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 for All: What Experts in Germany are Saying

Editorial by the President of the German Commission for UNESCO ...... 3

Table of Contents...... 6

Perspectives on Arts Education in Germany: Historic, Artistic, Socio-political The Development of the Concept of Arts Education in Germany...... 11 From Kulturelle Bildung to Arts Education Eckart Liebau

From the Field: Civic Education Through Active Creation 19 Freiheiten ...... 12

What Do We Mean When We Say “Arts Education for All”? ...... 14 Access for Youth, the 50+ Population and Other Groups of Differing Cultural Backgrounds Susanne Keuchel

From the Field: A Dance Project for Teens and Seniors Pina Bausch’s Kontakthof ...... 16

Arts Education as the Shared Work of Society...... 17 Wolfgang Schneider

6 Table of contents

From the Field: A Culture of Reading and Literacy Wir Lesen Vor ...... 19 From the Field: A Carefully Conceived Instrument of Civic Education The festival Politik im Freien Theater...... 21

Documentation: Recommendations by the Enquête Commission on Culture in Germany on Arts Education, German Bundestag 2004 – 2007 ...... 22

The Arts Education Learning Journey...... 26 From Lisbon to Seoul Christine M. Merkel / Anna Steinkamp

From the Field: A Cultural Magazine for Children KiKuMa...... 27

Arts Education in the Twenty-first Century Spotlight on Sir Ken Robinson...... 28

Documentation: Arts Education – Culture Counts. A Contribution from European Experts to the Seoul Process, Berlin, December 2009...... 29

From Policy to Practice and Practice to Policy The Elements of Quality Arts Education...... 32 Prerequisites for Education In the Arts and Through the Arts Max Fuchs

From the Field: A Proactive Approach to Early Childhood Education Von Piccolo bis Picasso ...... 33 From the Field: Cultural Heritage in Schools denkmal aktiv – Kulturerbe macht Schule ...... 34 From the Field: Museums and Schools in Saxony Invest in Sustainable Cooperation LernStadtMuseum in Sachsen – Schüler entdecken Museen ...... 35 From the Field: Multifaceted Music Education musikFabrik ...... 37 From the Field: A Network for Film and Media Literacy Vision Kino ...... 38

Monitoring and Evaluating Arts Education...... 39 The Shift to Focusing on Quality Susanne Keuchel

From the Field: Monitoring Early Childhood Arts Education in Baden-Württemberg Arts Programmes for Children in Nursery Schools, Stiftung Kinderland...... 40 From the Field: Sustainable Theatre Education tjg Theaterakademie, Dresden ...... 41

Art and Education...... 42 How Theatre Educators Can Work Artistically in Formal Education Joachim Reiss

From the Field: Nationwide Partnerships Between Theatre and Schools TUSCH – e.g. the Educational Programmes of Thalia Theater ...... 44

7 „ UNESCO today 1/2010 Arts Education For ALL“

Documentation: Arts Education for Cultural Diversity. An Excerpt from the German White Paper “Shaping Cultural Diversity” (2010) ...... 45

From the Field: Establishing Dance in Schools Bundesverband Tanz in Schulen...... 46

Three Innovative Partnerships with Policy Potential...... 47 Kinder zum Olymp! – An Instrument for Every Child – Rite of Spring

From the Field: 100 Projects for Children and Youth RUHR.2010, the European Capital of Culture...... 49

In His Own Words...... 50 Royston Maldoom on the Qualities of Successful Dance Projects

A Key Partner in the Field...... 52 A Profile of the German Federation for Cultural Youth Education

Partnerships that Create New Learning Spaces for All

The Need for Innovative Partnerships and New Learning Spaces...... 54 Brigitte Schorn / Ernst Wagner

From the Field: Infusing Arts into the Day Germany’s Youth Arts Schools...... 54 From the Field: Enhancing Community Partnerships in North Rhine-Westphalia Community Masterplan for Arts Education ...... 56 From the Field: Thinking Creatively and Critically about Computer Games Initiative Creative Gaming ...... 57 From the Field: Arts for the Aging Bundesarbeitskreis Seniorentheater...... 58 From the Field: Making the Internet a Safe and Creative Space A Net for Kids...... 60

Education and Impact Through Arts...... 61 A Third Space Where Art and School Can Meet Winfried Kneip

Artistic Interventions in the Public Sphere...... 64 Learning Through a Break in Routine Thomas Ritschel From the Field: Forging Connections to Intangible Cultural Heritage Mobile Blacksmiths Laboratory...... 65 From the Field: Filming in the Streets film>>up interkulturell...... 66

The Federal Academies for Arts Education ...... 68 Remscheid – Trossingen – Wolfenbüttel

From the Field: Inclusion and Empowerment of Children with Special Needs in Arts Education meine Art – deine Art...... 69 From the Field: Inter-cultural Learning in Cultural Institutions – A Survey Interkulturelle Lernorte ...... 70

8 Table of contents

In Their Own Words: Perspectives from Young Experts on the Road Map for Arts Education...... 71 A joint-project of the University of Erlangen-Nuremberg and the international U40-network “Cultural Diversity 2030” Ernst Wagner

Arts Education in German Schools...... 73 A Collection from Current Concepts Joachim Kettel

From the Field: Integration and Language Development Through Music in Baden-Württemberg InPop: Integration, Popular Music and Education...... 75 From the Field: Arts Education at a UNESCO Associated School Music projects at Gesamtschule Schinkel, Osnabrück...... 76

The International Dimension

Cooperating with the European Union...... 78 “Agenda for Culture” and “Strategy for Youth” Rolf Witte

From the Field: European Network of Civil Servants ACEnet...... 81

In Her Own Words...... 82 Anne Bamford on Making Arts Education Meaningful

From the Field: Using the Arts as an Entry Point for Cultural Exchange KinderKulturKarawane...... 83

The Second World Conference on Arts Education...... 84 Goals for the Future, Seoul on 25-28 May 2010 Georges Poussin, UNESCO

Establishing a UNESCO Chair at the University Erlangen-Nuremberg...... 86 Taking the Right Steps to Strengthen Arts Education Ernst Wagner

From the Field: Toppling the Barriers that Keep Us Apart Mauerreise – The Wall in the World ...... 87 From the Field: Extending Educational Dimensions in Rural Nicaragua Pan y Arte – Música en los Barrios...... 88 From the Field: Linking Arts with Sustainability Arte Sustenibile Uno ...... 89

Selected Resources...... 90

Publication Data...... 94

9 A dance performance by Tanz macht Schule – Tanzwerk Bremen.

Perspectives on Arts Education in Germany: Historic, Artistic, Socio-political Perspectives on Arts Education in Germany

Eckart Liebau The Development of the Concept of Arts Education in Germany From Kulturelle Bildung to Arts Education

here is no equivalent translation to ethics, technology, and even law as core Tthe German word Bildung. Although elements of education. it comes close, “education” does not mean the same thing. Nevertheless This classical concept of education it is possible to describe the meaning dominated German universities until of “Bildung”. It can be translated as the 1960s, when Heinrich Roth, a competence in all of the social areas of professor at University of Göttingen, our human lives: culture and arts, pub- articulated an empirical approach to lic affairs and policy, science, labour pedagogy. Consequently, many areas and religion. Such a broad definition of education were transformed into the as this is necessary in our post-modern social sciences, a trend that received society. Providing wealth of experiences strong support in the politics of the time. is therefore central to pedagogy – not By the end of the 1960s the transforma- just for young people’s futures, but also tion was complete, marking the end to for the here and now. the classical era of education.

How can this be achieved? Here is A new form of cultural where the arts enter the picture. Within pedagogy the context of education, the arts offer opportunities for participation, as well The end of the classical theory also A performance of Emil and the as for personal experiences and devel- signaled the end of classical cultural Detectives at an elementary opment. The arts contribute to a holis­ pedagogy. The concept of arts educa- school in Hessen. tic approach to education, one that tion that was formed in the 1960s and develops the different competencies: 70s came during a time of political and rationality and emotion, intellectuality pedagogical modernization. The “new” andcreativity, body and mind, indi- arts pedagogy implicitly and explicitly viduality and social responsibility. criticized its predecessor, dedicat- ing itself to the political goal of de- Classical cultural pedagogy mocratization and placing itself within social science. One of the The concept of Arts Education in main objectives was to give every- Germany began in the 1920s and 30s, as one free and easy access to both tra- part of the classical concept of Bildung. ditional and modern high culture – Akin to the Humanities, the concept of “Culture for All” was the general slogan Bildung relates to the pedagogical, and of the day. sometimes even social, practice of posi- tioning education within cultural history. But even more than high culture, this This approach to education promoted form of cultural pedagogy emphasized what is known as an “objective” concept socio-cultural education and focused on of culture, that is, culture composed of the development of creativity in all are- the norms and values of society. Eduard as of the arts. It was marked by its focus Spranger, a major figure in the classi- on individual and collective cultural cal pedagogical movement, envisioned learning, as well as creativity and

11 „ UNESCO today 1/2010 Arts Education For ALL“

sensory perception. It also empha- used interchangeably as labels for the sized expressive activities in the differ- same and different things. However, the ent cultural fields and forms of media: distinction is clear. Cultural pedagogy is literature, fine arts, music, dance, games, the umbrella term under which arts edu- media, circus, cooking, fashion, video, cation (and aesthetical education) falls. drama, film, pottery, etc. The tradi- tional distinctions between high culture There are notable differences when one and trivial culture, between legitimate compares contemporary perspectives on and illegitimate arts were suspended in arts education with earlier conceptions. favour of a wider and more open con- Above all, the interdisciplinary and cept of culture. At the centre of this international understanding of arts edu- theory is the promotion of subjectivity in cation has changed tremendously and perception and expression, with an contributed to its radical modernization. emphasis on subjective interests and Globalisation has increased the impor- starting points, rather than “objective” tance of cultural diversity and cultural artistic quality. belonging, making modern arts educa- tion more and more important. Arts education in practice The future of arts At the centre of this Where is this cultural pedagogy located education theory is the promotion institutionally? Because there are only a few universities offering specialized The process of modernization increases of subjectivity in degree courses in this field and research the demand for culture and education perception and is lacking, it is not astonishing that prag- (general education as defined by Hum- expression, with an matic and political discourses – rather boldt) and the development of subjec- emphasis on subjective than scientific – drove the develop- tivity. Concurrently the need for cul- ment of theory and practice. Open and tivating everyday life has grown, too. interests and starting closed youth work1 in social pedagogy, Therefore it has become a widely shared points, rather than adult education, public cultural institu- view that it is necessary to develop “objective” artistic quality. tions, clubs and associations, and free experiences that nurture such compe- initiatives. This is a very colourful tencies. Not only creativity, which too field, first developed in practice and in often is regarded as a “cure-all”, but institutions of in-service training. They also stemmed from political contexts, such as the German Association of Cit- Civic Education ies (Deutscher Städtetag) and NGOs Through Active like the Kulturpolitische Gesellschaft (Society for Cultural Policy) and since Creation 1998 the Federal Government Com- missioner for Culture and the Media 19 Freiheiten (Beauftragter für Kultur und Medien, BKM).

Since the 1980s there have been new debates over cultural pedagogy and arts education that attempt to utilize the social sciences without ignoring the 19 Freiheiten workshop participants. underlying philosophical assumptions and anthropological findings. These new concepts once again focus on the culti- vation of life; they are connected with a broad, ethnologically and sociologically based concept of culture.

There is a difference between cultural pedagogy, meaning a broad approach to culture and cultivation, and arts educa- tion, meaning education in and through 1 In Germany “open” refers to programmes that are the arts. These theoretical concepts are community-based, and “closed” refers to programmes implemented by institutions. not very concise, and they have been

12 Perspectives on Arts Education in Germany

also the highly developed arts are es- an enormous gap between what we cur- pecially relevant in this respect. Institu- rently know and what we need to know. tions of culture and education must offer Researchers must develop the research opportunities of learning and personal methods that accommodate specific development for all young people. In fields. modern times one learns the best for life The process of through the arts. Artists must learn which kinds of art modernization increases are possible in educational situations, the demand for culture The arts (theatre, literature, music, fine and which are not. They must learn to arts, visual arts etc.) are not a matter of work with people of all ages, and with and education and the luxury, but a central element of culture. different educational institutions. And, development of Together with the sciences they define of course, they must focus on acquiring subjectivity. the centre of modern education. Thus it necessary project management skills. is absolutely necessary to promote the arts, as well as education in and through Educators, whether working in coop- the arts. eration with artists or not, must learn to adjust their practices and restock their But in order to get good results it is toolboxes when bringing an artistic not enough to know that something is approach into the classroom. necessary. One has to develop means of implementation. That is, of course, Quite a lot of work to be done for the challenge for all the actors of arts people in the field of arts education. education. Prof. Dr. Eckart Liebau is Chair in Politicians on all levels of government Education II at the Department of must learn to perceive the relevance of Education at University of Erlangen- cultural and artistic education; and they Nürnberg. In the future he will take up have to learn to discern high quality and the role of UNESCO Chair in Arts and to invest in it effectively. Culture in Education (see page 86). His research interests include general edu- Researchers must explore the processes cation, drama education, school peda- and products of arts education. There is gogy, and aesthetics.

creative activities, such as role playing, interviews on the street, photography, film, and games, workshop participants formulated what the law means to them. In 2010 during the last phase of the project, additional workshops were held in schools for other adolescents and younger children. Workshop results were displayed in public and commer- cial spaces throughout Berlin.

Without the aid of creative activities, the participants – most of whom were poorly educated – would not have been 19 Freiheiten participants. able to engage in discussing abstract concepts. The 19 Freiheiten project was Freiheiten (19 Liberties) teaches historically immigrant area of Neukölln, evaluated by researchers at Freie 19 adolescents with an im migrant Berlin. In the first phase of the three-year Universität Berlin. Initiated by two background that the German constitu- project, adolescents were paired with city non-profit organisations – Kultur- tion is also theirs. They learn how their artists pursuing master’s degrees at the netzwerk Neukölln, Kulturamt des communities are defined by the first Institute of Art in Context to tackle one Bezirksamtes Neukölln – and the Berlin 19 articles of the German Constitution constitutional article. Using pedagogical University of Art, 19 Freiheiten also re- (Grundgesetz ), and come to understand and artistic methods, each two-person ceived funding from other cities, federal, their civic rights and responsibilities. team developed an artistic way of and EU sources. conveying the article’s meaning. In the 19 Freiheiten is a programme for teen- next phase each team organized free For more details visit agers and young adults living in the workshops for small groups. Through www.19freiheiten.de.

13 „ UNESCO today 1/2010 Arts Education For ALL“

Susanne Keuchel What Do We Mean When We Say “Arts Education for All”? A performance of Pina Bausch’s Kontakthof. Access for Youth, the 50+ Population and Other Groups of Differing Cultural Backgrounds

In light of the growing diversity of social values and ways of living, as well as the pursuit of equal opportunity, it is important to create educational opportunities for the arts that are specific to different target groups. These opportunities should take into account unique and overlapping intercultural and intergenerational educational experiences.

14 Perspectives on Arts Education in Germany

Culture Barometer, 2006), demonstrate that young people who are culturally active, who go to the theater, museums, socio-cultural centres or rock concerts, or who have artistic hobbies, tend to have a high level of school education. Most of the artistically active young people attended Gymnasium or had earned their Abitur.1 Of the young peo- ple attending arts education programme- mes, such as a music or dance school, in It is not enough to provide their free time, a mere 8% attend or have age-specific opportunities; graduated from a Hauptschule. Even if instead, arts education we broaden the perspective to include artistic hobbies that fall within a broader initiatives must be concept of culture, e.g. graffiti, the por- developed in generation- tion of young people with a low level of specific patterns. school education is just 18%. A similar differentiation according to educational status can be observed in other Euro- pean studies on cultural participation as well, e.g., the EuroBarometer (European Commission, 2007).

The link between the young and the aging Some important measures for introdu- “Cultural educational cing young people from non-academic opportunities for all” backgrounds to arts and culture can should not only apply to be derived from the Jugend Kultur- Barometer, which examined the cultural creating opportunities for biographies of more than 2 600 young all target groups, but also people in Germany aged 14 to 24. In to opportunities in which addition to school, young people’s so- the different target groups cial environment and arts education opportunities in early childhood play participate together. an important role in engaging young people in the arts. Teaching that takes into account their everyday experiences is also critical. In the Jugend Kultur- Barometer it became apparent that young people who came into contact with arts and culture as pre-schoolers are particularly culturally active as young adults.

The importance of investing early in arts urrent empirical studies provide education is also supported by a survey Cevidence for the assertion that of the population aged 50 and older population groups do not all have the across Germany, the Kultur-Barometer same access to art, culture and cultural 50+ (Culture Barometer 50+, 2008). Of education. Factors affecting access those aged 50 and older in ­Germa­ny, to cultural education include socio- 22% are artistically active in their free economic status, education, income, time, and most of them draw upon health, and age, among others. competences they gained as children or youths. A mere 1% of this popula- 1 The German secondary education system is com- The results from a representative tion group begins to engage in cultural prised of four different types of schools. Students survey of German adolescents, the activities for the first time at an older age. who enroll in Gymnasium and pass their final Abitur exams are eligible to attend university. Intermediary Jugend Kultur-Barometer (Youth This small percentage is in stark contrast students attend Hauptschule and Realschule.

15 „ UNESCO today 1/2010 Arts Education For ALL“

to a growing proportion of the popula- Those with a different tion over 50 – currently 31% – that is cultural background not culturally active, but would like A Dance Project to take advantage of arts educational The Jugend Kultur-Barometer made opportunities. clear that a larger proportion of young for Teens and people with immigrant backgrounds are Seniors What is often lacking, however, is a struc- active artistically and creatively in their ture of opportunities oriented toward free time. This holds especially true for Pina Bausch’s particular target groups. Roughly one- young people whose parents are from third of the older population no longer different countries, namely, those with Kontakthof takes part in cultural life at all, and old- different cultural backgrounds. Presum- age poverty is an issue here, too. Others ably, artistic means of expression sup- n Kontakthof (contact yard) men avoid cultural offerings because they be- port the process of dealing with expe- Iand woman encounter each other lieve that they are targeted only toward riences of migration and living in two in a range of provocative physical younger people. cultures. The phase of adolescence ap- motions, devoid of emotional attach- pears to leave a particularly strong mark, ment. Unveiled in 1978 by world- Research reveals that it is worth invest­ and more opportunities for the engage- renowned choreographer and dancer ing in older people’s cultural partici- ment of youth in creative activities are Pina Bausch, this dance piece was re- produced with adults over the age of pation. People who are artistically or needed. 65 (Kontakthof mit Teenagern ab 65) culturally active in older age are also in 2000, and then with adolescents actively involved in other areas of life So there are indeed good reasons to (Kontakthof mit Teenagern ab 14) in and experience, analogous to the results establish different, target group-spe- 2008. of the Jugend Kultur-Barometer for cific opportunities in cultural educa- people under 25. The culturally active tional work. As such the aspiration of The most recent installation of and the artistically creative groups are “cultural educational opportunities for Kontakthof involving adolescents – more open toward life-long learning all” should not only apply to creating many of whom had never danced strategies and dealing with new media, opportunities for all target groups, but before – gave many participants a first- and they are very active as volunteers. also to opportunities in which the dif- time oportunity to perform profession- ferent target groups participate together. ally for international audiences. The dancers included young adults with an However, the Kultur-Barometer 50+ It is often the case that cultural clubs immigrant background, some of whom study also showed that it is not sufficient offer a range of educational opportunities had never heard of Pina Bausch prior to situate arts educational opportunities focused on the country from which to the project. in childhood if the goal is to make sure members of the group immigrated while that arts education accompanies people publicly-funding cultural institutions The project was funded by Tanztheater throughout their lives. Furthermore, it oriented to the European cultural canon Wuppertal Pina Bausch Gmbh, and is not enough to provide age-specific have trouble reaching out to young implemented in cooperation with opportunities, such as rock music for people with an immigrant background. schools and families. A documentary adolescents vs. classical music for older Instead intercultural educational oppor- film Tanzträume about Kontakthof was people; instead, arts education initia- tunities should engage people with and released in 2010. tives must be developed in generation- without an immigrant background, as To view more background information specific patterns. well as across age generations. about Kontakthof visit www.pina-bausch.de and The Düsseldorf Youth Culture Concept, After all, joint activities in the arts con- www.tagtraum.de. a scientific experiment giving 34 young nect people and help to overcome preju- people the opportunity to develop youth dices. Culturally active people, young culture concepts in ten classical cultural and old, are more open to foreign, unfa- institutions including theaters, muse- miliar cultures and artistic impressions. ums, and operas showed very clearly that cultural opportunities attractive Prof. Dr. Susanne Keuchel is Exe- to young people must be designed in a cutive Director of the Zentrum für way that provides for active participa- Kulturforschung (Centre for Cultural tion of young people in designing cul- Research) and honorary professor at the tural life and cultural opportunities. In Institut für Kulturpolitik (Institute of particular young people with immigrant Cultural Policy) of Hildesheim Uni- backgrounds wanted to see greater con- versity, as well as lecturer at Hoch- sideration of art from their countries of schule für Musik und Darstellende Kunst origin. Hamburg (Hamburg Academy of Music and Drama).

16 Perspectives on Arts Education in Germany

Theater Junge Generation’s Spielzelt- welt (World of Game Tents). Wolfgang Schneider Arts Education as the Shared Work of Society

rts education has many protago- ministrations initiate policies that shape of late, there is also a Federal Govern- Anists. Among them are numerous the cultural landscape, as does the inde- ment Commissioner for Culture and the arts associations and independent sup- pendent support of cultural associations, Media (Beauftragter für Kultur und Me- porting organisations, institutions of the alliances and networks, private and pub- dien, BKM), which in 2009 established arts and higher education, and policy lic cultural enterprises, and institutions an annual award for arts education. advocates at various levels. And, of of higher and continuing education. The functions of educational policy at course, the people who participate in the federal level are concerned mainly the arts: children and adults, as well as Protagonists in with projects and programmes involv- artists and arts educators. national politics ing research in arts education, and with numerous competitions – for example The goal of arts education is to bring Arts education is becoming an increas- the Treffen Junge Musik-Szene (Confer- people into closer contact with art and ingly relevant area of policy, as indi- ence on the Youth Music Scene), Thea- culture through exploration of artis- cated within the structures of municipal, tertreffen der Jugend (Youth Theatre tic forms of expression, to foster an regional and national politics. The Fed- Festival), and Treffen Junger Autoren understanding of artistic and cultural eral Ministry of Education and Research (Conference of Young Writers) – which phenomena, and to teach artistic tech- (Bundesministerium für Bildung und bring their winners together with work niques. This does not happen at random; Forschung, BMBF) and The Federal groups at festivals in Berlin. Youth it is an integral part of the cultural land- Ministry for Family Affairs, Senior Citi- policy activities of the Federal Govern- scape in Germany, which develops and zens, Women and Youth (Bundesmin- ment’s Plan for Children and Youth evolves through cultural and education- isterium für Familie, Senioren, Frauen foster supporting organisations for arts al policy. State and local political action und Jugend, BMFSFJ) each have a education in all the arts, and facilitate by parliaments, governments and ad- department of Arts Education. And, as further education projects, competitions,

17 „ UNESCO today 1/2010 Arts Education For ALL“

and exchange programmes, such as the German Festival of Theatre for Young Audiences (Augenblick mal!), the Ger- man Youth Literature Prize (Deutscher Jugendliteraturpreis), and the Cultural Competency Record (Komptenznach- weis Kultur, see p. 52).

With the appointment of the Enquête Commission, the German Parliament recently commissioned a report on Cul- ture in Germany (see p. 22). This report, the first of its kind since World War II, was published in 2007, with an evalua- tive survey and numerous recommenda- tions for action in arts education:

“The Enquête Commission advises the Federal Republic, the states and municipalities, to invest in arts educa- tion; arts education should be encour- aged and predominantly promoted, especially in early childhood education and in schools, but also in after-school offerings for children and youth. Arts education is an indispensable, integral part of education and of culture, and is the responsibility of diverse areas of policy across the board”.

Protagonists in the German states

Arts education in federal politics can A volunteer and children during the national Reading Aloud Day. also be seen in the Federal Foreign Office, chiefly in foreign policy on culture and education. This is con- ducted in large part by the so-called model school partnerships which guar- which aims to make it possible for all intermediary organisations such as antee a standard curriculum for the all- school pupils in the region to learn to the Goethe-Institut in almost every day school. Such cooperation allows for play a musical ­instrument. nation worldwide, which convey a the integration of arts education within perspective on Germany and the and outside of school. The Kulturstiftung der Länder (Cul- German language, but also facilitate tural Foundation of the States) made intercultural dialogue and artistic Across federal and state policy, the it its mission not only to preserve and collaboration. Kulturstiftung der Länder (Cultural maintain art and culture, but to con- Foundation of the States) and (Federal vey them. In 2003 it founded the edu- Within the sixteen German states, arts Cultural Foundation) Kulturstiftung des cational initiative Kinder zum Olymp! education is carried out not only in the Bundes are also working in the area of (Children to Olympus!, see p. 47) fields of educational policy, but also in arts education. The Federal Cultural for this purpose: “At best, cultural areas of policy that go beyond formal Foundation mainly initiates educational education should be anchored in schooling. Standard subjects in school outreach: for example, with the “Net- the everyday routine of school and musical instruction and art classes, and work of New Music”, which seeks to kindergarten, as well as within pub- in some states, at certain schools and bring contemporary music closer to lic consciousness”. Through publica- levels, there may be courses in the per- a wider audience; or with the major tions, conference (most recently in forming arts as well. Some state minis- musical education project Jedem Kind Munich, 2009: Konkret! Kooperation für ters of education have also set up signif- Ein Instrument (An Instrument for kulturelle Bildung) and a nationwide icant collaborations with public cultural Every Child, see p. 47), a contribu- competition recognizing innovative institutions such as museums, theatres, tion worth many millions of euros to partnerships, the Kulturstiftung der and libraries. Music and youth arts the European Capital of Culture: Länder encourages new initiatives and schools, in particular, have developed RUHR.2010 in and around Essen, builds networks.

