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UNESCO-Today, 01-2010 Utodnescoay A M A g A zine of the g e r ma n c o mm ission for U n e s c o ArTs EDucATIon For All: WhAT ExPErTs In GErmAny ArE sAyInG Contents Perspectives on From Policy to Approaches in Arts The International Arts Education in Practice and Education Dimension Germany Practice to Policy • Innovative • The EU Strategy for • Development • Quality Arts Partnerships Youth of the Concept Education • New Learning • A New UNESCO • Spotlight on • Monitoring and Spaces Chair in Germany Sir Ken Robinson Evaluation • Thirty examples • An Interview with from the Field Anne Bamford meine Art – deine Art project participants, see p. 69. A performance of Pina Bausch’s Kontakthof, see p. 16. editoriAl editorial by Walter Hirche, President of the German Commission for UNESCO Dear Reader, This edition of UNESCO today is a in a democratic way, ensuring that liv- compilation of contributions from Ger- ing heritage is passed on and supporting man experts, to mark the occasion of the creative expressions are cornerstones Second World Conference on Arts Edu- for human development and quality cation convened by UNESCO and the education in the 21st century. Ministry of Culture, Sports and Tourism of the Republic of Korea in May 2010. In a global and increasingly diverse UNESCO today offers a broad range of world where cultural, ethnic and reli- prospects on “Arts Education for All” gious conflicts are a constant threat to which are rooted in the German and peace and development, promoting an European context and resonate with the intercultural approach is key. People can UNESCO Road Map for Arts Education change culture, and they can also create that was drawn up on the basis of the new culture. The human right to educa- First World Conference on Arts Educa- tion and to cultural participation starts tion in March 2006 in Lisbon, Portugal. with the young and continues through- out life. Nobel Laureate in Economics Both the holistic pedagogical tradi- Amartya Sen has provided ample evi- tions and the varied cultural landscapes dence that political, cultural, social and in Germany provide fertile grounds for economic participation are inextricably learning in and through the arts. These linked. According to this perspective, Walter Hirche traditions are based on long experiences. cultural literacy matters. The demands of our complex knowl- edge society and the new learning The fulfilment of such a comprehen- opportunities found within it have stim- sive and ambitious perspective on arts ulated renewed interest and enthusiasm education requires a shared understand- in arts education. Neuroscience has ing of its essential role, as well as the brought about a Copernican turn in un- commitment of many stakeholders in derstanding human learning processes. society. The Seoul 2010 conference The motivation of artists to unleash the brings together experts from Member creative potential of groups in society States, representatives from internation- who do not have easy access to arts and al NGOs and foundations, grass-roots culture, a number of nationwide flagship practitioners, renowned professionals, projects, and even feature films, have all and educators. This edition of UNESCO raised awareness about arts education today mirrors these perspectives. across broader audiences. Chapter one presents Perspectives Multiple expectations are voiced. Cul- on Arts Education from Germany. ture, as the soul of democracy, plays In three lead articles Eckart Liebau, a crucial part in forging a Europe of Susanne Keuchel and Wolfgang solidarity and shared standards. It is be- Schneider address the historical devel- coming clearer that managing diversity opment of the concept of arts education, 3 „ UNESCO todAy 1/2010 Arts edUcAtion for ALL“ a research perspective on “Arts Educa- tural industries and goods, the question tion for All”, artistic dimensions, and of good quality arts education is a burn- the socio-political players most involved ing one. Max Fuchs analyses the pre- in implementation. Christine M. Merkel requisites of quality of education in the and Anna Steinkamp describe the Ger- arts in the lead article. Susanne Keuchel man arts education learning journey addresses the important issue of moni- from Lisbon to Seoul. toring and evaluating arts education. From a practitioner’s perspective as a In general, arts education in Germany is drama teacher, Joachim Reiss tackles promoted by many stakeholders, includ- the challenge of teaching artistically in ing professional educators, foundations, the formal education system. artists and cultural managers who work in the spirit of the multi-stakeholder- An interview with Royston Maldoom, approach of the Lisbon Road Map – all lead choreo-grapher of the dance without necessarily knowing its content