirect learning that occurs during experiential techniques, like theatrical and creative writing techniques. This paper is the result of an on-going research for my doctoral thesis based on a hybrid creative writing workshop enriched with theater techniques, that aims to create an alternative approach in mastering language and cultivating the mind in a playful, exploratory, and experiential way. Like in Theater, so in this specific Creative Writing class with the use of theatrical techniques, we try to achieve embodied learning. During the process of mastering the language, both spoken and written, the element of physical communication is inserted, as a primary way of assimilating and understanding intratextual messages. This presentation aims to point out the importance of multisensory experiences for students’ education.
In the big urban centers, like Athens it is observed the creation of cultural associations One such association is the Cultural Association in Leros, Peiraeus, Athens, where I am a dance teacher there since 2007. The aim of this paper is to highlight the role and the function of the fieldwork research on helping me to teach and dance better the dances from Leros. The collection of the data was based on the principles of the ethnographic research. The analysis and the interpretation of the ethnographic data were achieved based on the knowledge on how body can move and how the meaning is embodied along with the need to know the ethnographic facts and valid sources to learn and obtain the dance knowledge of the region. The fieldwork research gave me the appropriate dancing knowledge to stand in a very specific and local dancing repertoire, the Leros dances.
During the last decade, many music groups of Greece have adopted goals consistent with the principles of Community Music, like the promotion of members’ interaction and well-being. This study explores the case of instrumental community ensembles concentrating on traditional music, a trend which emerged mainly after COVID-19 pandemic. These ensembles consist of amateur musicians playing –or wishing to learn to play– traditional instruments. Along with these ensembles’ focus on traditional repertoire, noticeable is their preference for transmission methods that do not follow the well-established Eurocentric “canon” of learning through notation. Our research focuses on the perceptions of members and teachers of such a group based in the city of Thessaloniki. More specifically, we investigate their opinions on issues such as: the value they attribute to their participation in a musical group, the difficulties they face, their relationship with traditional music, personal ambitions regarding their musical progress, etc.
Historically linked, music and literature are two areas that explore interconnected dimensions of sound. This communication consists of articulating and exploring the relationship between sound and words to enhance the perception and interpretation of one and the other in an interdisciplinary way. In this sense, a reflection is presented on the implementation of a set of artistic activities that aim to develop strategies considered fundamental in the teaching-learning process centred on sound. These principles can guide educators and teachers in creating environments that promote artistic exploration and understanding. Sound - because the world "is full of sounds" (Schafer, 1992. p. 124) - will be explored here as a pedagogical resource in literature and in the development of artistic activities.
It is commonly known, that since a pandemic overcomes local boarders, several fields of social life are affected among those artistic creation. During the past three years, humanity experienced the consequences of a tremendous and unbelievable pandemic named coronavirus or Covid 19. Due to this fact, I thought that it would be very interesting to investigate how vocal music embodied or better depicted the reverberations of an epidemic or even better pandemic, which took global part in a particular period. The paper is focused on the distinctness of musical and dramaturgical approach and adaptation of a pandemic, travelling through different countries such as Italy, France, Great Brittain, Low Countries, Austria, Germany, Russia and also traversing diverse schools of composition, such as: Franco-Flemish School (Renaissance), Baroque, Classicism, Romanticism, French Grand-Opéra (19th century), Italian opera and Verismo, Post - Romanticism, School of Six (France), Russian Neoclassicism, Second Viennese School, Early Modernism, Modernism.
The advent of the Covid-19 pandemic had a strong impact on undergraduate students’academic life. The pandemic crisis created an unprecedented condition that causedadditional challenges to students’ wellbeing. In response to the increased needs of students’and the wider community of the university during the crisis, the authors, in their capacity aslecturers at the Department of Music Studies, took the initiative to organize a series ofonline group music workshops. Inspired by the conceptualisation of a whole universityapproach (Dooris et al. 2020), the music workshops were addressed not only tounderground students but also to the postgraduates and all members of staff. In thispresentation, the authors present how the salutogenic theory of A. Antonovsky andparticularly the model of the Sense of Coherence were used as a guide to promote thewellbeing of the university students through music.
Children’s well-being has been shown to be positively influenced by their contacts with Nature and their engagement with expressive media such as music, movement, and speech. The aim of this study was to develop an experiential psychoeducational program which promotes children’s resilience and is applied in Nature with the Orff music and movement approach. Participants were students of the sixth grade in a mountainous area of the Prefecture of Corinthia in Greece. Results of the study were analyzed with qualitative tools a) during the creative processing of protective coverings of chestnuts and walnuts through music, movement, and speech, and b) during the subsequent processing of children's self-protective mechanisms, feelings of safety and enjoyment, and strength in their lives. Qualitative analysis revealed the positive effects of the program on emotional awareness, empowerment, expression, and connection of children with others and with Nature.
This LivePBL CPD Workshop at Capital Normal University, Beijing, demonstrates a unique blend of global insight with local application in education, emphasising music and art. The workshop initially responded to educational challenges, fostering a collaborative, cross-cultural ethos aligned with SDG4 goals. Recognised by international awards, it promotes Project-Based Learning (PBL) to enhance pedagogical skills, cultural competence, and digital literacy. Innovative music and art homestays, alongside performances and digital projects, showcase the fusion of global cultural narratives. The workshop's interactive methodology, blending academic discourse with artistic expression, aims to motivate and facilitate music and art education, highlighting the significance of cultural sustainability and educational progression. It aspires to inspire educators, students, schools, families and communities worldwide towards sustainable music and art social practices.
The workshop is designed for individuals, regardless of whether they have disabilities or not, who have an interest in delving into the realms of theatre, dance and music, through the Improvisation Technique. The main goals of the workshop include guiding participants to explore the expressive possibilities of the body in dance, with or without music, and understanding the role of internal rhythm. Additionally, the workshop delves into various approaches to stage performance and explores the identification of acting tools. By the end of the workshop, participants will have engaged with topics concerning accessibility for individuals with disabilities and gained valuable experiential insights that can be applied in teaching.
The advent of autoethnography, as the most visible of several forms of qualitative social science research that combine an author’s personal narrative with analytical interpretation of the broader contexts in which that individual operates (e.g., Bochner & Ellis, 2016; Poulos, 2021), has come at a critical time for the discipline of music. In the UK, for instance, the expectation of the Research Excellence Framework (REF) that creative practice outputs will be contextualised through an accompanying, reflexive commentary signals the urgency for establishing scholarly structures appropriate to the discussion of one’s own work by performers, composers, and music technologists alike, intersecting with wider, transnational debates as to whether, and how, creative practice outputs may constitute academic research. Autoethnography, various forms of arts based research, and a/r/tography yield enormous breadth of potential in music studies internationally, with the capacity to support academic inquiry beyond the relation to an individual’s practice.
Taking ‘beautiful risks’ an interdisciplinary team of experts in various art domains (dance, music, drama) collaborated to create HAKO, a walking multimodal performance. During the process of developing HAKO and the live performance, space allowed for risk to emerge and made ‘synaesthesia’ possible, switching representational modes to convey the same or similar meanings. Deconstructing a Japanese story and bringing it into dialogue with stories from other cultures with a similar theme, HAKO uses elements of the story but focuses on the box provoking viewers’ possibility thinking, as they ask themselves: If we created our own box, what could be inside? What if no one ever opened that box? Would it remain closed for centuries? If the order was to open the box, would anyone open it? In a multimodal storytelling, each mode, which constitutes a distinct semiotic resource, has unique affordances for meaning making opening ‘broad horizons of possibility’.
This paper is a discourse on key arrangement features, as presented in the violin & piano arrangement of the "44 Pieces Enfantines sur des airs populaires Grecs" by Greek composer Yannis Konstandinidis (1903-1984), that set new standards for chamber music educational material. The proposed orchestrational approach in the arrangement facilitates the development of specific aptitudes in students - inherent in and required by most chamber music works - such as broader musical perception, multi-tasking, active communication between performers that in turn result in a mutually shaped and cohesive interpretation of music. These features include ostinato lines, thematic variations, idiomatic and intuitive writing for both violin and piano, integration of humoristic elements where permitted by the original composition and non-static orchestration - with an emphasis in role-exchange between instruments. Examples of the latter, with in-depth analysis and live performance of relative works from the arrangement, complement the presentation of this paper.
This paper delineates the procedural intricacies and research outcomes of the International Teacher-Artist Partnership Professional Development (I-TAP-PD) Erasmus+ Project (2020-2023) within the context of Greek schools. Addressing the communication gap between teachers and artists, the project fostered arts-in-education practices through collaborative learning. Commencing with intensive training, the initiative led to residencies in Greek primary schools. A research group focused on partnership elements as on the personal and professional development of both professionals. Positive results, echoing experiences in Ireland, underscore the transformative impact on teachers, artists and students. Concerns emerge regarding program sustainability in Greece due to resource constraints. The study advocates for an institutionalized framework, aligning with global initiatives supporting arts integration in education. The paper aims to contribute to ongoing discussions on fostering collaboration, equality, equity, creativity, and social consciousness in education. The research findings emphasize the need for continued support and the integration of arts into educational systems.
Research identifies that there is a “relationship between internationalisation, creativity and transformation in the context of higher education” (Smith & Vass, 2017, p. 1). Post-covid, the Creative Arts and Industries (CAI) International Committee at the University of Auckland has been key to how our university reconnects with the world. Stepping back into the international arts education space after a 3 year hiatus has required a re-alignment of our policy, values, and strengths, as well as an identification of new challenges. The CAI International Committee aligns with the University of Auckland strategic development plan in valuing sustainability, equity, creativity, and cultural diversity. As a committee, our policy for the internationalisation of arts education seeks solutions to global challenges in developing sustainable ecosystems, improving health and wellbeing for all, advancing just, cultured and engaged communities, and innovating contemporary, distributed, secure knowledge systems (University of Auckland, 2020). This paper presentation speaks to policy and practice as we advance international arts education.
Senior secondary students face a future that is uncertain, ever-changing and increasingly demanding. 21st century skills (21CS) have been promoted in policy documents as vital for ensuring young people adapt and thrive in a challenging world. Research over the past two decades demonstrates that arts education encourages development across the human domains, providing engaging opportunities for young people to develop 21CS. However, an unhealthy focus on STEM subjects and tertiary entrance rankings in the senior secondary years have made it increasingly difficult for arts teachers to convince students, colleagues and the wider school community of the value of studying the arts. This paper explores perspectives of Queensland arts teachers as they conceptualise and enact senior secondary arts curriculum regarding 21CS, recognising themselves as pedagogical leaders in their schools and beyond, and preparing students to contribute actively and responsibly in the world around them.
The new UNESCO Framework for Culture and Arts Education not only calls for a different form and position of cultural education in education, but also for a revision of education itself. As early as 2016, the Dutch National Knowledge Institute for Cultural Education and Amateur Arts (LKCA) published a vision on education in general and the role of cultural education within it, already in line with the new Unesco framework. Our conclusion was that the position of cultural education within education can only improve sustainably if education itself changes fundamentally. In 2024, we release an improved version of our Basis for Cultural Education , in which we further develop this concept on the basis of the ten necessary elements of a curriculum. During this presentation, the vision of a new approach to cultural education will be explained using these curricular elements.
Pensar la plaza is a proposal to intervene a public space through the arts, that is developed within the framework of a research project that deals with the usefulness of participatory artistic practices as a tool for transformation, for the improvement of the quality of life. We have developed a category matrix to monitor these practices. From its analysis, we have established the need to consider processes of appropriation and recognition, to involve affection, by working together with reason and emotion, to carry them out. We propose a process that can be developed in these steps: questioning, feeling, imagining-thinking from other perspectives, debating, projecting and building together to, at the end, expose, opening, if necessary, new questions, new paths. Its application is tested with this proposal that is presented and developed in a heterogeneous residential area of the city of Seville.
The study discussed in this presentation focuses on a clay workshop that we, a team of educational researchers, facilitated and observed with 53 teacher candidates at a major university in Canada. Guided by the question, “How might engaging in, with, and through art encourage attuning to the Earth?”, the study aims to inform the development of climate change pedagogies and demonstrate the benefits of artistic learning experiences for engaging students in climate change response. The clay workshop centred around the concept of “deep listening” with/for the Earth, inspired by the teacher candidates’ own connections to nature. While one researcher facilitated the workshop, the rest of the team conducted observations and took photographs of the art-making process. In this presentation, we will discuss two major themes that emerged from our observations, as well as implications for arts educators seeking to promote awareness and positive change with the Earth in mind.
This article describes an educational program in a school library, where students are introduced to the concept of congruent and incongruent reading modes in both printed and digital book formats. Using the exceedingly popular fairytale “Cinderella” (ATU 510A) as part of the world cultural heritage ‒which belongs to the tales of magic in the Aarne-Thompson-Uther tale-type index (ATU index)‒, activities are conducted and children are introduced to different formats of printed and digital literary texts. In this line of thought, they browse online for a movable book of “Cinderella” (Dean, 1858). Then they seek for a printed book on the library bookshelves and make comparisons between the two printed books in movable and contemporary format. Lastly, they browse the “Project Guttenberg” website for digitalized printed books by Perrault and Grimm to familiarize themselves with the concept of congruent display on reading and to discover the different formats of books.
The progression of artificial intelligence (AI) in the arts has challenged conventional definitions of creativity and artistic activity. Incorporating AI into arts education has transformed how arts are taught and learned, with both positive and negative implications. While AI has opened up new avenues for artistic expression and experimentation, it has also raised ethical concerns and the possibility of a disconnection between creativity and human agency. To address these issues, art educators must modify their teaching practices to include AI's positive advantages while empowering human agency and creativity. It is also crucial to develop a legislative framework that promotes inclusive arts education policies that use AI in a safe and ethical manner.
Artists are the voice of the marginalised, oppressed and silenced. This paper focuses on visual meaning-making processes of South African Visual Art Education students by critically exploring their contemporary artworks (ranging between 2019 and 2024), created during their final practical year-project. These works portray contemporary real-life issues dealing with social ills. By integrating trans- and interdisciplinary approaches, students give agency to those whose voices are often silenced. By critically analysing the works, I rely on semiotics, intertextuality and other arts-based analysis methods and theories, such as those by Berger (1972) and Mirzoeff (2023). The findings highlight the significance and effect of creative and innovative thought in the work of art education students, as well as their strong sense of accountability and social justice. This paper concludes that by bringing awareness to shortcomings and agency to those whose voices are silenced, art education has the potential to build harmony in unity.
This presentation examines visual arts instructional strategies designed to enhance students’ creative conceptual thinking. Developing and visualizing creative ideas within a contemporary art context is called creative conceptual thinking. Art's meaning is determined by contextual information, which is revealed through the visibility of the process in the final product. I reviewed the literature regarding conceptual and creative processes in contemporary visual arts and education. To investigate further the learning strategies of developing art's cognitive/conceptual components, I designed a unit for an undergraduate studio art education course. I focus on simple yet effective strategies such as visual metaphors and visual analogies. To generate creative ideas, these strategies rely on associative and transformative thinking. Based on the results of my undergraduate studio art course as well as my own artistic research, I discuss the process by which creative thinking develops.