18 Perspectives on Arts Education in Germany

opment of artistic-aesthetic forms of expression. A holistic understanding of arts education thus always conceives of human beings in the interplay of A Culture of their cognitive, sensual, emotional, and Reading and aesthetic ways of learning, and aims to support and give shape to each of these Literacy forms”. Wir Lesen Vor Protagonists in the civil society This area of implementation depends primarily upon independent support- tiftung Lesen (Reading Founda- tion) relies on the multiplying ing organisations as well as institutions S effect of professionals and citizens of arts education. The German Cul- to strengthen support for literacy. tural Council (Deutscher Kulturrat), the Using the motto “Wir Lesen Vor” umbrella association for all cultural and (We Read Aloud), the Foundation media policy organisations, advocates a operates reading programmes that reform of cultural and educational pol- reach across the nation, and count icy, in which the central concern must among its volunteers prominent public be the support of cultural education. The figures such as political party leaders “Concept for Cultural Education III” – and government ministers. Mentors established in 2005 by commission are invited to attend seminars, where of the Federal Ministry for Educa- they learn to be effective readers who are attentive to children’s interests tion and Research (BMBF) – sum- and aware of opportunities to engage marised the challenges, listed the their audience. The Foundation general requirements, analysed the also organizes the We Read Club, a infrastructure, and examined aspects nationwide network in which teachers, such as the job market and qualifica- educators and readers learn from each tion and training. The German Cultural other. Through awareness-raising such Council’s most fundamental statement as the National Reading Aloud Day came as an appeal for cultural services and knowledge exchanges, reading for the public in 2004. This included mentors improve the infrastructure for a definition of the cultural politic that reading and media literacy in Germany. arts education should provide within The Foundation and its programmes society: “Service to the public in the fall under the patronage of the Federal In addition, the states and municipalities area of culture means: comprehensive President of Germany. For more are working on concepts for arts educa- cultural offerings in the diverse artistic information about the Foundation’s tion, setting prerequisites for content divisions, consistently and reliably avail- programme visit and organisation in order to strengthen able to a wide spectrum of the popula- www.stiftunglesen.de and the field of practice. The nation’s capi- tion, with a broad range of accessibility www.wirlesenvor.de. tal as well as the city-state of Hamburg at affordable costs”. and the Bavarian state capital, have introduced a process intended to sup- An important protagonist among the port the particular development of arts cultural policy associations is the Ger- education as a task across the policy man Federation of Cultural Youth Edu- spectrum. The framework concept for cation (Bundesvereinigung Kulturelle Berlin for 2008 reads: “The goal of arts Kinder- und Jugendbildung, BKJ), see education is thus to empower children p. 52), itself an umbrella association and youth to take an active and individ- representing more than 50 professional ually responsible part in the cultural life organisations, institutions and state of society. To reach this goal requires confederations nationwide. Areas repre- becoming familiar with art as a lan- sented include music, acting, theatre, guage, cultivating a sensibility for dance, rhythmic movement, visual art, art, including an understanding of the literature, photography, film and video, integral value of art, which defies new media, and further education in being utilised for any purpose; it cultural pedagogy; among its ­mem­bers requires the liberation of creative pow- are the Arbeitskreis für Jugendlite­ ers and imagination through the devel- ratur (Task Force for Youth Literature),

19 „ UNESCO today 1/2010 Arts Education For ALL“

Verband deutscher Musikschulen Protagonists in the make creativity accessible, and to pro- (Association of Music Schools), Bun- educational system vide for artistic communication – for an desverband der Jugendkunstschulen entire lifetime! Arts education is also und kulturpädagogischen Einrichtungen Teaching and training in the theory and intercultural, interdisciplinary, and in- (Federal Association of Youth Art practice of arts education is a function of ternational. Hence, it is a complex struc- Schools), and the Kinder- und Jugend­ the professional schools and universities ture. Enhancing arts education requires theaterzentrum in der Bundes­republik in Germany. In various programmes for the empowerment of its protagonists to Deutschland (Children’s and Youth’s cultural studies and pedagogy, as well conceptualise and practice because they Theatre Centre of the Federal Republic as in all the arts and their conservato- are already engaged in its production, of Germany). ries, there are opportunities to study arts distribution and reception. Everyone education. In 2009 the University of should participate in arts education! The Federation represents the policy Hildesheim established the first profes- interests of youth and culture at the sorship for “Cultural Education”; at the Prof. Dr. Wolfgang Schneider is Direc- level of national and European poli- University of Erlangen-Nuremberg, a tor of the Institute for Cultural Policy tics, provides an information exchange pedagogical professorship with the sta- at the University of Hildesheim, and service for its member organisations, tus of “UNESCO Chair on Art and Cul- President of ASSITEJ, the Interna- develops models and perspectives of ture in Education” has been endowed. tional Association of Theatre for Chil- cultural work with children and youth, dren and Young People. From 2003 organises conferences, and releases In further and continuing education, to 2007 he was an expert authority publications, such as the journal series there are courses and certificate pro- member of the Enquête Commission on “Kulturelle Bildung” (Cultural Education, grammes at the Federal Academies for culture of the German Bundestag and www.kopaed.de). Cultural Education (at Wolfenbüttel), for served, among his other duties, as the Musical Education for Young People correspondent responsible for “Arts In its progress report for 2008, the Fed- (at Trossingen), and Akademie Rem­ Education”. eration publicised its special concern scheid for Cultural and Media Education with investing in quality: “Support of (see p. 68), and additionally, over 2 000 the essential requirements must be con- community learning centres (Volks­ sidered – for example, the quality of hochschulen) in the municipalities. Arts training and the competence of expert education is also one of the topics and professionals to strengthen a sense of methods addressed by public service self-worth through the artistic process, access broadcasting, which considers or the competence of parents to encour- communicating arts education one of age creativity and arts education. The its civic cultural assignments, thereby basic conditions must be considered; communicating arts education as a mat- the existing infrastructures should not ter of course. Whether through cultural damage the chances for personal devel­ reports and arts channels, or in media opment with and through the arts”. In partnerships within the cultural land- addition, conditions for successful scape (broadcast networks ARD, ZDF, implementation must be established, in Arte, and 3Sat), arts education is corresponding to the various areas of frequently discussed, though this may activity: “in national and international, be only minimally ensured by the net- productive and receptive contexts, from work’s own sense of civic commitment. early childhood learning throughout school education, to the areas of lifelong Arts education has many protagonists. learning and civic engagement. First and foremost, they are the par- ticipants: children, young people, adults, It is of constant concern to ensure that artists, and arts educators; and those the strengths of arts education, in its working in the cultural sector, in socio- mediating role between art and soci- cultural centres, theatres, schools, parlia- ety, can be developed to the best degree ments, municipalities, state offices; and possible. The central focus is on human associations, organisations and networks. beings, in particular on children and Arts education is a task for policy across young people, and on the effort to the board; hence its protagonists also broaden access to culture, to offer have a home in the various fields of poli- spaces for personal growth and experi- tics: in the area of education, in cultural ence that lead the participants into artistic policy, in youth services. processes and promote personal creative integrity as well as self-confidence”. However, arts education is also the res­ ponsibility of society: it requires each of its citizens to be socially effective, to

20 Perspectives on Arts Education in Germany

A performance of Wilhelm Tell (William Tell) at secondary school in Bavaria.

A Carefully The history of the festival Politik im The festival invites productions from ­Freien Theater (festival “Politics in Germany, Switzerland and Austria. Conceived Off-Theatre”)1 started by the end of the In 2008 in Cologne also non German- Instrument of 1980s, when the Bundeszentrale für poli- language productions were represented tische Bildung/bpb (Federal Agency for for the first time. These either had a Civic Education Civic Education) embarked on the quest connection to German history or for more modern and attractive methods examined central political questions that The festival Politik im of education that would reach new target look beyond borders. Since then the groups, represent multiple perspectives festival also includes a series of inde- Freien Theater and contribute to curriculum develop- pendent productions that are specially ment. Following an initial period of tailored on the city, where it takes place. debate about concept and direction, dis- These special productions look at the cussions progressed from arguing about particular urban space, its history and its theory to focusing on practice. After all inhabitants, giving citizens the oppor- these years of intensive discussion, role tunity to take an active role in events. playing and other creative activities have Furthermore complementary lectures become an accomplished feature in civic and workshops for educators take education. place, which enable them to incorpo- rate cultural and socio-political forms of Nowadays, after more than 20 years, the expression during classes. festival is considered one of the most important venues for independent thea- For more information about previous tre in Germany. It presents outstanding festivals Politik im Freien Theater visit productions that address social and politi- www.bpb.de/politikimfreientheater cal issues in innovative and aesthetic

ways. The festival takes place every 1 In Germany, there exist „Staatstheater, three years in a different city and attracts Landestheater, Städtisches Theater“ which are run by the State. In addition, over 8000 participants on average. there is the so-called “free and inde- pendent scene” (freie und unabhängige Theater, Privatinitiativen).

21 „ UNESCO today 1/2010 Arts Education For ALL“

Documentation

Recommendations by the Enquête Commission on under the Voluntary Social Year in Culture in Germany the Cultural Sector and raise its flat- rate funding in line with that for the 1 Voluntary Ecological Year. on Arts Education 5. The Enquête Commission recom- mends that the Federation negoti- ate about long-term financing with The Enquête Commission on Culture in Germany was the Länder in order to improve appointed by the German Bundestag for the first time in the parameters for and institu- the 15th electoral term. During the 16th electoral term, the tionalise a Voluntary Social Year in the Cultural Sector abroad as part Enquête Commission’s mandate was renewed through of the expansion of volunteering in unanimous approval by all parliamentary groups. The development cooperation. Commission was composed of eleven ordinary members 6. The Enquête Commission recom- and eleven deputy members of the Bundestag, as well as mends that the German Bundestag eleven independent experts. After four years of intensive and the German Federal Govern- work, the Enquête Commission submitted its final report ment top up the resources for the th funding of cultural education under to the President of the German Bundestag on 11 Decem- the Child and Youth Plan of the ber 2007. The report takes stock of the cultural life in Federation. Germany and contains over 400 recommendations for 7. The Enquête Commission recom- improving its general conditions. mends that the German Federal Government devote more space to the fields of culture and the (new) Extract from Section 6 2. The Enquête Commission recom- media in its Child and Youth “Arts Education” of the mends that the German Bundestag Reports. Final Report of the and the German Federal Govern- Bundestag Enquête ment establish a Federal Agency for Cultural education in Commission on Cultural Education to develop inno- early-years education Culture in Germany vative concepts, network actors and (Bundestag Printed provide advanced training for multi- 1. The Enquête Commission recom- Paper 16/7000) pliers. The Federal Agency for Cul- mends that the Länder and munici- tural Education should, among other palities do more to empower par- things, fund research into the effects ents than in the past and encourage and methods of cultural education them to promote their children’s Cultural education as in pilot schemes. Such a Federal opportunities for cultural expres- societal mission Agency should not replace the exist- sion from the very beginning. ing Federal Academies of Cultural 2. The Enquête Commission recom- 1. The Enquête Commission recom- Education.2 mends that the Federation and mends that the Federation, Länder 3. The Enquête Commission recom- Länder fund early-years education and municipalities invest in cultural mends that the German Bundestag at arts institutions. education; cultural education should and the German Federal Govern- 3. The Enquête Commission recom- be strengthened and funded as a ment introduce nationwide compe- mends that the relevant providers priority, in particular within early- titions for all branches of cultural improve the conditions for long- years education and schools, but education, network them more term cooperation between daycare also within out-of-school provision closely with one another and present facilities for children and arts and for children and young people. Cul- them more effectively to the public. educational institutions, and make tural education is an indispensable, 4. The Enquête Commission recom- it easier for children to have access integral component of education and mends that the German Federal to culture, among other things by culture, as well as being a horizontal Government increase several fold offering free-of-charge entrance to task for various fields of policy. the number of places available publicly funded arts institutions.

22 Perspectives on Arts Education in Germany

Cultural education in 7. The Enquête Commission recom- schools mends that the Federation, Länder and municipalities anchor the pro- 1. The Enquête Commission recom- motion of reading as a horizontal mends that the Länder reinforce task for youth, education and arts subjects that contribute to cultural policy. Target agreements tied to the education, such as art, music, dance funding of umbrella organisations and drama, and improve their qual- and institutions that promote litera­ ity. If this is to be done, it is ini- ture and reading seem an appro- tially to be ensured that the lessons priate way of pursuing this goal. provided for are actually given by 8. The Enquête Commission recom- qualified teaching staff. mends that the municipalities insti- 2. The Enquête Commission recom- tutionalise cooperation between mends that the Länder and munici- public and non-state libraries and palities ensure the provision offered school libraries, as well as placing by arts institutions and arts asso- purchasing budgets and funds for ciations outside school can also be readings by authors on a secure basis. used within the context of all-day 9. The Enquête Commission recom- education and childcare. mends that the Länder give greater 3. The Enquête Commission recom­ consideration to architecture in the mends that the Länder ensure subjects art, geography and social cultural education as a guiding science. In this respect, the involve- educational principle in primary ment of pupils in the architectural schools. design of school buildings is a 4. The Enquête Commission recom- particularly suitable learning oppor- mends that the Länder ensure, by tunity. means of a central Abitur (higher 10. The Enquête Commission recom- education entrance qualification), mends that the Länder regard media that a subject that contributes usage and media literacy as part towards cultural education is part of of schools’ pastoral and educa- the obligatory canon of subjects. tional mission. Cinema should be 5. The Enquête Commission recom- anchored in the curriculum. mends that the Länder fund the 11. The Enquête Commission recom- establishment of new school choirs mends that the Länder also develop and orchestras, and anchor sing- nationwide educational standards ing as a daily component of school for cultural education. 1 Unofficial translation by the translation service of the teaching, as well as giving every 12. The Enquête Commission recom- German Bundestag

child the opportunity to learn a mends that the Länder urge the 2 Dissenting opinion of Dorothee Bär, Member of the musical instrument that can be OECD to develop standards for cul- German Bundestag and the expert member former Minister of State Dr. h. c. mult. Hans Zehetmair: played in an ensemble setting. tural education and evaluate them “Recommendation for action no. 2 is not supported on constitutional grounds. In the field of cultural edu- 6. The Enquête Commission recom- regularly, applying a methodology cation, competence lies with the Länder. The German mends that the Länder and munici- analogous to the PISA process. Basic Law lays down neither any exclusive nor any competing legislative competence on the part of the palities improve the conditions for 13. The Enquête Commission recom- Federation for the fields of education and culture. The Federation lacks any constitutional basis that would cooperation with children’s and mends that the Länder and munici- give it the competence to establish a ‘Federal Agency youth theatres in relation to per- palities fund the establishment of for Cultural Education’.” formances in schools and school networks for cooperation between 3 Dissenting opinion of the Left Party parliamentary group in the German Bundestag and expert member theatre days, as well as strength- schools and arts institutions, and Prof. Dr. Dieter Kramer: “We welcome the Commis- sion’s recommendation that the quality of cultural ening children’s and young peo- make it possible for all children to infrastructure in the field of out-of-school education ple’s theatre festivals as a means of have encounters with artists during be safeguarded by statutory provisions, in particular concerning music schools and youth art schools. In this offering encounters with artists and school time. connection, we argue that the name ‘music school’ should also be statutorily protected – something that cultures. has already been done in Saxony-Anhalt and Bavaria.”

23 „ UNESCO today 1/2010 Arts Education For ALL“

Out-of-school cultural defined as ‘voluntary services and Training and advanced education benefits’ should be a decisive ele- training for cultural 1. The Enquête Commission recom- ment in the statutory provisions, in education mends that the Federation, Länder part with a view to the municipali- and municipalities include provi- ties’ freedom of manoeuvre. For the 1. The Enquête Commission recom- sions in their grant approval deci- municipalities should be able to ful- mends that the Federation and sions that place an obligation on fil their responsibility for cultural Länder improve and intensify the publicly funded arts institutions to education as an obligatory function training of childcare workers in develop and keep records of their of local self-government, especially the field of cultural education with cultural education provision for when there is a shortage of funds.3 the involvement of arts institu- children and young people. 7. The Enquête Commission recom- tions. The arts institutions must be 2. The Enquête Commission recom- mends that the Länder also make it better equipped for this in personnel mends that the Länder and munici- possible for municipalities that find and financial terms. Future train- palities make functions that relate themselves subject to budgetary ing courses should be established to cultural education, in particular consolidation constraints to make at universities of applied sciences. for children and young people, use of financial channels that permit The full spectrum of forms of cul- components of the employment the demand for cultural education to tural expression should be strength- contracts of the leaders of cultural be satisfied. ened as an integral component of the institutions. 8. The Enquête Commission recom- training and advanced training of 3. The Enquête Commission recom- mends that the Länder contribute childcare workers. mends that the Länder place the appropriately to the financing of 2. The Enquête Commission recom- funding of cultural education pro- out-of-school cultural education as mends that the Länder further devel- vision on a permanent basis and a joint public task. This includes a op the occupational profiles of social also finance longer-term meas- concept that also provides for bal- occupations in such a way that, for ures alongside projects and pilot anced ratios between full-time staff, example, institutions for old people schemes that run for limited part-time staff and volunteers. are able to offer cultural education periods. 9. The Enquête Commission recom- provision. 4. The Enquête Commission recom- mends that, with the collaboration 3. The Enquête Commission recom- mends that the Länder and munici- of the parties concerned, the Länder mends that the Länder involve arts palities make it easier for children draw up provisions that make it institutions in the training and ad- and young people to have access to possible for out-of-school cultural vanced training of teachers, as well arts institutions, among other things institutions to collaborate with gen- as ensuring teaching staff are able to by introducing arts vouchers. eral schools on a basis of equality. attend regular advanced training in 5. The Enquête Commission recom- 10. The Enquête Commission recom- cultural education. mends that the Länder develop mends that the German Federal 4. The Enquête Commission recom- programmes under which children Government instruct the Federal mends that the Länder and higher and young people are involved in Agency for Civic Education, in education institutions orient train- out-of-school cultural education for cooperation with the new Federal ing courses in arts facilitation more children and young people as active Agency for Cultural Education that strongly towards professional prac- facilitators, for example as mentors is to be established, to initiate an tice. Elements of arts facilitation and or multipliers. exemplary documentation of meth- artistic practices should be obliga- 6. The Enquête Commission recom- ods of intergenerational dialogue tory components of artistic training mends that the Länder use statutory on political and historical topics. courses for all age groups. provisions to safeguard the qual- Furthermore, suitable, age-specific 5. The Enquête Commission recom- ity of the cultural infrastructure in media and forward-looking forms of mends that the Länder provide for the field of out-of-school cultural activity and presentation techniques the ongoing qualification, con- education. This applies in particu- that enable children and young peo- tinuing training and networking of lar to the system of music schools ple to learn about authentic histori- teaching staff and multipliers in the and youth art schools. Changing the cal sites should be developed and fields of cultural media and film legal status of cultural education deployed.4 education, as well as the funding of provision so that it is no longer cooperation between teaching staff and media educators. 6. The Enquête Commission recom- mends that the Federation, Länder and municipalities fund the training, 4 Dissenting opinion of Dorothee Bär, Member of advanced training and certification the German Bundestag and expert member former Minister of State Dr. h. c. mult. Hans Zehetmair: of educational personnel as a con- ‘Recommendation for action no. 10 is not supported tribution to professional develop- on constitutional grounds analogous to those set out in the dissenting opinion on recommendation for ment, with the aim of safeguarding action no. 2 in the section on Cultural education as societal mission.’ the quality of cultural education for

24 Perspectives on Arts Education in Germany

adults over the long term. Apart market-relevant and vocational con- should be carried out on all three-to- from ‘careers education’, ‘arts edu- tinuing training, as well as cultural five-year-olds to ensure linguistic de- cation for adults’ must be offered at education for children and young ficiencies can be addressed in good higher education institutions. people. time. 7. The Enquête Commission recom- 3. The Enquête Commission recom- Excerpt from section 6.1 – 6.2 mends that the Federation, Länder mends that the Länder grasp all- and municipalities open up access day school as an opportunity for Cultural education for to cultural education for adults to intercultural dialogue and integrate adults all strata of the population by means intercultural education into teaching of provision adapted to their cul- provision, for example through thea- 1. The Enquête Commission recom- tural and social needs, and press tre projects. Pupil exchanges should mends that the Federation, Länder for stronger cooperation between be given more funding. and municipalities safeguard and cultural institutions and continuing 4. The Enquête Commission recom- offer across-the-board provision training institutions in order to con- mends that the Länder bring their in- of cultural education for adults, tribute in this way to the creation fluence to bear on schools to ensure including innovative approaches, as of better infrastructure for cultural that cooperation between schools and well as refusing to reduce continu- education for adults. parents with backgrounds of migra- ing training to a narrow concept of 8. The Enquête Commission recom- tion is intensified in as many forms as vocational continuing training. mends that the actors in cultural possible. 2. The Enquête Commission recom- education for adults raise the pro- 5. The Enquête Commission recom- mends that the Federation and file of adult education, develop new mends that the Länder recruit more Länder introduce a continuing forms of provision, for example people with backgrounds of migra- training passport that represents a forms of provision implemented for tion to work as teachers and youth form of certification for informal and with families and with older and community workers. learning. people, and establish provision for 3. The Enquête Commission recom- the development of creative media Excerpt from section 6.4 mends that the German Bundestag literacy. and the German Federal Govern- ment also make greater use of the Excerpt from section 6.3 Federal Action Plan for the Elderly as a nationwide funding instrument Intercultural education for the cultural education of elderly people. 1. The Enquête Commission recom- 4. The Enquête Commission recom- mends that the Länder evaluate the mends that the German Federal provision of intercultural educa- Government instruct the Federal tion, its quality and its results, and Agency for Civic Education to intensify educational research into cooperate with the new Federal questions of integration. Agency for Cultural Education that 2. The Enquête Commission recom- is to be established in building up mends that the Länder ensure all a network for dialogue about meth- children start school with the requi- ods of cultural education for adults site German skills. In this connec- at authentic historical sites and to tion, a baseline language assessment comprehend the funding of civic and historical education in a cultural context as a component of voca- tional continuing training.5 5. The Enquête Commission recom- mends that the Länder anchor the funding of cultural education for adults in adult education acts and the associated ordinances, as well as safeguarding the funding of cultural education for adults through basic institutional financing. 6. The Enquête Commission recom- 5 Dissenting opinion of Dorothee Bär, Member of the mends that the Länder and German Bundestag and expert member former Minister of State Dr. h. c. mult. Hans Zehetmair: ‘Recommenda- municipalities provide funding for tion for action no. 4. is not supported on constitutional cultural education for adults that is grounds analogous to those set out in the dissenting opinion on recommendation for action no. 2 in the sec- equivalent to the funding for labour tion on Cultural education as societal mission.’

25 „ UNESCO today 1/2010 Arts Education For ALL“

Walk and Talk: Participants of Christine M. Merkel and Anna Steinkamp the European Symposium in Wildbad Kreuth, 2008. The Arts Education Learning Journey From Lisbon to Seoul: Facilitating the debate of the expert community in Bonn, Wildbad Kreuth, and Berlin, in between two UNESCO World Conferences

Arts Education for All – this is the objective of a myriad of activities in the field of arts and cultural education that have taken place in Germany since the first UNESCO World Conference on Arts Education in Lisbon, March, 2006. Throughout the Lisbon and the Seoul processes, the German expert community has strengthened its connections within Europe and internationally.

26 Perspectives on Arts Education in Germany

fter the 2006 Lisbon Conference, Finally, it is necessary to collect the Athe members of the German ex- legal and political constrains of arts pert delegation were ready to continue education nationwide. co-operating, with facilitation from the A Cultural German Commission for UNESCO, as The UNESCO Road Map Magazine for a working group of the Sub-committee and its impact on Europe for Culture. Themed “From Lisbon to Children Seoul” the working group reflected on European Symposium for Experts on possible synergies between existing pol- Arts Education in Wildbad Kreuth, KiKuMa icy and practice, and new elements that May 2008 were arising from worldwide exchange. In 2008 the German Commission for At its first meeting in Bonn, September UNESCO, in cooperation with the 2006, the task force went through the Hanns Seidel Foundation, the Austrian UNESCO Road Map on Arts Education Federal Ministry for Education, Arts iKuMa is the first cultural magazine for children and their parents. It and its recommendations. As a first step, and Culture and the Austrian Commis- K reveals everything about culture that it was decided to organise a workshop sion for UNESCO invited 100 European children want to know, but would never on assessing, evaluating and measuring experts to Wildbad Kreuth. The experts dare to ask their parents. Through the results of learning in and through the examined how ideas contained in the articles, artist interviews, drawings, and arts. Moreover, during this first meeting Road Map could enhance further devel- other featured stories, the publication the idea of establishing an UNESCO opment of high quality “Arts Education aims to show how culture is important Chair on Arts Education in Germany for All” in Europe. The legal, financial, for all. KiKuMa also invites parents – was born, inspired by the Canadian ini- conceptual, managerial, educational, who are cultural mediators for their tiative of a first UNESCO Chair on Arts social, aesthetic and other aspects were own children – to be more curious. and Learning (see p. 86). addressed. Didactics of art teaching and professional training for teachers and The website www.kikuma.de is an interactive online platform for children, artists were another focus (“the learning Can we measure arts adolescents and their parents to further education? teacher”, the “teacher as researcher”). explore culture through games, forums, Regarding research and evaluation, the and user-generated art galleries. The European Workshop in Wildbad Kreuth, discussion revealed that a lot of basic website also offers a cultural calendar May 2007 research is already under way. European with information about concerts, On the invitation of the Hanns Sei- networks like ACEnet (see p. 81) and theatre, museum tours, creative del Foundation and the Bavarian State others can help to organise exchange, workshops, interactive art opportunities Ministry of Education, over seventy and to fertilize comparative learning and much more. The calendar can be experts on Arts Education from six in Europe. Participants also discussed used by cultural institutions, parent European countries gathered in Wildbad ways to support good practice, such as groups, and any other arts initiatives Kreuth (Bavaria, Germany) to discuss connecting good one-time projects and wanting to share cultural projects for children. how learning results in Arts Education the efforts by private and public foun- can be evaluated empirically. A strong dations with the existing school system KiKuMa is funded by the Ursula Lübbe motivation for this debate was a world- structure on a more permanent basis. Foundation. State Minister Bernd wide trend identified at the Lisbon Con- They also proposed that schools should Neumann, the Federal Commissioner ference. One in which the art subjects open up to new ways of learning and for Culture and Media serves as in schools are being marginalised, the teaching. chairman of KiKuMa’s editorial advisory result of increasing emphasis on educa- board. KiKuMa is also relies on support tion policies favoring school subjects Stimulated by the Road Map recom- from media partners and eminent relevant to the PISA learning impact mendations, Ministries from the Flemish personalities from culture, economy assessment studies of the OECD. part of Belgium, the Netherlands, Den- and politics. Research papers by Anne Bam- mark and Norway asked Anne Bamford To learn more visit www.kikuma.de. ford (Australia/UK) and by Susanne for a systemic and systematic review Keuchel (Germany) provided an ana- of their arts education delivery struc- lytical background to the proceedings, tures. The results, they hoped, would which resulted in several major con- help them improve connections between clusions. Evaluation of pedagogical schools, the educational system and the processes is as critical in arts educa- cultural institutions but also broaden the tion as it is in other fields of learning. opportunities for target groups that fall There is a need for further research under in a life-long learning. At Wild- on adequate measures and on profes- bad Kreuth Bamford presented a very sional artistic didactics. In addition to dynamic picture of the serious efforts the classroom situation, informal and taking place in those four countries, non-formal modes of arts education such as playing to the strengths of the must be more thoroughly considered. educational system and cultural institu-

27 „ UNESCO today 1/2010 Arts Education For ALL“

tions and driving modernisation of the Beyond Seoul education system through emphasis on the inter-disciplinarity of the arts. The The Seoul conference in May 2010 will symposium also initiated a joint Euro- offer a catalytic moment to tackle the Arts Education in pean preparatory process for the 2010 quality issues identified, to encourage UNESCO World Conference in Seoul, arts and cultural education for cultural the Twenty-first Korea, and provided a rare opportunity diversity and to encourage further pro- Century to cooperate with a delegation of the fessionalization in this important field Korean organisers. of learning. UNESCO’s Medium Term Spotlight on Sir Ken Strategy (2008-2013) pledges to follow- In his conclusions, Dr. Samuel Lee, the up on the Lisbon Road Map and the Robinson then Secretary General of the Korean Seoul Conference in an inter-sectoral National Commission for UNESCO, manner. These are promising pros- called arts education the “hot pota- pects for turning the “hot potato” into t the first UNESCO World Conference on Arts Education to”, not taken seriously by either the a nourishing potato salad, involving all A in Lisbon in 2006, Sir Ken Robinson, Ministry of Education or by the Minis- educational and cultural stakeholders on world-renowned expert on education, try of Culture, but quickly thrown away issues, themes and factors that have an innovation and creativity, delivered a by both sides. Overcoming this “hot impact on the quality of learning in gen- keynote address that opened people’s potato” dilemma is their motivation eral and of arts education in particular. minds. The key ideas can be found in for building on the Lisbon Road Map his talk on “Why Schools Kill Creativity: quickly and offering the Seoul Confer- Christine M. Merkel is the Head of the the Case for an Education System that ence. He stated that good quality arts Division of Culture, Memory of the Nurtures Creativity” which has since education and their criteria is the main World, at the German Commission for become legendary.1 He delivered this task for the time ahead. Given the great UNESCO. She was a member of the talk the same year at the Technology, diversity of cultures and peoples in Asia, expert delegation to the Lisbon confer- Entertainment, Design (TED) Conference in Monterey, California. they also consider arts education an im- ence and served as conference chair portant entry point to deepening cultural and moderator at the Wildbad Kreuth Arts in Schools: Principles, Practice understanding and improving mutual (2007, 2008) and Berlin (2009) meet- and Provision (Galouste Gulbenkian coexistence in the region – and thus ings. She is the executive coordinator Foundation, 1982) has become a upholding cultural diversity. of the Federal Coalition for Cultural key text on arts and education for Diversity and the current Vice-Chair of policymakers and practitioners around Arts Education – the Steering Committee for Culture of the the world since its release in 1982. He Council of Europe. is also the author of Arts Education Culture Counts in Europe, an international study for European Conference, Berlin, Anna Steinkamp works as senior pro- the Council of Europe in 22 European November / December 2009 gramme specialist within the Division countries (1996). As an Ambassador for the European Year of Creativity The Berlin Conference gathered fifty of Culture, Memory of the World at the and Innovation 2009, Robinson European experts from eleven coun- German Commission for UNESCO. She raises awareness about creativity’s tries to take stock of the progress in coordinates the international capac- contributions to economic prosperity, arts education that had occurred in the ity building programme “U40-Cultural as well as to social and individual well- three years following the release of the Diversity 2030” and assumes responsi- being. Road Map. Georges Poussin from the bilities of the German point of contact Culture Sector of UNESCO shared the for the UNESCO Convention on the Evoke the spirit of the Lisbon results from their first global survey on Diversity of Cultural Expressions. Conference and listen to him under the same subject, which enjoyed an un- She co-organised the Wildbad Kreuth http://www.ted.com/talks/ken_ expected, strong response from Europe (2008) and the Berlin (2009) meeting. robinson_says_schools_kill_creativity. html and Africa. During the conference, it was announced that the Chair in Edu- cation II at the University Erlangen- Nuremberg, held by Eckart Liebau would be declared a UNESCO Chair on Arts Education in 2010 (the second of its kind in the world), see p. 86. A com- mon approach to arts education has been reflected in the final document of the conference (see p. 29), which also serves as a contribution to the Seoul Conference.

