ENACT: Learning in/through the ArtsMaking and teaching the arts are practices that intervene in a specific way, both in education and in society at large. The arts practice has its own knowledge base and logic; it evolves by creating and doing . The same can be said about education where learning environments are created by teachers and students in the work and on the spot. On the one hand we see how art educators bring artistic strategies into schools and higher arts institutions. This way of learning in/through
FeesELIA members: 395 euro
If you are a professor, a lecturer, a teacher or a researcher in a higher arts education institution/university, you are welcome to join the Teachers’ Academy, share your ideas and practices with international colleagues and return home refreshed by new knowledge, professional energy and new contact with colleagues.
The 7th Teachers' Academy Programme has been published! Take a look at the Programme to discover all that ENACT: in/through the Arts has to offer or download the Registration Brochure and register now to join us in Tilburg, the Netherlands. In due course more detailed information about the speakers, presenters and presentations will be presented.
|Early-Bird Members Fee (Deadline 1 April 2015)||€ 295|
|Regular Members Fee||€ 395|
|Non-Members Fee||€ 790|
The fee covers participation in all presentations and workshops, welcome pecha kucha dinner, two lunches and access to all cultural and social events. Your invoice and confirmation will be sent by e-mail within two weeks after your registration.
The ELIA Teachers’ Academy is a platform for new ideas and innovative practices for educating the next generation of artists. The 2015 edition of the Teachers' Academy focuses on:
Making and teaching the arts are practices that intervene in a specific way, both in education and in society at large. The arts practice has its own knowledge base and logic; it evolves by creating and doing. The same can be said about education where learning environments are created by teachers and students in the work and on the spot. On the one hand we see how art educators bring artistic strategies into schools and higher arts institutions. This way of learning in/through the arts requires a distinct set of competences and habits of mind. On the other hand we see how artists and designers introduce educational practices to their artistic work, be it in the studio, the museum, the public space or on stage.
The ELIA Teachers’ Academy 2015 will address the following themes:
• Theme 1; Artistic Strategies in Education
• Theme 2; Educational Practices in the Arts
What are the specificities of artistic strategies employed in teaching and learning, and what kind of educational practices do artists use to put their work into action?
With a good balance of information, participation and interaction with colleagues, the 3 days programme offers keynote speeches, paper sessions and panel discussions, a networking dinner with pecha kucha presentations and other social events. The in-depth exchange of ideas at the ELIA Teachers’ Academy in Tilburg will provide a critical framework for informed discussions as well as professional networking.
15.00 Registrations and Coffee
15.00 Cultural Event: Apprentice/Master
Keynote Speaker: Sara Wookey
18.00 Pecha Kucha Dinner
In his keynote address Professor Eamon O´Kane will introduce a series of interactive installations inspired by the legacy of Frederich Fröbel (the inventor of the kindergarten) that have been shown in exhibitions in Los Angeles, New York, Limerick, Quimper and Dublin. Beginning with the historical context of the research, the artist will discuss how his artworks develop the argument that within Fröbel's legacy we can locate the seedbed of modern art. Fröbel designed the educational play materials known as Fröbel Gifts, which included geometric building blocks. With its emphasis on abstract decomposition and building up from elemental forms, the original kindergarten system of the mid-nineteenth century created an education and design revolution that profoundly affected the course of modern art and architecture, as well as physics, music, psychology and the modern mind itself. Eamon O'Kane's installations can be referred to as "research-based-projects". The audience can change the work by using the materials placed at their disposal and initiate new ways of approaching the material, which prompts the artist to take the work in different directions in subsequent versions of the installation. In a truly experimental way the straightforward boundaries between production and reception, workshop and museum, spectator and audience have become permeable.
5038 DT Tilburg
Standard Room Price: 80 Euro (excluding breakfast and 3.5% tourist tax)
Privilige Room Price: 105 Euro (excluding breakfast and 3.5% tourist tax)
Reservations: please book via this link
Dr. Hub Van Doorneweg 105
5026 RB Tilburg
Standard Room Price: 60 Euro (excluding breakfast and 3.5% tourist tax)
Reservations: please book via this link
Dr. Deelenlaan 10
5042 AD Tilburg
Single Room Price: 75 Euro (excluding breakfast and 2 Euro tourist tax)
Double Room Price: 85 Euro (excluding breakfast and 2 Euro tourist tax)
Reservations: www.depostelsehoeve.nl (after selecting the dates on the right at the home page, you will enter a booking menu with the option to switch to English as your language)
Delegates of the Teachers' Academy will have the opportunity to explore and enjoy Tilburg, one of the Netherlands most inspiring and suprising cities.