In this paper, I take up the notion of having been present to explore memory and materiality in visual inquiry. I first explore the notion of presence in a project I developed with and for my mom, who has been diagnosed with Alzheimer’s, but whose long term memory is activated by material possessions, including her collection of art, trinkets, and jewelry that she has acquired over the last 80 years of her life. I further consider having been present through Barthes’ (1980) concepts of studium and punctum by engaging in the ways that I responded to the photos produced during my visual inquiry with my mom. I discuss what it means to having been present as integral to visual research.
In this research, we aim at the gradual improvement and the satisfactory formation of an innovative teaching intervention plan for teaching literature in the third class of Music High School. This intervention plan systematically integrates music to literature teaching, in order to reinforce participants’ (students’ and teachers’) creativity.This research is basically based on theory about Creativity, Creative Pedagogics and on Interart / Intermediality Study and Practice, concerning the correlation between literature and music. The combination of these two scientific fields raises the prospect of an interart aspect of Creative Literature Didactics. On the basis of this theoretical framework and driven by some predetermined indications of creative thinking and behavior, a qualitative research was carried out, in the third class of a Music High School in Attica. Assessing the results, we point out that several findings of practical and theoretical significance emerge.
This paper draws on the fields of music education, actor’s training, and developmental psychology to present the use of acting techniques based on the Stanislavsky system in music education as a means of facilitating the exploration of musical identity in young violinists. It also explores how acting activities can enhance students’ self-development through the social interaction of group teaching, and how the power of language, storytelling, imagination, and fiction can trigger meaningful processes and influence behaviour by shaping and shifting young students’ beliefs about the musical identity of the performer. The focus of this paper is on the application of approaches and activities based on the Stanislavsky system to music education and the context of violin pedagogy.
This case study concerns the designing and implementing a cycle of teaching interventions with a cross-thematic approach for the piano lesson at a Public Music School in Greece. The main research focus was to investigate how the cross-thematic approach can be applied in the teaching of piano in the context of a public Music School, and to describe and understand in depth the experience and perceptions of the participating students and teachers on its implementation. The piano teaching intervention was based on the 44 children's Pieces On Traditional Dances by the Greek composer Yannis Konstantinidis. The teaching-learning activities that were set in group-learning and experiential approaches, were interconnected to other teaching subjects, such as Greek language, folklore, music history, dance, traditional singing, and visual arts. The study revealed that cross-thematic explorations and the use of familiar cultural material could offer holistic music literacy for the students, creating meaningful memories and a sense of identity.
The advent of search engines has undeniably facilitated choral educators in finding scores, offering convenience and efficiency. However, the comprehensiveness of the search is inherently limited by language constraints. While it is encouraging to witness a growing global interest in choral music from Northeast Asia, accessing most of these valuable resources requires proficiency in specific languages. Moreover, the lack of accessible and authentic teaching resources deepens the hindrance to perform. This circumstance diminishes the visibility of choral music from this region internationally. To address these challenges and bolster the diversity within the choral community, the website Eastern Light: Resources for Northeast Asian Choral Music was established in 2022, striving to facilitate global access to the diverse and vibrant world of Northeast Asian choral music. This workshop intends to introduce Eastern Light as a valuable tool for resource exploration, offer language guidance, and provide immersive choral singing experience.
Experimental music is one of the most prominent compositional practices since the 1950s. Some central concepts of experimental music such as open form, improvisation, a shift of emphasis from the composer to the performers and a more ‘democratic’ direction – e.g. music making by people without formal musical training– may play a significant role in educational environments. In this context, a Group of Experimental Music was founded in 2011 at the Music High School of Pallini and developed an innovative practice in Greek secondary musical education. In the proposed paper, I give an account of the goals and activities of the ensemble and I focus on year 2019-2020, when techniques of Freinet pedagogy, an approach that enhances collectivity and inclusion, have been applied in the classroom. Also, I highlight the common points between the aforementioned practices and I illustrate how the ensemble used them to prepare a performance of photographic scores.
Teacher burnout is a critical factor in the educational process, as it greatly affects educational work. However, Positive Psychology is a special factor for strengthening teachers' mental health, so that they can cope with the demands of school life. Music promotes positive emotions and helps to cope with emotional challenges. Considering that it functions as a means for the flourishing of mental health and as a tool for stimulating positive emotions, it can be linked to Positive Psychology. In this light, the aim of the present study is, firstly, to find the level of burnout of Primary Education teachers, secondly, the degree of effect of music on Positive Psychology and the correlation of the above with professional burnout. The research sample consists of 201 teachers, the Maslach Burnout Inventory (MBI) and the Music and Positive Psychology Questionnaire were used.
We present Kinesthesis, an interactive tool inspired by Kathakali theatre, designed to enhance arts education. This tool allows real-time voice modification for singers and actors during performances, rooted in the gestural traditions of Kathakali. Kinesthesis seamlessly integrates symbolic Mudras, connecting classical gestuality with modern technology, serving as an educational instrument. It enables students to explore sound properties like pitch, volume, timber, and duration, bridging the gap between theoretical knowledge and practical application. The user-friendly interface, comprising a wireless microphone, web camera, and a computer with an external sound card, ensures accessibility for diverse learning needs. Drama school students actively engage with gesture-mapping technologies, participating in the creation and manipulation of sonic architectures to deepen their understanding of the relationship between physical expression and sound. Positioned at the intersection of accessibility, inclusivity, and cutting-edge technology, Kinesthesis acts as a comprehensive gateway for drama students, fostering the development of expressive communication, technical proficiency, and collaborative performance in arts education.
Using ‘Nature as a Muse for Arts Education’ (sub-theme 7) is a powerful way to engage young people in their sustainable responsibilities. This workshop will encourage participants to explore their relationship to nature using projections of landscapes (North Yorkshire’s Brimham Rocks), music and extracts of poetry text from Simon Armitage's "Balancing Act". Delegates will be invited to explore the stimuli and create a dramatic response. We will then reflect upon the power of nature as a creative stimuli and creative engagement as a means of promoting environmental consciousness.
The workshop offers puppetry and mask theater as a creative medium to educate on ecological issues, specifically focusing on forest conservation and human-nature relationships. The workshop’s core ideas center around the symbolic character of a tree in a forest, which draws parallels between nature and society, fostering values of social solidarity and tolerance. The workshop for professionals encompasses various activities, including environmental discussions, physical theater, puppetry, and masked theater. The use of masks and puppets effectively conveys ecological messages, creating a captivating theatrical experience and promoting an understanding of the relationship between humanity and nature. Through practical experience with puppet animation, participants actively explore ecological topics. This effect is achieved by using natural objects. We aim to nurture ecological awareness and social values, leaving a lasting impact through a creative and immersive theatrical experience. These experiences help professionals to develop programs TIE and DIE for children and youth.
This workshop incorporates theoretical and practical approaches to assist children and adolescents dealing with school refusal. In the first part of the workshop, we will delve into what school refusal is, how it manifests in children and adolescents, its causes, as well as its risk factors. Additionally, there will be a brief presentation on play therapy, along with scientific data regarding its effectiveness in addressing school refusal. Moving to the second part of the workshop, the participants will be engaged in therapeutic play activities, designed to aid children and adolescents facing school refusal.
The Co-OPERAtive project is an opera hub for a mixed group of young Athenians and unaccompanied asylum-seeking minors aged 15-17 from across Attica. In this workshop a group activity based on this particular program will be presented. Using non-verbal teaching and non-formal education techniques the audience with the assistance of the facilitator will learn a song, will orchestrate it, perform it and conduct it within 40 minutes. The methodology proposed is experience based but also scientifically informed. Derives from the facilitator’s experience on community music projects and is in accordance with the global research’s findings on the impact of music education in the participants’ personal growth as well as society. Before ending the workshop there will be conversation regarding the activity, its possible impact on the participants’ psychology and its application in different educational contexts.
ARTS IN EDUCATION
The significance of singing in music education lies in its historical role as an accessible and affordable means of musical expression. Collaboration and social learning are crucial components, fostering democratic principles where both teachers and students contribute to a culture of equality and openness. However, some teachers perceive democracy as a threat to their authority, leading to a focus on rote repetition rather than creativity. Ensemble learning, while commonly associated with collaboration, may not always reflect democratic principles. In a democratic learning environment, teachers facilitate knowledge exchange, encouraging students to express their thoughts and creating a vibrant learning atmosphere. The workshop emphasizes implementing democratic principles in choir practices, combining cognitive and social skill learning. Interactive activities aim to translate democratic ideals into practical strategies for inclusion, collaboration, creativity, critical thinking, and community building in music education. Ultimately, the integration of democratic principles in music education aligns with broader societal impacts, extending beyond performance skills to encompass practical, democratic, social, cultural, and ethical aspects.
This workshop delves into the transformative power of dance within diverse educational, community, and cultural contexts. Led by two experienced dance educators, they seek to facilitate a space that presents dance as an effective tool for community building, particularly beneficial for youth and marginalised communities. The Pacific concept of the vā will be activated as an embodied concept within the learning space, evoking a pedagogy focused on the building and sustainability of relationships and a collective sense of identity. This immersive workshop will interweave embodied experiences and reflective discussions aimed at fostering connections within and beyond the dance learning space. The session will present a journey to discover the impact of dance in strengthening communities and nurturing transformative experiences. No prior dance experience is necessary for participation in this workshop.
Performance
WELCOME ADDRESSES
Dimitris Drosos, Professor, Dean of the School of Philosophy NKUA
George P. Pefanis, Professor, Head of the Department of Theatre Studies, NKUA
Gerasimos Terzis, Professor, Dean of the School of Physical Education and Sports Science, NKUA
Athēnaios Paian and Hyporchēma to the God (128/7 BC)
Stelios Psaroudakēs, Associate Professor in Ancient Hellenic Music, Department of Music Studies NKUA
Aeschylus Oresteia: Chorus
[based on Lakis Karalis stage direction and music composition, in ancient Greek language]
Presented by students of Department of Theatre Studies NKUA:,
Dimitris Mikios, theatre facilitator, actor, Dinos Pontikopoulos, actor - director, Anna Psarra, actress, Eleni Psarra, actress,theatrologist
Great Ison
Choir of Chanters “The Maestros of the Psaltic Art”, Conductor: Professor Achilleas G. Chaldæakes, Department of Music Studies, NKUA
Cretan Theatre Extracts
Vicky Volioti, actress, student of Department of Theatre Studies, NKUA
Songs based on Traditional Melodies from the Aegean and Asia Minor
by Yannis Konstantinidis
Athens Academia Youth Choir conducted by Dr Nikos Maliaras
Oi filoi ontas smixoune’ (When friends are gathering): dancing in Greece
Artistic direction & teaching / Department of Physical Education and Sport Science, NKUA :
Programme of Greek Traditional Dance
School/Department of Physical Education and Sport Science (S/DPESS), NKUA
Artistic direction & teaching (courtesy):
Dr. Vasileios Karfis, Academic Special Teaching Staff, S/DEPSS, NKUA
Dr. Konstantinos Dimopoulos, Assistant Professor, S/DEPSS, NKUA
Dr. Maria Koutsouba, Professor, S/DEPSS, NKUA
Participants (courtesy):
Students of the Major "Choreology: Greek Traditional Dance" and members of the "Dancing Group of Greek Traditional Dance", S/DEPSS, NKUA
Musical accompaniment (courtesy):
▪ traditional violin: Nikolaos Gardasis, undergraduate student, Department of Music Studies, NKUA
▪ lute: Dimitrios Axiotis, master student, Department of Music Studies, NKUA
▪ tsabouna (tulum) Bagpipe: Chariton Charitonidis, Ph.D. student, S/DEPSS NKUA
▪ toubi (the Greek island's drum): Apostolos Samaras, Ph.D. student, S/DEPSS, NKUA
▪ song: Maria Ziaka and Sotirios Kontopanos, members of the Folk Dance Club CHOROPAIDEIA
Costumes:
The costumes for the performance are under the responsibility of:
▪ the wardrobe 'GREEK COSTUMES: Katerina Valvi-Vasiliki Agiasmatzi' and
▪ the Folk Dance Club CHOROPAIDEIA (courtesy)
Christos Christou, actor and student of Department of Theatre Studies, NKUA, facilitates connections between performances and audience interaction.
This paper delves into critical issues in Greek art education, centering on the transformative potential of the New Visual Arts Curricula for Secondary Education. Drawing from influential theorists like Dewey, Freire, Vygotsky, Deleuze, and Guattari, the authors advocate for a paradigm shift towards inclusive and participatory art experiences. The theoretical foundation challenges traditional teacher-centric models, proposing a collaborative a/r/tographic framework called redefining roles for educators and learners. The new curricula emphasize dynamic pupil involvement, social-emotional learning, sustainability, and active citizenship. The study adopts a structured three-cycle research methodology aligning with action research, showcasing a/r/tographic roles of researcher, teacher, and artist. Positive outcomes highlight the potential for sustainable educational practices marked by engaged student participation, holistic learning experiences, collaborative teacher approaches, and an inclusive educational ecosystem beyond classrooms. The authors envision a future where art education in Greece becomes integral and transformative of the existing educational system.
We present the pilot course The Arts for Coexistence in a Sustainable Society, which was implemented at the Faculty of Education, University of Ljubljana in 2023/2024. We focused on sustainable themes, the role of the arts in a society and (creative) active citizenship of young adults. We explored through artistic experiences: soundscape, the fine art lab, the creation of dance miniatures, drama, etc. We interacted with external creators, artists and researchers who co-presented their own views on coexistence and sustainability in modern society.We collected data on students' experiences through a combination of quantitative and qualitative research approaches. Students completed questionnaires before and after the course and they also reflected on their experiences after each course. We found that students prefer learning through arts and that they found a safe place to express themselves (through different artistic fields), which is often denied to them in the traditional learning process.
This paper revolves around the role of contemporary art and its significance for the art world as well as the general social sphere, with a special emphasis on the artistic processes and practices of the TWO|FOUR|TWO art group. The TWO|FOUR|TWO art group uses appropriation and anagrammatism to transmit concepts about consumerism, greed and megalomania. The group’s oeuvre relates to several of the seventeen UN sustainable development goals (SDGs), especially those which deal with ‘zero poverty’ (SDG1), ‘good health and well-being’ (SDG3), ‘decent work and economic growth’ (SDG8) and ‘reduced inequalities’ (SDG10). This paper will focus on the artistic practice of the art group, with an emphasis on the integration of the artworks and the ecological, humanitarian, and sociological dimensions.
In recent times, art teachers have increasingly encountered students who are refugees in the local vicinity of their educational institution, often due to political unrest and conflicts in various nations. Some of these students have endured persecution on account of their religious convictions. Pew Research Center (2020) has determined that as of 2018 Christians faced persecution in 145 countries, Muslims faced harassment in 139 countries, and Jews experienced victimization in 88 countries. During this paper presentation, participants will be able to identify approaches they can utilize to increase their steps to make an equitable classroom for all their students through the research of the presenter. They will also be able to take away lesson strategies on how they can increase critical thinking abilities as well as implement social and emotional techniques within their Art classes that can allow all their students a safe space in which to learn.