1 Out of Our Minds: Learning to be Creative (Wiley-Capstone, 2001).

28 Perspectives on Arts Education in Germany

Documentation Arts Education – Culture Counts1 A Contribution from European Experts to the Seoul process

veryone has the right to Arts Educa- given society or of creative industries. Etion. International declarations and Arts are characterised by their open, conventions are aiming to protect every- playful and experimental handling of one’s right to education, to provide a issues and contents and by their way framework for everyone’s full and har- of dealing with discontinuities and ambi- The right to Arts Education monious development in life and every­ guities. is a human right. one’s participation in arts and culture. It is the task of the state and society to 2. Arts Education always “Everyone, as a member of secure the formal and material condi- involves reception and tions for everyone to exercise this right. society, has the right to (…) production of art. realization, through national Arts Education is an essential dimen- Arts Education is not only aiming effort and international sion for lifelong learning and for the full at ways of an enjoyable or reflected co-operation (…), of the development of personality and citizen- reception, it also fosters a productive economic, social and cultural ship. Arts Education is part of all periods and practical approach – guided as well and all areas of life. It comprises formal, as independent – in all artistic fields of rights indispensable for his informal and non-formal education. This perception, expression, composition, dignity and the free develop- is building on a holistic approach to presentation and communication. Arts ment of his personality.” education and learning, embracing all Education creates space for experi- (Art. 22 Universal Declaration emotional, physical, cognitive, social, ments. It enables and encourages people of Human Rights) aesthetic and moral human competen- to get involved. Active involvement in cies. Arts Education comprises educa- the production of art again is one of the tion for the arts, in the arts and through essential preconditions to experience the “Everyone has the right the arts. Arts Education encourages intrinsic value of the arts. freely to participate in people to learn about their cultural heri- tage, various forms of traditional and the cultural life of the 3. Arts Education contrib- contemporary art and everyday culture utes to the development community, to enjoy the as a source and resource for their present of the individual and to the arts and to share in and future life. development of modern scientific advancement and societies. its benefits.” How people conceive and how they live their lives finds its expression in the Arts Education fosters historical (Art. 27 Universal Declaration arts and in the cultural forms of every- awareness and awareness for the of Human Rights) day life. This, in turn, affects every- importance of cultural heritage, it one’s perception, activities and attitudes enhances the development of key com- in all areas of life. Coordination and petencies, and it bolsters personal, cooperation between the fields of arts and social, methodical and aesthetic skills culture in education and other fields of and promotes tolerance and mutual education are therefore needed. understanding.

1. Arts Education has an Thus Arts Education makes a large intrinsic value. contribution to the development of those individual attitudes that are The value of artistic and cultural activi- essential to achieve the key objec- ties lies particularly in their potential to tives in the fields of cultural diversity, create an unrestricted and non-commit- intercultural understanding and sus- ted space for social actions and critical tainability, as defined by UNESCO. reflection. However, Arts Education Participation and education are must not only be seen from a functional interdependent. Therefore the concept perspective, for example in terms of its of Arts Education substantially contrib- 1 Available online http://www.artsedu2010.kr/ upfiles/100120_BerlinContribution_FINAL.pdf contribution to the development of a utes to the idea of citizenship.

29 „ UNESCO today 1/2010 Arts Education For ALL“

4. Today, the greatest These five objectives are attaining qua- cultural professionals, artists and non- challenges are lifelong lity education for all and lifelong learn- paid staff learning for all, difference ing, mobilizing science knowledge and • reducing inequities in the fields of Arts and diversity, inclusion and policy for sustainable development, Education participation, inter- and addressing emerging social and ethical • fostering scientific research for further challenges, fostering cultural diversity, development in Arts Education transculturality and intercultural dialogue and a culture of • strengthening cultural diversity and sustainability, as well as peace, and building inclusive know- intercultural dialogue within the fields creativity and the digital ledge societies. Arts Education can make of Arts Education media technologies. substantial contributions to meet these • promoting networking and coopera- objectives. tion at global, national and local levels European societies are facing major through guaranteed funds and struc- challenges today which are concerning 5. Arts Education needs tures in all educational fields (formal, both individuals (development of new investment. It must be non-formal and informal) concepts of personality) and societies at maintained and further large (social cohesion in multicultural This contribution was jointly elabo- communities), as well as the use of natu- developed. It requires time, rated by the over 50 participants of the ral resources. Media and digital infor- space, money and people. European symposium “Arts Education mation and communication technologies – Culture Counts. Preparation for the play an important role in influencing At the end of the first decade of the 21st UNESCO World Conference on Arts peoples’ identity and self-expression. At century, we identify six major require- Education in Seoul 2010”, organised by the same time, the industrially shaped ments that have to be met in order to the German Commission for UNESCO culture of consumption and growth in ensure consolidation and further devel- and Professor Liebau, University Europe will have to be transformed into opment of Arts Education: of Erlangen-Nuremberg in coopera- a global culture of sustainability. • integrating Arts Education in various tion with the Siemens Foundation from subject matters in all schools at all 30 November to 1 December 2009 in In its Medium-Term-Strategy 2008 levels compulsorily and as a cross- Berlin, Germany. through 2013, UNESCO has identified curricular content five overarching objectives designed to • supporting professional training of respond to specific global challenges. future and already active teachers,

Participants of the Berlin Conference „Arts Education – Culture Counts“, Nov. / Dec. 2009.

30 Students from Hermannstal Schule participating in a Bürgerstiftung Hamburg “step by step” dance class.

From Policy to Practice and Practice to Policy „ UNESCO today 1/2010 Arts Education For ALL“

Max Fuchs The Elements of Quality Arts Education Prerequisites for Education in the Arts and Through the Arts

In her international research report The Wow Factor, Anne Bamford distinguishes between education in the arts and education through the arts. Both terms make sense and contribute to the task that education must fulfil.

ducation is the key to helping first person to call for “education for all” Epeople lead a self-determined life of during the Thirty Years’ War in the 17th self-determination in society. Not only century. Although it took centuries for does education permit individuals to his demand to be implemented, singing access the world around them, but it also and playing music became part of the enables them to actively engage in that school curriculum over time, followed world. Similarly, an education in the by drama and the graphic arts. Participa- arts not only provides access to the arts tion in arts activities in school is known but also gives one the capacity to appre- as formal arts education. ciate all of the aesthetic dimensions of the world. International research has shown, how- ever, that most competencies needed This means that high-quality education by man are actually acquired outside in the arts includes very ambitious cri- of school, in extracurricular and infor- teria. The primary goal of education in mal settings. This is especially true for the arts is to produce lively citizens who arts education, where so many learning engage in civil society. Another objec- experiences occur within the aesthetic tive is to make it possible for people to socialization of everyday life. Research have a cultural life, which is, after all, shows how much creative activities a human right. It also provides access such as playing and listening to music, to the world of arts, in the form of art drawing, and dancing figure into the Students participating in a musikFabrik workshop. programmes and activities. Education everyday life of children and youth. in the arts contributes to comprehensive development of personal and aesthetic These informal learning opportunities, competencies. prevalent as they are, often occur in- cidentally, unguided by a pedagogical The importance of schools philosophy. Furthermore, as important and extracurricular as informal creative activities are, they activities are often not available to large segments of society, limited by socioeconomic High quality arts The modern age places higher require- status, or as a consequence of social experiences in schools ments on individual competencies. And factors. Studies by Pierre Bourdieu and and in extracurricular as traditional institutions that provide other users show that the selection of social meaning like the church be- aesthetic practices primarily depends institutions are of come less relevant, society responds by on the social environment adolescents paramount importance. encouraging people to spend ever more come from. Informal arts education time in educational establishments. The is, therefore, subject to the whims and Czech philosopher Comenius was the abilities of the individual.

32 From Policy to Practice and Practice to Policy

Von Piccolo bis Picasso participants showing off their self-portraits.

A Proactive on Piccolo bis Picasso (From care centres as possible an opportunity V Piccolo to Picasso) is a structured, to participate. For each round, nine Approach to comprehensive approach to creating daycare centres were closely monitored Early Childhood creative environments in early educa- by social scientists at the University of tion. Initiated by the Protestantischer Applied Sciences, Koblenz. Education Kirchenbezirk Ludwigshafen (Protestant Parish of Ludwigshafen) and University Von Piccolo bis Picasso is one of seven Von Piccolo bis Picasso of Applied Sciences, Koblenz, the pro- programmes belonging to the five-year gramme has targeted very young chil- Offensive Bildung initiative (a proactive dren, ages 1 to 4, and involved daycare approach to education) funded by the centres, educators, and parents. Partici- global chemical company BASF and pating daycare centres and educators the German Commission for UNESCO, have received meticulous instruction in to support exemplary early education setting up Kinderatelier (children’s work- projects in the Rhein-Neckar region. The shops), in which children can develop initiative was developed by the city of critical cognitive and language compe- Ludwigshafen in cooperation with local tencies through creative activities. The protestant and Catholic communities. programme also offers workshops for The second round of Offensive Bildung parents, whose involvement sustains projects was launched in 2010. creative learning beyond the classroom. For additional information and a The programme has taken place over a summary of the evaluation results visit four-year period, with two rounds every www.offensive-bildung.de. two years, in order to give as many day

33 UNESCO today 1/2010 „Arts Education

Cultural Heritage he denkmal aktiv – Kulturerbe launched local projects in their commu- Tmacht Schule (Cultural Heritage in nities. Lessons taking place in schools in Schools Young Hands) campaign operated by and onsite with external experts bring Deutsche Stiftung Denkmalschutz (Ger- students closer to their culture, history, man Foundation for Monument Protec- and the environment. From smaller, denkmal aktiv – tion) introduces school students to herit- lesser-known monuments all the way to Kulturerbe macht Schule age. Each year a jury awards monetary UNESCO World Heritage sites and cul- prizes to new education projects that tural landscapes, denkmal aktiv teaches have the most potential for energizing, students to protect and appreciate their engaging, and educating school students human heritage. It helps them develop a about man-made heritage. sense of the shared social responsibility for protecting cultural heritage. For the 2009/2010 school year over eighty new school projects were estab- The denkmal aktiv programme is sup- lished in thirteen states. Since the start ported by the German Commission for of the initiative in 2002, over 600 schools UNESCO. Award-winning projects are groups throughout Germany have supported by the Deutsche Bundes- umweltstiftung (German Environmental Foundation, DBU), various state ministries, and other private partners. Students from the Hoffmann-von- Fallersleben School at a denkmal For more information and to aktiv-project in Schloss Ettersburg, download lesson materials visit next to Weimar. www.denkmal-aktiv.de

Comprehensive aesthetic education This fact has immediate implications on quality standards for artistic subjects to cannot be obtained in this piecemeal other facets of quality since the goals gain momentum for government school manner. Therefore, in the pursuit of of schools, youth service organisations, policies. developing aesthetic competence, high- and cultural institutions are not identical. quality arts experiences in schools and Since it is not the primary responsibility Qualified teachers in extracurricular institutions are also of of youth policy to introduce young peo- paramount importance. ple to cultural education programmes, A big problem for arts education the concept “education through the arts” in schools is the lack of qualified teach- Effective cooperation comes into use in this field (and also ers and educators. Most arts education where criticism about exploiting arts for courses are conducted by teachers who It is society’s responsibility to estab- non-artistic purposes is most commonly have not had any relevant training in lish effective schools and extracur- expressed). cultural pedagogy. Due to the Bologna ricular arts education. Ideally, cultural Process, which attempts to harmonize and youth institutions would cooperate Setting appropriate stan- European higher education qualifica- closely with schools on a municipal dards for the classroom tions with those of the Bachelor’s and level, creating a local educational land- Master’s Degrees, artistic subjects in scape. In political terms, this would Schools should pursue a more practical particular have been adversely affected. mean that institutions of educational, approach to arts education. Learning to Standardization of university courses youth and cultural policies need to play an instrument is not currently con- and increased pressure to perform make cooperate much more closely than they sidered something that music lessons it difficult for students of educational often do at present. Arts education is the at school should teach. The first Ger- sciences to be involved in the arts. cross-sectoral responsibility of different man PISA1 study explicitly states that policy fields. Effective cooperation is schools focus on “primacy of the cogni- Innovative partnerships for also a characteristic of quality arts edu- tive“ that also applies to aesthetics. Al- cultural schools cation. though this view is rather controversial, schools are the central place of funda- Partnerships between schools and art- mental arts education, with their well- ists and /or cultural institutions have 1 The Programme for International Student Assessment (PISA) is a worldwide evaluation of 15-year-old school developed extracurricular infrastructure become increasingly popular during children’s scholastic performance, performed first in 2000 and repeated every three years. It is coordinated and ability to reach out to all children recent years. At present, schools pro- by the Organisation for Economic Co-operation and at the primary level2. Educational stand- mote such developments by raising Development (OECD), with a view to improving edu- cational policies and outcomes. ards as a means of improving the quality their cultural profiles. German educa-

2 Unfortunately, the German system of education of classroom education have so far only tional policy now stipulates that schools whose structure is rather unusual in international comparison divides children after primary level even been developed for the PISA subjects. need to have a content profile. It is now though most experts demand a longer period of joint This is why certain teacher organisa- critical to provide the right support and learning beyond the obligatory four years of primary level. tions have taken the initiative to develop incentives for schools to become “cul-

34 From Policy to Practice and Practice to Policy

Touch and adventure tour for blind and visually impaired students during a LernStadtMuseum-project.

ernStadtMuseum – Schüler ent- which were envisioned as learning Museums Ldecken Museen enables students to tools for other schools and museums, discover museums. During a three-year have been shared at a number of public and Schools in period from 2007 to 2010, fifteen presentations, exhibitions, and film Saxony Invest in museums and schools located in the screenings. The initial findings show Sustainable state of Saxony collaborated in the that schools and museums have very design and implementation of projects to different expectations for projects, and Co-operation raise awareness about the significance that it is therefore important for them to of and opportunities for co-operative agree on goals in advance. In order to arts education. Rather than viewing conduct the project as it is part of the LernStadtMuseum in themselves as providers and recipients, curriculum, the support of administra- Sachsen – Schüler participating museums and schools tive leaders is crucial. Researchers also entdecken Museen explored new ways of sustainable co- learned that students want to be active operation, investing time in learning by contributing ideas and suggestions. about each other’s interests, opportuni- ties, and skills. Projects targeted stu- The three-year initiative, operated by dents with differing social backgrounds the Saxon State Ministry of Education, between the ages 12 and 17, and sought Cultural Affairs and Sports and funded to reinforce their cultural identity by by the Robert Bosch Foundation, will showing them that museums are reposi- form the basis for improving access tories for their cultural heritage. to cultural education for all students in Saxony. Projects were evaluated using before and after participant surveys, and inter- For more information visit views conducted with museum staff, www.sachsen-macht-schule.de/ teachers, and students. The findings, lernstadtmuseum.

35 „ UNESCO today 1/2010 Arts Education For ALL“

Effective cooperation tural schools”, providers of qualified acter of culture, which cannot be defined is also a characteristic of education in aesthetic subjects. This accurately in absolute terms. Culture is entails establishing many creative work- not static; it does not mean the same old quality arts education. ing groups, intense contact with cultural thing. Some argue that the arts are not institutions and artists, aesthetic quali- a universal means of communication fication of teachers from non-aesthetic because every culture has specific subjects with the aim of improving the aesthetic expressions that do not trans- learning culture, and an artful design of late and therefore cannot be understood the school building. There are already by other cultures. numerous models of such cultural schools. The UK initiative “Creative Arts education faces many challenges. Partnerships” has been promoting the All disciplines challenge the relation- process of cultural development of ship between tradition and innovation schools for years. – what is more important, production of contemporary art or individual creative It is important to keep in mind, however, activity of children and adolescents? that schools, while important, are not Is there even a set canon of rules? Co- the only place for educating young peo- operation is the magic word, though ple in the arts. One can already notice a it is easier said than done. Aesthetic It is now critical to greater interest by the cultural sector in education will increasingly be provided provide the right reaching out to young people. There are through partnerships between schools various reasons for this. In what may be and extracurricular programmes. This support and incentives a change in paradigm, the cultural sec- means that professionals and institu- for schools to become tor has taken a new interest in issues of tions with differing attitudes will need “cultural schools”, education. This echoes traditions from to learn to cooperate. Moreover, dif- providers of qualified the 1970s when cultural policy was de- ferent institutions function differently. fined as cultural educational policy. In For instance, schools in Germany are a education in aesthetic addition, there are pragmatic reasons for government responsibility while youth subjects. reaching out, such as the demographics and cultural institutions, with the excep- of the traditional culture audience, and tion of a few state-run initiatives, are the hoped that increased public spending predominantly non-profit organisations for cultural institutions can be achieved of the tertiary sector or local author­ by highlighting their educational qual- ities. Civic commitment, for example in ity. Now, more than ever, there is a the form of volunteer work or founda- wealth of offerings by cultural institu- tional sponsorship, as examples, is also tions designed to attract new, younger increasingly important. audiences. Hence, arts education of the future will An Education of Diversity be diverse, characterised by heteroge- neity of target groups, programmes and Arts education of the The changing composition of our society players. But the development of aes- future will be diverse, poses a challenge that all educational, thetic competencies will profit from this cultural and youth institutions must face. diversity, which will generate a wealth characterised by Our society is aging, while the propor- of education opportunities. Hence, heterogeneity of target tion of the population that has a migra- diversity will become an additional groups, programmes and tion background is growing every year. quality characteristic of education. players. For years there has been public debate Professor Dr. Max Fuchs is Director about the meaning of integration and of the Akademie Remscheid, President how it can be successful. Between the of the German Cultural Council, and two extremes of “total assimilation” and teaches cultural policy at the Univer­ “autonomous migrant culture”, there are sities of Duisburg-Essen and Basel. still a number of different positions. The uncertainty about this question is made evident by the dispute over the right term for this phenomenon: should we refer to a multicultural or a multi-ethnic society, should we talk about intercul- tural or trans-cultural education? The problem has to do with the unique char-

36 From Policy to Practice and Practice to Policy

Multifaceted he Cologne-based ensemble musik- adolescents have the opportunity to TFabrik specializes in, according to immerse themselves in music. Music Education one child, “creating music that hasn’t been made yet”. Since 1991 musikFab- In partnership with West German musikFabrik rik has commissioned and performed Broadcast Corporation (Westdeutscher contemporary music. The members Rundfunk, WDR), students have pro- of the ensemble regularly collaborate duced radio segments about musikFab- with artists from other disciplines, and rik performances and taken music to the together they create artistic experiences streets with musikFabrik-inspired street to open the mind. theatre. Arts education programmes also enable students to directly take part Educational programmes are also a in the music-making process. For young critical component of musikFabrik’s mis- children the ensemble launched musik- sion, and they strive to develop cogni- Piraten.de (music pirates), an inter- tive skills such as attentive listening and active website enabling users to explore creativity, as well as human skills includ- music and sound. musikFabrik offer ing self-expression and self-awareness. adult workshops and teacher-training programmes on how to approach new Together with various partners from the music. private and public sectors, the ensemble offers a wide range of opportunities For more information about musik- for pupils and teachers to experience Fabrik’s education programmes, visit music. From guided tours of rehearsal musikfabrik.eu (engl.). To discover the rooms and the instrument stockroom sounds of music visit musikPiraten.de to observing rehearsals, children and (German-language only).

Students participating in a musikFabrik workshop.

37 „ UNESCO today 1/2010 Arts Education For ALL“

School students at the opening of SchulKinoWochen (School Cinema Weeks).

A Network for ision Kino initiates and optimizes Vision Kino marks the first time that V opportunities for students to learn film education in Germany has been co- Film and Media about and enjoy film, as well as to financed by public funds and the private Literacy engage in the creative process of film- film industry. Initiated by the German making. Federal Commissioner for Cultural and Media Affairs (BKM), the German Fed- Vision Kino Established in 2005 Vision Kino sup- eral Film Board (FFA) and Kino macht ports film education within and outside Schule GbR (a film industry and cinema schools throughout Germany. The initia- association that includes the German tive, which involves over 600 000 stu- Distributors Association), it engages dents nationwide, lays out a plan for film numerous players in education and education that outlines learning objec- film, from ministries and municipalities tives, standards, and competencies that to commercial distributors and school students can gain through film educa- teachers. tion. The programme procures films and film-related educational materials and Although Vision Kino programmes offers training for teachers and filmmak- target adolescents and their teachers, ers. Through pilot projects that infuse its efforts to raise awareness about film film into other school subjects, the initia- and film education have a multipying tive also advances a message of film as effect on parents and the general public. an interdisciplinary educational medium. Through the development of learning Vision Kino also supports non-formal standards and curricula, Vision Kino arts education by promoting educational not only supports arts-rich learning films in German cinemas, connecting experiences, but also cultivates a film- local and regional film education initia- competent citizenry. To view learn more tives, and organizing regular discussions about Vision Kino and see a full of list about educational films. of programmes by region visit www.visionkino.de.

38 From Policy to Practice and Practice to Policy

Susanne Keuchel Monitoring and Evaluating Arts Education The Shift to Focusing on Quality

Just ten years ago, the necessity and importance of arts education was up for debate in Germany. Today no one questions whether arts education is a good thing; instead, efforts are focused on the quality of arts education projects.

n recent years, the quality – rather Ithan the necessity – of projects and programmes has become the main focus of discussion about arts education Germany as well as in Europe, not least due to the UNESCO World Conference in Lisbon in 2006. This shift in per- spective is also supported by the study The Wow-Factor by Anne Bamford (see p. 82), which after examining data and case studies from more than 60 countries, concluded that in 25% of the countries, poor programme quality had Pre-schoolers and an arts educator in a Stiftung Kinderland project. negative effects on the development of young people’s creativity. Accordingly, evaluations emphasizing quality have the evaluation of the Dance in Schools ated externally. Self-evaluations can increased. For example, the Federal projects (Tanz in Schulen) in the Ger- help. For example, the Federal Asso- Ministry of Education and Research man state of North Rhine-Westphalia, a ciation Dance in Schools developed a (BMBF) has made available up to one study which was conducted by the Cen- self-evaluation toolkit for dancers and million euros per year between 2008 tre for Cultural Research (ZfKf) for the dance educators based, among other to 2013 to evaluate and study the large Federal Association Dance in Schools things, on the evaluation just men- scale programme An Instrument for (Bundesverband Tanz in Schulen e.V.) tioned. Other professional associations Every Child (Jedem Kind ein Instru- after completion of the projects. Two- involved in arts education in Germany ment, see p. 47). hundred thirty dance project leaders and have prepared manuals and quality cri- school representatives were asked to teria for good arts educational practice, Evaluation for every report on the successes and the con- in particular for school co-operation project type tents of the projects as well as the projects – examples include the Federal obstacles they encoutered. In the end, the Association of Youth Art Schools and Studies on programme effectiveness authors of the study presented six dif- Cultural Educational Institutions (Bun- are relatively rare in the field of arts ferent practical models for integrating desverband der Jugendkunstschulen und education, as developing methods for dance into everyday school life and out- Kulturpädagogischen Einrichtungen them is complex and effects are often lined necessary underlying conditions. e.V.) or the Association of Music measurable only in the long term. In Schools (Verband der Musikschulen). contrast, there are numerous evalua- It is often the case that smaller scale tions of the structure and content of arts education projects lack the finan- To help arts educators avoid having to arts educational projects – for example cial means to have their projects evalu- reinvent the wheel, the Price Water-

39 „ UNESCO today 1/2010 Arts Education For ALL“

house Coopers Foundation (PWC-Stif- be made to countries with a uniform tung) conducted a study systematically all-day school system that integrates all examining the programme objectives of areas of education. This creates prob- model arts education projects. The study, lems of comparison – for example, if published in 2007, lays down a frame- one limits Europe-wide comparisons work for evaluation using predefined ob- of arts education to schools, as did the jectives from 60 exemplary programmes Eurydice Report “Arts and Cultural spanning target groups and diverse Education at School in Europe” partnerships. (October 2009), disregarding the achievements of non-school arts educa- The Challenges of Effective tional institutions. Evaluation An empirical survey of cultural educa- When examining the effectiveness of tional opportunities in all-day schools the goals of cultural educational projects, in four states in Germany, conducted by Teams of film>>up interkulturell ­participants working on their projects. developing suitable indicators is funda- the ZfKf in 2006 /07, illustrates how dif- mentally important but often not so sim- ficult it is to develop uniform indicators ple. For instance, quality cannot be as- for cultural education. For instance, the certained merely by canting the number German states use diverse curricula and of children and youth attending pro- also different models for all-day schools, grammes; it should also always take the and accordingly, they employ a variety characteristics of teaching into account. of concepts for non-school arts educa- Developing suitable indicators in cross- tional opportunities. Research shows country studies of cultural education that per school, there is an average of is particularly difficult because of the three opportunities of arts education diversity of systems. In Germany, with in addition to the regular curriculum. its high proportion of half-day schools, Of the all-day schools studied, 27% arts education has traditionally been provide links between curricular and shifted to the time outside school hours; extracurricular arts educational opportu- therefore only limited comparisons can nities.