There is much to see and do in Tilburg, from world class museums to fascinating public artworks, and performance venues in all shapes and sizes. With so many local educational institutes specializing in the arts, culture certainly occupies a very prominent position in Tilburg.
Other offerings that the city has to enjoy include a wide range of fine restaurants in all price classes and excellent shopping districts with their many enticing stores.
For more information about Tilburg, things to see and entertainment, please visit the official tourism website.
Moving Through the City and Cultural Contexts: How engaging human movement and sensitivities to socio-spatial dynamics contribute to learning and understanding.
Keynote by Sara Wookey
The Pecha Kucha Dinner offers multiple courses, interspersed with Pecha Kuchas presented by colleagues from across Europe and beyond. The dinner is also a great network opportunity and in addition, short intermissions performed by students of Fontys School of Fine and Performing Arts will take place.
Strand A: Technology/E-Learning
The Great Editorial Race: The Serious Business of Play
Plymouth College of Art
Liese Stuer - Iris Bouche
Rethinking Bodies, Inclusive Dance and Movement Practice
Artesis Plantijn Hogeschool Antwerpen, the Royal Conservatoire
Oliver Iredale Searle
Royal Conservatoire of Scotland, Drake Music Scotland
Strand B: Creativity
Chris Gribling - Monique Zijp
Problem Finding and Focused Creativity
Fontys Academy for Art and Design
Liberating Constraints for Creative Thinking
Center for Art Education, Maryland Institute College of Art
Strand C: Beyond Art
Ankelien Kindekens - Free de Backer - Jeltsen Peeters - Valerie Thomas - Koen Lombaerts
The Promotion of Secondary School Students’ Self-Regulated Learning through Arts Education
Vrije Universiteit Brussel, Faculty of Psychology and Educational Sciences, Department of Educational Sciences
How the arts affect behaviour: executive functions in art education.
Utrecht University, Department of Pedagogical and Educational Sciences
Following the Pecha Kucha presentations Professor Pascal Gielen of Fontys School of Fine and Performing Arts and University of Groningen introduces Arts Education Beyond Art: Teaching Art in Times of Change- on the critical function of the arts in society. Instead of teaching how to look at art, we should teach how to look at life – through art.
Fröbel Studios: The Institiute of Creativity – An introduction to Eamon O´Kane´s non-hierarchical and co-constructive interactive installations.
Keynote by Eamon O'Kane.
School for Unforced Errors: ERROR-SHAME-CREATIVY
Toni Kauppila - Riku Saastamoinen
Oslo National Academy of the Arts, University of the Arts Helsinki
This is not a Studio. A Space and Time to Un-work.
Sint Lucas University College of Art & Design Antwerp
Design thinking @ artschool: Implications for physical creative learning environments
Kai van Hasselt
Fontys Academy for Art and Design
Learning by making - opening up musical work forms between practice and reflection
Bart van Rosmalen - Tet Koffeman - Falk Hübner
University of the Arts Utrecht (HKU)
In A Manner Of Speaking - First Language presentations
Willem de Kooning Academie Hogeschool Rotterdam
École Européenne Supérieure d'Art de Bretagne (EESAB)
Cultural Spaces and Design – Reflections on Design Education
Fachhochschule Nordwestschweiz - Hochschule für Gestaltung und Kunst - Institut HyperWerk
School of Design and Crafts, Faculty of Fine, Applied and Performing Arts, University of Gothenburg
Students as partners: Integrating undergraduate and postgraduate students in curriculum design
Norwich University of the Arts
Towards a mirror: the learning and the work in a partnership of equals
Susan Orr - Julian McDougall - Fred Meller
University of the Arts London
The b-side of screen-learning. A MOOC to think with eyes and hands.
Nany Vansieleghem - Marc DeBlieck - Roel Kerkhofs - Thomas Storme
LUCA School of Arts, Gent
Q-Art: a graduate run organization that works to break down barriers to art education and share student, graduate and staff practice across art schools.