Examining four community dance groups in Aotearoa/New Zealand, this presentation will share the most common practices that remain critical to the sustainability of each group, and the role that community dance groups play in the lives of their participants and their broader localities. While community dance groups are understood as creative and informal spaces for art education, their practices and impact on their localities also present an opportunity for investment in grassroots sustainable development. The research highlighted within this presentation illustrates the expressed needs of community dance leaders and participants, in order to maintain their practices and the social value that they foster.
This paper describes an art-based critical pedagogy applied to preservice teachers. Utilizing visual thinking strategies and critical literacy, candidates analyzed a mural's content, exploring sociopolitical aspects, global contexts, and social justice issues. Initially relying on first impressions, they progressed to critical observation, and questioning socio-cultural, racial, and political imbalances. Through iterative processes, candidates identified local and global socio-political issues within the mural, addressing issues about social justice, global citizenship education, and art's communicative potential. They learned that societal issues may not be evident at the surface level, and examined privilege, intersectional identities, challenges faced by minorities, and oppressive school practices perpetuating inequities. These insights were integrated into educational theories and their evolving teaching philosophies, fostering equity-based teaching, and recognizing that teachers' roles extend beyond content delivery to supporting marginalized students for academic success. Among key aspects learned include discerning equality vs. equity and understanding teachers’ roles in fostering equity.
The crisis of representation in cultural theory has given rise to alternative forms of qualitative writing and a diversity of art-based forms of inquiry that are embodied, multi-voiced, and co-constructed. In that context, the purpose of the current paper is to see theoretical and methodological possibilities in exploring I and Me positions in the performative elements of a number of autoethnographical digital narratives, created by postgraduate students in a course on “dramaturgy, performance, and education” at the University of Athens. The narratives have been based on autobiographical memory and the poetics of the self. Authors’ experience in theatrical production generated works that are authentic in terms of prose and sonic atmosphere. One of these works competed at the Thessaloniki International Film Festival. The absent-presence of the embodied voice is notable in western philosophy, as Adriana Cavarero and Konstantinos Thomaidis have suggested. In the realm of Dialogical Self Theory there are quite a few works on the aural characteristics of narrator’s voice (cf. Monti’s paper on “vocal psychotherapy”). Psychoanalyst Massimo Recalcati, echoing Ronald Barthes and his essay on “the grain of voice”, writes that voice “does not come out of the body. It is a body”. In this paper, we will examine how the aural characteristics of digital narratives are mediating in the dialogic transitions of the self. We will argue that the lengthy and skilled aural palimpsest of mixing, editing, and recording, constitutes the “ambiguous signifier”, a term coined by the Australian psychologist Peter Raggatt, echoing familiar ideas of Charles Peirce and Mikhail Bakhtin. Raggatt has put forth the notion of “thirdness” in the transition of the self and has described narrators’ “personal chronotopes” as the “thematically and historically organized string[s] or sequence of dialogical triads”.
We present part of the results of the research project Olive grove, body, identity and territory, subsidized by the Institute of Giennese Studies of the Provincial Council of Jaén, Spain. The research addresses the current situation, and, therefore, the changes that have occurred, in the economic and social situation of women in the rural world, specifically in the olive cultive culture, as I answer extended throughout the entire province of Jaén , Spain, which is the largest producer of olive oil in the world. The study is carried out based on image, photography and audiovisual. Through a photography and video exhibition, we intend to show citizens our results, therefore it is a triple educational action: for society, for the participants and for students.
Our intervention in this session aims to report on the results of a project involving audiovisual narratives that seek to recover the memory of the LGTBIQ+ community. These outcomes are presented as tools, resources, and teaching strategies for addressing audiovisual culture in future Primary Education teachers at the University of Jaén. This proposal outlines the working methodology through which students from the Primary Education degree at the University of Jaén have carried out the collection, design, and execution of an audiovisual project with a significant cultural component in the social context of the city: the migrations and exile of the LGTBIQ+ community from rural areas, specifically Jaén, to major Spanish and European cities.
The utilization of the audiovisual essay as a medium for investigating students’ perspectives in contemporary film theory and analysis provides an up-to-date, unique, and immersive approach to understanding the intricate dynamics at play with the educational components of the relative disciplines. The proposed paper aims at delving into key aspects of this exploration, examining the methodological nuances, thematic dimensions, and potential contributions to these areas through presenting and evaluating a series of audiovisual essays created by Greek undergraduate university students as part of their assessments for courses dealing with film musicology, visual anthropology, and film studies.
The project Shared Landscapes was curated by Caroline Barneaud (Théâtre Vidy-Lausanne) and Stefan Kaegi (Rimini Protokoll) and was presented in Lausanne, Avignon, and Berlin in 2023. Shared Landscapes is basically an invitation by seven artists from all artistic disciplines to the audience, asking them to spend a full day in the forest and participate into artistic works that attempt to re-negotiate the boundaries between the often-conflicting areas of art, nature, and technology. It follows the tradition of land art but blurs the limits between the genres of performance art, sound composition, choreography, media art and site-specific theatre. Its main aim is to encourage the participants to re-consider their own relationship to the landscape and re-discover their own position in an eco-system much bigger than themselves.This presentation aims to use the case study of the project Shared Landscapes, to emphasize the educational value of such an artistic work. It plans to demonstrate the way we can use the documentary theatre techniques which are employed in this artistic piece in the drama classroom to involve our students in the discourse about ecology.
This paper shares the design and outcomes from a research project whereby students from schools in Australia, worked with their teachers to envisage and create artefacts of the future (2050). The research question was, ‘How can young people be engaged and empowered to consider creative and embodied futures thinking to generate sustainable living choices and practices now?’. Teachers were provided with an interdisciplinary unit of work, developed by the researchers based on the latest research in futuring education, and closely aligned with The Arts and cross-curriculum priority ‘Sustainability’ in the Australian Curriculum. Data was analysed about the students’ design, creation, and presentation of artefacts that exemplify the societal changes made to ensure a more sustainable future as well as interpretations about their artefacts. The project engaged teachers and learners together as artists, audience and activists; they imagined and shared alternative environmental futures and what might be needed to realise them.
Understanding the city as a space of coexistence implies an ethical and aesthetic positioning and means changing the established dynamics. The 2030 Agenda for Sustainable Development calls for quality education in which students acquire the theoretical and practical knowledge necessary to face today's challenges. The project Art with the Environment: Living and Learning carried out with students of the Bachelor's Degree in Primary Education aims to bring students closer to the SDG objectives and promotes learning outside the classroom through Environmental Art and the practice of artistic strategies. The aim is to promote an art education for future teachers that offers them multiple ways to connect art with life.
By referring to the book Dissens and Sensibility: Why Art Matters I will in this paper present what I call pedagogy of dissensus, which is an educational approach informed by the ambivalent and dissensual characteristics of art. In the paper I describe how the situation caused by COVID-19 turned out to be a major interruption and led to the artwork My stunning stream - Made with a little mischief (2020-). This project has made me slow down and pay attention to my senses and the relation between myself, nature, and the technology I use. Most importantly – and quite paradoxically – my calls for dissensus have been disturbed. In this global division of the sensible, I felt a need for the opposite. I wanted harmony and routine. In the paper I see my running project as an educational space, where I encounter resistance, and where I am put in the middle ground.
We present a sound performance about change of the sound landscape in the field work with olive trees. This action is part of the Olive grove, body, identity and territory project, subsidized by the Giennese Studies Institute of the Jaén Provincial Council, which carries out a study on the situation of women in the olive culture. But the results not only respond to that objective, but also other aspects have been revealed, such as the change in human relationships at work. The objective of this performance is to express the profound change towards dehumanization that has been experienced in the olive monocultive, highlighting very particularly how relationships have been lost in exchanges between people. It develops with an action in which the soundscapes of olive harvesting in the 20th century and today are alternately articulated. The contrast that is strongly appreciated in the sound and communication between workers stands out.
Can we use art to improve the world and its social and environmental problems? To get closer to this somewhat exaggerated question, our panel will explore different principles and goals of sustainability and develop possibilities for art-based education for sustainable development. In times of climate crisis, the principle of sustainability is an important way of dealing with current global challenges. We will look specifically at how art teachers can be trained to deal with the challenges of sustainable development. On the theoretical side, particular attention will be paid to questions about the possible instrumentalisation of art and sustainable development for political or economic goals. With our different practical and academic perspectives, we will try to draw a broad picture of the relationship between art education and education for sustainable development. We would like to invite the panellists to discuss these transformative futures in art education with us.
Arts and crafts are asked to bring greater contribution to the implementation of UN sustainable development goal 3 – “good health and wellbeing” and to work interdisciplinary. From our experience, we believe that artists, art educators and cultural workers can work together with social workers to maintain hope and care and create safe spaces of wellbeing. In this performance base paper we will discuss the main issues that had challenged us, as women researchers and artists through the last years working with arts and arts education to enrich social prescribing activities. Using the metaphor of the Fates, authors will explore through a performance questions related to arts/art education based projects integrated in social prescription programs, with the help of images taken during art actions with vulnerable communities
During the Fall Semester of 2023-24, a hybrid, interdisciplinary undergraduate course was piloted at the Department of (anonymised). Collaboration of university tutors, a composer/researcher and a Greek Australian poet and rap artist, resulted in the delivery of a 12-week creative composition module, which culminated in a student presentation of creative musical processes and outputs. Course materials were based on three soundworlds that the composer/researcher in collaboration with the rap artists created for a Modern Hip-hop Opera embedded in the Ancient Greek storytelling tradition. University students experimented throughout term with the soundworlds, engaging with set activities that allowed them to explore composition techniques and draw on their musical and technology skills, while working also with artists - composer and poet - on their musical creativity, lyrics and sound. This Panel discussion will reflect on the international, interdisciplinary collaboration that arose from the course through the viewpoints and experiences of all participating stakeholders.
Higher education is a priority area for reform globally, as the pandemic has highlighted how postsecondary institutions are fragile and inaccessible, and require reconceptualization to build community resilience and social cohesion for next-generation learners. The purpose of this panel is to explore how arts-sci-tech immersive learning activations operate as iterative, open systems in higher education to productively cultivate student competencies for transformative changes in the 21st century. Our panel discusses discrete and intra-related projects to: 1) identify strategies that facilitate learning continuity and accessibility; 2) pinpoint institutional constraints; and 3) discern digital technologies that urgently address sustainable learning as more equitable, diverse, and inclusive. Together, we address core questions: How do international university student collaborations advance transnational learning partnerships? In what ways do art-science partnerships contribute to decolonizing discourses of creativity and learning? How does technology function to equalize access and transform lifelong learning? Our goal is to enable collaborative, unifying activations as an arts-based blueprint for higher education globally, and we anticipate these articulations contribute to the conditions, practices, products and pedagogies of teaching and learning. A range of formats will be presented: through the visual and performative arts, life writing, as well as traditional approaches to research dissemination.
Although theater alone cannot change the world, it can nevertheless contribute to the awareness and activation of wider audiences by inviting them to adopt a conscious and responsible attitude towards themselves, others and the environment. The contribution of the present study lies in the study and presentation of Greek theatrical and dramatic production with the theme of promoting environmental awareness in Greek theater for young audiences. Through the theatrical research, the gathering and examination of the study of primary and secondary documents, the semiotic analysis of the relevant dramaturgy from the first transition period in Greece (1970s) until today, and finally a holistic socio-semiotic approach, it is sought to capture the phenomenon in Greece and valuing the role of theater for young ages in educating them to deal with environmental crisis issues and their impact on people's lives.
Drawing on the discourse surrounding third-wave ecotheatre, this paper discusses ecodramaturgies constitutive of works such as Lucy+Jorge Orta’s Symphony of Absent Wildlife (beginning in 2014), Violeta Luna’s NK603: Action for Performer & e-Maiz (2014), and Chantal Bilodeau’s Sila (2015). Next, it attempts to show why and how the ecodramaturgies found therein may ally with and inform ecopedagogy and, more specifically, theatre ecopedagogy. Finally, it sets forth the argument that an alliance between ecodramaturgies and theatre ecopedagogy may, on the one hand, reconfigure contemporary educational needs through updated ecological, ethical, and aesthetic lenses in/across diverse applied arts contexts and help educators respond to those needs. On the other hand, it may allow learners and learning communities to push for material, structural changes by bringing the compound education+art to the center of actual political action on environmental issues.
The study of the relationship between humans and the natural environment is a diverse field. Ecocriticism, among other movements, has studied this relationship for decades. Recently, ecocriticism has been identified in the performing arts field. In Greece, students are engaged with theatre as part of their education, as Theatre Education is part of the national curriculum. This qualitative research involves 2nd-grade students participating in educational drama and outdoor education activities during four sessions in a nearby forest. The students interact with natural and powerful stimuli to construct their own stories using drama. At the same time, their actions can be analyzed as research data, guided by ecocriticism. The research process offers students the chance to explore and engage with the natural environment while fostering creativity through drama. It also presents an educational methodology that can be applied in similar situations.
This proposed paper will present the dramatized experience of approaching an excerpt from Dyan Sheldon's internationally successful illustrated book "The Whales’ Song", taken from the anthology of texts for primary school, for students aged 9-10 years, in the context of theatre pedagogical training, for students of undergraduate and postgraduate programmes in Theatre Studies in Greece, drama teachers, and their students. The methodology of drama and art will be the main methodological tools through which the results of a fifteen-year application will be presented, to students and future drama education teachers, with parallel applications of the same activity in grades 3 and 4 in Greek primary schools. Techniques and approaches of drama, dramatized narrative as well as contextualized learning, through methods of process drama, documentary theatre, and improvisation, as well as applications of the Heathcote Commission's teaching model, will constitute the theatrical resources and the basis of the artistic-disciplinary chain.
In this performance that integrates visual, dramatic, and sonic languages, Elvira and Pedro Ernesto carry out an adaptation of the original play "Koroneiki: a critical musical theater piece about the land and olive trees." In this performance, a critique of the current situation of super-intensive crops is approached from an ecological perspective, specifically focusing on the environment from which both artists originate, the southern region of Spain. The work we will present connects with various contexts around the world, highlighting monoculture areas, told from our own reality, that of the olive groves in the province of Jaén. From this point, we propose various reflections related to the lives of people in rural areas; sustainable farming, agriculture and labor, equality, biopolitics, and more.
Accessible arts education: Personal, philosophical, political, and practical perspectives on Arts Education for people with disabilities
This workshop unites music with painting, movement and language, while at the same time giving expression to each type of multiple intelligence according to Gardner's theory. Orff-Schulwerk is a child-centered system based on elemental music, i.e. the union of music, speech and movement. Its goal for children is to experience music and express themselves creatively through it. At the same time, it brings children into contact with a difficult part of modern classical music – aleatoric music. All of this happens naturally within an arts learning and development environment.