Monitoring Early Childhood Arts Education in Baden-Württemberg

Arts Programmes for Children in Nursery Schools, Stiftung Kinderland

uring a four-year period between scientists from leading universities. The others, especially if the task they face D2002 and 2006, the public founda- evaluation solicited feedback from not is too challenging or too simple. Strong, tion Stiftung Kinderland implemented a only arts educators, but also from parents consistent co-operation among parents, programme to initiate new approaches of participants – both before and after the nursery school teachers and artists is to arts education in early childhood. child had engaged in the artistic activity. crucial to the development of pre-school The project granted funds to non-profit The goal of the research, to better under- arts education. and public organisations proposing stand the effect of participation in the educational opportunities for children arts on young children, was received with Stiftung Kinderland is a subsidiary to express themselves and unfurl their great interest by the state government foundation of Landesstiftung Baden- creativity through design and architecture, of Baden-Württemberg, and its recom- Württemberg, a public foundation serving theatre, music and dance. The projects mendations will inform arts education the public interest in the State of Baden- supported contributed to the develop- policy-making. Württemberg. At the conclusion of the ment of sensory, emotional and social programme Stiftung Kinderland published skills in children between ages two and Research findings revealed that it is a full report containing profiles of sup- six. likely (but not certain) that children who ported projects, research instruments, received arts education at pre-school and findings. All projects were closely monitored and ages perform better; some children are evaluated by a team of high-profile social less receptive to arts education than For more information visit www.stiftung-kinderland.de.

40 From Policy to Practice and Practice to Policy

Monitoring for optimal programme development Sustainable Theatre Education Besides evaluations and surveys that help to improve the practice of arts tjg Theaterakademie, Dresden education, evaluations accompanying the programmes have concrete influ- ence on programme development. An example of this is the evaluation of the programme Culture and School (Kultur und Schule), run by the state of North Rhine-Westphalia, which the ZfKf has been conducting for the state since the programme began in 2005. All actors involved in the programme – art- ists, schools, parents, students, local governments and continuing education institutions – are polled on an ongoing basis about their experience with the programme in quantitative and qualita- tive surveys. In addition, all applications – of which there are 4 700 to date – are evaluated using content analysis; sug- gestions for improvement are derived from the results and then implemented as the programme progresses.

Effective Evaluation

Employing a variety of empirical meth- ods is advantageous if the goal is to do justice to the perspectives of the various A performance of Theatre Junge Generation’s English language actors involved in cultural education, production of The Heights. including that of the pupils. Besides the development of appropriate indicators and measurement methods, the decisive hat sets tjg Theaterakademie apart from age two to young adulthood, the factors for the success of evaluations Wfrom other education initiatives Theater is also a co-creator of the always include the translation, by the is its focus on long-term, capacity- federally-supported Theater von Anfang research team, of empirical data into building in schools. In the first phase of An (Theatre for the Youngest) programme. its Stadtvermessen programme, school As early as age two, children are intro- meaningful forms that are comprehen- groups, produce fully-fledged theatre duced to the theatre during rehearsal sible to cultural education practitioners, under the tutelage of professionals. In visits. Educators, actors, and directors a challenging task that requires a highly the second phase, education moves out also visit kindergartens in order to better competent evaluation team. of the theatre and back into the school, understand their future audiences. where pupils and teachers produce their Prof. Dr. Susanne Keuchel is Execu- own shows with guidance from experts. The two-year old Stadtvermessen project tive Director of the Zentrum für Kul- During this period artists and administra- was selected to be part of KulturFor- turforschung (Centre for Cultural tors instruct schools in all aspects of scher!, a nationwide initiative seeking Research) and lecturer at Hochschule running a production. The objective is for to implement aesthetic research into für Musik und Darstellende Kunst Ham- schools eventually, in the fourth or fifth the school curricula. Another evaluation burg (Hamburg Academy of Music and year, to build enough capacity to maintain project involves sociologists observing their own drama programmes. Through- and interviewing participants, the goal of Drama). out the process, the Theaterakademie which is to understand how the theatre project – funded by the city of Dresden – production process can be organized in also provides training for teachers. order to maximize participation.

The Theaterakademie is the brainchild For more information about Theater of Dresden’s Theater Junge Generation, Junge Generation’s programmes and Germany’s second oldest theatre serving evaluation visit www.tjg-dresden.de, children and youth. Offering more than www.kultur-forscher.de, and 750 performances a year for audiences www.theatervonanfangan.de.

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Joachim Reiss Art and Education

Shakespeare’s A Midsummer Night’s How Theatre Educators Can Work Dream performed by teenagers with Artistically in Formal Education special needs, Thalia Theater.

Theatre is not just a rama should be part of the general always a challenge to work creatively pre-professional course of Deducation of every human being. and artistically. study for pupils hoping to Theatre education enables students to participate actively in the theatre culture In spite of these challenges, well- become actors, directors, and be part of a critical, skilled and joy- trained theatre teachers can work artis- or playwrights. ful audience. tically in their theatre classes. The fol- lowing model concept is based on the The integration of the arts into the class- official theatre curriculum implemen- room is, however, challenging for every ted throughout German schools. The educator in Germany, and theatre teach- specific methods and timelines vary ers are no exception to the rule. There is somewhat, but in general all school often doubt as to whether artistic think- theatre programmes follow this format. ing and work can take place at school. The concept is influenced by indepen- Teachers work within conditions set by dent theatres such as Bread and Puppet an educational, not an artistic agenda: Theatre (USA), Yord Circus (Denmark), they have to evaluate students, limit La Otra Orilla (Spain), Shakespeare their work within fixed times, and work Company (Germany and UK) and prac- in spaces that are often not designed for titioners such as Boal and Grotowski, theatre. There are also demands placed among others. German sources are upon theatre students who have to take educators and artists like Humboldt, as many examinations as students in Schiller, Brecht and the heads of the other subjects have to. With an aver- 20th century independent youth theatre age 24 students per trained teacher, it is movement.

42 From Policy to Practice and Practice to Policy

The concept includes creative activities The third step involves creation of the The most important rule is not to and methods for evaluative reflection, play. The students may improvise the copy professional theatre, but to build which can be grouped into five steps: key scenes with their characters and ex- performances from the bottom up and warm up/preparation of body, emotion periment with objects and / or the room, create the best theatre you and your and intellect; new exercises, instruc- choreography, sounds, music, rhythm students can! tions, tasks or inputs (theory, history); and so on. Additional inputs come improvisation/creative work / rehearsal; from special experts or theatre concepts Joachim Reiss is the Chair of Bundes- performance / presentation; and feed- (Comedia, dance, “poor theatre”, Shake- verband Darstellendes Spiel (Natio­ back / reflection / theoretical and histo­ speare, Brecht, Grotowsky, Wilson etc.). nal Association for Theatre, BVDS) ri­cal frames. References to specific In the next test they have to reflect on a and Director of the Schultheater-Stu- experiences come from the example of concept for the play. The evaluation of dios Frankfurt (Theaterpädagogisches implementing this curriculum with stu- these tests usually brings clarity about Zentrum). dents in their 12th year, that is, the last the concept of the play, the main artis- grade level before taking their university tic elements and forms. After that, the qualification exams. work concentrates more and more on the realization of the concept. Improvi- The Steps sations become rehearsals, which fix the performance in place. These steps can be used in every indi- vidual lesson and rehearsal session, but Step 4: Presentation and they also form a larger framework upon Step 5: Feedback /Reflection which the whole theatre project rests, Small groups present the results of their whether the project lasts one year or just work to the others, garnering applause a few weeks. and constructive feedback. This phase of the project finishes with a decision Step 1: Warm up / preparation of by the group about the theme of their body, emotion and intellect theatre. There are a variety of other exercises and games that can be used in place of The biggest test is, of course, the per- the following, but the meaning would formance itself, which for a longer be similar: Concentration on the self, project would be performance for a feeling and moving the body and voice, bigger audience. Afterwards the group changing the acting modus from “real reflects on their impressions and the life” (school etc.) to “play”; becom- feedback from the audience. ing open to others, body contact, group (trust); preparing emotions, body and Adaptability intellect for the special tasks of the entire lesson. Usually a group completes these steps after two, or at most three, months of Step 2: Input and work. But any lesson can more or less Step 3: Improvisation follow the same structure, going through What is important here is the combi- each of the five steps. The results vary nation of inputs from the students and depending on skill level and perspec- the teacher. The instructor provides the tives. For example, over the course of artistic / theatre impulses and exercises, one year, steps one and two were used and the students contribute ideas, create to successfully build a group of people stories, and make decisions. who could co-operate to find creative ways of performing. While learning During the second step, the teacher basic elements of theatre we searched offers input and exercises relating to for and successfully found the com- basic elements of character. In these mon issue we wanted to share with the exercises the students develop an image audience. and characteristic movements for their characters in the play. For assessment they have to create and perform a new short scene demonstrating the charac- A performance project for the festival ter’s qualities. This test is not only for LESSINGTAGE around a statue of the evaluative purposes, but is also a useful German critic and playright Lessing, step in the artistic process. Thalia Theater.

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Nationwide ermany is home to a network of the assistance of professional coaches Gtheatre education initiatives known – performances integrating different art Partnerships collectively as TUSCH (Theater und forms. Thalia Theater’s school partner- Between Schule). TUSCH partnerships are located ships range from providing guided tours in Berlin, Frankfurt, Hamburg, Minden, and conducting in-school workshops to Theatre and Saxony-Anhalt and Stuttgart, and related instructing students on writing critical Schools (TUSCH) programmes have taken root in Warsaw, reviews and synchronizing repertory Poland. TUSCH theatres and schools with school curricula. partner to create enriching theatre edu- The Educational cation programmes for students. Thalia Theater projects do not have Programmes of Thalia a casting process, and are therefore Theater As a TUSCH partner, Thalia Theater open to all. There also are three groups Hamburg offers schools and students for people with special needs. Thalia multiple theatre education opportuni- Theater brings performances directly to ties. The Thalia Treffpunkt (meeting the classroom for students who have point) programme enables students to difficulty getting to the theatre. Every engage in the creative process of theatre season it offers at least one site-specific even if they have no interest in acting. performance, outdoors or in a school. The theatre offers courses in reper- tory, theatre professions, set design, To learn more visit costumes, and criticism. The unart (not www.thalia-theater.de. art) competition encourages teenagers between 12 and 18 to develop – with

A drama about love performed by teenagers with special needs, Thalia Theater.

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Documentation Arts Education for Cultural Diversity Education and Public Awareness-Raising

This text is an excerpt from Arts education promotes these objec- regional education-networks in collabo- the Chapter “Arts Educa- tives through the transfer of knowledge, ration with cultural and arts education tion for Cultural Diversity” capabilities, and skills, and through the facilities should have sustained support development of competencies, values throughout Germany. from the German White and attitudes. Paper “Shaping Cultural Develop institutional awareness: Diversity. Recommenda- Recommendations for Ongoing training for executives and tions for actions for the Action staff in the various sectors of education, implementation in and culture, media, and research regarding through Germany of the Make use of the European Union: the objectives, focus, and implementa- As a Party to the Convention, the Ger- tion of the UNESCO Convention, in- UNESCO Convention for man Federal Government should seek cluding international education in the the Protection and the allies in other EU member states to form of a mobility programme, must be Promotion of the Diversity establish a common EU “Arts Educa- carried out at regular intervals. of Cultural Expression” tion for Cultural Diversity” programme (April 2010). by 2013 that innovatively links the sec- Enhance visibility: A campaign should tors of culture, education, and youth. be started under the umbrella of the The German Federal Government and Federal Coalition for Cultural Diver- rts education plays a prominent role the Länder (Federal States) are called sity (Bundesweite Koalition Kulturelle Ain the implementation of the objec- upon to ensure that it will still be possi- Vielfalt) to communicate the UNESCO tives of the UNESCO Convention on ble to subsidise projects in the sectors of Convention on a broad basis, to make the Diversity of Cultural Expressions. culture, youth and education under the good political and real-world examples Arts education is not only a vehicle for next generation of EU Structural Funds visible, and to develop concepts for the achieving the overriding objective of (European Regional Development Fund promotion and protection of cultural cultural diversity; it is itself the sub- and European Social Fund). diversity. ject of political discourse. It is particu- larly important that the UNESCO goal Reverse the marginalisation trend: of “Arts Education for All” will be All the Länder should commit them- achieved. A “Road Map for Arts Edu- selves to reversing the marginalisation cation” came out of the 1st World Con- of the (few) school subjects that pertain ference on Arts Education in Lisbon in to the arts. 2006. Arts education needs to be a focus of attention in both formal and informal Offer culture from the very begin- educational and cultural settings. An ning: When culture is discussed, peo- effective strategy is establishing com- ple seldom refer to children and young munity or regio-nal education-networks, people; and when children and young consisting of cultural and arts-education people are discussed, the conversation institutions. Binding legal safeguards is seldom about culture. A quota for for the offerings and the institutions children and youth culture should be are necessary. The UNESCO Conven- envisioned. The diversity of the public tion commits the Parties to promoting must be taken seriously. the understanding of cultural diversity in the public realm through educational Ensure infrastructure sustainably: programmes. Article 10 focuses on the Binding legal protection for the offer- idea that education can contribute to the ings and institutions of arts education objectives of the Convention – in the should be created throughout Germany. near term by creating greater public awareness and in the long term by ensur- Act as an inter-disciplinary network: ing that the objectives will be achieved. The institution of community and

45 „ UNESCO today 1/2010 Arts Education For ALL“

Establishing ounded in 2007, the Federal publications, and an online platform for FAssociation Dance in Schools Dance in Schools, provide opportuni- Dance in Schools (Bundesverband Tanz in Schulen e.V.) ties for knowledge exchange among is a nationwide initiative for establish- dance educators. The Association also ing contemporary dance in schools. The supports the development of experts Bundesverband Tanz Association’s membership – comprised who can provide coaching to dance and in Schulen of regional Dance in Schools projects, school educators. individuals, and organizations – strives to make dance available to all adolescents, The Association conducts ongoing regardless of socio-economic status, research to evaluate the effectiveness ethnicity, or school type. The Dance of projects, by using questionnaires, in Schools initiative instructs children interviews with participants and stake- and youth in non-verbal communication holders (such as corporate partners), through physical self-expression. and by collecting feedback through pupils´ diaries. It also provides tools to The Association also promotes pupil help programme administrators conduct and teacher involvement in the creative their own self-evaluations. The research process. The collaboration among artists, reveals that boys require more motiva- pupils, and teachers facilitates cultural tion for this activity, and that participants exchange between the dance world and love it when their work culminates in a the world of education – two groups that performance. Findings also show that would otherwise seldom interact with dance incorporated into daily school life each other. is more desirable than dance offered through special projects. Funded entirely by the Federal Ministry of Education and Research (BMBF), the For more information visit Association is a resource for dance edu- www.bv-tanzinschulen.de (engl.). cators and schools. Annual conferences,

Welttanztag (World Dance Day) – a dance performance by Tanztangente Berlin with students from Lenauschule Berlin.

46 From Policy to Practice and Practice to Policy

Actor Guido Hammesfahr participates in a Jedem Kind ein Instrument (An Instrument for Every Child) event.

Three Innovative Partnerships with Policy Potential Kinder zum Olymp! – An Instrument for Every Child – Rite of Spring

hat puts three arts education initi- tition raises awareness about the neces- way people envision arts education. For Watives together and into a category sity of local partnership in successful the school year 2009/ 2010, the com- of their own is their ambitious scale, the arts education. petition includes an additional prize for innovative partnerships they create, and schools proposing plans to incorporate the potential they have for changing Initiated by the Cultural Foundation of the arts into the whole curriculum. education policy on the national level. the States (Kulturstiftung der Länder) with sponsorship by the Deutsche Bank Music for every student Supporting sustainable Foundation, Kinder zum Olymp! awards partnerships existing or planned programmes in Jedem Kind ein Instrument (An Instru- seven arts disciplines, and in each ment for Every Child) aims to provide The primary objective of Kinder zum school age cohort. Over 1,500 prizewin- high-quality supplementary music edu- Olymp! (Children to Olympus!) is to ning projects since 2005 are profiled in a cation in primary schools. support sustainable partnership between print and online directory. arts institutions, artists, and schools. This three-year programme places quali- With over 1 000 submissions each year, With its nationwide reach, Kinder zum fied music teachers from special schools the Kinder zum Olymp! national compe- Olymp! has the capacity to shape the music schools into primary schools

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“concrete playground”, a RUHR.2010 art project.

throughout the Ruhr region of North renewed support by the state of North world-class orchestra and dance team Rhine-Westphalia, a learning oppor- Rhine-Westphalia. – as primary target groups. The project tunity that often blossoms into further also relied on the cooperation of local advanced music education. Empowerment dance studios and willing parents. For through dance the Berlin Philharmonic under the An Instrument for Every Child is ad- direction of Sir Simon Rattle, it was the ministered by a foundation of the same During the winter of 2002-2003, the first time participating in an education name, which manages education for educational department of the Berlin project of such large scale. For many of teachers, intra-regional research, and Philharmonic Zukunft@BPhil launched the pupils, it was the first time being on communication. It also assists schools Rite of Spring, an education initia- a stage. The award-winning documen- in obtaining instruments for students tive bringing together multiple part- tary film Rhythm Is It!, which follows and advises them on other aspects of ners from across the city of Berlin. The three students throughout the rehearsal implementation. As of the 2009 / 2010 final product was a performance of Igor process, opened in commercial theatres school year, 56 music schools have part- Stravinky’s Rite of Spring accompanied and has been viewed by millions world- nered with 522 primary schools to pro- by 250 children and adolescents danc- wide. vide instruments and instruction to over ing – many for the first time – onstage at 40 000 students in 42 communities. the Arena in Treptow, Berlin. The expe­ The project ignited similar projects in rience gave participants the opportu- subsequent years, enabling veteran and The 55 million euro project relies on nity to develop their self-confidence and new participants to continue interacting support from the German Federal Cul- capacity for expression. with the Berlin Philharmonic and chore- tural Foundation, the state of North ographer Royston Maldoom (see p. 50). Rhine-Westphalia, GLS Treuhand Working with Bürgerstiftung Ber- Foundations for the Future, and other lin (Citizen’s Foundation of Berlin), For more information on all three pro- private sponsors. First conceived as a organizers identified three schools serv- grammes visit: www.kinderzumolymp. complement to European Capital of ing Berlin’s underprivileged popula- de (engl.), www.jedemkind.de (engl.), Culture RUHR.2010, an Instrument tion – adolescents who would otherwise and www.rhythmisit.com (engl.). for Every Child will live on through not have opportunities to work with a

48 From Policy to Practice and Practice to Policy

100 Projects for Shakespeare performances and a DAY Therefore this puppet can serve as the OF SONG with Bobby McFerrin, the ideal mediator for integrating many Children and story of the transformation of this difference cultures. Youth industrial region to a cultural metropolis www.ruhr2010.de/kasperiade includes art “from, by, and for” children and youth. A small selection of program- • IDO – Streetdance World Junge Kulturhauptstadt: ming for children and youth conveys Championships RUHR.2010, the RUHR.2010’s multifaceted offerings. Graffiti, breakdance, streetwear, beatboxing – just a few forms of urban European Capital of • Nacht der Jugendkultur (Night of subculture connecting youth worldwide. Culture Youth Culture) Youth from all parts of Europe come A full night of programming through- to the Capital of Culture to showcase out the Ruhr Metropolis, organized by their unbridled creativity in this annual youth themselves and highlighting the competition. www.ido-online.org importance of arts education in the Capital of Culture. www.essen-fuer- • Schüler Verstehen (Understanding das-ruhrgebiet.ruhr2010.de/nacht-der- Students, Improvisations on Inter- hildren and Youth are naturally jugendkultur. culture) “Cthe audience of tomorrow, but Using improvisational theatre tech- they are also already the audience of • Ritter Rost (Knight Rust) niques, artists and students from three today”, says Aslı Sevindim, artistic An illustrated, kid-friendly series of schools help researchers understand director City of Culture at RUHR.2010 books, educating children about the how people with cultural differences GmbH. During a year when the history of the Ruhr region and the interact with each other. whole world, and especially Europe concept of an European Capital of www.ruhr2010.de/schueler-verstehen community, has its eyes on the Ruhr Culture. Metropolis in northwest Germany, www.ritterrost.de For more information and an up-to-date the organizers of RUHR.2010 have list of the 100 Capital of Culture projects focused on its younger audience. • Kasperiade (Punch and Judy) visit www.essen-fuer-das-ruhrgebiet. The best known puppet character in the ruhr2010.de/junge-kulturhauptstadt From children-only art tours and West has a lot of different names and museum workshops to skateboard left plenty of traces of cultural history.

Participants of RUHR.2010’s DAY OF SONG.

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In His Own Words Royston Maldoom on the Qualities of Successful Dance Projects

How do you go about creating a changed to create a more humane envi- project concept? How do you iden- ronment. Street children can definitely tify the groups with whom you want to benefit, not only because of their own work? increased self-esteem but also because high-profile positive exposure through The projects must meet my basic criteria performance can change social attitudes which are: towards them. Choreographer and educa- • Inclusivity (across physical boundaries tor Royston Maldoom talks or inter-cultural, inter-generational, From a resource perspective, what are inter-faith and mixed ability) the most challenging aspects of organ- about the qualities he looks • Plans for future development and izing the successful dance projects of for when embarking on a continuity. the scale of the work you have done new project, the power of • It is understood that there will be no with Zukunft@Phil and other German dance to change people, auditions, and that participants will not dance groups? and the challenges and be selected on the basis of “perceived” lessons of working with talent, but according to need. The most important factor is to find • A strong social agenda must always be funders who are committed to the long funders. present but I also insist on a commit- term and who allow the projects they ment to the highest possible artistic support to be “artist-led.” In my expe- integrity. rience these are rarely public funders but private foundations. Public or state The themes of my pieces generally funding, which could be pivotal for centre on themes of conflict and reso- community arts development often falls lution, integration and acceptance, but short because they overemphasize the are rarely directly related to the spe- social aspects of the work and under- cific circumstances of the individu- value of artistic and cultural com­ als or groups I work with. Rather, I ponents. Government institutions are tackle broader world issues where the prone to devising inappropriate pro- performers can understand their wider grammes from offices in ivory towers role as world citizens and work free of that are then sold to the artists and social labels or personal categorisations. community leaders. The cultural deliverers are then forced to adapt You have worked on a number of their work to meet often inappropri­ projects that engage groups of people ate or irrelevant criteria in order to who don’t ordinarily have an opportu- receive funding. Sadly there is lit- nity to participate in dance. What other tle understanding of the need to socio-economically underprivileged research good practices that are already groups do you feel could benefit from happening and adapt the funding to collaborative dance projects? meet their needs. Royston Maldoom I would not exclude any group, as my Government and local government ini- experience with middle class students tiatives unfortunately are rarely sustain- from good schools and economically able in the long term, probably due to secure backgrounds can equally feel the short term nature of politics. Projects experience low-self esteem, exclusion set up under government or public and loss of direction. I believe from my schemes may just be getting established own experience that people in custo- when funding priorities and guidelines dial institutions e.g., prisons and mental are changed to accommodate some new health facilities also benefit from cul- fashionable theory or when personnel tural experiences, and here it is often change. the institutions themselves that can be

50 From Policy to Practice and Practice to Policy

The next problem is that many organi- What challenges did you encounter British choreographer Royston Mal- sations do not understand the particular while working on Rite of Spring in doom has been the initiator and leader needs of dance, particularly the need Berlin (see p. 47), and how have they of numerous dance projects all around for large spaces, safe floor surfaces and been addressed in subsequent dance the globe for the past 30 years. His dance friendly performance venues. projects? autobiography Tanz um dein Leben (Dance for Your Life) was published in Third many of the larger organisations Despite the work of Sir Simon Rattle to German in March 2010 by S. Fischer. will want to benefit from short term open up the Berlin Philharmonic, there publicity for the event. There can be a was a deeply entrenched, traditional lot of disruption from the media, such as way of working and an understandable intrusive video-taping. The media inter- lack of knowledge of how community est can run counter to the interests of the arts (and dance in particular function). dance project and the participants. There was also a great discrepancy between the treatment of the dance What do you think is the key factor in deliverers and the musicians, which has creating meaningful arts education mostly disappeared over subsequent experiences? projects and has resulted in harmo­nious partnership and greater respect for the Four things: a determination to follow dance. Four projects later, the 2009 a strong artistic agenda in the belief Bartok project was I believe a great that by doing so one will maximise the example of how “high” art and commu- social benefits; an unshakeable belief nity art can work together for maximum in the extra-ordinary potential of every benefit of all concerned. I also pay trib- human being; a commitment to helping ute to the efforts of Deutsche Bank and people to achieve their maximum poten- the Berlin Philharmonic, an organisation tial within the constraints of the project; primarily committed to music and music and the courage to challenge prevailing education, to ensure the maximum sus- attitudes when they interfere with the tainability of the dance project. above.

Royston Maldoom working with students.

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A Key Partner in the Field A Profile of the German Federation for Cultural Youth Education

ifty-one specialised organisations than ten million young people and mul- Voluntary Social Year of Fand national associations active in tipliers of arts education for young peo- Culture cultural education for young people in ple participate in the seminars, projects, Germany have joined forces under the competitions and events organised In cooperation with the Federal Minis- umbrella of the German Federation for by BKJ member organisations. These try for Family Affairs, Senior Citizens, Cultural Youth Education, (Bundesver­ activities cover areas of culture such as Women and Youth, BMFSFJ, (Bun- einigung Kulturelle Jugendbildung, visual arts, music, drama, theatre, dance, desministerium für Familie, Senioren, BKJ) to work towards a common goal: literature, photography, film, computers Frauen und Jugend) and several regional the promotion and advancement of and video. Ministries for Youth Affairs, BKJ oper- extra-curricular arts education for chil- ates a nationwide volunteer programme dren and young people. Their special- In its function as an umbrella organisa- enabling young people to work directly ised knowledge and experience in the tion, BKJ facilitates the exchange of in cultural institution or on projects for education sector enable them to contrib- information on issues of arts education one full year. This civic commitment ute to successful advocacy of youth and for children and young people between helps young people to acquire new com- cultural policy interests and to a diver- the member organisations and other petencies and orient themselves profes- sification of cultural education for chil- interested groups. BKJ represents youth sionally. The award-winning initiative is dren and young people on both national and cultural policy interests, on both monitored by Quifd, the German Agency and international levels. Each year more national and European levels. for Quality in Voluntary Services, using an evaluation system developed specifi- cally for the programme characteristics.

The Cultural Competency Record With the Cultural Competency Record (Kompentenznachweis Kultur, KNK), the non-formal arts education sector can offer, for the first time, a high quality tool for assessing and making the learn- ing outcomes of arts education activi- ties visible. An educational “passport” that succinctly describes artistic activi- ties pursued by the young person and the individual strengths he or she has demonstrated in the course of arts educa- tion projects, the record also improves the quality of cultural education in which the KNK is used. Teachers and arts edu- cators receive training in assessing the development of competencies.

In cooperation projects with schools, KNK offers arts educators the ability to examine more deeply the competencies and capabilities of participants who may have a lot of difficulties in the normal formal school-system.

To learn more about BKJ´s projects and explore the BKJ Projektbank Jugendkulturarbeit, a database contain- ing ideas, and contact addresses for all areas of applied arts education, visit Participant at a painting workshop at BKJ. www.bkj.de.