project with youth from Berlin suburbs or of its existence. Under the German and the Berlin Philharmonic Orchestra Constitution, the German Federal States under Sir Simon Rattle featured in the (Bundesländer) are chiefly responsible hit documentary Rhythm Is It!, reveals for the field of culture and education. the challenges and strategies for creat- Specific and innovative projects are im- ing inclusive, meaningful arts education plemented additionally or in cooperation experiences. The documentation sec- with the Federal Government through tion of this second chapter also contains the Federal Government Commissioner proposals on Arts Education for Cul- for Culture and the Media (Beauftragter tural Diversity in the form of an excerpt für Kultur und Medien, BKM), the from the White Paper “Shaping Cultural Federal Ministry for Education and Diversity” (Bonn, December 2009). Research (Bundesministerium für Bildung und Forschung, BMBF) and The third chapter looks into Approaches the Federal Ministry of Family Affairs, in Arts Education, particularly at the Senior Citizens, Women and Youth partnerships that create new learning (Bundesministerium für Familie, Sen- spaces for diverse groups in society. ioren, Frauen und Jugend, BMFSFJ). Brigitte Schorn and Ernst Wagner ex- amine the need for innovative partner- The documentation section of the first ships in the lead article. Winfried Kneip chapter also contains recommendations describes the creating of a third space for action on cultural education made between school and culture, through by the Bundestag’s Enquête Commis- the curriculum of the imponderable. sion on Culture in Germany. From 2004 Thomas Ritschel writes about the effect through 20071, the German Bundestag that the arts and artistic interventions in mandated an Enquête Commission with public areas have on the learning pro- re-examining legal and policy frame- cess. Joachim Kettel discusses arts edu- work conditions for culture in Germany. cation in the German school system. The Commission concluded that while there is a well-developed infrastruc- Chapter four addresses the Interna- ture for cultural education, a disparity tional Dimension, beginning with a between policy discourse and reality of lead article by Rolf Witte on the Euro- everyday practice still exists and must pean Union’s Strategy for Youth and a be addressed. report by Ernst Wagner on establishing a UNESCO Chair in Arts Education at Chapter two highlights the cross-fer- the University of Erlangen-Nurem- tilization of From Policy to Practice berg. An interview with the renowned 1 The approx. 700-page report Culture in Germany, released in December 2007 has a more than 65-page and Practice to Policy. Since arts researcher and policy advisor Anne chapter on arts education in all its dimensions – from early childhood through life-long learning. The English education is provided through not only Bamford (Australia / UK) help further language version was made available online by the Bundestag translation service in spring 2010 as a con- formal education but increasingly broaden our horizons. Georges Poussin, tribution to the Seoul conference (Bundestag Printed through non-formal and informal edu- Chief of Section of Creative Industries Paper 16/7000), see p. 22. cation sources such as mass media, cul- for Development in the Division of Cul- 4 editoriAl tural Expressions and Creative Indus- worldwide Mauerreise initiative, which tries at UNESCO, puts the goals of the took symbolic bricks on a global jour- Second World Conference on Arts Edu- ney to commemorate the 20th anni- cation in perspective. Selected resources versary of the Fall of the Berlin including opportunities in higher edu- Wall in 2009. These examples show cation, noteworthy organisations, pol- the diversity of arts education program- icy reports, websites, and books com- ming in Germany. plete the overview of arts education in Germany. Our thanks go to all experts who have given their time and knowledge to A total of thirty examples from the field, making this compilation of trends in appearing throughout all chapters, illus- arts education possible, as well as to trate recent developments in the prac- our colleagues in the Korean National tice of arts education. They range from Commission for UNESCO for their artist-initiatives by the late choreo- committed partnership. grapher Pina Bausch or musikFabrik, Cologne and local and regional initiatives by cultural institutions to multi-year programmes on State level Walter Hirche and Federal-level programmes like A President of the German Commission Net for Kids and the Goethe-­­­Institut’s for UNESCO Participants at a Mobile Blacksmiths Laboratory event, see p. 65. 5 „ UNESCO todAy 1/2010 Arts edUcAtion for ALL“ Utodnescoay Arts Education
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