In my Arts-based thesis, I set out to explore artistic expressions and capture my trajectory in captivating narrative. I narrated my own story, bringing to life stories and poetry that reflect experiences and concepts that have shaped my journey in the creative arts. Each collected work is a window into my world of introspection, sharing reflections on life, love and nature. The proposal is an extension of this in poetic performance in mime. My goal is to give visibility to the works and immerse us in an emotionally rich experience. It is revealed through the imagination and technical skills used to create unique works. This compilation seeks to inspire and offer new perspectives, inviting the viewer to share the fascinating world of the creative arts with me.
This communication proposal summarizes 25 years of thoughts and doubts about the role of a teacher in the field of musical art, 20 of which carry the peripheral vision that the role of pedagogical director added. This does not necessarily reveals less doubts, but certainly a bigger range of thoughts. How has music teaching adapted to the speed at which the world is changing? Has the way we taught and learned music essentially changed in the last 50 years? Is it important to build bridges or walls in the presence of dimensions such as eclecticism, technology or globalization? Are we more effective at teaching today than we were taught? Can we be motivating agents that compete successfully against the culture of smartphones? These thoughts and doubts, among others, will take on a special role in this potential communication, which might cover 25 years of pedagogical practices in 15 minutes.
This paper presents a case of mediated learning experience,in a visual art class,of a Greek Secondary Education school in Athens. The purpose of the paper is to present all procedures of mediation, that were developed, for the understanding of Christian Greek Orthodox ecclesiastical visual art culture, in the context of a third year high school visual art class,of a multicultural secondary education school in Athens. The paper is part of a case study, about the perceptions of pupils,of a multicultural Greek High School, for the Greek Orthodox Ecclesiastical visual art culture. The research highlighted cognitive routines of critical thinking and practices of mediation, that enabled pupils to get in depth insight into topics of art enquiry.
The development of the curriculum is by all means a challenging, demanding and multi-faceted procedure. The need for a sustainability-oriented education is more pressing than ever, adding another dimension to the already complex process of determining the what, how, and why of education. As far as the teaching of the accordion in Greece is concerned, no serious attempt for a comprehensive curriculum has ever been made, without Music Schools being an exception. This paper will try to align the principles of an instrumental based curriculum, with those of sustainable education and education for sustainability, in the very special and fruitful context of Greek Music Schools.
This study aimed to discover the facilitation of 21st-century skills in today's learners, advocating for their acquisition through digital technology. Focusing on the 4Cs—creativity, critical thinking, communication, and collaboration—the research examines the educational potential of Minecraft: Educational Edition (MC:EduEd) for Key Stage 3 music education. Synthesizing literature on digital games, learning theories, and technology in music education, the study critically analyzes MC:EduEd's music features. The findings suggest that the game aligns with educational standards, employing sound learning theories, music education principles, and meeting criteria for an "educational" app. Consequently, the research contends that utilizing MC:EduEd for music composition fosters 21st-century skills, benefiting creativity, critical thinking, communication, and collaboration among digital-native Key Stage 3 learners.
In this research project children create a space with their own recycled clothes, within the school forest. Experiential activity and creative play in nature, kinesthetic play, the concept of sustainability, Deep Ecology and ecosomatics are combined in one activity and pave the way to multiple interdisciplinary learning fields. Pedagogy shifts from the active learner to the universal communication of the child with what surrounds it, through a relational-centered-experiential learning and the emotional engagement with its material and physical environment. What is missing in contemporary learning is the development of children relationships with the emotional, social and environmental world and most importantly with themselves. Community build-up is deemed essential in this research for collaboration, active engagement and participatory planning in an everyday learning context as well. Thus, children experiences are formed in a playful, multimodal, open and interactive field with the community.
The body is the container of our lived experiences. Much of modern life and learning triggers self-protective reactions that inhibit health, relationships, learning, and creativity. The arts, nature, and technology provide opportunities for our nervous systems to repattern emotional reactivity into regulation and eventually into resilience. Regulation and resilience allow us to traverse rigorous life and learning experiences with curiosity, creativity, critical thinking, courage, and compassion.
The proposed educational intervention capitalizes on the influential role of movement in shaping our sense of rhythm and on the very nature of dance which allows for a direct connection with music’s rhythm, melody and harmony. The idea was to design an intervention that would introduce fifth or sixth grade students to the fundamental music textures (monophony, homophony and polyphony) through the art of dance, while making use of the possibilities provided by ICT. The aim was to create a learning process that, through dialogue, experimentation, active listening and students’ creations, not only supports the consolidation of knowledge, but also engages students in a multimodal, creative, fun and collaborative way.
The inner relation between arts in modern times has its roots in expressionism. This research based on the idea of using artworks of famous painters as graphic notation for choreography aiming to create or strengthen students' relationship with painting artwork and dance. An action research was organized. The participants were 56 students of an educational department and the intervention lasted five two hours’ weekly meetings. Laban Movement Analysis was utilized for developing from participants a common movement vocabulary and a physical way to approach painting. The data were collected from participant observation, critical friend’ report, questionnaires, discussions and the choreographies themselves. The thematic analysis with an inductive approach resulted in categories and themes on which the research outcomes were based. It seems that this scaffolding as an educational approach is able to enhance the relation with arts though a genuine artistic behavior that also develops expressivity and creativity.
Creating and maintaining harmony in the dance classroom includes the bringing together of learners and teachers diverse contexts, experiences, needs and ambitions. Building harmony requires focus and rests strongly on teachers’ meanings of the dance activity. The following presentation speaks to research that asks: What are tertiary teachers’ meanings of teaching ballroom dance in China? This presentation will provide an overview of literature concerning meanings of ballroom dance, educational and competitive contexts of ballroom dance in China, and the relevant pedagogical strategies and issues informing the teaching of ballroom dance in China. This study reveals the importance of context and how this has shaped the formation of harmony and a foundation of ballroom dance in China, and equally the teaching of ballroom dance in tertiary institutions in China.
This presentation delves into the realm of education, exploring the incorporation of somatic approaches and performative elements to unravel the intricate relationship between human interaction with the environment and nonverbal communication. Drawing inspiration from expressive interpretation methodologies, the educational experience aims to enhance sensory perception and to deepen understanding of the human-environment connection within post-industrial contexts. With a thematic focus on integrating the principles of performativity into art education, the presentation proposes and tests methods for mediating selected works of art using expressive interpretation. The goal is to elevate performativity as a central educational activity, leading to the reinterpretation and comprehension of carefully chosen pieces of contemporary visual art. Expressive interpretation methods in art education not only facilitate the understanding of visual artworks but also serve as activating tools, fostering students' communication skills and critical thinking.
Since 2021 Ionian University runs a long-distance program for continuing development in Piano Pedagogy. The program is designed to train piano professionals in current trends of applied Piano Pedagogy topics, such as improvisation for classical pianists, group piano teaching, contemporary music, and inclusion in piano lessons. The eight-month program, in its three-year run has had more than 180 professional attendees from various academic and teaching backgrounds. Participants and teachers evaluated the program through detailed questionnaires, open discussions, and assignments’ feedback. The paper aims to focus on the challenges, good practices, evaluations, and overall outcomes of the program, as well as potential suggestions for further applications of technology-based professional development for piano teachers. The overall analysis will be based on a synthesis of quantitative and qualitative data. Furthermore, demonstration of sample training material of the program will serve as a basis for discussion and further reflection on development and variation.
Student internship is an important issue that ha been intensively debated in the field of education in Greece in recent years. The multifaceted demands of the modern educational system combined with the ever-increasing needs of students reinforces the need for training students -and future music teachers- through a structured mentoring program in the cycle of Bachelor studies. The purpose of this quantitative research with a questionnaire was to investigate the contribution of the Internship of the students of the Faculty of Music Studies, of the University of Athens, to the formation of the future "effective" music teacher, examining the experience of the students. The results of the survey showed that there are several points of benefit for students. They presented a significant improvement in certain characteristics, which they successfully utilized later in formal or informal education contexts, while the findings were also confirmed by the qualitative data of the research.
In the context of the module "Music Production for Media", which is taught during the winter semester at the Department of Music Studies of the National and Kapodistrian University of Athens, one of the main assignments that students have to complete is the creation of a full soundtrack for a short video.In this particular project, the group of students undertook to soundtrack a short animation video clip based on the adventures of a small clam in the coastal and underwater zone, approaching the music - soundtrack in the classical sense of the term, so as to reach a complete production at postproduction level.Film Scoring is created with original music composition for the whole film, Sound Design and Foley for the other sounds of the film. Software such as Audio Production Suites, VST Instruments, Symphonic VST Libraries, as well as Sound Libraries built by the group exclusively for this purpose, are used. The whole short animation video is presented, along with the methodology implemented during the production process.
The integration of music and drama can create a powerful and immersive artistic experience. Transforming a song's lyrics into a theatre act involves a thoughtful approach to storytelling, staging, performance and coordination between the music and dramatic elements. Adapting song lyrics into a theatre act involves an intricate connection between the two art forms. By seamlessly integrating the emotional depth of the music into the narrative, song lyrics become a form of poetic dialogue that propels the storyline and shapes character development. University level students were asked to select a song from the repertoire of Manos Loizos (1937-1982), a renowned Greek composer known for his lyrical compositions on themes of love, politics, and society's resilience. Loizos’s songs gave students the pretext and the impetus to devise new ideas and songs and to redefine the potentials of how a song can be devised in theatre and music
Reinvention and Resilience by Hybrid Spaces: A case study of a local gallery in preserving and fostering social communities Abstract This paper explores the evolution of art spaces in the contemporary cultural landscape, focusing on the transition from traditional to dynamic, hybrid environments that foster inclusivity and community engagement (Smith and Doe, 2022). It presents our research as a local gallery case study that has developed this shift, actively bridging historical preservation with modern societal relevance (Johnson, 2023). Traditionally, galleries have narrated cultural stories, facilitating dialogues that connect past and present (O'Connell, 2021). Nonetheless, recent economic and social challenges have amplified pressures on such institutions, potentially overlooking their roles within local community cultures (Chang and Sung, 2022). Addressing these challenges, we examine how art mirrors society and how this gallery catalyses critical discussions on significant, institutionalized issues (Rodriguez, 2022). The study reveals the gallery's transformation into a nurturing space for social interaction and community involvement (Davis, 2023). Our findings report on the gallery's development of hybrid art spaces that engage nonformal education within diverse multicultural communities. The initiative leverages digital advancements to provide project-based learning, thereby integrating galleries into the fabric of family and home-based education and enhancing educational outreach (Moreno and Sanchez, 2022). The resilience of these hybrid spaces is also examined, showcasing how they continue to support the local art scene amidst financial challenges (Patel, 2021). The case study highlights how: · The gallery's educational programs strengthen its role as a pillar of the community (Thompson and Yorke, 2021)· In the face of economic hardship, the gallery maintains the collective spirit of the art community (Kim and Lee, 2023)· The gallery's commitment to innovation and adaptation positions it at the forefront of community engagement (Goldberg, 2022)· A sustained communal dedication ensures the gallery's ongoing cultural contribution (Bennett, 2023) References Smith, J.A. and Doe, E.R., 2022. The Evolution of Art Galleries in the 21st Century. Journal of Art and Society, 15(2), pp.112-130.Johnson, L.M., 2023. Bridging Cultures: The Role of Local Art Galleries. Cultural Heritage Journal, 8(1), pp.45-60.O'Connell, P., 2021. Storytelling Through Art: The Narrative of Local Galleries. Art History Today, 19(4), pp.201-215.Chang, T. and Sung, H., 2022. The Impact of the Pandemic on Art Institutions. International Review of Art Economics, 11(3), pp.89-102.Rodriguez, G., 2022. Art as a Mirror of Society: The Social Role of Galleries. Contemporary Art Review, 10(2), pp.134-146.Davis, N., 2023. Social Incubation in Art Spaces. Journal of Community Engagement, 7(1), pp.75-88.Patel, A.K., 2021. Economic Pressures on Art Galleries: A Case Study. Economics of Culture, 5(2), pp.165-177.Kim, D. and Lee, S., 2023. Community Support for Art Galleries During Economic Hardship. Cultural Economics Letters, 16(1), pp.54-68.Moreno, V. and Sanchez, F., 2022. Embracing Technology in Art Education. Art & Education in the Digital Age, 22(3), pp.200-210.Thompson, H. and Yorke, J., 2021. The Role of Galleries in Community Education. Educational Outreach, 3(4), pp.300-320.Goldberg, S., 2022. Innovation in Art: Survival Strategies for Galleries. Innovation in Art Journal, 12(2), pp.95-110.Bennett, C., 2023. Resilience and Adaptation in Cultural Institutions. Journal of Cultural Management, 9(1), pp.33-45.
Nowadays we find that educational practices are still based on a "banking" vision of knowledge that maintains a stereotyped and static structure. In response, our teaching practice is based on the pedagogy of contact to account for the relationship between pedagogy and performance, focusing on corporeality as a means of knowledge. From an interdisciplinary approach, this study explores new drawing possibilities for pre-service teachers. The dynamic shows the expressive possibilities of the body through the different senses using clay and poetry. Four moments that initiate a perceptive stimulus through tactility to continue with listening through poetic rhythms. new gestures that enhance the involvement of bodies and creative abilities in the teaching-learning process. The results obtained show us the possibilities of the body for aesthetic creation and the need to provoke new educational strategies that transform the classroom space.
The present study attempts to investigate the application of the “flipped classroom” model in the field of Theatre/Drama education, to analyse the levels of interaction and participatory learning that take place and to consider the prospects of its application for Theatre/Drama in education, as a different, innovative methodological approach. A small-scale case study was designed, involving three theatre education teachers who implemented the model with their students. The findings showed that the implementation of the “flipped classroom” model in the teaching of Theatre/Drama in education seems to increase interactivity between all the participants, and provides opportunities for both to further develop their theatrical and digital skills, either within or outside the school environment. However, the challenges for teachers are many, as they have to create high quality materials, monitor their students' progress and ensure that they are prepared for the activities that will follow in the classroom.
This paper aims to highlight the contribution of the synthesis of Theatre in Education and New Techniques in the environmental awareness of primary school students. Initially, a pedagogical and theoretical documentation of this particular conflation is carried out through international bibliography and recent studies. Following this, the dynamics of the application of activities that combine theatrical codes, as well as role-playing, with new technologies and digital media, in the natural environment are presented. To substantiate this proposal, the example of the Educational Programme for Primary School Students "Educational Pathways. Exploring the Lycabettus Hill" of the Social Cooperative Enterprise "Paths of Greece". With a carefully designed hiking route on Lycabettus Hill as the central axis, students are invited to operate in a context of different roles, to map the area and finally to understand the importance of nature and sustainability.