52 Initiative Creative Gaming workshop.

Partnerships that Create New Learning Spaces for All „ UNESCO today 1/2010 Arts Education For ALL“

Brigitte Schorn and Ernst Wagner The Need for Innovative Partnerships and New Learning Spaces

hese approaches are complemen- spare time, at school, or planning for Ttary, preparing children and ado- the future. lescents adequately for the future, and Families, the leisure providing adults and the elderly oppor­ In order to make responsible life industry, schools and tunities to live life to its fullest. The choices, young people need a solid extracurricular institutions general consensus in Germany is that school education or vocational training. all have their own priorities arts education is an essential part of life- They also need basic life skills: they long learning. Competitions, pilot pro- need confidence in their own strengths, and approaches to the grammes, and discussions in this field courage to look at things critically, and education of children, are currently focusing in particular on the willingness to accept responsibility adolescents and adults. partnerships among schools, artists, and for themselves and others. extracurricular providers. It is becoming evident that education can Today’s challenges require no longer be described as passing down new learning concepts a fixed canon of technical know-ledge, skills and views to the next generation. We are living in a society that places What people are learning today must be high expectations on the individual. suitable for application in and, if neces- Young people in particular are chal- sary, adaptation to a variety of complex lenged to take command of their lives – situations and contexts. What we are to reconfigure their lives in view of the learning today must teach us how to con- social, cultural and economic changes tinue to learn autonomously; it needs to around them, whether coping with be useful when it is time to take action or routine family situations, during their solve new and unfamiliar problems.

Infusing Arts n integral part of Germany’s arts offer arts education at reasonable prices Aeducation infrastructure for over (for as little as 10 euros per session). into the Day 40 years, Jugendkunstschulen (youth art schools) enable children and adults In addition to after-school enrichment to participate in high-quality creative programming, Jugendkunstschulen Germany’s Youth Art experiences in a non-formal setting provide vital in-school arts education Schools outside of school. But Germany’s over support. From individual projects to 400 Jugendkunstschulen are more than daily programming designed to com- just an after-school activity – these days plement the school day, Jugendkunst- they have a notable presence in schools schulen give students access to quality as well. arts education under the direction of certified arts specialists. Germany’s Jugendkunstschulen are community-based organizations offer- An overview of Germany’s Jugend- ing opportunities for children, youth, kunstschulen can be found at the and adults to engage in creative activi- National Association for Youth Art ties across the full-spectrum of arts Schools and Culture Pedagogy Organi- disciplines. Financed through various zations (Bundesverband der Jugend- sources including public funds, earned kunstschulen und Kulturpädagogischen income, private donations, and earned Einrichtungen e.V.) website, income initiatives such as instrument www.bjke.de. rental or events, Jugendkunstschulen

54 Partnerships that Create New Learning Spaces for All

The special role of arts and culture Arts education programmes signifi- cantly help young people develop self- confidence. Active involvement in arts and culture supports young people as they develop self-awareness and forge identities.

In addition, arts education promotes and challenges key competencies that are important for professional success and for playing an active role in society. Active involvement in the arts or other forms of cultural education stimulates creativity, social interest, sense of res- ponsibility, and self-confidence. For instance, drama, dance, circus, music, literature, media and the fine arts help children and adolescents to get along in the world.

Anna has been a member in a drama group at a theatre education centre for seven years. She is eighteen years old and is currently training to become an optician. When she had to fill in as a A Freedom Theatre Palestine performance, KinderKulturKarawane. sales assistant for a colleague who was off sick, she was initially scared: “I had never done that before”. But after her first day her boss was already impressed Anna’s explanation for her success: Like Anna and Jonas, many young In contrast to schools, “Improvising – that’s what drama class people spend their spare time at arts these environments make has taught me”. education institutions and after-school it possible to experiment projects such as young people’s art and Jonas is fifteen years old. Some years music schools, drama and dance work- regardless of the result, to ago, he kept showing up at the children shops, literature cafés or media centres, think holistically, to learn and youth circus. Initially he only went children’s museums or youth circuses. and experience through occasionally, but after a while, he atten- Nobody doubts the fact that the young playing – which is ded the training sessions more regularly. people learn a great deal during this time By now, he knows how to juggle and – even outside their actual discipline. completely different from ride a unicycle. He also likes to play the The experience they gather influences judging performance and part of the ringmaster during perform- their personality, their value system, and awarding marks. ances. He directs the audiences through attitude towards life. Arts education pro- the programme with self-confidence, motes a number of key competencies: charm and wit. He teaches younger kids creativity, team spirit and self-confi- how to ride a unicycle. Jonas says: “If dence, stamina and flexibility, organi- you know how to do something, you can sational talent, and ability to improvise be proud of yourself”. – to name but a few.

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Innovative forms of Being confronted with the unknown, co-operation with new techniques, thought-provoking Enhancing questions and challenging environments Community There is a general consensus that com- creates room for involvement and per- Partnerships prehensive education can only be suc- sonal development”. Learning in such cessful if all the parties involved in the cultural environments adds new dimen- in North Rhine- education of children and adolescents sions that a school is unable to impart. Westphalia co-operate with one another, fully aware Evaluations show that such experiences of their shared mandate. This requires are stimulating for children and adoles- Community Masterplan an interaction between different areas cents. In contrast to schools, these envi- for Arts Education and types of education. It is becoming ronments make it possible to experiment increasingly important for educational regardless of the result, to think holis- partners and learning spaces to establish tically, to learn and experience through networks, share resources and enhance playing – which is completely different ince 2007 the government of the effect of education through co-op- from judging performance and award- SNorth Rhine-Westphalia has eration. “In order to give children and ing marks. The adults involved are pre- sponsored a state-wide arts education adolescents more opportunities, net- dominantly facilitators, unlocking a new competition to stimulate meaningful, worked programmes, more creativity world the young people have to discover cross-sector partnerships between and innovation are needed. The objec- for themselves. Artists may provide new civic groups. Award-worthy arts edu- tive is to create a stimulating education- perspectives. Students profit from their cation plans not only bring artists to classrooms, but also engage external al landscape for all”, says Max Fuchs, professionalism, passion, and different organisations such as libraries and Chairman of the Deutscher Kulturrat mindset, and appreciate the freedom local businesses, as well as volunteer (German Cultural Council). from the school’s constraints. Artists citizens in providing comprehensive and mediators see the students with dif- arts education. This Community Schools are the most important and larg- ferent eyes, and are less judgemental, Masterplan competition recognizes est educational institution that reaches not knowing students’ school biography. the necessity of arts education shaped all (!) young people; they cannot, how- Children and adolescents sense that, and by local values. ever, meet the various expectations on respond with new behaviour patterns. their own. It has always been the case Exemplary projects include partner- that institutions of arts education for Students are able to develop, create, ing with architects to teach students children and young people and cul- and experiment in authentic situations about the design and impact of one’s built environment, artist-led group tural organisations such as museums, in an artist’s studio, on a stage in a the­ coaching sessions for teachers, and libraries, and theatres have occasion- atre, surrounded by bookshelves in a the establishment of formal cultural ally partnered with schools. For some library, or amongst the old machines in an mini-hubs (Kulturpunkte) throughout years now, however, there has been an industrial museum. These learning the city. increasing focus on these institutions environments, their technical possibili- and organizations, which arises from the ties, the skilled educators, and the geo- Annual prizes beginning at 10 000 increased prominence of arts education. graphical separation from the school euros are awarded in four different There is a need for openness in all sec- building all contribute to broadening ­categories based on population. tors and from all players, and a mutual horizons. Young people and children approach. enjoy experimenting and getting to The Community Masterplan is part know different environments. of the North Rhine-Westphalia’s Landesprogramm Kultur und Schule New learning spaces for (Culture and Schools State Pro- children and adolescents Characteristics of gramme) that facilities and enhances co-operative projects arts opportunities for children and Institutions of arts education see them- youth. selves as providing important realms of Arts education is associated with meth- experience and learning environments odological-didactic qualities that need For previous winners, application for artistic production and reception. to be reviewed and evaluated on a con- forms, and additional information visit Youth art and music schools, theatres, tinuous basis. These specific qualities www.kulturundschule.de libraries, museums, artists’ studios, include a holistic nature, the experience and dance and media workshops pro- of self-efficacy, orientation towards vide a wide range of opportunities for strengths, participation, a trans-cultural young people to express themselves and nature and raising public awareness. develop creative interests. Arts education work is characterised by Eugen Lang, headmaster at Kurfürst holistic forms of playing and learning. Balduin School in Trier, states: “Learn- “Learning with all senses”, is an age-old ing in such environments draws one’s requirement, put forward by Comenius attention to other aspects of reality.

56 Partnerships that Create New Learning Spaces for All

Thinking Creatively and Critically: Conveying the Creative Scope of Computer Games

Initiative Creative Gaming

Student working in Initiative Creative Gaming workshop.

n an increasingly digital world, the Initiative Creative Gaming places media Initiative Creative Gaming is independ- Ineed for media literacy is large. educators into schools nationwide, ent from the electronic game industry Electronic games are one link between where they instruct pupils on the art and supported by various public digital art and media education. The of creating electronic games. Through funders including the Federal Ministry guiding philosophy of the Initiative hands-on workshops and seminars par- for Education and Research (BMBF), Creative Gaming is that those who play ticipants learn that electronic games are Landesmedienanstalt Berlin Branden- and enjoy games should also be able both toys for entertainment as well as burg, Bundeszentrale für politische Bil- to think critically about media. Through tools for storytelling. dung, and Jugendinformationszentrum electronic games, youth can learn about Hamburg. social biases and cultural touchpoints in The project also trains teachers in media. They come to understand that creative gaming, so that they can incor- To read about the workshops as forms of cultural communication, porate its methods into the formal class- and their final projects visit games have a tremendous potential room. In-school workshops culminate in www.creative-gaming.eu for creative expression and should be an annual festival for project participants guided by more than just commercial to showcase their creations. The festi- interests. val also offers an open laboratory where members of the general public have an Launched in 2007 by a group of media opportunity to explore their own crea- artists and educational organisations, tive potential through games.

(“knowledge is based on sensory im- They provide differentiated access to the pressions”) and Pestalozzi (“learning subjects to be worked on. with head, heart, and hand”). Nowadays, the validity of this approach can be veri- Self-efficacy is an experience that fied with findings from cognitive and many children and adolescents do not edu­cational research. The assumption take for granted. Self-efficacy means to Extracurricular cultural that head, heart, and hand constitute experience subjective control and to feel education is always a learning unit is now an empirically competent in different situations in life. focused on the individual’s verified certainty. Our senses and our Experiencing self-efficacy is the basis thinking are inseparable. Successful co- for self-esteem and self-confidence. strengths. operation projects between schools and Children and adolescents need to be able cultural/arts education institutions pro- to realise that their contribution has an vide a wide range of holistic forms of effect and a purpose. They need to feel learning, including affective-emotional that their peers and adults accept and and cognitive-intellectual requirements, appreciate what they are drawing on: emotion and reason, action and relax- motivation, emotions, and ideas. Cul- ation, concentration and wild activities. tural educational projects provide such

57 „ UNESCO today 1/2010 Arts Education For ALL“

experience by emphasising the process Arts for the Aging of creation and by developing projects and performances through joint efforts, no matter whether it is dance, drama or Bundesarbeitskreis Seniorentheater painting and drawing.

Extracurricular cultural education is always focused on the individual’s he Bundesarbeitskreis Senioren- the overall quality of those experiences strengths. Tom Braun, head of a pilot Ttheater (Theatre Training Program- by training qualified directors to work programme called “Learning the Art me for Senior Citizens) offers an often with senior citizens. of Living” says that “emphasising overlooked part of the population a strengths requires a change of perspec- means of cultural expression, thereby Public funding from the Federal Ministry tive: it is not about identifying what enriching the diversity of expression in for Families, Senior citizens, Women the individual is unable to do but to society. Senior citizens active in creat- and Youth, (Bundesministerium für realise what skills and strengths he or ing and performing theatre have access Familie, Senioren, Frauen und Jugend, she shows in certain situations, how to training programmes designed to BMFSFJ ) and the Federal Govern- much he or she is able to do and to ac- improve their artistic and physical skills. ment Commissioner for Culture and complish and when. This is the way to In specially designed courses for senior the Media (Beauftragter für Kultur and strengthen children’s and adolescents’ citizens, they enhance their creative Media, BKM); as well as the Federal skills and continue to develop individual Foreign Office and state of Baden-Würt- personality; they learn how to deal capacities. temberg supports an annual, interna- with their weaknesses in a better way”. tional theatre festival for senior citizens. Recognition and stimulating feedback Initiated by the Association of German help them to trust in themselves. It Amateur Theater (BDAT), the initiative For more information about the pro- helps them build the confidence that not only opens up opportunities for gramme visit www.bdat.info. they are allowed to experiment with senior citizens, but also aims to improve different ways, make mistakes in the pro-cess without feeling embarrassed about it and receive support when they need it in difficult situations. The fact that children and young people have different individual talents is regarded as an opportunity. They do not need to be able to do the same things equally well. However, educators see to it that the different strengths can be empha- sised effectively.

Participation is another important principle in work with children and young people, and many schools are now committed to a learning culture that is based on participation. Never- theless, in most cases, students do not get beyond the level of involvement. Cooperation projects should use the opportunity of having children and adolescents participate in decision- making processes and create joint activities on a sustained and consistent basis, tailoring activities to their inter- ests and allowing children to have a say and be creative. The objective is to foster responsible self-determination.

Difference, heterogeneity and diver- sity are central terms of the current educational debate. One of the main objectives of cultural education is to recognise differences without discrimi- European Theatre Festival for Senior Theatre Groups, Pforzheim, Germany, 2009. nating against individuals or adopting

58 Partnerships that Create New Learning Spaces for All

a limited perspective, i.e. focused on Joining hands, viders, craft enterprises, artists, ethnic characteristics. This means cre- using potentials corporations and schools provide en- ating room to recognise and appreciate couragement to continue to roll out differences. Cultural education aims at For a sustained learning experience co-operation projects. Examples addressing all parties involved with the that contributes to key competencies, from schools (e.g. Helene-Lange same respect. This can be achieved by lessons learned in extracurricular activi- School in Wiesbaden) or pilot pro- providing all participants appropriate ties should relate to the subjects taught grammes (e.g. “Learning the Art of and different access to the project top- in school, so that students aren’t acquir- Living” of the German Federation for ics by taking into account the different ing knowledge of no use. Such a linkage Cultural Youth Education (Bundes- individual talents, and by providing dif- would improve the school curricula and vereinigung Kulturelle Kinder- und ferent means of expression in line with strengthen extra-curricular activities. Jugendbildung) demonstrate that join- the different backgrounds, experiences, ing hands works. The interests and potentials and strengths. If we succeed in merging school and talents of children and adolescents are extracurricular subject matter, if we can what guide us. A play or a dance performance needs bring teachers and educators together, if an audience; pictures and photographs we can expand learning environments Brigitte Schorn is a member of the team need to be exhibited. At the end of and realms of experience, then a holis- at the Arbeitsstelle Kulturelle Bildung every project, the children and adoles- tic education programme is possible. in Schule und Jugendarbeit NRW. cents want to and should show what However, it is not going to work without they have put together, what they have commitment from all players involved, Prof. Dr. Ernst Wagner splits his accomplished. The public performance which implies respect for the profession- professional duties between the Staats- is an important objective and strong alism of others and mutual appreciation. institut für Schulqualität und Bildungs- catalyst for the work. forschung, Munich and the UNESCO Successful partnerships among youth Chair in Arts Education at the Univer- and cultural institutions, media pro- sity of Erlangen-Nuremberg.

Students in a Theatre Junge Generation’s English language production of The Heights.

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Making the Net for Kids (Ein Netz für Kinder) banned, and advertisements must be Astrives to make the Internet a safe clearly differentiated from other parts Internet a Safe place for children and youth to explore of the website. All websites under A and Creative their creative potential. Initiated by the Net for Kids must accommodate chil- German Federal Commissioner for dren with disabilities. Space Culture and Media (BKM) in 2008, in partnership with the Federal Ministry for The websites funded by A Net for Kids A Net for Kids Family Affairs, Senior Citizens, Women, focus on culture and history, with online and Youth (BMFSFJ), the programme platforms for a literature lexicon, music offers two million Euros in grants to sup- school, and museum. The grant pro- port high-quality, age-appropriate, and gramme also prepares users for Web interesting content on the Internet for 2.0 by supporting websites that enable children ages 8 to 12. Funded projects children to create their own content. receive support to cover 50% of the Through such websites children and costs of operating the website. youth can write poems, illustrate, make films, and create radio clips. The nationwide, federally-funded initia- tive addresses several UN protection For application guidelines and a com- areas. Under the Convention of the plete list of funded websites visit Rights of Children, advertisements www.ein-netz-fuer-kinder.de. for adult content, drugs, alcohol, and tobacco are banned from funded web- site projects. Product placement is also

Notenmax-Chopin, A Net for Kids website.

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Winfried Kneip Education and Impact Through Arts A Third Space Where Art and School Can Meet

Art may be effective in the Despite its growing presence in schools curriculum of the imponderable would core area of education – if – apart from a glittering variety of imply integrating an antagonism into the we succeed in defining a projects and summer-festival celebra- core sector of school. „curriculum of the impon- tions – the culture of artists has not been able to influence the core of education, The results of the series of congresses derable“, a third space, as determined by the “major subjects” are as heterogeneous as the field of where art and school can such as German language learning, artistic education itself. But they can be meet. This is easier said mathematics and science. It seems that specified as follows. than done. after ten years of a growing presence of artists and cultural organisations in and 2006 Educators: around schools, which has received lit- There is no relief for teachers per se tle outside recognition, it is time to take when artists and creative people take stock. over lessons or courses. If their ac- Hard Facts? tivities occur at the periphery of school Whatever art is supposed to be, it’s not The Curriculum of the programmes, they are frequently irrele­ one-dimensional! Some do praise it as a Imponderable vant for teachers and, accordingly, are universal remedy for the recovery of the not taken seriously. If they take place German education system; others regard Tired of yet another “artistic education” within the core of classroom instruc- it as a placebo with short-term impact. event, once again presenting an array of tion, a deep mutual trust must develop Both ideas are not compatible. The first “best practice examples”, the Yehudi between teacher and artist to provide en- thing we ought to do is determine what Menuhin Foundation, in cooperation during relief. Transformation processes, art is about in the context of education with the City of Essen, the Folkwang introduced uninvited into the system of and what it should provide. One thing High School, the Robert Bosch Foun- a school by an artist, engender opposi- is certain: cultural or artistic education dation and the Mercator Foundation, tion and often result in the expulsion of is in the spotlight again in Germany in decided to explore the challenging and the artist. the wake of PISA. It is part of the gen- fractious interaction between teach- eral educational debate: is art relevant ers, artists and children by means of 2007 Artists: for education, does it contribute to a three seismic drillings within a triptych The school is often an alien space for “better” school? of congresses from 2006 to 2009. The artists. It challenges their identity and exploration was premised on the experi- leads to a redefinition of their role. Up to now, neither advocates nor ence that the arts and especially artists – Prof. Eckart Liebau states quite coher- opponents have succeeded in proving as well as teachers and children – need ently that each artist serving a school- persuasively whether art is relevant for a free space, defined in cooperation based mandate operates as an educator. education or not, due to a number of rea- with all involved. In what ways can art- Only artists who “use” schools with- sons. The most grave reason may be that ists help educators effectively with their in the very constraints they impose to date there are no canonically estab- educational responsibilities? In what can claim to be acting in schools in lished common standards which might areas is it all too overwhelming or out an artistic mode. Saying goodbye to describe the quality of cultural educa- of place for artists? To what extent can the idea of the “free” scholastic art- tion. A second reason may be that the artists service education while maintain- ist also involves a demand on artists to impact of artistic education can hardly ing artistic standards? assess objectives, define criteria and be measured with and through “hard” face an evaluation on the impact of their criteria. The mere essence of art is to The title “Curriculum of the Imponder- activities. In this context the problem of be imponderable. A third reason sounds able” refers to the attempt to describe identifying that new quality that artists more mundane than it actually is: artists the purpose of the arts for learning – and might contribute to schools – and how and others engaged in the cultural sec- vice versa; to find a translation into a they can preserve the language of the tor have merely succeeded in expand- language that both teachers and artists imponderable in an adaptive and absorb- ing into the core processes of education. understand, that both can agree upon. A ing way – is notably difficult.

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A performance of Theatre Junge 2009 Children: and teachers. It needs to know, for ex- Generation’s English language There are very few topics and few ample, about the stages of development production of The Miracle, see p. 41. artistic processes which are not acces- of children and adolescents and how sible to children. Art which seeks to artistic education might take effect. lower its standards in gearing itself towards children – and which thus How Does Art Take Effect? does not take itself seriously – might not, in turn, be taken seriously by In the first instance, art and each artistic pupils. Only if artists and teachers man- action has a virtue of its own. It serves age to develop and demonstrate a com- to be recreative, inspiring, arousing, mon (though not necessarily equal) irritating, provoking and moving. It understanding of artistic mindset and changes personalities, things, perspec- creative method, will they succeed in tives. It affects everybody! It conveys enhancing and nourishing the education intuitive and distinctive experience and and learning of the arts. Only when art- knowledge. This alone would justify ists and teachers introduce their particu- making art a core element of any educa- lar qualities – which may be educational tion. But despite this it may provide a set and artistic, rough and virtuosic – into of further effects which has proved to be their shared work, is there a chance for beneficial for formal and non-formal experiences, discoveries and under- educational processes. These effects standings to solidify into learning for range from the formation of core com- children and adolescents. petencies to a so-called “collateral use”, such as, for example, an increase in self- The three imponderable congresses confidence and self-efficacy. revealed that art can become educa- tional, even in unintended and non- This is not surprising. The artistic beneficial artistic ways. However, for pro-cess of creation is an ideal learn- an enduring impact within the system of ing process. This daring assumption is scholastic learning art needs a defined reinforced by the latest educational scope; it needs a commonly agreed upon theo­ries and findings of neurobiologists. and developed language between artists No other activity is able to stimulate

62 Partnerships that Create New Learning Spaces for All

the production of messages which raise schools at the expense of music or art artistic identity? And what thereof is motivation and promote learning as lessons. In effect, they are simply dif- of interest to children and adolescents much as artistic recognition and one’s ferent and offer something else. and also relevant for learning? own artistic action. Prof. Dr. Kersten Reich describes in his standard work 2. Not only students but teachers 6. Artists have to be qualified and “Constructivist Didactics”, that learning should also be a focus of artistic monitored intensively as a constructional process proceeds ana­ activities Artists in School are very often “lone logous to a social and creative process. Artist education will never become a operators”. This can be true of teach- The constructive creation of cognition as comprehensive concern of teachers ers too but at least they have the creative inter-action – whilst confront- unless they themselves benefit from support of teaching staff. Remain- ing other experience and perspectives the artists activities directly, be it ing a “stranger” in a regulatory sys- – accrues to learning and behaviour pat- through the revival of their own pas- tem in perpetuity can only proceed terns. The learner thus constructs his sion for artistic works, be it through if artists are intensively prepared for own, individual and distinctive view and artistic methods and techniques that their scholastic work and if they are perception; it is like an artistic creation, they themselves adapt to their lessons. regularly monitored. This monitor- focused and not oriented towards results. ing or accompaniment of the artist 3. Artistic education must become can only be carried out by qualified But learning does not only resemble a part of subject-matter specific experts who are broadly skilled in arts artistic creation as exploratory learning instruction and pedagogy – a job description of process. It can be generally described as The major task of school is learn- its own, with very few standards and productive-constructive effort. “To learn ing. Learning not only takes place in experiences to go by. means to invent.” This is the essence of class, though the classroom is usually the broad research work of Jean Piaget, the acknowledged learning space. As 7. Art in school needs appreciation the renowned developmental psycholo- long as art is pushed off into an area within the arts gist. outside of class, its acceptance will be It’s a stigma that remains with a lot ignored. Artistic learning may serve as of artists operating in schools: that One thesis states that educators could a prototype for school-based learning they have not succeeded on stage, learn from artists how to design a crea- as a whole, even for classroom les- in concert halls, within the art mar- tive-artistic (alongside a result-oriented) sons, through the orchestration of ex- ket. It is time to counter the image learning process. This would imply that ploratory learning, fuelled by interest, and self-image of artists in schools teachers could, for example, develop which becomes a process of cognition – and to counter it with an apprecia- their own individual artistic mindset, and exploration. tion of their role. Art in school is no methods and techniques, together with longer a “loser’s option” motivated choreographers, stage directors, com­ 4. Artists need “shelter”, their own by a shortage of money. The “art of posers or visual artists, in order to expand aesthetic platform for learning, to cooperation” has left the museums their repertoire and to be able to deploy provide the discovery of “virgin and migrated to the urban life of daily – in Piaget’s sense – a creative culture of soil” routines. This implies that “artists of learning and teaching within their class. Despite how pertinent they are to cooperation” have to expose them- learning, artists are not able to save selves to high-quality standards and Seven Theses: Basic the world, nor a school system in specific demands. This requires plen- Parameters for a Successful need of renovation. Nevertheless they ty of courage and pioneering work to Artistic Education provide teachers with an opportunity develop and enforce criteria. For the to engage in the artistic process and recognition of the artists involved it is What are the conditions that artists and to discover, for example, that failure absolutely essential. creative people need to be able to affect becomes an option for learning suc- schools? cess. In the encounter between the two Winfried Kneip was Managing Direc- systems, “school” and “art”, a unique tor of the Yehudi Menuhin Foundation 1. Schools need subject teachers and aesthetic field of learning unfolds, Germany from 2003 to 2009. Since artists as external experts whose educational objective is dis­ 2009 he has been the Director of the Only the duality of two experts from covery and whose result is diversity. Centre for Education at the Mercator diverse domains can provide the com- Foundation. plex needs of an artistic edu­cation, and 5. Artists have to confront the learn- only then with the help of a jointly- ing relevance of their artistic work developed language of the arts. Artists Artists face a specific challenge: the are not competing with music or art examination of their own artistic teachers. They are also experts, pos- identity, of their own personal view. sessing other competencies in the They cannot avoid this challenge if same field. This is why artistic pro- they choose to work in schools. What grammes must not be introduced to makes me an artist? What is my own

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Students take their work to the streets during Vision Kino’s SchulKinoWochen (School-Cinema Weeks).

Thomas Ritschel oethe’s witticism could be inter- Gpreted as follows: Art can both be an individual, aesthetic experience as well as a social, political reflection Artistic of the world. Depending on how art is understood, its role in education will Interventions be interpreted differently. Is artwork to be presented as an object for discussion in the Public by (professional) artists or is it instead something to be produced in an inter- active process in which artists and view- Sphere ers are equally involved, in which the boundaries between the artist and the Learning Through a Break in Routine audience overlap? A related question is whether the role of the arts is sim- ply to motivate educational processes “There is no surer way to evade the world than or instead to be an essential content of through art, and no surer way to connect with it”. education. Since Goethe does not give Johann Wolfgang von Goethe, Die Wahlverwandt- an answer to the question how “to con- schaften (Elective Affinities) nect surely with the world through art”, I would like to attempt an answer here.

The question to be considered is the relationship between art and education in the context of the discussion about “new places of learning”, especially education in the public area.