Glasgow School of Art
Education Pedagogy for artist educators
Lasalle College of the Arts
The Architecture of Loss: the July 22 Memorials
Keynote by Jonas Dahlberg
A national trauma in an art school course
Andreas Berg - Martin Lundell
Oslo Academy of the Arts
Our workshop would like to offer the possibility to experiment in the field of articulation and negotiation within a research process not only by words. On the basis of a common experience at the beginning of the workshop, the participants are modelling spatial/scenic situations in specific frames by using the objects and the space where the workshop takes place. In a second part of the workshop we research and transform the spatial dimensions of a literally text in kind of a spatial art practice. The aim is to discuss about the chances, potential and risks of these kind of transformations to express the states within a research process.
This paper performs an encounter between Madness and The Bastard. FORCE-fully they move through frames/FORMS of time, diffracting microscopic moments of teaching and learning. The outcome is the performative encounter in itself. An ornamenting 'becoming' based on the indeterminable and affinity. A potential model for teaching and learning in higher arts education.
This presentation will focus on the results of collaboration with fine art students at Paris College of Art. In class, each student offered a frank description of a ‘problem’ they had with drawing, these individual dilemmas were sent to selected artists internationally who responded by offering a set of personal instructions for a drawing assignment.
An important aim of the Fontys Academy for Dance Education is to mesh training with practice in the field. Furthermore, the conviction of the necessity to experience and understand the relationship between art and cultural education from numerous perspectives leads to developing a curriculum with close ties between the theoretical and practical components of said education. This results in weaving theory and practice into the classes given by our students in secondary school internships. This held not only for the arts such as dance, visual arts, music and literature but also for the social, political and cultural aspects associated with the era in focus.
Creating new teaching materials needs to extend beyond offering the separate basic facts concerning a discipline, style or period of time. This design strives integration of our world, art and culture in the broadest sense of the word and how dance can augment depth to this process.
How can we occupy our institutions? If we imagined our institutions as works of art in their entirety how might this affect the spaces and places of work which we inhabit? To this end I propose 'the Office of Institutional Aesthetics'.
This presentation explores and discusses issues related to inquiries of process design students who made significant experiences of cultural difference. It deals with questions such as how cultural implications can be taken up in supervision with the overall intention to foster reflections on cultural diversity and the impact of global developments.
This paper will explore the notion of ‘students as partners’ within the learning discourse. Dialogues 2014: Place, space and negotiated territories was the fifth iteration in a series of annual interdisciplinary symposiums, developed through an innovative partnership between undergraduate and postgraduate Fine Art students and staff at Norwich University of the Arts (UK).
Artist/teachers have the potential to transform people and their lives. Yet, the ‘teaching’ of art remains marginalised within current discourse. This participatory ’trial' will challenge the 21st century focus on artistic practice as ‘making’ by examining alternative paradigms.
The presentation will compare a number of physical environments that foster creative learning and relate its implications to the research into design thinking and arts educations at Fontys Academy for Art and Design.
The sensitivity to the creation of value is what determines the insight received at the moment that ‘nothing’ transitions into ‘something’, the moment that ‘nowhere’ transitions into ‘somewhere’. Something that will resonate and possibly evolve into a next moment of transition in which art and learning become one.
Is the studio still the site and condition par excellence for artistic production and research? How should the contemporary 'workspace' be (re)defined? And what are be the consequences for the art school? Is an art school a building or an ever-changing set of situations and conditions?
What happens when two art-pedagogues, an architect and a theatre director bring their practice as part of the conference for a day?
In this presentation we draw out the parallels between creative practice and teaching practice to map connections between the roles of artist and educator.
Q-Art is an independent graduate run organisation. Through open crits, books, workshops and panel discussions Q-Art works to share staff, student and graduate practice across UK art colleges and support people into, through and beyond art education. Since the organisation was set up in 2008 it has attracted participation from over 3,000 students and staff and has sold over 2,000 books. Mapped against the wider context of art education in the UK, this presentation will explore the origins, activity, and ambitions of the organisation.
How addressing and understanding the artwork as embodying and evidencing its research, its processes and research methodologies, has allowed a more dialogic relationship between the studio practice and the written component for PhD practice based students.