Cultural events in schools aim to connect art, culture, and history, preserving collective memory and promoting dialogue between the past and present. Technology, such as QR codes, can enhance educational experiences and creative use of digital technologies in drama in education. This paper explores the use of QR codes and dramatization techniques in education for historical commemorations. The study focuses on how students learned about the "Ohi Day" anniversary through a drama-based lesson plan called "October 28. From Ohi to Freedom". The lesson plan was implemented during the 2023-2024 school year at primary school in the municipality of Paionia. The students were immersed in the historical events leading to the anniversary using multimedia archival material and QR codes. The implementation of the activity demonstrated that students were more engaged with the archival material when they were actively involved in the drama.
"Stepping through the doors of tomorrow: Academia in the Era of A.I." delves into the transformative intersection of art, technology, and society, highlighting the crucial role of AI in redefining academia and arts education. It emphasizes the shift from quantity to quality in knowledge dissemination, advocating for a multidimensional academic approach that values real-life experiences and creative exploration over traditional narratives. The paper posits that academics and artists are now the pioneering stewards of AI, responsible for shaping its learning in an era dominated by digital technologies and the imminent arrival of Artificial General Intelligence (AGI). It calls for ethical stewardship and practical visionary leadership in academia to guide AI development, ensuring a future where human creativity and ethical considerations remain central. The paper synthesizes the urgency to awaken from a "capitalistic slumber" and actively participate in AI's evolution, shaping it with ethical and philosophical consciousness for a sustainable future.
This paper explores the potential of integrating Artificial Intelligence (AI) into Theatre in Education to enhance students' creativity and develop 21st-century skills. By combining the techniques of Augusto Boal's Newspaper Theatre with AI, this study seeks to assess whether AI integration can facilitate the creation of enriched and well-structured theatrical scripts and stage performances within a concise period. After researching articles on topical issues, students extract components from these sources and collaboratively create short theatrical texts using AI. They are then invited to re-enact their texts by creating short stage actions, thus moving from writing to stage performance, in which they become actively involved in the roles they have created. The study aims to contribute to knowledge both about the use of AI in education in general and its “symbiotic” relationship with theatre techniques in education in particular, enriching the dialogue on innovative educational methods.
As our knowledge about the significance of the first years in a human being’ s life is growing, the necessity of theatre for early years (TEY) becomes more and more imperative. This opinion paper is trying to describe the Greek TEY case and the actions Artika is proposing in order to promote and spread awareness about the key role it can play in children’s psychological, sociological, physical and emotional development, and as a powerful tool to transform the educational process.
PERFORMANCE ART IN PRESCHOOL EDUCATION: "The course of water" In the present study, we would like to present a cultural-environmental course of program that lasted for eight months and took place at a nursery school in the centre of Athens. The primary aim of the course of program was to address pre-schoolers aged 4-6 in order for them to experiment, discover and experience the value of and "course of water" (bearing in mind "the future of water) through all the sciences proposed by the kindergarten curriculum. By means of theatrical and visual art techniques, the children systematically observed water and its properties - re-enacted through theatrical play and dramatization of the water cycle - it captured in different visual art techniques, “the course of water” and looked for answers to problems. As I have already mentioned, by dint of a wide array of techniques drawn from educational Drama. In tandem with this, they composed and staged a visual-theatrical performance that they presented to their parents at the end of the school year.
This study delves into the metacognitive awareness of Greek drama teachers, focusing on their understanding and regulation of cognitive processes in teaching. Employing the Metacognitive Awareness Inventory for Teachers (MAIT), the research assesses 21 educators, revealing varied levels of metacognitive awareness and its correlation with teaching experience and potential gender differences. The results highlight the significance of reflective teaching and metacognitive strategies in enhancing drama education quality. Concluding that metacognitive awareness is vital for effective drama teaching, the study suggests professional development should focus on enhancing these skills. It advocates for a supportive learning environment, proposing that a metacognitive approach leads to more profound, reflective learning experiences in arts education. This research paves the way for further exploration of metacognitive dimensions in teaching, particularly in the arts, aiming to enrich educational practices and outcomes.
In recent years, probably also as a result of online learning practised in the pandemic context, pupils in Romania have difficulties in reading in-depth and interpreting the meanings in the texts they have to study. According to several testing systems on the literacy level of Romanian students (PISA - international, BRIO - national), it appears that a high percentage of them are unable to analyse and reflect on the contents of a text. In this regard, a project has been initiated to support young people preparing to take their high school graduation exam (baccalaureate), based on the idea that participation in theatre performances encourages their interest in reading and trains critical thinking. This presentation focuses on an ongoing study that aims to identify how attending performances based on texts from the compulsory baccalaureate syllabus influences students’ engagement with those texts, encouraging critical thinking and literacy development.
The presentation introduces ideas, concepts and values, underpinning citizenship in Art and Art Education by posing two questions: 1) Which kinds of Art can support citizenship and in what ways? and 2) Which concepts can foster citizenship in Art and Art Education? Art and Citizenship are discussed in relation to culture and aesthetics, pointing out that Art is meaningful in a cultural context and at the same time it has the potential to engage us in transformative practices. It is proposed that Art for Citizenship Education is grounded on two pillars: “Who I am” and “Who we are”. These are analysed and exemplified through artistic practices that are concerned with the power of image, the formation of identity and communities, and diverse cultural contexts (spaces and places). The presenter argues that these concepts can form an educational framework to connect art and citizenship and incorporate practices that are artistic, humane and collaborative.
The role of dramatic expression in Orff-Schulwerk is significant. Starting from sensory play, dramatic expression, unfolds concurrently with music, movement, and speech. Leading to the creative and liberating actions of the child. In this workshop, we will explore the paths of Orff-Schulwerk through strategies that follow the experiential action approach, utilizing the arts (music, movement, speech, and dramatic expression) to highlight the role of Orff-Schulwerk in ecological awareness. Using a story as a starting point, the relationship between humans and the surrounding nature will be presented.
Participants will engage in a workshop where they will learn more about the emerging technology of mixed reality. They will be taught about the path the presenter took in their research and exploration of Indigenous World Heritage Sites in New Mexico, Texas, and Louisiana within the United States to create interactive curriculum units using mixed-reality technology to cultivate early college high school students' skills in math, primary source art, and science. There will be a focus on bringing together cultural heritage, architecture, 3D art forms, with a societal impact through the technology. Attendees will be able to view how the technology can be used.
An important goal when working with children in an inclusive setting is to maximise communication and social interaction. This workshop is based on research project consisting of a series of collaborative drawing sessions between children with Autism Spectrum Conditions (ASC) and their teachers and/or peers. The findings of the project suggest that collaborative drawing can facilitate interaction and communication between children with ASC and their partners on a cognitive and emotional level. It also helps them develop their drawing skills and enrich their visual vocabulary without any formal instruction. In this workshop we will present Collaborative Drawing Method (CDM), an interactive method of drawing where two individuals draw together on the same surface. The objective of this workshop is to provide the participants the opportunity to apply the CDM with one another, with an ultimate goal to enhance their educational approaches rendering them suitable for all students.
This interdisciplinary and performative presentation will introduce artistic inquiry methods through composting utilizing speculation, movement, and collective unity. The presentation relies on collective research knowledge, collected and analyzed in a large international research project that brought together visual artists, media artists, dancers, educational philosophers, and researchers and educators from various fields. The research project has employed a variety of different media, artistic processes and different technologies within its composting methodologies. In this presentation we approach the method of artistic composting through two concepts: Affective Spaces and Permaculture. We will incorporate a participatory element into our session where attendees will have the opportunity to collectively engage in the artistic composting methodologies.
In this paper we will discuss a school performance inspired by Édouard Louis’ award-winning debut book The end of Eddy within the framework of the programme “Theatre in the New School” conducted by the National Theatre of Greece. The themes and language of Édouard Louis’ book expressed in a perfect way the reality that many of our students experience and functioned as a vehicle for them to share their story, voice their problems and call for a change. However, would these themes be appropriate for an educational context? What drama/theatre tools could be used to explore the difficult but intrinsically relevant issues raised in Louis’ book? More importantly, how would the theatre group and the spectators react to Louis’ direct and sharp language and descriptions? Through our discussion we hope to reach some fruitful conclusions regarding the role of arts education and school performance as highly creative and liberating tools both for personal and social change.
The Museum Pfalzgalerie Kaiserslautern (mpk) has recently begun to critically review its own exhibition, collection and communication practices. This includes questions in the fields of de-colonisation, involvement of urban society and arts education. Two groups of art education students were asked to support this process on the basis of their individual views and expertise. The students provided critical assessments of, among other things, the canon on display, the atmosphere of the room, individual paintings and the overall appearance of the museum. They temporarily took over the museum's Instagram account and developed written interventions that are now part of the presentation in the museum. In an intense collaborative process, they fundamentally re-curated the room where art since 1945 is on show.
What does it mean to live with HIV in today’s time?We all know that AIDS is an incurable disease that once killed thousands of people daily. Today and thanks to antiretroviral treatment, someone with HIV can live a normal life. However, how many people are familiar with this? Can someone with HIV live free of the stigma that comes with it?A theater-pedagogical program, with technical forums, about AIDS and HIV stigma. We explore a story of a teenage girl, Stella, who experiences intense conflict with her family due to her choice to have a romantic affair with someone who is HIV positive.What happens when people close to her find out? How do they react? Will she be able to handle being with someone which is socially unacceptable due to his disease? How will she handle the discrimination? Will she be able to prevent the fear others have by further educating them about AIDS?
The gravitational problem of three-bodies is formulated by two bodies moving around their common center of mass under their mutual gravitational attraction. Newton solved the problem completely, finding that the bodies can move on conic sections. The three- body problem is formulated when we add a third mass in the configuration. Up to present, the problem is still unsolved due to its chaotic character. The performance of the Three- bodies is based on the production of corporal movements of an actor, called object 1, under the influence of two other persons motion, called object 2 and object 3. Object 2 and object 3 move onto two vertical axes, while the hands of object 2 are used as a third axis, perpendicular to the plane formed by the other two axes. Purpose of the performance is the analysis of the produced place (topos) as a dynamical system where the borderlines of corporal and verbal actions are discovered within small time intervals. The second purpose of the performance is focused on the verbal reaction as secondary product of corporal reactions. The chaotic character of the human orbits create a derridean textual path.
Participants
Michalis Filippou
Sossana NIkolakopoulou
Irini Anagnostopoulou
Stage direction: Pavlos Soulis
Stage design: Chrysoula Glossidou
This presentation will develop a dialog with the audience about how we, as artists and educators, strive to discover our identity and become comfortable with ourselves. When we are comfortable with ourselves, we understand and appreciate the beauty of humanity, the purpose of education, and the harmony of unity. As artists, our identity is manifested in our art-making, which is directly tied to our research – our stories, which will be part of this presentation dialog. This allows us to accept challenges and create personal transformations that directly and indirectly affect how we interact locally, regionally, and nationally to develop a global consciousness through personal awareness, self-empowerment, and transformation. Our perceptions are both subtle and drastic, shifting the personal-perceptual landscape of our ever-changing socio-cultural codes. This presentation will solicit audience conversations in response to student and professional images, visual research journalling, studio practices, and teaching pedagogy.
The close link between artistic-relational languages and the promotion of participatory communities requires a positioning of research in active, collective and interdisciplinary paradigms. The panel will explore enquiry approaches embedded in social educational and training contexts in order to initiate an attentive reflection on the challenges of complexity. The role of art will be at the centre of the reflection and methodologies presented, with reference to practices implemented in the Italian context. The panel will explore the function of art in the creation of participatory spaces and times, focusing on the promotion of inclusive environments. Through the description of different workshops and artistic strategies, the themes of social ties and conflict resolution, self-expression as active citizens and the narration of meaningful places of experience and life will be addressed.
Literature shows that dance teaching tends to be based on traditional pedagogy. There is scarce evidence on the reflective process of the in-service dance teachers as professionals and as individuals. A participatory observation of dance teacher practice in Greece shows that there is no clear tendency to acknowledge the differentiated learning needs of each student in terms of pedagogy. Dance teaching remains rather empirical following the traditional pedagogy approach. There is not only a need for a pedagogical swift towards true learner-centered (student-centered) dance pedagogy in Greece but a stronger need for in-service teachers’ reflection upon themselves and their students. Based on Korthagen and Vasalos’ “onion” model and Kolb’s experiential learning cycle, I propose three modes of reflection for in-service dance teachers: i. reflection about the students, ii. reflection about the dance teaching process and iii. reflection about their teaching experience as individuals.
The research program we present here is funded by the Tsagkadas Endowment and the N.K.U.A.’s Special Account for Research Grants (2023-2024). The aim of this research is to methodically collect and record for the first time the publications of Greek plays for young audiences, as well as Greek plays for school theatre, published from 1896 to the present day, and their use in school environment. In an ever-evolving sociocultural landscape, there is an urgent need for education that provides not only holistic knowledge, but also specialized skills and modern ways of learning to prepare young people for the emerging world of artificial intelligence and virtual reality. Our teaching proposals based on the study of dramatic texts -in both their traditional text-centred and digitalised versions- can contribute to the renewal of teaching methods through Arts, and especially Theatre in Education.
In this session, we present a transformative global collaboration between Canadian and Egyptian student groups, exploring the Bogota Museum of Modern Art - MAMBO virtually. Aligned with the conference theme on the interconnectedness of arts, nature, technology, and education, our initiative focuses on diaspora and globalization through adaptation of digital technologies, facilitating dynamic exchanges, innovation, and informal social interactions. Under the framework of public pedagogy, creation of podcasts become transformative tools, fostering engagement among students, educators, artworks, and artists. This cross-border collaboration exemplifies the power of the arts in shaping educational spaces, intertwining global-local communities of practice and nurturing intellectual exchange. By emphasizing network construction, friendship fostering, and mentorship, our initiative aligns with the conference's goal of exploring harmonious relationships between seemingly disparate elements for a sustainable and equitable society.
The project aims to explore new ways of teaching through theater and, at the same time, new ways of conceiving theater through education. Through theatrical activities, it seeks to create a pedagogical research laboratory with teachers and theater trainers, while also fostering a community that recognizes the importance of theater as a place for learning and active citizenship. Engaging in theater and experiencing theater go hand in hand in teacher training and classroom work. The Socratic and metacognitive approach allows both actions to create inclusive and interdisciplinary learning environments.
How does pluri-perspectivism and imagination open possibilities for looking? This workshop aims to cultivate a context that fosters openness to difference: awareness of, appreciation of and engagement with difference. Multiple ways of seeing (seeing things close and from a distance, viewing them in their integrity and particularity) and multiple dialogues can open possibilities for multiple perspectives. The participants will be actively engaged in tasks that will encourage them to looking for alternative points of viewing a multimodal scene (HAKO) and wonder ‘what else’ and ‘how else’ they could view it. The Slow Looking technique aims to provoke reflection on the act of looking appreciating the complexity of perspective and engagement. Wonder-full cognitive techniques aim to shift perspectives and encourage the use of imagination. Applying such techniques in arts education, allow new perspectives to emerge and release imagination helping us to construct personally meaningful symbolism.