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New places of learning in enables the learner to approach person- the public sphere ally. The transmission of the “material- ity of memory” through the interaction Since the beginning of the 1990s, the of space, artefacts, and people provides concept of a “place of learning” has a wide range of learning methods and grown in importance in youth and encourages self-motivated learning. adult education. This was (and still This means that learning takes place is) linked to the debate on new forms in action- and experience-oriented of teaching and learning which were ways. “Learning onsite” in the form of (and are) expected to address the stag- sightseeing, guided tours, excursions, nation of traditional approaches to explorations, travel seminars, educa- political education. In contrast to the tional trips, city games, and thematic knowledge-based approach of schools rallies often linked with meetings with and teachers, non-school education experts or historical witnesses, enables increasingly refers to biographic, com- participants to learn, reflect, and com- municative/activity-oriented, project- municate their results onsite. These ap- like, multimedia and explorative learn- proaches also underline the importance ing forms related to the surrounding of documentation; discoveries and find- space. Within this context, the “dis- ings should be processed and presented covery of the place of learning” can be in various media to the participants and regarded as a central element of educa- sometimes to a larger public. tion. The connection between content and the place of learning is an essential Artistic intervention in element of this educational approach. A places of learning place and its history and stories provide more than just the motivation for learn- The discovery of the public area as a ing, they comprise the background that learning place leads increasingly to

Forging programmes develop their capacity for communication. “First Metal” Connections programmes, which begin with the to Intangible artist instructing a group of older ado- lescents who then become instructors Cultural Heritage to younger children on the second day, trains participants in passing knowledge to younger generations. Development Mobile Blacksmiths of this vital communication skill has a Laboratory multiplying effect, enabling students to participate in other crafts requiring the transfer of hand-on knowledge. he container-sized silver anvil hous- Ting the Mobile Blacksmiths Labo- Supported by private firms based in the ratory may be a whimsical sight as it communities to which it travels as well travels around Germany and abroad, as by public bodies, Mobile Blacksmiths but it carries rich traditions reaching Laboratory represents a model for how back to ancient man. Since 2007 Mobile local private businesses can support Blacksmiths Laboratory, a project cre- education projects enabling people to ated by artist Andreas Rimkus, has been connect to their human past. protecting and cultivating an intangible aspect of culture – the creative art of For a full schedule of the Anvil’s blacksmithing. Within this laboratory travels visit www.a-rimkus.de/amboss/ setting children and adults have an amboss_home.htm. opportunity to experiment with metal, as well as other natural materials. They also have the freedom to incorporate playing, singing, and other creative activities into the experience.

In addition to technical skills, Participants at a Mobile participants in Mobile Blacksmiths Blacksmiths Laboratory event.

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Students working on their film>>up interkulturell projects.

Filming he film>>up interkulturell initiative, teachers with training sessions, con- Tfounded by the up-and-coming Inter- ference, and workshops. Nationwide, in the Streets national Film Festival and the Federal 100 teachers have taken advantage of Ministry of Education and Research the filmlehrer.de internet portal. The film>>up interkulturell (BMBF), aims to involve adolescents film>>up interkulturell Initiative ends from all social backgrounds and give with a Learning Congress in Hannover them new perspectives on the commu- on September 2010 for CITYZOOMS nities in which they live. participants and other interested parties.

In 2007 film>>up interkulturell also Accompanying film>>up interkulturell is established CITYZOOMS film “camps” an evaluation initiative aimed at under- in Dresden, Frankfurt, Hamburg, standing how young people with differ- Munich, and Rostock. The CITYZOOMS ent social backgrounds work together, project teams up adolescents of dif- the overall conditions they require, and fering socioeconomic backgrounds what is lacking in schools and non- to produce professional-level films. In school educational institutions when the participating cities, a total of 130 they embark on collaborative projects. pupils from different schools took to the The research also examines film as a streets to film and engage members cultural medium and defines criteria for of the general public. The resulting 34 evaluating media works. The research films were true to the human and urban is based on analysis of journal entries character of their respective cities. written by participants each day of the All the CITYZOOMS film teams were production, as well as administered guided by qualified media educators surveys. The evaluation is a first step and professional artists. The multi-city toward collecting empirical evidence project also gave rise to partnerships on which an assessment of the role of between 50 schools and 25 non-school media in education policy can be made. media centres. For more information to view the In addition to professionally-led work- teacher’s portal visit www.film-up.org shops on filmmaking for students, and www.cityzooms.de. film>>up interkulturell also supports

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an extension of existing methods, as the other reveals another world and Art in public spaces well the development of new, specific offers an opportunity to encounter a provides the aesthetic approaches. Artistic approaches also different system of perceptions. Only alienation that activates inspire a number of (new) methods for such encounters, which incorporate educational encounters in the public energies from the outside, ensure that the educational process. area such as seminars about the urban one’s own perception system remains space, radio ballet, living library, tram dynamic. Perception is the basis for readings, and reading chains. All these the observer to form interpretations methods understand the public area as of what has happened. It is a condi- an explicit place of learning. For demo- tion for aesthetic education. (Silke cratic communities, the public area is Ballath)1 a constitutive element providing the conditions for the freedom of assembly Artistic intervention aims to alienate. Art and for forms of political engagement. in public spaces provides the aesthetic Although undeniably losing the function alienation that activates the educational described to some extent, the public area process: continues to fulfil important social and cultural tasks in everyday life for leisure Art projects in the public area can activities of all generations by establish- provide the instruments and cognitive ing spaces for communication, play, processes that enable participants meetings and also for self-expression. of a community to develop problem- The increasing regulation, constriction solving skills. Art implies potentials and supervision of the public space are for interventions in the community: generally one of the central challenges Art reveals reality by making con- for artistic activities in the public area tradictions visible and experien- and resonate as an often unaddressed tial. It also contributes to shaping issue in the background. reality, e.g. the public area. Art provides a way of analysing and Until recently, art in the public area was exploring the world, for both artists primarily understood as “art for archi- and others participating in its pro- tecture” or the application of artistic duction, as well as for the recipients. elements in the cities. Although this con- (Christel Langlotz)2 cept still exists, today art in the public area is regarded as a medium for sensi- Goethe may not have given us the an- tising people to publicly relevant topics. swer for how connect to the world The insertion of visual and performing through arts, but we can look to the Ger- arts are evidence of the interventionist man philosopher Georg Friedrich Hegel Symbolic bricks representing the Berlin influence. This concept of the role of the for the key to how arts are a crucial com- Wall in front of the Brandenburger Gate, arts can be traced back to among others, ponent of education in the public area, Mauerreise, see p. 87. Joseph Beuys and his idea of the social “That which is alien or removed capti- sculpture or to Augusto Boal’s concept vates our interest, drawing us to activity of theatre. and endeavour”.

When routine is broken and one must Thomas Ritschel is an adult educa- absorb the unexpected, the educational tor, trainer, photographer, artist, and process can begin. And that which is since 1997 the managing director of the different causes the observer to newly department for adult education of the define and reconstruct himself. Lutheran Church in Thuringia.

The variety of perceptions have This text is an abridged version of an 1 Soziale Zugangsbeschränkungen zu zeitgenössischer community-building and educational article published in Außerschulische Kunst im öffentlichen Raum, Hamburg 2006 potential, in that encounters with Bildung 3/2009. 2 http://ask23.hfbk-hamburg.de/draft/archiv/ml_ publikationen/kt01-5.html

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meine Art – deine Art project participants. The Federal Academies for Arts Education Remscheid – Trossingen – Wolfenbüttel

The cultural pedagogy vanguard in Germany is comprised of three Federal Academies at Remscheid, Trossingen, and Wolfenbüttel. Each academy is funded in part of the Federal Ministry of Family Affairs, Senior Citizens, Women and Youth (BMFSFJ), as well as by their respective state governments.

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Inclusion and Empowerment of Children with Special Needs in Arts Education

meine Art – deine Art

eine Art – deine Art – Inklusion serving people with special needs. M und Empowerment in der kul- The programme also engages educa- turpädagogischen Arbeit (my art – your tors and parents of participants, making art – Inclusion and Empowerment them sensitive to the importance of and in Cultural Pedagogy) is a two-year opportunities for inclusion. programme from August 2008 to Sep- tember 2010 aimed at creating new As a pioneering programme, the meine opportunities for inclusion in arts edu- Art – deine Art project serves as a cation for children with special needs. resource for others interested in launch- Initiated by Jugendkunstschule Köln ing inclusion projects. In co-operation (Cologne Youth Art School, see p. 54) with the Heilpädagogischen Fakultät meine Art – deine Art consists of fifteen der Universität zu Köln (Department of arts projects in which an organization Therapeutic Studies at the University serving disabled children was paired of Cologne), Jugendkunstschule Köln with an organization serving non-disa- organized a conference in March 2010 bled children. Under the watchful guid- to share information and discuss initial ance of trained educators and project findings from the programme evalua- leaders, participants from both groups tion. work together on visual arts or dance pieces that are showcased to the public. The meine Art – deine Art project was funded by Stiftung Aktion Mensch Through collaborative partnerships, (Human Campaign Foundation). meine Art – deine Art deepens the rela- To learn more and download materials tionship of arts education institutions, from the March 2010 conference visit youth organizations and institutions www.meine-art-deine-art.de.

Remscheid Academy for The Academy aims to attract attention Federal Academy for Cultural and Media to the interests of arts education, and in- Musical Education for Education crease support among politicians and in Young People society. It carries out multi-faceted pub- The Remscheid Academy for Cultural lic relations work, and lobbies for Ger- The Federal Academy for Musical and Media Education (Akademie Rem- man and international regulatory struc- Education for Young People (Bun- scheid für musikalische Bildung und tures that serve the cultural interests of desakademie für musikalische Ju- Medienerziehung) in North Rhine-West- children and young people. Through gendbildung) in Trossingen, Baden- phalia provides ongoing education for expert opinions and representation in Württemberg, is an institute for professionals in the fields of youth and various bodies and committees, the ongoing education for music teachers arts education to ensure that children Academy seeks to influence arts edu- and headmasters, conductors, chorus and young people receive the best in- cation policies regionally, nationally, leaders, and others (such as social struction possible. To this end, the Acad- and in the professional sphere. Current workers). The Academy is a gather- emy organizes courses, conferences, and issues in youth education such as grow- ing place for select ensembles from workshops, and publishes books for use ing up in a multicultural environment around the region and across the na- in education. The courses offered repre- and overcoming economic hurdles tion, and a place for experts to consult sent a broad spectrum of topics, ranging figure prominently on the Academy’s on matters of extracurricular musical from dance, music, and theater to public agenda. education. The content of the courses relations and social psychology. offered at the Academy is determined by the Board of Trustees, which

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represents over 30 associations that sup- seminars in five areas: the visual arts, port extracurricular music education. literature, museum studies, music, and These include associations of amateur theater. Seminars typically last 3 to 5 vocalists and instrumentalists, youth days, and are led by a coordinator from organizations, professional associa- the Academy or by an outside expert; tions, and sacred music societies. The participants may earn a certificate by topics taught range from teaching an participating in a series of thematically instrument to running a music school. related events. The Academy’s many A current theme is music pedagogy in seminars are supplemented by various light of current agendas (“An Instru- colloquia and symposia in which ex- ment for Every Child”, see page 47) and perts, administrators, and profession- established learning approaches als in the arts work together to analyze (Orff Approach, Kodaly and Suzuki problems and seek solutions. In addition Methods). to its training programmes, the Acad- emy publishes an extensive series of Federal Academy for Arts books and brochures. Education in Wolfenbüttel For more information on The Federal Academy for Arts Educa- all three academies visit tion in Wolfenbüttel (Bundesakademie www.akademieremscheid.de, für kulturelle Bildung Wolfenbüttel), www.bundesakademie-trossingen.de Lower Saxony, supports arts educa- and www.bundesakademie.de. tion by providing ongoing training for artists and cultural intermediaries (the “multipliers”). The Academy seeks to professionalize the field of arts educa- tion, increasing the number of highly trained individuals in the job market in Germany. Primarily the Academy offers professional development

Inter-cultural rt and culture can form bridges of researchers, questionnaires were Aby arousing curiosity about the distributed to cities and communities Learning unknown. Hoping to shed light on this of over 30 000 inhabitants across the in Cultural process in 2004, the Society for Cultural country. The surveys were supported by Policy (Kulturpolitische Gesellschaft) the German Association of Cities (Deut- Institutions – launched Interkulturelle Lernorte (Inter- scher Städtetag and by the German A Survey cultural Learning Spaces) a research ini- Association of Towns and Municipalities tiative to examine the status, tasks, and (Deutscher Städte- und Gemeindebund). prospects of intercultural work within Interkulturelle Lernorte arts education. The survey (with a return rate of 45%) revealed seemingly discouraging results The three-year research project, funded with regard to municipal efforts. The by the Federal Ministry for Education research found that inter-cultural work and Research (BMBF), investigated the is, at best a minor aspect of municipal role of art and culture in social integra- cultural and youth policy. However there tion processes. It sought to intensify were, in practice, a wealth of activities inter-cultural exchange and develop that fell in the category of inter-cultural support for municipal, recreational, edu- exchange and education. The resear- cational, and cultural facilities – including chers concluded that inter-cultural work museums, youth centres and schools practice is well ahead of theory and con- – and to enhance their capacity for pro­ ceptual effects. viding inter-cultural education. Research findings including the project After a phase of field investigations database, survey results, statistics, including a literature review, infrastruc- and interim reports can be viewed at ture analysis and initial endeavours www.kupoge.de/kulturorte. towards creating a nationwide network

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Road Map Seminar participants, with Ernst Wagner (far left) and Eckart Liebau (far right).

Ernst Wagner

In Their Own Words: Perspectives from Young Experts on the Road Map for Arts Education A joint project of the University of Erlangen-Nuremberg and the international U40-network “Cultural Diversity 2030”

The UNESCO Road Map for ublished in 2006, the Road Map The Participants Arts Education has exerted Pforged consensus, for the first time, only little influence on dis- from points of view from all over the One thing was obvious from the start – cussions in Germany about world. A remarkable achievement, for a proper discussion we had to extend arts education. In response, rightfully appreciated by all experts and beyond an exclusively German point of stakeholders, the Road Map supports view. In addition to German participants, arts education research- and encourages all those who work in there were also university students from ers teamed up with young arts education. the Czech Republic, Turkey, Egypt and international experts to Vietnam, as well as young experts who discuss how they could fur- Therefore it was unfortunate when we had gained experience in arts education ther convey and advance realised that in Germany the Road Map projects in Sweden, Brazil or Cambo- the Road Map’s does not play the major role that it could dia. In order to get a broad and profound and should play. So, together with Pro- basis for the discussion we had to inte- objectives. fessor Eckart Liebau and the University grate more perspectives from all over of Erlangen-Nuremberg, we hosted a the world. Through the German Com- seminar in 2009 that examined the Road mission for UNESCO’s programme for Map itself. young experts (U40), we had found the

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perfect partners to round out the discus- • Interdependency of reception /reflec- sion’s participants. tion and production in arts educa- tion: a German expression says that Learning and Feedback reflection without production is blind and production without reflection is To begin, participants examined the dull. evolution of the Road Map from its first conceptual drafts to the final document, • Intrinsic value of arts education: arts with the aim of answering several key education must not only be seen from a questions including: What is the lead- functional perspective, e.g. in terms of ing idea of the Road Map? How is the its contribution to the development of You can’t find an document structured? How can the con- the society or of creative industries. answer to how cepts of arts and concepts of education that underlie the Road Map be described •  “quality education” can be Independence and autonomy of and analysed? What are the differences research: research in the fields of expressed and you can’t between a national and a global perspec- arts education must not only be led by find a “checklist” for what tive? Does the Road Map serve and suit the idea of finding and proving more good education is. the German purposes? arguments supporting arts education in political debates. As in any other field Huong Le Thu, Vietnam As a second step we discussed more of science, research has to be impar- practical topics covering the dissemina- tial, unbiased and merely led by the tion and awareness-raising of the Road curiosity of further knowledge in its Map: what supplements might reflect field, regardless of results. Therein lies There are an overwhelming the German situation, how to further the great potential of research to truly number of Western-centric develop the Road Map, and how to improve arts education. empower young people to participate in concepts, on account of to the discussion about implemention. Our • Regional differences: arts education which the Road Map is in engagement with the Road Map not only always happens in a space that is sub- danger of being superficial. led to a better understanding, but also to ject to its own specific conditions, espe- Sirois Guillaume, Canada constructive commentary. cially in a global perspective. In a “glo- cal” world the canon of arts education In German there is no proper transla- might comprise in one context braiding tion for the term “arts education”. “Kul- hair, in another playing the violin and The Road Map issues turelle Bildung”, the term we usually in a third break-dancing. an essential call for use in German, has another meaning (see p. 11). So we suggested impro- The last point, in particular, lead us to the systematization of ving the translation of the Road Map develop a proposal for all arts educa- experiences and into German within the context of our tion researchers: to build a network of promotion of research. specific traditions and using the cultural observatories and chairs which every Sandra Velasquez Puerta, roots of key terms. One of our students, few years publishes – comparable Diana Lohwasser, is working on this to Anne Bamford’s The WOW Fac- Colombia new translation. However, merely using tor – regional reports about the status different terms will not solve our prob- and the practice of arts education in lem. the UNESCO regions. Developing the proper research design, discussing indi- The Road Map is a Some participants also mentioned that cators for the descriptions, and imple- helpful and needed the Road Map is too long and that its menting such a system of monitoring structure is too complex, thereby hin- might then finally contribute to a pro- document which gives dering its ability to have larger impact ductive challenge for future UNESCO impulses on how to in Germany. That is why we have cre- Chairs. improve the current ated a shorter paper by European experts, status of arts which extracts the essence of the Road Prof. Dr. Ernst Wagner co-led the Map and condenses it into two pages seminar on the Road Map. He splits his education. (published on p. 29). professional duties between the Staats- Aimee Fullman, USA institut für Schulqualität und Bildungs- We still do not know whether some top- forschung, Munich and at the UNESCO ics of the Road Map really apply to cen- Chair in Arts Education at the Univer- tral conceptions of Kulturelle Bildung in sity of Erlangen-Nuremberg. Germany. Challenges include:

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School students at SchulKinoWochen, see p. 38. Joachim Kettel Arts Education in German Schools A Collection from Current Concepts

Experience in art projects he conceptual design of arts educa- riences that help students must encoun- can only be gained when Ttion requires instructors to be artists ter in order to effectively stand their students have been offered in the sense of exhibiting artistic com- ground later in life. petence in a narrower and wider mean- the possibility, in the course ing. Arts educators must see themselves Arts education students must also of their education in the as educators and as mediating artists. develop their ability to go with the flow, arts, to develop themselves They must also develop competencies deal with shortcomings and difficul- accordingly as artists. The in existential creativity, to imbue crea- ties creatively, cause disturbances and following is a concept for tivity into the art of living.2 interruptions courageously while stay- arts education collected ing on course, assert themselves while The development of creative compe- also allowing their attention to wander, from the most current tence and imaginative skills is funda- and pursue self-imposed, newly de- scholarly thinking on the mental to the education of art students. fined goals. This list is completed by subject.1 The challenges of staying motivated in social competences such as empathy, a times of creative crisis, overcoming dif- skill essential for in working with other ficult beginnings or having to start anew, people, partner organisations, institu- and facing failure are all valuable expe- tions and other involved interest groups.

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The concept of artistic normative notion of art, which not instruction only includes art and aesthetisation of everyday life and the media, but also The integration of art-based projects that phenomena, questions, and problems enable one to develop these competen- arising from the world that students cies can be integrated into the design of face today. arts education. The concept is based on the following paradigms: Societal objectives important for education: • It appreciates art as art (historical, social, cultural contexts), and entails an • Building the capability to position one- understanding of art and work, contem- self as an individual in arts education; porary arts, and historical art. • Training mental flexibility and orienta- • It promotes arts education as an tion skills of an individual in art work; advanced learning method that is simul- • Promoting the responsibility of an indi- taneously an extension of art as well as vidual in art work; an artistic and art-analogue process that • Developing the ability to achieve includes aesthetic education (promo- democratic communication as an tion and development of sensual-vivid expression of critical faculties through perception, thinking and feeling for the differentiated perception perform- beautiful and the authentic). ance and independent formulation of • Production, reception, and reflexion are statements; alternating art or art-related activities in • Mobilising individual initiatives. the area of art and creation. • The aim of the education is acquisition Methods of arts education: and perfection of artistic, creative and aesthetic competences. • Work and process-related creative • Children and young adults should be activity, projects and workshops; instructed in value-based orientation • Successive and developing theme- and in the exploration of an individual oriented work based on perception and sense of life. creation; • Arts classes are a laboratory for the • Imminent interdisciplinary approach development of competencies and with regard to the adequate work form should be integrating into the school chosen for an art project; culture. • Embedding a specific art projects that • Artistic activities are, in a broader has influence on other subjects; sense, productive and receptive basic • Interdisciplinary art projects with a nar- qualifications which can be learned by rative and media character where tradi- all and contribute to achieving a decent, tional and new media trade in mutual fulfilling and successful personal life inspiration (Buschkühle 2001); and the creation of social and cultural • Change of paradigms with regard to conditions within the meaning of the electronic image media and turning art of living.3 Art and artistic activities again to physical experiences in perfor- are a form of productive life and world mative processes. experience through world conquest and modification involving the senses, Educational-methodical emotions, and the mind.4 implications Characteristics of arts • Art classes where aesthetic-artistic education research concepts are experimentally tested, invented, and further developed • Arts education develops forms and and where new perspectives for formal contents of art didactics as art in a and non-formal art mediation are pro- theoretical and practical sense; vided can be considered a continuation 1 Buschkühle 1996/2001/2008, Kettel 1997/2004/2009, • Art instructors themselves must be of art. Regel 2002/2008. See Selected Sources section (p. 90) for full citation. trained artists in order to encourage • The scope of possibilities offered by

2 Philosophie der Lebenskunst (Philosophy of the Art artistic processes in class and also fol- schools and classes can be determined of Living) by Wilhelm Schmidt. low the process in an adequate manner; in an artistic sense and it may also be 3 Schmidt 1992/2000, Marr 2003 • Arts education is based on an art con- extended beyond the school walls in 4 Regel 2002/2008. cept where an extended and a non- order to enable students to intensely

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Popakademie participants performing.

Integration he integration of young immigrants In addition to developing adolescents, Tand the descendants of immigrants the Popakademie Baden-Württemberg and Language is the primary objective of project InPop: offers teacher training programmes to Development Integration, Popular Music and Educa- enable school instructors in the field of tion. Through the creative medium of music, arts, German studies, or foreign Through Music pop music, participants can improve languages to manage the InPop project in Baden- their German language skills, thus low- independently. The Popakadamie also ering one hurdle to integration. provides free equipment to participating Württemberg schools. All coaches are graduates of The three-year pilot project launched in the Popakademie Baden-Württemberg 2009 by Popakademie Baden-Württem- and have worked as professional artists. InPop: Integration, berg, in partnership with the Federal InPop project coordinators have also Popular Music and Ministry for Education and Research presented their work at other arts edu- Education (BMBF), Ministry of Culture Baden- cation conferences. Württemberg, and city of Mannheim, engages socially disadvantaged adoles- The pilot phase of InPop has been moni- cents in quality music experiences. tored by researchers at the University of Stuttgart, led by Prof. Oskar Gabriel. Over the curse of three years adoles- Through interviews and written lan- cents work with the same teachers and guage exams, they are examining how qualified Popakademie arts educators participation in the project improves during weekly in-school workshops, language and social skills. learning how to compose, write lyrics, and produce songs. They are encour- To learn more about InPop visit aged to incorporate their cultural www.popakademie.de/projekte/inpop. background into their work, which culminates in a live performance for an audience of their peers.

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deal with themselves and with the sur- rounding societal reality. • The aim is to lead every single student- subject into a process of intensive self- involvement through self-exposure to a principally experimental open learning situation where the student must organ- ise and structure him or herself in order to develop his or her own artistic strate- gies and methods in the artistic research process and achieve his or her own artistic expression in the created and chosen form.

Conclusion

During the artistic research process, the student develops intensive self-determi- nation and determination of others, as well as skills in profound observation, research, collection, documentation, reflexion and association.

These results are not derived from the Gesamtschule Schinkel’s annual musical revue at Kulturnacht (Culture Night), Osnabrück. knowledge of general artistic strategies and methods; they are obtained from the probing process itself and/or generated from the general knowledge of the stu- Arts Education at a dents. They are, to an extent, even simi- UNESCO Associated School lar to scientific research strategies and methods where actual transitions can be enabled. Being involved in the research Music projects at Gesamtschule Schinkel, Osnabrück process stimulates self-orientation and self-organisational skills of the subject which also include self and process ince 1993, Gesamtschule Schinkel the city of Osnabrück. Wind ensemble management skills (such as time man- (Schinkel Comprehensive School), players pay only 20 euros per month, S agement, using human and financial located in Osnabrück, has offered to its which affords each student one hour students a holistic arts education pro- of group lessons and three hours of resources, media, material and other gramme. Each year approximately 100 full ensemble instruction per week as utilities, logistics, process monitoring, students, spanning socio-economic and well as instrument rental, maintenance documentation and reflexion). immigration background status, work and repairs. Proceeds from the annual together to produce a major school- musical or music review go toward pro- Prof. Dr. Joachim Kettel teaches at the wide self-composed and self-written duction costs of future shows. Pädagogische Hochschule Karlsruhe, musical or a musical revue. Addition- Germany. Since 1994 he has devel- ally, the school offers wind ensemble Gesamtschule Schinkel is a UNESCO oped and managed international artist th classes starting from 5 year since Associated School (ASPnet), and as projects and congresses. His research 2002. These classes continue until such it is guided by human develop- interests are innovative forms of learn- the 11th school year, thus pupils gain ment goals. Its takes a multidisciplinary ing between the arts and peadagogy, in-depth competencies in their chosen approach to education, and prepares instrument. students to work within a unified arts education, aesthetics and media. Europe and as part of the worldwide Through these activities such as writing ASPnetwork. The school also strives to lyrics, composing and arranging music, encourage and challenge students with and choreography, participants acquire an immigration background. critical social competencies, strengthen their concentration capabilities, and For more information visit develop their creativity. www.gesamtschule-schinkel.de and www.unesco.org/en/aspnet. The cost of participation in the wind ensemble programme is subsidized by

76 A Yemeni artist working on her piece for Mauerreise – The Wall in the World.

The International Dimension „ UNESCO today 1/2010 Arts Education For ALL“

Rolf Witte Cooperating with the European Union The “European Agenda for Culture” and the European Union’s Strategy for Youth­­­­

During the last two and a hese are visible indicators of a pro- easier access to culture, and using syner- half years, the European Tcess of realisation, otherwise invis- gies between culture and education – as Union has been extremely ible, involving many political decision- envisioned by the Agenda. In the con- active in the overlapping makers and administrators in Europe. text of an open approach to co-ordina- Arts education – with its many different tion, for instance, the governments of areas of youth, culture, forms of expression and organisation, EU member states are negotiating issues and educational policies: and its many projects – is a subject dif- of access to culture, and of closer co-op- concepts and papers have ficult to come to grips with, as it per- eration between education and cultural been adopted, advisory tains to cultural, educational, youth and policies at different levels of responsi- committees established, social policies. But it is also becoming bility. The Agenda granted an official and conferences and panels increasingly important for the future of mandate Open Method of Coordination our modern societies. It is crucial, there- (OMC) Working Group to the previ- organised. fore, that local, regional, national, and ously established informal network of European players in these policy areas government officials of European min- discuss how to create optimal conditions istries of culture and education. This for successful arts education, and that working group will develop specific they make specific decisions. proposals by the middle of 2010 on mat- ters such as reforming education and At the European level, the European ongoing training for teachers and art- Agenda for Culture1 was adopted on 16 ists, improving the quality of arts educa- November 2007; its proposals were im- tion in schools and cultural institutions, plemented immediately in subsequent thereby giving them greater clout in months. The Agenda defines three stra- society. These proposals will be submit- tegic objectives for EU cultural policy: ted to the EU and national governments. promotion of cultural diversity and intercultural dialogue; promotion of It is quite remarkable that ministries Priority areas for action for culture as a catalyst for creativity in the of both education and culture from all the period 2008 to 2010 framework of the Lisbon Strategy for EU Member States have appointed include “promoting access growth, employment, innovation and representatives to the working group, competitiveness, and promotion of cul- exchanging viewpoints and agreeing to culture and synergies ture as a vital element in the Union’s on which overall conditions are neces- with education, especially international relations. Within the sary for arts education in schools and art education”. context of these priorities, arts edu- beyond, for children, adolescents, adults cation is particularly vital as a “cata- and the elderly. Unfortunately, there lyst promoting better use of synergies are still too few examples of this sort of between culture and education, in par- interdisciplinary political and technical ticular by encouraging art education and co-operation. It is, however, encourag- active participation in cultural activi- ing that this is possible in many Mem- ties.” Consequently, the priority areas ber States. The bureaucracy in Brussels for action for the period 2008 to 2010 stands to learn from these facts, as it is include “promoting access to culture still difficult for the European Commis­ and synergies with education, especially sion to bring the two policy areas of art education”. edu­cation and culture closer together in the interest of arts education. Since early 2008, political decision- makers have been putting greater The OMC working group, which 1 Resolution of the Council of 16 December 2007 on a European Agenda for Culture, (2007/C 287/01) emphasis on these two objectives – includes German representatives, is

78 The international dimension

currently designing its website: the instance, the Federal Ministry for Fam- Community of Knowledge on Arts ily Affairs, Senior Citizens, Women and and Cultural Education in Europe Youth, (Bundesministerium für Familie, (ComACE)2. Since both cultural and Senioren, Frauen und Jugend, BMFSFJ) educational policies in Germany are also operates an important programme predominantly the responsibility of to support the multi-faceted landscape the Bundesländer (Federal States), it of extracurricular cultural youth edu­ is the Kultusministerkonferenz (Stand- cation in Germany. Given this situa- ing Conference of the Ministers of tion Germany needs better and more Education and Cultural Affairs of the mechanisms for regular exchange of Federal States, KMK) that is involved information and co-ordination among in the relevant working groups and the ­political decision-makers in the edu- co-operation with other European cation, culture, and youth ministries, as Member States. Therefore along with well as with the KMK. The decisive and the Federal Ministry of Education pragmatic European approach, which and Research (BMBF) and the Fed- transcends ministerial boundaries, could eral Government Commissioner for be a role model. Culture and the Media (BKM), the Bundesländer that have to take appro- In addition to the working groups es- priate action once relevant documents tablished by the European Agenda for have been approved at the European Culture, where government players dis- level. The Bundesländer need to influ- cuss their roles and responsibilities in ence the legal and social framework in matters of cultural policy, there are also a way that is conducive to high quality so-called European platforms of civil arts education. society, created early 2008, which bring together European networks addressing Due to this multitude of players in the the same cultural policy issues: overlapping fields of various political 1. Intercultural Europe competences, it is difficult for Germany 2. Access to culture to speak with one voice in debates about 3. Creative and cultural industry arts education at the European level. For

The filmset for “Stones Speak – ancient sculptures awaken, play and tell stories” BKJ, see p. 52.