Apart from sharing knowledge and information and making it accessible for everyone, art education also involves the educational experience of exposure with aspects of curiosity, imagination and materiality. The creation of a space of exposure and exposition is what constitutes the core of the artistic educational practice. With this point in mind, we explore how to bring in artistic elements into a MOOC. Our starting point is thus to find out how the screen can foster educational experiences of exposure and exposition. In short, we explore how we can turn the screen into a space that makes us think with eyes and hands. We want to open up the artistic potentiality of screen-based learning by highlighting the b-side of the MOOC (bMOOC).
Codarts Rotterdam created a curriculum that teaches Master of Music students to do research and become awesome musicians as a result of it. This presentation highlights the key factors that make the programme successful.
Eamon O'Kane has exhibited widely and is the recipient of many awards and scholarships including the Taylor Art Award, The Tony O'Malley Award and a Fulbright Award. He has shown in exhibitions curated by Dan Cameron, Lynne Cooke, Klaus Ottman, Salah M. Hassan, Jeremy Millar, Mike Fitzpatrick, Sarah Pierce, Jeanne Greenberg-Rohatyn, Angelika Nollert, Yilmaz Dziewior and Apinan Poshyananda. He has taken part in EV+A, Limerick, Ireland seven times including 2005 when he received an EV+A open award from Dan Cameron. In 2006 he was short-listed for the AIB Prize and received a Pollock Krasner foundation grant. O'Kane has had over forty solo exhibitions including shows in Berlin, Frankfurt, Dublin, Zurich, New York, London and Copenhagen. He was short-listed for the Jerwood Drawing Prize in London in 2007. His artwork is in numerous public and private collections worldwide including Deutsche Bank; Burda Museum, Baden Baden, Germany; Sammlung Südhausbau, Munich; Limerick City Gallery; FORTIS; DUBLIN 98FM Radio Station; Microsoft; Bank of Ireland Collection; Irish Contemporary Arts Society; Country Bank, New York; Office of Public Works; P.M.P.A. and Guardian Insurance; Donegal County Library; UNIBANK, Denmark; NKT Denmark; HK, Denmark; Den Danske Bank, Denmark; Sammlung Strack, Cologne, Germany; Letterkenny Institute of Technology; University Of Ulster, Belfast; Sammlung Winzer, Coburg, Germany; British American Tobacco, Bayreuth, Germany; Aspen RE, London; Rugby Art Gallery and Museum Collection. Eamon completed a three month residency at Centre Culturel Irlandais in Paris in 2008. O'Kane is Professor of Visual Art at Bergen Academy of the Art and Design, Norway.
Jonas Dahlberg lives and works in Stockholm, Sweden. He studied architecture at Lunds Technical High School from 1993 to 1995. From 1995 to 2000 he studied art at Malmö Art Academy where he received his M.F.A. in 2000. Since 2000 he has developed a series of videos that primarily consist of slow movements through architectural spaces. The videos are created by building miniaturized architectural sets that are filmed through experimental methods.
In addition to video and video installation, his practice includes public art works, sculptures, commissions, book projects and photography. In June 2012, Dahlberg's concept and set design for an opera production of Guiseppe Verdi's Macbeth debuted at the Grand Theatre in Geneva.
Through his installations, be they video or otherwise, Jonas Dahlberg works with space. Architecture is addressed as a political place that influences how we understand ourselves, and how the body and mind experience the outside world.
Among other exhibitions Index Foundation Stockholm (2001), Manifesta 4 Frankfurt (2002), Italian Pavillion at 50th Biennale di Venezia (2003), National representative for Sweden at 26th Bienal de São Paolo (2004), Momentum 04 Moss (2004), Modern Museum Stockholm (2005), Marian Goodman Paris (2005), FRAC Dijon (2006), Taipei Biennal (2006), Leeum Museum of Art Seoul (2007) Kunsthalle Wien (2008), Kunstmuseum Stuttgart (2009), Galerie Nordenhake (2010, 2008, 2006, 2004) The Lisbon Architecture Triennale (2010), Prospect II New Orleans Biennial (2011), Kunstmuseum Bonn (2013).
Lectures/workshops/studio talks include venues such as Architecture Association London, École Polytechnique Fédérale de Lausanne, Bergen National Academy of the Arts, KTH School of Architecture Stockholm, University College of Arts, Crafts and Design Stockholm, The Royal Institute of Art Stockholm, Valand School of fine Art University of Gotheburg and Beckmans college of Design Stockholm.