This practical workshop will explore key features of classic texts that generate and support the development of process drama. Strategies that help to establish a context for the work will be included, for example, Teacher in Role. When the teacher adopts a role in the drama, it can become an effective method of initiating collaboration, of sharing power with the students. However, the unpredictable nature of process drama means there is always the possibility that something unforeseen may arise and the teacher will need to be skilful in dealing with the unexpected. Another method of launching the work is storytelling, a way of establishing atmosphere and drawing students into an imagined world. Objects and images can also be used to suggest situations and launch dramatic encounters.
The workshop aims to explore diverse interpretive dimensions of choral songs through dramatization, analyzing musical genres, and modifying lyrics for varied storytelling. Diverging from static interpretations, contemporary choral presentations involve dynamic elements like movement, choreography, props, and lighting, enhancing the overall experience. Conductor decisions regarding movement incorporation should align with a robust pedagogical foundation, communicated effectively to choir members for optimal impact. Choralography, synchronizing specific movements with the choral piece, creates a dual audiovisual dimension, emphasizing melody and lyrical expression. The workshop engages with Ivo Bláha's "Fog" from "Living Water," fostering tonal precision, rhythmic connection, and spatial awareness in primary school choirs. Physical and vocal warm-ups, coupled with targeted musical skill development, aim to enhance individual and group singing proficiency. Participants explore scenic and kinesthetic aspects, aligning solutions with vocal challenges. The conclusion involves the presentation of dramatized songs, with provided materials including choral scores and stage props.
Food, drink in one of the oldest buildings of Athens.
Dj Set with greek music and a live session.
Connecting two worlds - from the east to the west.
A lyrical dialog between a guitar and a voice.
Eleni Antoniou: voice
Sotiris Letsios: guitar
The 3•6•12+IncubARTor is an inclusive pedagogical initiative using art and visual education to cultivate an inclusive mindset in the
future educators. Rooted in play-based learning, art education and inclusive teaching, the project familiarizes educators with the
inclusion of disadvantaged children, addressing disabilities or learning difficulties. Developing visual competencies is crucial for societal collaboration and managing diverse groups. Building upon experiential learning, our project assists teacher training students in crafting empathy, essential in their future relationship with students. The IncubARTor, initiated in 2022, engages future preschool educators, primary and secondary art teachers, and instructors. Employing art pedagogy research procedures and the design thinking method, our ongoing longitudinal study aims to provide relevant findings at the intersection of special education and art pedagogy. This research supports educators in mainstream education within integrated group settings by fostering empathy and acceptance.
This presentation delves into education's pivotal role in preparing future generations for contemporary challenges by questioning the efficacy of traditional pedagogical practices. European education policies underscore competency-based education's importance in fostering personal fulfilment, employability, and lifelong learning commitment. With its experiential nature, art education provides intellectual, emotional, and ethical engagement, making it crucial for addressing present-day issues. The presentation advocates for innovative pedagogical models in teacher training, emphasising the intersection of art education and sustainable development. Drawing from a European-funded project, a distance learning course in art education is examined for its impact on addressing socially significant objectives. The mixed-method evaluation highlights its effectiveness in fostering creativity, empowering participants, and enhancing pedagogical skills. Trainees express satisfaction and newfound confidence in utilising socially engaged arts, acknowledging transformative impacts on understanding and applying art. Implications extend to transforming art education content for sustainability and offering distance learning courses that preserve embodied learning and interpersonal connections in art classrooms.
UNESCO has a vision of transformative education based on building learners’ capacities and motivating them to create a more peaceful and sustainable world. The arts offer tremendous potential for enlivening and propelling learning that transforms. This paper reports survey research that examined teachers’ perspectives on the potential of particular aspects of arts learning for supporting transformative education. We analyzed 606 arts teacher responses from 39 countries. We compiled teacher ratings of the significance to students’ learning and development of particular learning actions, contextual factors, relevance factors, and outcomes (within and across predominant art forms taught). The arts learning actions rated as most meaningful to students’ development included “communicating/story-telling,” “appreciating artworks,” and “creating.” The top-rated contextual factor was “trusting relationships with teachers and peers.” The top-rated relevance factor was “arts activity supports well-being & mental health.” Teachers rated the development of “imagination & creative skills” as the most meaningful learning outcome.
Choreography learning features as a valuable and essential part of tertiary dance education globally. It fosters creativity, collaboration, and communication, and supports broader learning about just societies, cultural understanding, and global challenges. This research considers the tertiary choreography educator’s role, in light of the 2024 UNESCO Framework for Culture and Arts Education, responding to the query: ‘what are relevant meanings of choreography and what is the pedagogy required to teach these?’ and, ‘how these might these transform understandings of, or be transformed by the Framework?’ Within this qualitative ethnographic study, the researcher draws on experiences of the UNESCO Framework Conference, interviews with tertiary choreography educators, and her interrogates personal pedagogical practices and curriculum design. Suggestions for implementation of the Framework into choreography education are proposed. The findings of this research will be relevant to other arts educators as they also consider implementation of the Framework.
Measurement of formal education success excludes arts education and focuses instead on reading, mathematics and science stating that this narrow focus creates the “knowledge and skills to meet real life challenges.” One WAAE conference strand states the arts “allow us to express the depths of human emotions, thoughts, and experiences. … to transcend boundaries and bridge gaps, fostering a shared understanding that unites cultures, generations, and communities.” This also defines social studies and is what we need to meet real life challenges. The purpose of this presentation is to clearly articulate how dance is social studies, and how it will contribute to the holistic development of young people in schools. Two outcomes will be discussed: 1. Dance will be recognized as an essential aspect of the curriculum. 2. The development of young people will be holistic and enable them to meet the world around them, regardless of the challenges.
The paper “Developing DansiT Choreographic Center as a pulsating hub built on the values of inclusion» pivots around a choreographic center that works locally, regionally, nationally, and internationally to offer activities for various audiences, dance artists and learners. Through practitioner research with an a/r/tographic (artist/researcher/teacher) approach the two authors ask: What values, strategies and turning points that help create DansiT Choreographic Centre in Trondheim, Norway, as a pulsating hub for dance arts and dance education can be identified in a collaboration between two partners from the artistic field and the local university? The main insights discussed are: a) values of inclusion of different bodies challenge and expand dance and dance education for the better; b) lasting collaborations across the artistic field and academia support the sustainability of artistic and educational innovations, and; c) expanded choreography as approach supports critical, inclusive and innovative change of dance and dance education. https://dansit.no/
Arts have been strongly supported to be part of compulsory basic education. However, universal access to quality arts education and an adequate development of creative skills remain a pending task in most parts of the world. In Mexico, the national curriculum for basic education (K-9) has traditionally included arts and music education as a means to develop an aesthetic sensibility and creative skills. The provision of arts and music education differs in their specific content and pedagogical approaches across schools levels, based on the level of specialized training that characterizes generalist and arts teachers. In this presentation, I provide an overall description on current pedagogical approaches, challenges in developing musical creative skills, and the implications for teacher education.
This paper contributes to the advancement of music education leadership by exploring, through dialogue, the ways that leaders from around the world make sense of their changing landscapes, both personally and professionally. Participants engaged in six dialogues that invited them to share, reflect, question, refine, elaborate, expand and represent their knowledge and understanding of the capacities, dimensions and ecologies associated with music education leadership. The dialogues focused on the challenges and opportunities that leaders in music education are facing today, 2) how we are addressing these challenges in our various contexts locally and globally, and 3) the future of leadership development in higher education, schools and community contexts. The dialogues took place online with invited participants from five continents (Europe, Africa, Asia, Australia and North America). This paper considers local solutions, ethical practices and innovations that respond to contemporary challenges and the development of leadership capacities in postsecondary education.
This presentation highlights three examples of work addressing sub-theme 8 of the conference: Promoting environmental consciousness through education and artistic endeavours.‘Water in the Desert’ - a Youth Opera devised and performed in Abu Dhabi, based on Sheikh Zayed's vision for a green desert. ‘Our World’ - a 2022 collaboration with the World Wildlife Fund (WWF) saw 75 young people debate the environmental issues facing Our World and create an opera in 5 days.‘Wild Hampshire’ - a creative project, developed for 11 primary schools, focusing on the major local habitats and exploring sustainability in the county across different environments. We will track the commonalities, evidencing how environmental issues are introduced; how young people are empowered; the creative process, performance and reflections. The WAAE audience will be invited to consider how success has been built into these projects, analysing the structure and experience provided for the young people.
Theatre history… taught in a different way. Or how theatre history can be taught in very young ages. The experiential learning, the cross curricular approach, gamification and the new technologies were the helpers in a series of courses on the history of theater. The paper is a presentation of good practice in didactic of theatre education for 4th grade (9- 10 years old) pupils. It describes the learning process, the eras of the theater that we focused on, as well as how the information was given. However, the emphasis is mainly placed on the need of children of this age to play with history, in order to understand it better. Contributing to this aim were the improvisation sessions, as well as the final play that they prepared and presented.
There is a close and interconnected relationship between the theatre and history, the theatre interacts with persons and events, the present and the past functions as a thematic source of multimodal "texts". History is mostly approached through oral testimonies, biographical accounts, ethnographies. The polyphonic and multimodal character of the resulting textual environment allows different interpretations and perspectives of history to be illuminated. In this presentation, applications of history in primary and secondary education will be presented through theatrical methods. There will also be a presentation of the theatrical techniques that are used and enrich the history lesson. The fundamental research character, in order for students to investigate events in the past and ask key questions about the present, brings multiple pedagogical benefits.
The theatre/drama project “Teenagers’ view” at the Michael Cacoyannis Foundation has systematically implemented the teaching of Modern History through documentary theatre. According to the National Curriculum, teaching History aims at creating active, democratic citizens, with critical thinking skills and historical consciousness, people able to understand the causal relations between facts and contemporary reality. History should therefore be approached not as a “foreign land” but as a land of one’s own, bearing a new personal meaning. Theatre/Drama encourages a hands-on approach of controversial historical and social issues (usually left out of classroom discussions). This specific project is based on research, and includes lectures, theatre workshops, a performance, and a follow-up discussion. From 2016 to 2023, five such documentary theatre performances have been presented to the educational community on topics such as terrorism, Europe and the Cold War, the reception of the Greek Revolution, Environment and Social Justice, and the 3rd Greek Democracy.
This cross-curricular adventure is an amalgamation of art, literature, science, and social studies, and a joyful celebration of culture and creativity. Igniting innovation through inspiration from their own unique blend of culture and experiences, the ingenuity of non-conventional artists, and available materials, participants will embrace tradition while seeking to push boundaries, and experiment with techniques, fresh perspectives, and unique interpretations, creating something new, while preserving and promoting cultural heritage. Exploring examples of Outsider art and its creators, including Ferdinand Cheval’s Palais Idéal, Simon Rodia and his iconic Watts Towers, as well as Edward Leedskalnin’s Coral Castle, participants will gain hands-on and minds-on practice designed to provide an enlightening cross-curricular experience yielding a unique sculptural artwork, built on inspiration from their own cultural identity, heritage, and personal interests, and serving as a building block to the future.
The proposed workshop’s fundamental aim is to ‘discuss’ with the participants, in theory and in practice, a drama/theatre approach of a liberating emancipatory education that is envisioning the creation of a world without war, social injustice and power relations. The workshop draws on the theoretical framework of Peace education, Education in and for conflict, moral imagination, social imaginaries and applied drama/theatre.Converting the above theoretical background into praxis, in the proposed workshop, through selected drama/theatre conventions (image theatre, improvisation, reportage, voices in the head etc.) as well as different stimuli (photographs, comics, video, literature texts), we will research on the three different forms of violence: direct, structural and cultural. The aim is for the participants to explore the visible and hidden forms of oppression, to have the potential to challenge normalized viewpoints and through critical consciousness and empowerment construct new social imaginaries and seek for social change.
The performance revolves around deliberately integrating performative elements with the vibrant traditions of verbal folk culture, taking inspiration from folklore proverbs. This convergence delves into the dynamic interaction between contemporary performance art and ancient verbal wisdom, aiming to unveil the varied possibilities that emerge through intermedial transformation. Utilizing essential materials such as milk, honey, butter, and ash as symbols derived from proverbs, the performance undergoes a transformative process, reinterpreting their significance through expressive artistic interpretation.
This research is based on interdisciplinarity, advocating the connection of knowledge at curricular, didactic, and pedagogical levels. The work presents an educational experience that integrates art and science, focusing on the creation of a "camera obscura". Four stages are detailed, from the creation of the apparatus to the investigation of projected images which also explore the inner possibilities of the camera. The results show disciplinary interactions between teachers and students, promoting the understanding of the phenomenon from artistic and scientific perspectives. The innovation of teaching photography from the interaction of science and art, provides benefits such as improved understanding of scientific knowledge, the development of observation through an aesthetic gaze that serve as a stimulus and motivation for students' learning. This approach promotes a holistic and interdisciplinary education, aligned with Sustainable Development Goal 4.
In this workshop we will explore our human properties of movement. There will be an integration of The Feldenkrais educational method, Bones for life that is a method for toning the skeleton, effective upright posture and walking and movement improvisation derived from the field of dance. Our purpose is through the exploration of the human milestones of movement that lead us to upright movement, to realize which is the appropriate educational environment. How learning happens, self-improvement becomes an embodied reality, creativity flourishes and relations advance. Our language will be the human vocabulary of movement. We will recall patterns from the past. Everybody will start on the floor; at the end everybody will stand in his/her tallest version. Internal space without excessive effort is a prerequisite whether your field is performance arts or sports. The way this will become an embodied reality will be the inspiration for professionals in Education.
We invite the participants of the WAAE summit to participate in an open investigation into questions concerning how to didactically plan and perform teaching activities in a post-human context. As new researchers in-becoming in the field of art education, we are curious of how to translate concepts like intra-action, agency and diffraction (Haraway, 1997; Barad, 2007) into art didactics. This includes planning and performing specific teaching activities regarding a transversal and de-hierarchical approach to art didactics. The purpose of the workshop is to explore relational matters through entanglements of embodiment, materiality and affect. We hope the participants will engage and help us in our curiosity and wonder about how to make art education where the teacher can plan and perform in and through the unpredictable and more-than-human.
The educational material we are presenting was created to teach reading (in the Greek language) to first-grade students, using rhymed verses that were turned into songs. The music-literacy program was implemented and researched for its impact on reading skill acquisition in a long-term qualitative study, confirming positive results in terms of fluency, prosody, expression, and text comprehension. Additionally, both internal and external motivation were developed, students became aesthetically and culturally aware, utilized their musical intelligence, and their further engagement with music and literature was enhanced. Cooperation, group cohesion, and functionality were also strengthened, as well as the formation of a positive image of the school. The material consists of 36 units, with half of the songs simulated on traditional Greek songs and the other half being original compositions by Greek composers. Recorded for use by teachers, featuring model singing and karaoke, played on natural instruments. Includes a Student’s Book and Workbook, as well as a Teacher's Guide with suggestions for interdisciplinary activities and educational collaborations.