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Participants during a Pan y Arte – Música en los Barrios project, see p. 88.

In Germany, it is the Once the Agenda was adopted, these should reflect an appreciation of arts for Federal States that have platforms were immediately established education projects, and educational and by the European Commission to dem- social policy. Others find it more impor- to take appropriate action onstrate democratic legitimisation, in- tant for politics at the local, regional and once the relevant docu- volvement of civil society expertise and national level to make decisions foster- ments have been approved transparency. Many of those represent- ing better overall conditions for quality at the European level. ing civil society had been dissatisfied arts education. with the strict top-down process that had failed to involve many organisations and The big European Culture Forum held associations. In 2010, the first working in Brussels in autumn 2009 brought phase of these platforms will be com- together almost 1 000 political and civil pleted; they will submit a number of the players from all across the European specific policy recommendations devel- Union to discuss issues of cultural pol- oped jointly at numerous meetings. icy. Unfortunately, the forum failed to place these different approaches to the In the context of the “access to culture” future of arts education in Europe on platform, a working group of European the table, neither taking into account the networks addressed questions of the policy papers that had been drafted up What is important about synergies between education and cul- to that time, nor addressing them more the EU’s new youth ture. Unfortunately, it did so without specifically in discussions. Instead, “best strategy is a new under- liaising with the work done in the gov- practices” were presented and general standing of youth policy as ernmental OMC working group on the political statements on the importance same topic. By mid 2010 this working of culture in European societies were a cross-sectoral policy field group of civil society organisations will expressed. There was no progress on where other areas such submit a final paper of recommenda- the political discourse to which Mem- as “creativity and culture” tions. It will probably include a specific ber States had committed themselves in need to be involved. proposal for the European Commission the Agenda for Culture – a rather typical to develop a European funding pro- phenomenon in the cultural sector. gramme especially for arts education under the heading of “access”. This pro- It is to be hoped that decision makers gramme would pool the various activi- from EU Member States will not pass ties with European added value in the up similar opportunities for fruitful field of school and extracurricular arts political dialogue between civil society education for young people and adults. and politicians in other political fields of action. On 27 November 2009, the EU In any case, European funding pro- Council adopted a renewed framework grammes play an important role in all for EU co-operation in the youth field debates about the future of arts educa- from 2010 to 2018.3 The responsible tion. Many players are of the opinion policymakers must now swiftly trans- 2 http://www.comace.org that at the European level, funding late this framework into specific action.

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What is important about the EU’s new landscape of youth organisations with youth strategy is a new understanding of different social objectives after World youth policy as a cross-sectoral policy War II. In more recent decades, these field where other policy fields need to have been complemented by a large be involved (for instance, so that social, number of participatory and advisory education, and cultural policies influ- bodies (for example through school European Network ence the living conditions of young peo- assemblies and local youth parlia- ple in the EU’s 27 Member States in a ments). of Civil Servants positive way). The implementation of the EU youth ACEnet One of the eight priority fields of action strategy with its participatory approach of youth policy in Europe until 2018 will pose a challenge for many German is therefore “creativity and culture”. arts education organisations: many art- stablished in 2002, ACEnet is a net- This is the heading under which EU ists, teachers, arts educators and other Ework of EU civil servants working in Members will now make every effort players in arts education projects are the field of arts and heritage education. to facilitate access to culture for young accustomed to developing forms of The goal of the network is to enable people, and to give them better opportu- projects and activities that are based on international colleagues to exchange nities to discover and express their own their respective professions, and simply information and to share insights and creativity in and outside of the school invite young people to take part in them. experiences with each other. Content- environment. Sustained synergies be- This is where educators as well as art- related discussions are held during tween policies and programmes are to ists need a change of mindset: planning periodical meetings. ACEnet is a trusted source for cultural and artistic be developed among the fields of youth, creative processes and arts education education within the framework of the cultural, education, social affairs, health, projects with the involvement of young Open Method of Coordination by the media and employment policy. people will have to become the standard EU Cultural Affairs Committee. if they are truly to participate in the so- Germany’s youth ministry supported cial domain of arts education. This is the In 2009 ACEnet launched ComACE the inclusion of “creativity and culture” only way to give young people a chance (Community of Knowledge on Arts as a priority field of action as early as to apply themselves and address their and Cultural Education in Europe), a the drafting phase of this new EU youth own issues in arts education activities. web portal with information on arts strategy. However, it is mainly thanks At the same time, this has not been a and cultural education in European to the Swedish EU Council Presidency recent characteristic of quality arts edu- member states. The aim of ComACE during the second half of 2009 that po- cation: to make a difference, arts educa- is to promote and sustain the sys- tematic exchange of knowledge and litical foundations were formulated in tion processes, regardless of their form, to compare practices. ComACE will the medium term. This makes it easier need to be relevant to the personalities include country policies, information on for many of those involved at the lo- and lives of participants. formal and non-formal arts and cultural cal, regional, national and European education, implementation methods, levels to demand and help create “net- On that note, the current developments research and best practices, as well as worked concepts” for arts education in cultural and youth policies at the EU a glossary of terms to help international programmes. Different policy fields can level pose a particular challenge for the colleagues understand the differences make contributions, united by the com- protagonists in arts education in Ger- and similarities in their respective poli- mon goals of ensuring and improving many, both in terms of structure and cies. ComACE is a long-term project future opportunities for new generations concept. These developments will with the objective of accomplishing through arts education. certainly cross-fertilise the concepts of “European-wide” representation. ComACE is currently seeking partners; arts education common in Germany. to participate in the project, countries What is particularly interesting in the can apply through their ACEnet repre- field of youth policies is that none of this Rolf Witte is the International Rela- sentatives. could actually happen without the direct tions Officer of the The German Fed- involvement of young people. The days eration for Cultural Youth Education, To learn more about ACEnet when political programmes and specific BKJ, (Bundesvereinigung Kulturelle and the ComACE project visit projects for the benefit of young people Kinder- und Jugendbildung) see p. 52. www.culture-school.net and were approved over their heads are now Since 2008 he has been a member of the www.comace.zzln.nl. history in many countries. Participation Executive Committee of Culture Action and active involvement in society by Europe, The European Forum for the young people themselves is now taken Arts and Heritage. He is also member almost for granted by many, particularly of the German Council for the Euro- at the local and regional level, which is pean Youth in Action Programme and the immediate living environment of of the Council for European Cultural young people. This is the environment Politics of the Deutscher Kulturrat (The 3 Resolution of the Council on a Renewed Framework for EU Co-operation in the Youth Field (2010-2018), where Germany developed a diversified German Cultural Council). (2009/C 311/01)

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In Her Own Words Anne Bamford on Making Arts Education Meaningful

Anne Bamford, author of The Wow Factor, reveals new dimensions to her research, what makes an arts education experience meaningful, and what she thinks arts education policymakers should focus on in the future. Anne Bamford

In The Wow Factor, you make a dis- attending a play or visiting a gallery or taking risks. Tokenistic arts activities tinction between education in the arts museum. Similarly, a scientist working tend to lack these qualities. They occur and education through the arts. Can within an art medium may create new in isolation and lack any connectivity you talk about how you came to the types of knowledge previously unrec- to other learning or to the arts profes- conclusion that they are two different ognised when his / her learning had been sions. Tokenistic arts experiences are forms of arts education, and why it is confined to the laboratory. often short term and disconnected. As important to see them as discrete? one teacher described, poor arts ex- Education as art implies a cultural and periences are seen as the icing on the Education in the arts is about the spe- aesthetic understanding of education. cake rather than being part of the cake. cific learning in music, visual arts, dra- This places the art of teaching and learn- Tokenistic arts activities do not ma, dance, and the media, including film ing at the centre of education. Under adequately allow the children to make and virtual arts. Education through the such a conception every teacher and creative choices. They may be based arts is the use of artistic pedagogies to every child is capable of being an art- on a “one size fits all” model and not teach other subjects. This includes most ist and in its highest form. Education consider the child’s needs or wishes. of what is often termed “creative educa- itself is transformed into something of Tokenistic experiences are poorly tion” and also the expanding fields of inherent beauty that has the capability to planned and do not consider progres- visual literacy, drama in language learn- move the individual and the society – in sion routes or pathways into talent ing and integrated arts as part of new other words, a work of art. development. Tokenistic arts activi- technology. ties have little positive benefit and may You also referred to a gap between the in fact detrimental to a child’s overall While these two areas can be seen as policy that is written and initiatives development. being complementary, and the “best” that are actually implemented: “In programmes have both education in arts education policy is one thing, what Having studied the cultural policies and education through the arts, it is im- children get delivered is another, but of nearly forty countries and been portant that they are viewed discreetly. above all the ultimate focus must be on involved in helping several coun- To give an example, it is impossible to the meaning they construct from these tries with incorporating the arts into effectively adopt the principles of visual experiences”. One component of this, their education systems, what do you literacy if the teacher and pupils have you argued, is “too many instances believe are priorities for policy­ not had a solid grounding in the fine [where] the arts are kept as a token ac- makers during the Seoul Conference arts. Similarly, music can be taught in a tivity”. Could you explain what a token and beyond? very uncreative way but if you combine arts activity is, and how it differs from creative pedagogies with a disciplined a meaningful arts experience? The focus of UNESCO on arts and approach the effect of the music educa- cultural education has been of pivotal tion will be much greater. In my most Meaningful arts experiences are charac- importance in encouraging a number recent work, I have added two further terised by a consistent set of qualities. of countries around the world to take dimensions that appear to also be very The qualities of meaningful arts educa- a long and serious look at the quality important. These are: tion include, partnerships, flexibility, of arts education. This has resulted Art as education where the arts world reflection, accessibility, professional de- in a number of positive outcomes and actually becomes a medium or envi- velopment, awareness of local context, a ground swell of support for the val- ronment for learning. So for example, a “research” orientation, performances ue of the arts within children’s lives you can learn a lot about history while and exhibitions, language of the arts, and and healthy development. The eco-

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nomic and political climate continues to the field really occur rather than just bined and strategic manner to ensure the emphasise the importance of the arts. rhetoric in the educational documen- benefits of an art-rich childhood can be In the future, all citizens should be 21st tation. experienced by all children and young century knowledge-builders, able to cre- • Better models of collaboration people. atively update their skills, to take initia- between the agencies working inside tives and risks. of schools and those working outside Professor Anne Bamford is Director of of schools, as a child’s arts and cultural Cultural Programmes at a new national Despite the energy surrounding the arts, experiences rarely stop at the door of organisation, Creativity, Culture and there are several major priorities for pol- the classroom. Education, CCE (UK). The Wow Fac- icymakers. These include: • More involvement of industry, artists, tor has been translated from English • Increased research not just into the im- parents, families and children in the into Korean, Spanish, and Norwegian. pact of the arts (there is ample scientif- planning, decision making and advo- A German translation was published ic evidence that is now available in this cacy surrounding the arts. in May 2010 by Waxmann Publishing field) but importantly into strategies for • Improved, arts-rich, tools for measure- Company. effective implementation and a greater ment and accountability in the arts understanding of the best pedagogy for arts learning. While the UNESCO Road Map has • Greater focus on delivery models and provided a substantial impetus for the quality monitoring strategies to ensure arts, we need to ensure that this focus that real action and improvements in remains strong and works in a com-

Using the Arts as an Entry Point for Cultural Exchange

KinderKulturKarawane

or ten years the KinderKulturKara- Since its inception, Fwane (“Children Culture Caravan”) KinderKulturKarawane project has supported ongoing dia- has hosted over 50 logue between young people all over youth groups from 23 the world. Each year the programme countries, culminat- brings children- and youth-groups ing in 1 700 perform- from Africa, Asia, and Latin America ances. The travelling to schools, youth centres, and other artists reach out to an cultural venues in Germany. The audience of 80 000 performances, which involve music, people annually. dance, drama, acrobatics, or even The opportunity to pantomime, are open to all and accom- perform abroad also panied by cultural workshops onsite or raises the profile of in schools. selected performing A Phare Ponleu Selpak (Cambodia) groups in their home- performance, KinderKulturKarwane. In workshops performers speak about lands. KinderKulturKarawane has been their art, as well as their personal lives. able to support African, Asian, and Latin foundations, and regional governments, For performers, who often come from American projects in the sum of over KinderKulturKarawane has been recog- disadvantaged areas abroad, presenting 380 000 euros. nized as an Official Project of the UN their art and instructing peers in their Decade of Education for Sustainable cultural background is an empower- Operated by the Büro für Kultur- und Development in Germany. ing experience. For all participants Medienprojekte GmbH in Hamburg, with KinderKulturKarawane offers an opportu- support from the Federal Foreign Office, For more information including a list of nity for authentic intercultural exchange Federal Ministry for Economic Coopera- previous and current touring groups visit and the discovery of commonalities. tion and Development (BMZ), multiple www.kinderkulturkarawane.de.

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Georges Poussin, UNESCO Education. As you are all aware, the Road Map, produced during the First Conference, has been in the meantime The Second World recommended to Member States as a policy-guiding document for arts educa- Conference on Arts tion practices at country level. With the view to analyze the progress Education of the implementation of the Road Map as well as oversee the diversity of quali- Goals for the Future, ties and applications of arts education in different national and regional situa- Seoul on 25-28 May 2010 tions, a survey was undertaken last year. 90 Member States responded to the UNESCO questionnaire and we greatly appreciated the interest and contribu- he holding of the Second World in responding to the strong demands for tions given to implement arts education TConference on Arts Education was socio-cultural awareness within multi- all over the world. The results of this decided by UNESCO General Confer- cultural societies and stresses the value survey will be presented on the first day ence at its 34th session after accepting of arts education in the promotion of of the Conference. Korea’s proposal to host and fully fund cultural diversity and social cohesion. its organization. Since then, UNESCO Furthermore, it will aim at enhancing Based on these three themes, the pro- and the Korean Government have been opportunities to implement quality arts gramme of the Conference is mainly working hand in hand, in the framework education in various environments, even composed of four plenary sessions, of the steering committee, in order to beyond any institutional education set- with roughly 21 key speakers and pan- ensure the success of this UNESCO ting; by encouraging inclusive learning ellists, and 27 workshops and regional Conference. in disadvantaged social contexts and group discussions with more than 100 post-conflict situations. presenters. In addition, three special Following the success of the First sessions are integrated each day into World Conference held in 2006 in Lis- Another important objective of the Con- the programme, namely the Ministerial bon in cooperation with the Portuguese ference is to review the current state of meeting, the NGO / Foundation forum Government, the forthcoming world- knowledge on the research capacities in and a session on the role of arts educa- wide gathering will be a concrete fol- arts education and their practical appli- tion for the rapprochement of cultures, low up, and not merely a duplication. It cations. The Conference would provide especially in the framework of the 2010 will certainly take stock of the impact an opportunity to exchange experiences International Year for the Rapproche- and results of the Lisbon Conference, on comprehensive research approaches ment of Cultures proclaimed by the and confirm the solid standpoint of the to support arts education practices. United Nations General Assembly. international community in favour of Since the First World Conference, the importance of arts education and UNESCO has made an effort in this area Member States have received a let- expand its scope. The Second World through the UNESCO Chair programme ter of the Director-General inviting Conference is committed to building a and the UNESCO Observatory activities. them to recommend a group of experts foundation for new global discussions We currently have two UNESCO Chairs as official participants. The invita- and critical perspectives on arts educa- for arts education in Canada (Queen’s tion has also been extended to vari- tion, outlining changes and opportuni- University) and in Germany (Univer- ous inter-governmental organi­zations, ties needed for continuously evolving sity of Erlangen-Nuremberg) and a net- including the United Nations agencies societies. work of UNESCO Observatories on arts and entities, in addition to having education in the Asia and Pacific region non-governmental organizations in the The programme of the Conference has with five research institutions (Aus- field of arts and arts education encour- been consolidated and underlines how tralia, New Zealand, Singapore, Thai- aged to participate. Hence the expected arts education can help construct a crea- land, Hong Kong). On an experimental maximum number of participants is tive and culturally aware society with basis and in line with the preparations of likely reach to 700. balanced individuals and integrated the Conference, a glossary research for societies. arts education has also been undertaken About the expected outcomes of the in partnership with the Korea Arts and Conference, as a normal practice, we One of the main themes of the Con- Cultural Education Service. will generate a final report that recapitu- ference, “The reinforcement of socio- lates the major conclusions of the differ- cultural dimensions of arts education”, Moreover, the Conference continues to ent discussion platforms. On the other represents this vision. The Conference make ties, without creating any repeti- hand, a document that will be produced is expected to launch in-depth reflec- tion, with the legacy of the first Confer- is the Goal for the Development of Arts tions on the potential of arts education ence through the Road Map for Arts Education. If the First Conference gave

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The South-Korean author Hwang Sok-Yong working for his piece for the Mauerreise-project, see p. 87.

birth to the Road Map, still valid as a ref- initial list of goals will be introduced three regional summits in Africa, Latin erence document in raising a common at the opening of the Conference and America and Europe, where as the Ger- understanding on the importance of arts reviewed throughout the different Con- man National Commission held twice education, the Second Conference will ference sessions with the results to be key meetings in the framework of the take a more proactive position in tar- presented by the General Rapporteur preparations for the Conference. geting a common vision for the sustain- during the closing ceremony. able future of arts education. Taking as It is in this spirit of collaboration, from a point of departure to the issue what are The spirit of partnership and soli­ Lisbon to Seoul, that the Conference will the long term development objectives of darity in the name of arts education has continue to encourage joint reflection arts education it will primarily address to already been demonstrated throughout and action of the international commu- the international community the signifi- the preparations for the Second World nity on quality arts education; recognize cance of active engagement and serious Conference. The preparations for the the diversity of standards and values commitment to arts education develop- Conference took a different course from of arts education throughout different ment. In concrete terms, the Goals will the first one. For the Lisbon Conference, geo-cultural contexts; and support inter- deliver practical benchmarks and strate- we undertook a lengthy process in host- sectoral collaboration, regional, interna- gies for future decisions and actions in ing a series of regional expert meetings tional cooperation and new partnerships this field and help mobilizes multi-stake- and preparatory meetings, which gradu- as a strong basis for future developments holders to plan the future and pursue ally contributed to structuring the World in this field. action. Conference in 2006. Though, for the Seoul Conference, we received invalu- Georges Poussin is Chief of the Creative A preliminary list of goals is currently able contribution from different actors Industries for Development Section with- being prepared with the collaboration such as UNESCO Field Offices, Nation- in the Division of Cultural Expressions of the International Advisory Commit- al Commissions for UNESCO as well as and Creative Industries of the Culture tee, which is composed of 40 arts educa- NGOs. To name just a few, the World Sector at UNESCO. tion experts from different regions. This Alliance for Arts Education organized

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Ernst Wagner Establishing a UNESCO Chair in Arts Education Taking the Right Steps to Strengthen Arts Education

To strengthen arts education—its quality as well as its role in society – we need stakeholders at various levels. The new German UNESCO Chair in Arts Education at University Erlangen-Nuremberg is part of this process.

t first glance, arts education appears Education in Lisbon in 2006. Inspired Ato play an important role in Ger­ and motivated by their experience at many in formal and non-formal educa- the conference, the German delegation tion. Teachers are well trained and the decided to remain in contact and work arts benefit from financial support from together. The group met several times the government and the public. But in thereafter at informal meetings organ- difficult economic times when spend- ized by the German National Com- ing has to be trimmed, the arts and arts mission for UNESCO. It was here in a education are among the first to suffer positive, open environment that the idea funding cuts and class time reductions. originated to establish a UNESCO Chair His creative, pioneering spirit, which Suddenly arts education is no longer in Arts Education in Germany like the led to the founding of institutions such essential. one in Canada, held by Larry O’Farrell, as the Interdisciplinary Centre for the whom we had gotten to know in Lisbon. Education of Aesthetics and the Aca- There is no general consensus on the demy for School Drama and Theatre importance of the arts and arts edu­ During the past four years we learned Pedagogy in Erlangen, will serve him cation and the vital role they may play in what facilitates progress: innovation well in his position as UNESCO Chair human development and society, now requires openness on the part of the deci- in Germany. or in the future – not only in Germany. sion-makers, transparency, a democratic It is missing because there has been too attitude, formal and informal platforms The current situation little programme evaluation and too little of discussion and exchange, consensus research exploring the quality, the value on the main objectives, patience and At the end of 2009, UNESCO accepted and status of the arts and of arts edu­ persistence. Stripped of traditional struc- the University of Erlangen-Nuremberg’s cation. Therefore, in order to take the tures and hierarchies, innovative team proposal for a UNESCO Chair in Arts right steps in the future, arts edu­cation work delivers. It was the constellation of and Culture in Education. In their enthu- departments at German universi­ties all these factors that led to the proposal siasm, the staff in Erlangen launched the need to focus not only on training teach- of establishing a UNESCO Chair to the project the day they decided to write the ers, but on research as well. Board of the German Commission for proposal. A review of the research and UNESCO. study that has been completed to date How it all began provides a good overview of the pro- With his decades of experience, file of the UNESCO Chair we intend to A German delegation consisting of research, and many publications in develop. government experts, representatives of the field of arts education, Professor the government, NGOs and practition- Eckart Liebau (Chair for Pedagogy at Three seminars were already held in ers (teachers and artists) attended the 1st the University Erlangen) was chosen as 2009 at the university on the follow- UNESCO World Conference on Arts the appropriate candidate for the post. ing topics: the UNESCO Associated

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Toppling the Barriers that Keep Us Apart

Mauerreise – The Wall in the World

he Berlin Wall is a symbol for all Tpeople whose lives are character- ized by division and border experience. As part of the 20th anniversary of the fall of the Wall, the Goethe-Institut launched a multi-phase education ini- tiative designed to inspire discussion about the challenges faced by people living in divided countries and border- lands.

In the months leading up to the anniversary, twenty symbolic pieces of the Wall traveled from Germany to China, Cyprus, Israel, Korea, Mexico, and the Palestinian Territories. The walls served as blank canvases for artists, intellectuals, and young people in those areas to reflect upon the con- cept of barriers, as well as the walls in their lives. After being exhibited in various public places throughout these countries, the artistic pieces journeyed back to Germany where they became a part of a domino chain wall installed in front of the Brandenburg Gate. The toppling of this symbolic wall dur- ing the anniversary celebration on 9 November 2009, was watched by 450 million people around the global on TV and provided a world stage for political education.

Mauerreise – The Wall in the World relied heavily on the cooperation of the German Federal Foreign Office, Goethe-Instituts located around the world, and support from public and private partners in host countries.

To learn about The Wall in the World, as well as the participating artists and their homelands, visit www.mauerreise.de (engl.).

Young language students painting their piece for the Mauerreise- project in front of the Brandenburg Gate, Berlin.

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School Project Network (ASPnet), the Gaining Perspectives UNESCO Road Map for Arts Education (see p. 71) and Museums as Pedagogic Building Networks Sites. Together with the students as Our first efforts to create an international representatives of the next generation, network began by hosting a conference the seminars explored exemplary mod- titled “Arts Education – Culture Counts” els as well as criteria for innovative and in Berlin, December 2009. Experts from effective arts education programmes. more than fifteen European countries, The students visited several institutions, from Canada and South Korea met to museums, and schools. Through various prepare the next steps to Seoul 2010. case studies they learned to observe, to An important paper was produced as a perceive and define criteria and record contribution to the Seoul process (see p. their findings. Being able to present their 29). The next step will be a global coop- papers to invited experts (e.g. mem- eration of observers and chairs monitor- bers of a few National Commissions ing the development of arts education. for UNESCO, teachers, researchers, museum staff, etc.) offered the students the opportunity to participate in debates concerning the future of arts education with professionals and to influence the outcome of the debates with their fresh perspective.

Extending ased on the premise that develop- set aside their daily responsibilities such Bment assistance is not just eco- as contributing to the family income, Educational nomic aid, Pan y Arte (Bread and Arts), a and to play, create, and interact with Dimensions in German NGO based in Münster, West- other children. phalia, brings arts education to children Rural Nicaragua and educators living in Nicaragua’s poor Music lessons are based around the rural countryside, where the arts have recorder, an affordable, easy-to-learn Pan y Arte – Música zero presence in school curricula. instrument that can be adapted to play- ing in groups. The repertoire is based on en los Barrios Pan y Arte organizes weekly learning European and traditional Latin American sessions in small groups directly within songs. Because Nicaraguan universities the poor areas (barrios) where children do not offer arts education, Pan y Arte and youth lives, using community programme also builds the capacity homes, churches and schools as places of music teachers who otherwise lack for instruction. For a nominal fee, par- any arts training. Promising Pan y Arte ticipants can enroll in courses of vary- students also have the opportunity to ing levels, from the very beginning up become programme teachers. In addi- to semi-professional and professional. tion to music, Pan y Arte organizes a These sessions are “creative-artistic mobile library, bringing books to barrios. islands”, offering students the space to Pan y Arte group lessons. The programme, initiated by Pan y Arte in partnership with Casa de los Tres Mundos (House of the Three Worlds), an international cultural centre in Nicaragua, relies on private donors in Germany, Austria, and Switzerland, as well as engagement of organizations in Nicaraguan communities. Pan y Arte provides overarching organizational and financial support, but the programme is managed entirely by Nicaraguans – a partnership that promotes sustainable development.