This project is part of a wider project aiming to help students become acquainted with the World Cultural Heritage and to familiarize themselves with the art of different cultures. The ultimate goal is to bring about an understanding of otherness and of diversity which will help students question the uniqueness and universality of their understanding of art, and to become acquainted with and appreciate different ways of creating meaning through Art. Students studied Australian aboriginal art, its’ symbols and function, its’ long history and its’ most recent forms. They used this knowledge to inform their own creations, reproducing Australian aboriginal paintings, or inspired by them. This familiarization with otherness through experience is bound to create deeper and stronger bridges of understanding. Art became an effective tool for promoting students’ understanding of themselves and their society as part of a diverse global community – a diversity some students are only beginning to perceive and appreciate.
This presentation concerns the description of the research for the design of an artistic action in which the dynamics created in theater and dance classes in a school environment are examined. Combining elements of fiction and real events, with the aim of original and spontaneous activation of a process that captures in a creative way, issues to be solved in everyday life that are found on a global level. The performative dimension of the games developed in the context of the art course, concerns a commitment of claims that includes the event, the action and the environment, allowing the symbolic identification of the participants surrounded by it. The art of empathy and joy through shared experience. In an environment that links childhood with family harmony, within the range of challenges that the global community faces, in order to have the well-being and protection of childhood in whatever condition arises.
Arts educators are familiar with coaching students to their best expressions, yet the act of coaching is an artform itself. When educators come to better understand the formative assessment process, through guiding questions of “Where are we going?”, “What does the student understand now?” and “How do we get to the learning target?” the student’s experience of learning, engagement in the creative process, and the subsequent outcomes excel.
Nowadays an integrated approach to disciplines is an urgent educational challenge. A way to face this challenge is teacher education, as stated by UNESCO “Incheon Declaration and Framework for Action” for Goal 4: “We will ensure that teachers and educators are empowered, adequately recruited, well-trained, professionally qualified, motivated and supported within well-resourced, efficient and effectively governed systems”. Moving in this direction, this poster aims to share an example of STEAM activity developed by a group of Italian teachers, and their teaching approaches as examples of good practices to implement such activities in school. In the poster we present the keywords and the metaphorical representations elaborated by the teachers involved in a professional development course, with the task of designing a STEAM activity with an interdisciplinary/transdisciplinary approach. The course is institutionally contextualised in the European “STEAM-Connect” project, involving five European universities and their connected schools.
Currently, education is increasingly betting on the implementation of active methodologies and on constructivist learning, based more on the figure of the active student, and not so much on the role of a teacher as a model to imitate. However, particularly in conservatories of music, the process of change towards a more constructive methodology is slow, and could be perceived that there is a lack of updating of the methodology in the classroom (López-Íñiguez et. al, 2020). There are several authors (Cain, 2013; Jorquera et al., 2020; Pozo et al., 2020) confirming that, instrumental teaching continues to be linked to the teacher as a model, whose strategies tend to be directive, with learning based on the score, based on learning from repetition and devoid of reflection. The main objective of this mixed study case is to analyze the experiences in a conservatory of music working through artistic projects based learning.
Humor and laughter have biological origins in the human species which are activated through social life and culture (arts, comedic gernes). Nowadays, humour is concerned as a skill that is necessary for the citizen of the 21st century. The aim of this research paper is to discuss if and how humor could be considered as an autonomous subject of study and, based on this fundamental view, a curriculum, that includes the teaching of the humor in primary and secondary education, as is the case of other subjects, should be designed using theater techniques as a teaching method. The cultivation of humour skills should be integrated into the framework of Arts Education. Experimental research was conducted on elementary school. We investigated and purposed the pedagogical dimensions of humor in education combined with the utilization of the techniques of Theatrical Education, and aiming at enhancing students' creative, communicative and humorous skills.
The purpose of the current research is to explore the Chinese primary and middle school teachers’ perceptions of arts education in schools. The presentation will focus on reporting two research questions:1) What is the value of arts education in schools?, and 2) What are the challenges and coping strategies in implementing arts education in Chinese schools? In order to answer these questions, an online questionnaire was distributed to shanghai primary and middle school teachers, and 344 responses were received. The result will be introduced in detail in the presentation. In summary, by examining the viewpoints of Shanghai teachers on arts education within schools, this research brings to light the values, challenges, and potential solutions associated with the implementation of arts education within the Chinese educational context. Furthermore, the research might be able to contribute valuable and contextual information to the broader global discussion on arts education.
The Hellenic Scientific Association for Theatre Studies (ΠΕΣΥΘ) organises the
aforementioned discussion concentrating on the question: “In what ways may theatre
education deal with important social issues?” Teachers―who have initiated theatre
education actions regarding historical memory, war and migration, human
rights―share their experiences, thoughts and concerns. What is the motive behind
these actions and the impact they may have? Is theatre education able to contribute to
the understanding of a complex reality and the promotion of an active attitude towards
it?
Museum theatre is generally thought of as a museum program mostly designed and performed by professionals, offered to visitors with the aim of helping them to delve deeper into the exhibits of a museum and encourage interaction between the visitors and the museum exhibits. In the present proposal the museum theatre is seen as an educational tool and has been used in order to engage students into exploring the exhibits of the Archeological Museum of Delphi in an active, creative way with a number of learning objectives: encourage them to work in groups, do research to learn more things about the story of their exhibit, approach the information in a critical way, combine fact and fiction to create museum theatre scripts, develop language skills and of course discover the magical world of drama on stage. In my presentation I am going to describe the project run with 120 students from 9 schools and the 1st Museum Theatre Festival which took place last April in Fokis Region and a short assessment of the experience for both students and teachers involved.
In this paper we present a study on the role of theater and puppets in the recognition of the importance of the arts in the life of individuals and society, as identified by the students participating in an art project. In the 2022/23 academic year, the Faculty of Education, Department of Preschool Education, the Academy of Fine Arts and Design of the University of Ljubljana and the Modern Gallery collaborated. We joined forces for the project "Puppet Atelier - from atelier to puppet theater". The aim of this study was to investigate how the students who participated in the process of a puppetry performance perceived the strengths, weaknesses, opportunities and threats of the project. Through the qualitative analysis of the material, we explored how the students experienced the meaning of this type of project in terms of puppetry, art education, personal and professional development.
The present action-research study endeavors to shed light on the positive impact of applied puppetry in elderly settings. For this purpose, an applied puppetry program was conducted in an elderly day care center in Greece for three months. The ongoing qualitative research results indicate the influence of the program on revealing and empowering the elderly and their individual and collective memories. It is evident that during the animations, we "broke" the silence of the elderly. Additionally, the process of building a puppet was especially useful to help elderly people come out of their sense of isolation and improve the relationships among participants. Alongside, the process of narrating stories through puppets was an easy way to transfer feelings and attitudes. Puppetry created a distance from reality and thus allowed to ‘break out of time’, reimagine histories and create new and layered memories for objects.
Creative languages in educational contexts open up collective processes of construction of knowledge, in which artistic practice represents an exercise of encountering otherness. The workshop originates from a research conducted in Macerata (Italy). The aim was to listen to children's and preadolescents’ perspectives on urban contexts, by mapping their favorite places using both words and images. The authors’ approach refers to Arts-Based Research and research with children through participatory drawing.
Starting from that experience, the main objective of the workshop is to experiment visual languages to open up dialogue among participants about their favorite places. Firstly, participants will be involved in a creative production through drawing. Secondly, they will be accompanied in a creative-reflexive process in which art will foster sharing, associations and interpretations in a collective way.
The workshop also aims to investigate whether, starting from personal experiences, connections are developed towards the community dimension of caring of environments.
This interdisciplinary project, at the Pontifical Catholic University of Peru, focuses on creating art-educational material for children with cleft lip and/or palate. Through a creative process involving exploration, conceptualization, creation, review, and publication, phonetic, phonological, and socio-emotional needs were identified, emphasizing inclusion and self-esteem. Guided by a language therapist, the artistic creation comprised eleven ‘verse-tales’, illustrations, and songs, tailored to Peru's cultural context. The process concluded with the publication of an illustrated book and a therapeutic manual for adult mediators. It stands out for its comprehensive approach, interdisciplinary collaboration, and potential impact on the well-being and linguistic development of children.
Our research project aims to support professionals working in education through art, by creating and testing an "artistic biography" device. This support aims to foster resilience and empowerment through art among the young people they work with in displaced persons camps in Iraq. Based on a cooperative engineering analysis of the filmed practices of professionals and young people during artistic workshops, we will present the characteristics of support for young people towards resilience, perceived as essential by the research collective.
Social transformations and migratory movements place the current school model in a scenario that includes new groups. Immigrants, different family structures or ethnic minorities characterize the globalization process and pose a new reality that entails new educational challenges. These challenges entail new teaching strategies from a holistic and integrative perspective. Both music and theater can contribute to an intercultural dialogue of acceptance and understanding. A teaching proposal has been carried out in a Spanish faculty of education with the objective of sensitizing students -future teachers- to the importance of promoting inclusion. Interventions have been put into practice through music and applied theater. Seventy-six university students, three refugees and one migrant participated. The results confirm that the proposal has allowed them to empathize and understand the need to incorporate this type of activities in their future teaching work.
This paper presents an investigation focused on women composers that is being carried out in a public school in Jaén with 12-year-old children. The aim of this project is to examine whether interdisciplinary and transversal methodologies favor a more holistic and meaningful education for students and whether Music can act as the backbone of projects that include interdisciplinary topics such as gender equality, collaborative skills, digital competence, innovation or entrepreneurship. This educational intervention is being approached from a STEAM methodology which, as opposed to the traditional compartmentalization of learning and fields of study, we have opted for the integration of practically all the areas of knowledge of the curriculum. The first results of the research available at this stage -collected through a qualitative methodology -already evince the high motivation of both students and teachers involved, who both clearly describe this experience as extremely enriching.
The aim of the paper is to share the experience of the project I take care of myself, which is implemented at the Faculty of Education of Palacký University in Olomouc (Czech Republic). In this way, the Faculty responds to the needs of practice and the deteriorating mental health of young people. The common denominator of the courses is the care for the wellbeing of pupils and students and the use of techniques based on expressive learning disciplines and expressive therapies, which help not only mental resilience, but also the building of a friendly and safe social climate at school. In techniques proven in the practice of psychotherapy or in expressive educational disciplines (art education, music education, drama education, creative writing), the participants work on building their own sense of self-confidence, stability and mental well-being, as well as learning educational methods that can be used directly in educational practice in different types of schools. The authors will present the principles of the courses and how they can be applied in schools – and the implementation research on the role of reflection.
The present longitudinal, naturalistic research focuses on the systematic investigation of the possibility of emergence and development of rhythmic imitations and synrhythmias, in natural mother-infant interactions, from 1 to 10 months. To date, the possibility of the joint emergence and emergence of imitation and rhythm, in the form of rhythmic imitation, in mother-infant interaction from 1 to 10 months has not been investigated. In the present study we found and micro-analyzed 830 rhythmic communicative episodes. The mother- infant interaction is based on the triptych of music-movement-speech. The primary and secondary means that this triptych gives infants, toddlers, and young children are the tools with which they make sense of the world in which they grow. They are the primary tools with which they interact with this world and significant others. These show us the techniques we should adopt not only in arts education but generally in education through arts.
Studies have demonstrated that music can serve as a parenting tool to facilitate a child's daily care, socialization, overall development, and emotional bonding with caregivers. This study focuses on the perceived value of a Cypriot-Australian couple regarding family musicking with their newborn infant. Data was collected through semi-structured interviews and weekly discussions with parents, and journaling. Employing a social interpretivist approach, data were analyzed through emergent thematic analysis. Family musicking was found to be beneficial for infant care, social interaction, and emotional regulation among family members. Findings revealed that family musicking promoted a sense of security, mutuality and belonging between family members, and thus played a significant role in family bonding, emotional connection, and well-being. These findings suggest that musical engagement at home settings can be a powerful tool for family flourishing. Further research is needed to better understand the contribution of musical parenting for families’ well-being.
This paper investigates strategies for enhancing communication and collaboration between schools and families through Orff-based music education in early childhood settings. It specifically introduces a teaching activity designed to foster effective communication and collaboration between schools and families via an Orff-based music lesson integrated into the early childhood education curriculum. It is well documented that the participation of parents/caregivers in the educational process brings several benefits to everyone involved, such as: parents/caregivers, teachers, school, education provided. Most of all it enhances democracy. We stand to Dewey’s belief to democracy as a ‘a way of social life, a shared experience’ (Democracy and Education. An introduction to the philosophy of education. Athens: 2016: 158). Music, especially Orff-based music approach, due to its social dimension and its playful nature, lends itself to connecting and creating common actions between parents and their children within a school structure.
This paper explores the correlation between preschool children's spontaneous musical behaviors and Green's model of informal music learning, employing qualitative methodology in a private kindergarten in Athens, Greece. Inspired by action-research principles, the study focuses on the impact of the 'Playing by ear' method on students' rhythmic skills and their ability to play music in small groups without direct teacher instructions. The research revealed that the 'Playing by ear' approach significantly contributed to the development of rhythmic abilities, incorporating musical instruments and kinetic behavior. Additionally, it facilitated early experimentation and fostered independence in small group musical activities, leading to the emergence of new communication and cooperation practices among students. This study underscores the effectiveness of Green's method in cultivating not only musical skills but also collaborative and self-directed learning experiences in preschool education.
Nursery rhymes are verses spoken or sung to babies, infants, and young children. Together with rhymes performed by children themselves, such as counting-out rhymes, they are part of children folklore and passed down orally from one generation to the next. Many researchers have demonstrated the benefits that infants gain in several domains when adults interact with them using nursery rhymes. The aims of this presentation are: (a) to review the role of nursery rhymes on infant’s rhythmical development and parent-infant interaction, and (b) to propose best practices and teaching suggestions for the implementation of nursery rhymes in music classrooms with infants and their parents/caregivers, using as examples greek nursery rhymes. Suggestions are posed concerning nursery rhymes, which provide the appropriate teaching environment for bridging the gap between art, literature, culture, nature and education, fostering a healthy and flourishing child development and promoting sustainability in today’s culturally enriched societies.
In this session, we envision community arts education (CAE) as a globalizing phenomenon by addressing how CAE research at the local level, informs pedagogy and practice at the intersection of complex and ever-changing global dynamics, as a ‘glocal’ context that is restructuring silos of education and community. Responding to a compelling need for reimagining the role of the arts in community inquiry – a role that is responsive to relations among individuals, communities and the arts – we seek to cultivate more sophisticated understandings of future pathways for community arts education, deliberating on the concept of transversality to signify both an overarching theoretical framework and the methodological structure for reimagining the complexity of community. To move this collective scholarship forward, we make a distinction in philosophy and practice when defining the term community arts education. We purposely favour the term community arts education over community-based arts education. Community arts education implies the necessary equality of education (e.g. pedagogical implementations) and a variety of practices (e.g. programming, organizational strategies and instruments) for advancing and solidifying relationships between education and community through access to the artistic fields. In this way, we engage with community as not just a place to enact curriculum; it is the curriculum – a practice in which community life, learning and learning activities, and educational aims intersect.
Imagination is a key to envision and enacy new possibilities but how can we navigate uncertainty as we attempt to ‘braoden the horizons of the possible’ in education? In this study, student-teachers were engaged in a creative play of perspective-taking in four undergraduate courses to unfold multi-layered meanings in a narrative image and transform it to a pluri-perspective space for preschool play. Findings suggest that imagining possibilities through multiple lenses and reeinvisioning the possible in teaching could enable us to move forward as they provoke possibilities and a ‘can-do’ attitude empowering student-teachers to gain a greater sense of their own agency and self-expression.
During the first Covid lockdown in spring 2020, Czech and Slovak drama teachers had to adapt to distance learning. The research gets a general overview of the teaching practices and map changes in them. I conducted surveys with 148 drama teachers and analysed the responses and lessons. Almost three quarters of drama teachers continued to teach during the first lockdown, but many of them reduced the number of lessons. The choice of drama strategies, creative process, focus, and tasks seems to have changed. Creative writing and performance analysis came to the fore. The creative process was often enriched with new art forms. The focus of the lessons tended to change to group and personal well-being. Adapting lessons usually led to a reduction in the complexity of the tasks. One of the main outcomes of this research is the website and Facebook group where drama teachers’ lessons and experiences are shared.
This paper will attempt to understand how a performance art can introduce the concept of space through the analysis of three performances with a social impact that were presented in the public space of Athens. In particular, first through a theorical part the concepts of space, the body in the city and representationalism will be introduced. Secondly, The paper intends to relate theory with three case studies. The first concerns the performance "Topography of death or Let's not forget' by Brikena Gisto. The walkable performance proposed an alternative mapping, through areas of murder in the city of Athens. The second is Marys Zygouri's "History Hour" at documenta 14 which is the result of a performance and workshop with the participation of students from Nikaia's high schools, after the end of the lessons. A point of reference was the participatory action that the visual artist Maria Karavela had carried out in 1979 with residents of the area, telling the story of the National Resistance and the Red Block with the mothers of the executed youths of 1944 as protagonists. The third performance is "Day Out of Time", a dance theater by Vitoria Kotsalou, in the context of the Athens and Epidaurus Festival. The performance was a twenty one dancers group who from sunrise to sunset, each in a separate and selected spot in the public space in the center of Athens, performed an individual dance. These three different kinds of performances will try to introduce the re-appropriation of space in late time, which creates a new ritual process of initiation and narration, highlighting visible and invisible threads, with the aim of creating a performance of the social and political body in the city.
The purpose of this paper is to analyse how dubbing can be used to enhance social skills for individuals with psychosocial disabilities. It is a critical account of the Erasmus+ programme DUB-IN, an innovative educational programme which aims to develop the social and interpersonal skills that are challenging for such individuals. The paper will be divided in three parts: the first will be a short history of dubbing – as a distinct, digital art form; the second will review the power of the voice and the particularities it entails in relation to people with psychosocial disabilities; and, the third, will explore, in depth, the ways that dubbing could be a tool that will help people with psychosocial disabilities acquire social skills, but also how such a knowledge could be useful for other groups, namely young people, immigrants and so on.
This conference paper discusses research aimed at integrating performance art practices into art education in public space. The project then allows students to explore the work of prominent performance artists and gradually develop their own creative approaches, using their bodies to interact with landscape and architecture, to express the artists' visceral experiences and to reflect on global narratives and current social issues. However, this aspect is often overlooked in art education, and teaching tends to focus only on the creation of artefacts, especially in the lower grades. But it is the integration of performative elements into the curriculum that can help students express themselves, foster their self-awareness and their ability to navigate contemporary society. The study highlights the potential of expressive performance and self-experiential learning for pedagogical practice.
The workshop proposal aims to investigate the use of interactive tools to enhance the musical education of children, with a focus on vocal training in elementary schools. The ASMA Tool-Suite (Assistance for Singing and Music Aesthetics) includes several tools that address important aspects such as Phonetic Maps, Formant and Vocal Range Profile, Vocal Quality Tools, Rhythmic and Melodic Accuracy, and Coordination and Accuracy in Polyphony. These tools, aim to develop essential skills, promote technological literacy, facilitate personalized learning, and improve collaborative abilities. The proposal describes the impact of each tool on children's musical education, highlighting the importance of real-time demonstrations and discussions for effective integration into the classroom. The ASMA Tool-Suite is a transformative initiative that addresses challenges in Greek elementary schools and redefines music education through a multifaceted, inclusive, and technologically enriched approach.
Join us in our body based and participatory workshop unraveling the dynamics of oppression and hierarchies in institutional spaces. How do these manifest in our bodies and how do they become habitual ways of being and learning as they are redeemed unnoticed? We will delve into how cultural institutions become stages for power dynamics and we will unearth the interwoven nature of skin memories within museums, guided by anti-oppressive and feminist epistemologies. Our highly participatory session invites mindful observation, community conversations, and dissecting acts of disembodiment. Together, we'll reflect on safe and discomforting spaces, decode institutional decisions, and explore unlearning practices. Rooted in performance art and body-based pedagogies, this non-hierarchical workshop empowers participants to co-create meaning. Ideal for educators and cultural workers, it challenges perceptions of the body's role in knowledge and promotes radical participation as an act of care.
This abstract is presenting an innovative pedagogical method that is using art, music and performing qualities to connect pre-adolescents and adolescents with their feelings, personal power and intelligence in order to be strong and flexible in a world that is very demanding and changes with rapid speed. The method is part of the program: "How am I ‘thinking’? The quality of my Attention and my ‘Thinking – Feeling – Doing’”. Practices for Thinking development, Attention Enhancement in the Present Experience and the Emerging Act (Diamanti, 2024). The program is a mind-awareness journey. It focuses on cultivating the quality of one's thinking, attention and ability of coherent action in relation to the conscious and unconscious constant data flow. It is part of a broader approach to the way we live, relate, create culture and focus our attention. The theoretical background is based in “Theory U” by Otto Scharmer (Scharmer, 2016).
In order to avoid get rid of stereotypical ideas about natural objects and instead to look for nuanced shades and, mixing colours and as well as trying to understand what can be emotionally expressed with through these activities, the teachers by of Pārdaugavas Music and Art School conducted practical exercises for with children, and came to the following conclusions:• that today stereotypical images created by digital technologies are the "muses" of urban youth.• the study of war colours, carried out by choosing and matching camouflage tones for military protective nets made by children and teachers for Ukraine in 2022 in Riga, improves the sense of solidarity and motivation to be ready to defend one's homeland.• we found that there is a need to train art teachers need training to increase their knowledge of colour tone teaching methodology. Finally, we asked ourselves - where do we live? Does it have anything to do with nature and its shades, if in everyday life we identify and represent not only the beauty of nature, but also the shades of urban and war colours?
Dance education has often stated that we teach more than just how to move (see for example Catalano & Leonard, 2016; Stinson, 2010). We teach students to engage with others and collaborate; we teach students to approach challenges in creative ways that often has no “right” answer, but only options. Pedagogical practices that embrace soft skills contribute to a student’s post-university readiness for employment and community contribution. Directing our attention to problems, challenges and unforeseen circumstances are the hallmark of critical thinking, because the response needs a process that is not always the simplest and easy response. In other words, in dance education, we teach 21st Century skills, even before they were named as such. The purpose of this presentation is to discuss how dance education needs to incorporate soft skills as the intentional aspect of the curriculum, not the byproduct. Through discussing real world pedagogical experiences from two locations (New Zealand and the United States), we unpack how soft skills materialise in our teaching practice, and how they have been threaded through the curriculum as a meaning-making tool.
The aim of the study was to (a) examine the acute effects of a Greek traditional dance (GTD) lesson and (b) investigate the separate and/or combined effects of intensity and cognitive demands on school-aged children’s inhibitory control (IC). Ninety-three children (Mage = 7.98+ 0.90 years) were randomly assigned to one of four conditions consisting of a 20-minute GTD lesson and varying in both intensity (high vs low) and cognitive demands (high vs low). Physical activity intensity was measured with accelerometers, while cognitive demands were determined by a panel of experts. IC was measured before and immediately after the interventions with the Attention Network Test. Results showed better “accuracy in congruent trials” for the high cognitive demands groups (F=6.47, p=.013, η2=.07), while no differences were found in the other test’s variables. These findings indicate that GTD teachers should add cognitively engaging activities in their lessons to enhance parameters of IC.
We report on early phases of a design-based research (DBR) study that focused on iterative development of MathsBeat — an activity that integrates mathematics, music and movement in a coding context. Conducted within the EU TransEET project, primary pupils composed music using fractions and developed algorithms in an ‘unplugged’ coding activity to instruct each other to perform a dance that accompanies the music they developed. Initial findings indicate that MathsBeat promotes enjoyment and has the potential to engage students in computational thinking while at the same time promotes the application of addition and equivalence of fractions in a meaningful performing arts context.
In the 21st century, more and more studies are being conducted in the European areas that demonstrate the need for film education or otherwise “film literacy”. In recent years, technology in general and video in particular has been increasingly used in drama classes as a tool to improve or enrich the educational process worldwide, following Freinet’s pedagogical approaches. How can there be such an interaction between these two fields so that their combination enhances film literacy as well as the cultivation of expressive and artistic skills for students? Could the films of the early years of cinema (silent movies) inspire primary school students and lead them to express themselves and be creative? This case study investigates the use of silent films as a tool for film literacy and the cultivation of expressive skills through the use of drama techniques in the context of a drama class.
The term "mass spectacle" was widely used in Russia after the October Revolution in 1917. It's most representative form took place in the third anniversary of the Russian Revolution in 1920, when the Russian director and theoretician Nikolai Evreinov staged in Petrograd The storming of the Winter Palace. How could the idea of the mass spectacle be used in the primary school? Why such an idea would be useful in the school environment? What kind of pedagogical purposes the realization of such a concept would serve? How could theatre be performed as mass spectacle with the first, second, third and fourth class of primary school? In this essay we will use two fairy tales, The city that drove away the war by Antonis Papatheodoulou and the Tincity by Evgenia Fakinou, as bases for the creation of two masses spectacles in educational theatre.
This study investigates the application of Stanislavski’s Method of Active Analysis within the context of a drama club at an Upper High School in Athens during the 2022-23 academic year. Τhe paper focuses on 22 participants aged between 15 and 17. Data collection encompassed pre- and post-performance questionnaires completed by the students, video recordings capturing improvisational work and rehearsals, students’ diaries maintained throughout the process, researcher’s and a critical friend’s observations and personal diaries. The findings indicate that the implementation of Active Analysis leads to collective work, aligning with Stanislavski’s innovative idea of the Ensemble Theatre, which was highly appreciated by the students. Through these lens Active Analysis and Ensemble Theatre will be presented as pedagogical tools capable of inspiring and motivating students to delve into both their internal and external worlds and facilitating the creation of a collective body of memory.
This research presentation focuses on investigating performance and urban space pedagogies in the context of theatre and performing arts studies. It takes several student projects as case studies, from an enriched syllabus introducing project based courses on performance in public space and expanded scenography exploring practice based and place bound performance design. One of the most important aspects regarding performance pedagogies was centered around the catalytic role and experience of the urban public space. Urban space was regarded as an expanded stage, where embodied performative events take place on the basis of instant public exposure, immediate audience response, democratic open access and a potential for direct involvement and social impact. Through a somatic and experiential approach to the city’s public space, the students’ projects were expressed as conceptual/ideological, as well as physical investigations of the public urban space and aspired to draw a performative re-mapping of the city.
Concerning the school dramaturgy, usually we are focusing on the themes and less in scenographic demands and if these demands can be the starting point of new school play. Scenography testifies a certain kind of communication between the spectacle and its audience. In ancient Greek theatre, action must took place in a place where every member of the audience could see and hear, transforming in an artistic event democracy and its collective habits of seeing, listening, arguing and ruling. In a school environment, if we are aiming to the inclusion of all the members of a school community, then the choice of where this performance will take place is a consideration that will precede the selection of an existing play or before the writing/devising of a new play text. This paper presents how a new school play is written to serve a totally new scenography inextricably linked to the performance space and the actions of the student-actors.
In 2018 Chania Music School joined an educational programme with the title “Adopt an Ancient Theatre”. The main project objectives were students to be granted the opportunity to leave classroom walls and come in contact with the Ancient Theatre of Aptera and reenact there an open space performance based on Euripidis’ drama Helen devised exclusively by them through the techniques of Drama in Education. The text, the movement, the props were all devised by students who stayed engaged and stimulated during the preparatory process. The project was worked in school and the resulting play Euripidis’ Helen in 6 tableaux was rehearsed and performed in the Ancient Theatre of Aptera. A student took the role of a cameraman and director and shot a short film of the performance on location. The film was uploaded to the platform of Diazoma. The end results of the project proved high quality and long lasting.
This hybrid " LivePBL CPD Workshop " will be situated at the UNESCO World Heritage site Hua Quan Village in China, and embody the integration of digital innovation with traditional arts education. The initiative, reinforcing UNESCO's Sustainable Development Goal 4, is designed to promote an all-inclusive quality education model through a "Digital Sphere." The workshop features live and digital performances, educational technology discussions, and the presentation of the research paper "Hybrid LivePBL: An Emerging Critical Non-formal Education Pedagogy." It employs experiential learning and project-based approaches to demonstrate the benefits of digital tools in enhancing arts education. This educational program aims to equip participants with strategies for incorporating digital innovations into arts education, fostering global cultural understanding and advancing a more inclusive educational landscape. The workshop's anticipated outcomes are to inspire future educational models, bridging traditional arts and digital technology for a harmonious educational evolution.
How could the students experience the richness of arts when the number of hours devoted to arts and culture education in the curriculum is limited? How could arts synergy help deepen and enrich students' experience with the arts? These questions will be explored in this workshop which is inspired by the book The Uncorker of Ocean Bottles by Michelle Cuevas and Erin E. Stead. The workshop offers the opportunity to develop activities which support collaboration between arts fields and which can be used in teaching practice with elementary and lower secondary students. The participant will be actively involved during the whole session - trying the prepared activities inspired by the book and combining artistic discipline, looking for other examples of story-inspired activities, sharing of own experiences with connecting artistic areas in education. After the workshop, a collection of possibilities for using the synergy of artistic fields in practice could be created.
The proposed workshop addresses strategies for onboarding, awareness, and offboarding in designing virtual experiences. In particular, it will explore the social and ethical dimensions involved in using new media and gaming technologies. Specific ethical topics to be addressed include accessibility, and preventing discrimination in virtual environments. The workshop will reflect on how to create inclusive spaces, deal with problematic content, and foster positive social interaction. Participants will exchange perspectives on balancing creativity and responsibility when developing novel media experiences. It is aimed at cultural workers, educators, and professionals working at the intersection of technology, games, entertainment, media, and the arts. By imparting practical skills for the diversity-sensitive design of virtual experiences, the workshop wants to contribute to interdisciplinary dialogue at the WAAE summit 2024. The workshop can be attended by 12 participants.
Ronald Rand's LET IT BE ART!