For more information visit www.panyarte.org.

88 The international dimension

Evaluation Through an evaluation of schule@ Linking Arts with museum, a project concerned with Sustainability the interface between schools and museums, we will gain in-depth knowl- edge that we will be able to share with Arte Sustenibile UNO other partners and research-units on the national and international level. rte Sustenibile UNO educates the the German Federal Ministry for the public about sustainability through Environment, Nature Conservation, and Other A art. Based in Wiesenbach but draw- Nuclear Safety (BMU), San Francisco By communicating and sharing ideas at ing upon the talents of artists all over City Hall, and Bur Juman Centre in meetings and conferences, giving lec- the globe, Arte Sustenibile exhibits art Dubai. tures and workshops, translating Anne works. These objects have been made Bamford’s The Wow Factor (see p. 82) from low- to no-cost materials and Arte Sustenibile was initiated by the into German and cooperating with part- simple techniques that are available to Association for Arts, Health, and Educa- ners (e.g. foundations) we hope to con- everyone. tion in 2004 and is supported by public tribute to the current discussions about and private funders including the Euro- arts education. Two projects will estab- But the exhibitions do more than pean Regional Development Fund, the lish the basis of these discussions. The just showcase art. Each is accom- German Federal Foreign Office, Ritter panied by a suite of educational first is clarifying and defining the most Sport (chocolate manufacturer), Hapag programmes including discussions, Lloyd Container Line, and local sponsors important terms in the field as they are concerts, lectures, plays, and work- in cities where the exhibit has traveled. used in other countries (starting with shops for children, youth, and their the countries we are cooperating with) teachers. Members of the general Arte Sustenibile exhibit can shipped as a part of the European Compen- public also have the chance to create anywhere in the world. It arrives in a dium/Glossary-Project coordinated by mixed-media artwork. In Cuxhaven, container and takes five to ten days to the Netherlands, Austria and France. Germany, a newly-formed “friends of build. Local partners can be instructed the exhibition” association organized in the concept, and within a very short The second is initiating and supporting programmes and tours. time run the exhibition and programmes a large-scale review of arts education in themselves. Germany (Nationaler Bildungsbericht Arte Sustenibile links sustainability and art by attracting participants that 2006, 2008) by the Standing Conference To see view more Arte Sustenibile would not otherwise be drawn to the pieces and learn about the artists visit of the Ministers of Education and Cultur- fine arts. It has been showcased at www.arte-sustenibile.org. al Affairs of the Federal States (Kultus- ministerkonferenz, KMK) and the Fed- eral Ministry of Education and Research (BMBF) in 2012.

Prof. Dr. Ernst Wagner splits his pro- fessional duties between the Staatsinsti- tut für Schulqualität und Bildungsfor- schung, Munich and the UNESCO Chair in Arts Education at the Univer- sity of Erlangen-Nuremberg.

“The Horse”by Billie Grace Lynn.

89 „ UNESCO today 1/2010 Arts Education For ALL“

Selected Resources

· Deutscher Kulturrat (DRK): This section presents Programme Documents Arts education: www.kulturrat.de a selection of foundations, and Policy Reports http://www.kulturrat.de/text.php?rubrik=58 studies, materials and · Konzeption Kulturelle Bildung (I) (DKR) links on the topic. Detailed · Deutscher Bundestag: Final Report of the Enquête-Commission on Culture in Germany, (1988): http://www.kulturrat.de/detail. bibliographies and back- Chapter Six, “Arts Education”, p.377 - 410th php?detail=707&rubrik=5 www.bundestag.de/parlament/gremien/ [historical overview of the German concept of arts ground materials are found kommissionen/enqkultur/Schlussbericht/ education of the DKR] in the listed portals and Schlussbericht/Schlussbericht.pdf [German version, 2008; English version released · Konzeption Kulturelle Bildung (II) overview documents. in 2010] (DKR) (1994): http://www.kulturrat.de/detail. php?detail=707&rubrik=5 Resources marked with (engl.) · Bundesministerium für Bildung und [historical overview of the German concept of arts Forschung (Federal Ministry for Education education of the DKR] denote the availability of English and Research, BMBF) Intercultural Educa- language versions. tion: Interkulturelle Bildung – Ein Weg zur · Konzeption Kulturelle Bildung (III) Integration (2008): http://www.bmbf.de/de/10755. (DKR) (2005): http://www.kulturrat.de/detail. php [general website on intercultural education] php?detail=233&rubrik=1 [German concept of arts education of the DKR] · Bundesministerium für Familie, Senioren, Frauen und Jugend (Federal Ministry for Family Affairs, Senior Citizens, Women and · Bundesfachkongress Interkultur: (Federal Youth, BMFSFJ) Programm “Vielfalt tut gut” Congress Interculture, since 2006): The Federal (2007-2010): www.vielfalt-tut-gut.de Congress has established a nationwide debate and [programme youth for diversity, tolerance and work Forum “Interculture” funded and imple- democracy] mented under the Action Programme “Youth for Tolerance and Democracy – against extremism, · Beauftragter der Bundesregierung für Kultur xenophobia and anti-Semitism” by the Federal und Medien (Federal Commissioner for Cul- Ministry for Family Affairs, Senior Citizens, Women and Youth (BMFSFJ). ture and Media, BKM): Arts Education: rd http://www.bundesregierung.de/Webs/Breg/DE/ Upcoming 3 Federal Congress Interculture 27 to Bundesregierung/ 29 October 2010, Bochum / Germany BeauftragterfuerKulturundMedien/Kulturpolitik/ www.bundesfachkongress-interkultur.de KulturelleBildung/kulturelle-bildung.html [Project Safe Internet for Children Initiative · Kompetenznachweis Kultur: (Cultural of Cultural and creative economy, since 2009: Competency Record): An individual training National Award for Arts Education] booklet in the form of a portfolio. The document is shown in the cultural educational strengths of · Kultusministerkonferenz (Standing Confer- young people, funded by the Federal Ministry for ences of the Ministries of Education and Education and Research (BMBF) and the German Cultural Affairs of the Länder in the Federal Federation of Youth cultural education (BKJ)): Republic of Germany, KMK) 2007: Recom- www.kompetenznachweiskultur.de mendation of the Standing Conference on Arts Education for Children and Youth (KMK resolu- · Eurydice Report “Arts and Cultural tion of 1 February 2007): Education at School in Europe” (October 2009) www.kmk.org/doc/publ/Empf_kulturelle_ http://eacea.ec.europa.eu/education/eurydice/ KinderundJugendbildung_2007.pdf thematic_studies_en.php (engl.)

· Ganztagsschulen – das Investitionsprogramm Books, Articles “Zukunft Bildung und Betreuung” (IZBB) (2003-2009): Bachner, Silke / Kehse, Sabine: Schule innen http://www.ganztagsschulen.org/10321.php · schöner machen. Kunstprojekte für Kinder, [arts education in full-time schools] Mülheim a.d. Ruhr, Verlag an der Ruhr, 2009 [art projects in school] · Jugend-Kulturbarometer “Zwischen Eminem und Picasso”. Bonn 2006. Bamford, Anne: The WOW Factor. Global http://www.kulturforschung.de/dyndata/Ppt- · research compendium on the impact of the arts in Pr%C3%A4sentationKeuchelPKBerlin04.pdf education. Münster, Verlag Waxmann, 2006 [German language edition in May 2010] · Kulturbarometer 50+ “Zwischen Bach und Blues”. Bonn 2008. Bergala, Alain / Henzler, Bettina / Winfried http://www.kulturforschung.de/dyndata/ · Pauleit (Hrsg.), 2006: Kino als Kunst, Filmvermit- KURZTHESEN-PRESSEINFO-080520.doc tlung an der Schule und anderswo · Bundeszentrale für politische Bildung: [cinema and media education] Arts education: http://www.bpb.de/themen/ PBRT2Y,0,0,Kulturelle_Bildung.html Braun, Tom / Fuchs, Max / Kelb, Viola (Hrsg.), http://www.bpb.de/themen/ · 2010: Auf dem Weg zur Kulturschule ES9IUA,1,0,Entwicklung_und_Perspektiven.html Bausteine zu Theorie und Praxis der Kulturellen

90 Selected Resources

Schulentwicklung, (BKJ-Schriftenreihe Kulturelle · Fricke, Almuth / Dow, Sylvia (Edts.) 2009: · Müller, Linda / Schneeweis, Katharina (Hrsg.), Bildung vol. 17), München Cultural Participation and Creativity in Later Kieser, 2006: Tanz in Schulen. Stand und Per- [arts education in school development] Life, A European Manual (BKJ-Schriftenreihe spektiven. Dokumentation der „Bundesinitiative Kulturelle Bildung vol. 14), München Tanz in Schulen”, München · Bundesverband Bildender Künstlerinnen und http://www.kopaed.de/kopaedshop/index. [dance in school] Künstler (Hrsg.), 2008: WOW – Kunst für Kids. php?PRODUCT_ID=618 (engl.) Künstlerinnen und Künstler arbeiten mit Kindern · Regel, Günther, “Die zweite Moderne, die und Jugendlichen, Köln · Fuchs, Max, kopaed, 2008: Kulturelle Bildung. Schule und die Kunst – Konsequenzen für die [art for kids] Grundlagen - Praxis - Politik, (BKJ-Schriftenreihe künstlerische Bildung”, in Buschkühle, Carl- Kulturelle Bildung vol. 10), München Peter, Perspektiven künstlerischer Bildung, Salon · Bundesverband Bildender Künstlerinnen und [arts education basic theory] Verlag, 2002. Künstler (Hrsg.), 2008: WOW – Kunst für Kids. Künstlerinnen und Künstler arbeiten mit Kindern · Holzwarth, Peter, kopaed, 2008: Migration, · Regel, Günther, Das Künstlerische vermitteln und Jugendlichen – Ergänzungsband, Köln Medien und Schule. Fotografie und Video als Aufsätze, Vorträge, Statements und Gespräche [art for kids] Zugang zu Lebenswelten von Kindern und zur Kunst, Kunstlehre und Kunstpädagogik, Jugendlichen mit Migrationshintergrund, Schriftenreihe Kontext Kunstpädagogik. Band 18. · Bundesvereinigung Kulturelle Kinder- und München München 2008. Jugendbildung, 2007: Bericht über die Evaluation [media and school] [compilation] des Kompetenznachweises Kultur www.dji.de/ dasdji/gespraeche/0704/Evaluationsergebnisse_ · Kettel, Joachim, Globalisierung der Wahrneh- · Schad, Anke (EDUCULT) (2007): “Kulturelle Zusammenfassung.pdf mung? Die Herausforderung der Kunstpädagogik Bildung in Europa”. Studie im Auftrag des Öster- [competences in arts education] durch die Neuen Medien. In: KUNST+Unterricht, reichischen Bundesministeriums für Unterricht, Heft 216. November 1997. S. 12-13. Kunst und Kultur. www.educultur.at/uploads/ · Buschkühle, Carl-Peter, Joachim Kettel, [about challenge of art pedagogy in times of media/strukturanalyse.pdf Mario Urlaß (Hrsg.) globalization] [arts education in europe] Horizonte. Internationale Kunstpädagogik. Beiträge zum Internationalen InSEA-Kongress · Kettel, Joachim (ed.), Künstlerische Bildung · Schneider, Wolfgang (Hrsg.), transcript, 2009: »horizons/horizonte – insea2007germany«. nach Pisa. Neue Wege zwischen Kunst und Bil- Theater und Schule, Bielefeld Pädagogische Hochschule Heidelberg und dung. Mapping Blind Spaces. Tagungsband des [theatre and school] Pädagogische Hochschule Karlsruhe. internationalen Symposiums. Oberhausen 2004. 17. bis 20. Juli 2007 Oberhausen 2009. [Conference report of the International Sympo- · Schneider, Wolfgang (edt.), Peter Lang GmbH [contributing to the International InSEA Congress sium on artistic education] 2009: Theatre for Early Years, Research in 2007] Performing Arts for Children from Birth to Three, · Kettel, Joachim (ed.) horizons/horizonte Frankfurt am Main · Buschkühle, Carl-Peter, Perspektiven insea2007germany. InSEA Art Education http://www.kjtz.de/titel.asp?UserID=1070393753 künstlerischer Bildung, Salon Verlag, 2002 Research and Development Congress horizons/ &Nr=10&St=0&Fwert=553&n=neu (engl.) [perspectives on artistic education] horizonte insea2007germany. Oberhausen 2009 (engl.). · Timmerberg, Vera / Schorn, Brigitte (Hrsg.), · Deutscher Kulturrat (Hrsg.), Verlag Deut- kopaed 2009: Neue Wege der Anerkennung scher Kulturrat, 2005: Kulturelle Bildung in der · Keuchel, Susanne/ Wiesand, Andreas (Hrsg.), von Kompetenzen in der Kulturellen Bildung. Bildungsreformdiskussion. Konzeption Kulturelle ARCult Media, 2006: Das 1. Jugend-KulturBa- Der Kompetenznachweis Kultur in Theorie und Bildung III, Berlin rometer „Zwischen Eminem und Picasso…“. Praxis,(BKJ-Schriftenreihe Kulturelle Bildung [political concept of arts education] Bonn vol. 15), München [arts statistics] [cultural competency record] · Deutscher Kulturrat, 2006: Schriftliche Stellungnahme des Deutschen Kulturrates. Kul- · Keuchel, Susanne/ Wiesand, Andreas (Hrsg.), · University of Bremen, 2007-2008: MUKUS – turelle Bildung eine Herausforderung durch den ARCult Media, 2008: Kulturbarometer 50+ Studie zur musisch-kulturellen Bildung an Ganz- demografischen Wandel vom 20. September 2006. „Zwischen Bach und Blues“. Bonn tagsschulen im Rahmen der IZBB-Begleitforsc- www.kulturrat.de/pdf/845.pdf [arts statistics] hung, gefördert durch das Bundesministerium für [Statement on arts education in times of demo- Bildung und Forschung: www.studie-mukus.de graphic change] [music and arts education in full-time schools] · Klinge, Antje (2007): Tanz ist ein Medium kultureller Bildung. Tanzjournal 5, p. 13- 18. · Dieterle, Anke / Dieterle, David / Haase, Frauke [dance in arts education] · Von Welck, Karin / Schweizer, Margarete / Jacobs, Kai / Schönherr, Christoph / Spiegel, (Hrsg.), Wienand, 2004, 2005, 2007: Kinder zum Hans-Georg, Carus, 2009: Jedem Kind ein Instru- Olymp, Köln · Landesmedienzentrum Baden-Württemberg ment. Unterrichtsmaterialien, 2 Bände, heraus- [arts education] (Hrsg.), Karlsruhe (LMZ) 2008: Ganztagsschule: gegeben im Auftrag der Hochschule für Musik Der Kürzeste Weg zur Medienkompetenz?! Eine und Theater Hamburg, Leinfelden Publikation der Medienoffensive Schule II Baden- · Wagner, Ernst / Dreykorn, Monika (Hrsg.), [project each children an instrument] Württemberg für Unterricht und Praxis, Karlsruhe kopaed, 2007: Museum. Schule. Bildung. Aktuelle [media competence] Diskurse / Innovative Modelle / Erprobte · Foik, Jovana, 2008: Tanz zwischen Kunst und Methoden, München Vermittlung. Community Dance am Beispiel des [museum and education projects] · Mandel, Birgit (Hrsg.), kopaed, 2008: Audience Tanzprojekts Carmina Burana (2006) unter der Developement, Kulturmanagement, Kulturelle choreografischen Leitung von Royston Maldoom, Bildung. Konzeptionen und Handlungsfelder der · Zentrum für Kulturforschung (Hrsg.), ARCult München Kulturvermittlung, (BKJ-Schriftenreihe Kulturelle Media, 2006: Künste – Medien – Kompetenzen. [dance education project] Bildung vol. 5), München Abschlussbericht zum BLK-Programm „Kul- [arts education, culture management] turelle Bildung im Medienzeitalter - KuBiM“, Bonn [education in the media age]

91 „ „ UNESCO today 1/2010 Arts Education For All

Links and Websites · Zentrum für Kulturforschung (ZfKf): · Hertie-Stiftung: www.ghst.de www.kulturforschung.de [education projects, learners with a migration (availability of English http://www.kulturforschung.de/en/default.html background] language materials denoted by (engl.) · International Drama/Theatre and Education · Ilse und Dr. Horst Rusch-Stiftung: (engl.) Association (IDEA): www.idea-org.net (engl.) www.rusch-stiftung.de · International Society for Education through Art [Projects of cultural exchange between Hamburg · Akademie Remscheid für musische Bildung (InSEA): www.insea.org and Berlin, Thalia Theater] und Medienerziehung e.V.: www.insea.europe.ufg.ac.at (engl.) www.akademieremscheid.de · Körber Stiftung: www.koerber-stiftung.de · International Society for Music Education www.koerber-stiftung.de/en/young-culture.html · Bundesakademie für kulturelle Bildung (ISME): www.isme.org (engl.) (engl.) ­Wolfenbüttel: www.bundesakademie.de [Programmes and projects of arts education, “Theater und Schule” – Hamburg] · Internationale Gesellschaft der bildenden Künste · Bundesakademie für musikalische (IGBK): www.igbk.de ­Jugend-bildung Trossingen: http://igbk.de/index.php?lang=en (engl.) · PricewaterhouseCoopers Stiftung www.bundesakademie-trossingen.de (PwC-Stiftung): www.pwc.de [Project musikFabrik, “Kinder zum Olymp!” – · International Youth Library (Munich): Zukunftspreis Jugendkultur 2009] · BDK e.V. Fachverband für Kunstpädagogik: www.ijb.de www.bdk-online.info http://www.ijb.de/files/Page00.htm (engl.) · RheinEnergieStiftung Kultur: · Bundesverband Darstellendes Spiel: www.rheinenergiestiftung.de/kultur/index.php · International Music Council: [Project musikFabrik] www.bvds.org http://www.imc-cim.org/ (engl.) · Siemens Stiftung: www.siemens-stiftung.org · Bundesverband der Jugendkunstschulen: · Kinofenster.de: http://www.kinofenster.de www.bjke.de http://www.siemens-stiftung.org/index-en.html [internetplatform: media education] (engl.) [Programmes on education & welfare, art & · Bundesverband Jugend und Film: www.bjf.info · Kulturportal Deutschland: culture] www.kulturportal-deutschland.de · Bundesverband Kulturarbeit in der evangel. · Stiftung Mercator: www.stiftung-mercator.de Jugend e.V.: www.bka-online.org · LabforCulture.org: www.labforculture.org http://www.stiftung-mercator.de/en/ (engl.) [The networking platform for information thematic-clusters/arts-education.html (engl.) · Bundesverband Museumspädagogik e.V.: on European arts and culture of the European [Programme for arts education] www.museumspaedagogik.org Cultural Foundation, Amsterdam] · The Ursula Lübbe Stiftung: · Bundesverband Tanz in Schulen e.V.: · UNESCO website for arts education: www.ursula-luebbe-stiftung.de www.bv-tanzinschulen.de www.unesco.org/culture/ [education, arts and culture, “KiKuMa”]

· Bundesverband Theaterpädagogik e.V.: · Tanzplan Deutschland: · Yehudi Menuhin Stiftung: www.ymsd.de www.butinfo.de www.tanzplan-deutschland.de [Project “Music for Schools in Europe“ (MUS-E)]

· Bundesvereinigung Kulturelle Kinder- und · Zeit Stiftung: www.zeit-stiftung.de Jugendbildung e.V. (bkj): www.bkj.de Private Foundations http://www.buceriuskunstforum.de/h/kids_and_ http://int.bkj-remscheid.de/index.php?id=1 (engl.) youth_176_en.php (engl.) [Arts Education through the Bucerius · Allianz Kulturstiftung: Kunstforum] · Deutscher Bundesverband Tanz e.V.: www.allianz-kulturstiftung.de www.dbt-remscheid.de http://www.allianz-kulturstiftung.de/en/index.html (engl.) · Deutscher Berufsverband für [Projects labforculture.org] Public Foundations Tanzpädagogik e.V.: www.dbft.de · BASF Sozialstiftung: · Bundeskulturstiftung: · Deutscher Musikrat: www.musikrat.de www.basf.com (engl.) http://www.kulturstiftung-des-bundes.de/cms/en/ [Project about art in education „Von Piccolo bis (engl.) · Deutsches Musikinformationszentrum: Picasso – Kreatives Gestalten als Bildungsansatz“] http://www.miz.org/ · Kulturstiftung der Länder: http://www.miz.org/en/institutionen.html (engl.) · Bertelsmann Stiftung: www.kulturstiftung.de www.bertelsmann-stiftung.de [Program “Kinder zum Olymp”]: · Deutsches Institut für Erwachsenenbildung: http://www.bertelsmann-stiftung.de/cps/rde/xchg/ www.kinderzumolymp.de www.die-bonn.de SID-787C7A14-782B4195/bst/hs.xsl/350.htm (engl.) · Deutsche Stiftung Denkmalschutz: [Music education projects in schools] · Dachverband Tanz Deutschland e.V.: www.denkmalschutz.de www.dachverband-tanz.de/ Project “denkmal-aktiv”: www.denkmal-aktiv.de · Robert Bosch Stiftung: www.bosch-stiftung.de Programme „Youth and Culture“: http://www. · European Music Council: www.emc-imc.org · Stiftung Genshagen: bosch-stiftung.de/content/language2/html/17109. www.stiftung-genshagen.de asp (engl.) · Goethe-Institut: www.goethe.de [Project “LernStadtMuseum in Sachsen – http://www.goethe.de/enindex.htm (engl.) Schüler entdecken Museen”] · Stiftung Lesen: www.stiftunglesen.de

· Institut für Bildung und Kultur e.V. (Ibk), · Crespo Foundation: · Stiftung Zuhören: www.stiftung-zuhoeren.de Remscheid: www.ibk-kultur.de www.crespo-foundation.de [Support of arts education-projects in the area of · Initiative Hören (formerly Stiftung Hören): Frankfurt, Berlin and Vienna] www.initiative-hoeren.de

92 Selected Resources

· Deutsche Kinder- und Jugendstiftung: UNESCO Chairs www.dkjs.de

· UNESCO Chair in Arts and Learning, Queen’s · Baden-Württemberg: Landesstiftung Baden- University Kingston, Canada: Würtemberg: www.landesstiftung-bw.de http://educ.queensu.ca/unesco.html (engl.) Unterstiftung: Stiftung Kinderland Baden- Würtemberg: www.stiftung-kinderland.de · UNESCO Chair in Multicultural Education in Teacher Training, Beit Berl College, School of · Bayern: Bayrische Landesstiftung: Education, Bet Berl, Israel: www.landesstiftung.bayern.de http://beitberl.ac.il/english/Pages/default1.aspx Stiftung Bildungspakt Bayern: (engl.) www.bildungspakt-bayern.de Stiftung art 131: www.art131.bayern.de · UNESCO Chair in Civics and Multicultural Education Studies (452), Jaan Tonisson Institute, · Berlin: KulturProjekte Berlin: Estonia: http://www.jti.ee/?s=67 (engl.) www.kulturprojekte-berlin.de · UNESCO Chair in Teacher Education and · Brandenburg: Hilfe für Familien in Not – Culture, University of the South Pacific, Fiji: Stiftung des Landes Brandenburg: http://www.usp.ac.fj/index.php?id=2623 (engl.) www.familien-in-not.de · UNESCO Chair in Higher Education for · Bremen: Jugend Kunst Stiftung Bremen: Sustainable Development, Universität Lüneburg, www.st-art-bremen.de Germany: www.leuphana.de/index.php?id=8397 (engl.) · Hamburg: Hamburgische Kulturstiftung: www.kulturstiftung-hh.de · UNESCO Chair in Arts and Culture in Education, University Erlangen, Germany: · Hessen: Hessische Kulturstiftung: www.hkst.de http://www.uni-erlangen.de/infocenter/ meldungen/nachrichten/2009/11/27/434.shtml · Mecklenburg-Vorpommern: (engl.) Fördermöglichkeiten des Kultusministeriums: www.kulturportal-mv.de Federal Academies for Arts · Niedersachsen: Stiftung Niedersachsen: Education http://www.stiftungniedersachsen.de/en/ (engl.) · Akademie Remscheid für musische Bildung und · Nordrhein Westfalen: Medienerziehung e.V.: NRW-Stiftung: www.nrw-stiftung.de www.akademieremscheid.de (engl.) Kunststiftung NRW: http://www.kunststiftung- nrw.de/index.php?lang=en (engl.) · Bundesakademie für kulturelle Bildung Wolfenbüttel: www.bundesakademie.de · Rheinland Pfalz: Stiftung Innovation: http://stiftung-innovation.rlp.de/ Kulturstiftung Rheinland Pfalz: · Bundesakademie für musikalische www.kulturstiftung-rlp.de Jugendbildung Trossingen: www.bundesakademie-trossingen.de · Saarland: Stiftung Demokratie Saarland: www.stiftung-demokratie-saarland.de For further Higher Education · Sachsen: Kulturstiftung des Freistaates Sachsen (KdFS): www.kdfs.de opportunities see Deutscher Bildungsserver: Sachsen-Anhalt: Kunststiftung des Landes Sachsen-Anhalt: www.bildungsserver.de www.kunststiftung-sachsen-anhalt.de http://www.bildungsserver.de/start_e.html (engl.)

· Thüringen: Kulturstiftung des Freistaates Thüringen: www.kulturstiftung-thueringen.de

· Sparkassen Sitftungen: www.sparkassenstiftungen.de

· Ostdeutsche Sparkassenstiftung: www.ostdeutsche-sparkassenstiftung.de

· Sparkassen-Kulturstiftung Hessen- Thüringen: http://www.sparkassen-finanzgruppe- ht.de/finanzgruppe/wirfuer/kulturfoerderung/ kulturstiftung.php?navanchor=10030

93 „ UNESCO today 1/2010 Arts Education For ALL“

Publication Data

UNESCO today (ISBN 978-3-940785-16-9)

Publisher: German Commission for UNESCO President: Walter Hirche Vice-presidents: Dr. Verena Metze-Mangold, Prof. Dr. Christoph Wulf Secretary-General: Dr. Roland Bernecker

Editorial Board: Colmantstraße 15, 53115 Bonn, Germany Telephone: +49 228 60497-0 Fax: +49 228 60497-30 E-mail: [email protected] Internet: www.unesco.de

Editors: Christine M. Merkel (responsible) Eulynn Shiu Anna Steinkamp Assistance: Gašper Hrastelj, Lina Klingebeil, Christopher Swanson

The editors reserve the right to carry out editing, image selection, titles and publica- tion of the articles submitted. Articles attributed to an author do not always reflect the opinion of the editors. Pubished twice annually. Free of charge and photocopiable. Citations: UNESCO today. Please provide a copy of article. Free subscriptions to private addresses are limited to one year. Layout and setting: Media Company – Agentur für Kommunikation GmbH, Bonn, Germany, Astrid Ostrowicki Printing: Medienhaus Plump Print run: 3.000

UNESCO today is printed on chlorine-free bleached and recycled paper.

Photos: Front cover: Pre-schoolers participating in a Von Piccolo bis Picasso creative studio. Back cover: Young language students painting their piece for the Mauerreise-project in front of the Brandenburg Gate, Berlin. Photo copyright and credits: Andreas Rimkus (p. 5, p. 65); Anne Bamford (p. 82); Arte Sustenible Uno (p. 89); BA Neukölln von Berlin, Maik Scheerman (p. 12, p. 13); BASF AG / ­Claudia Schäfer (front cover, p. 6, p. 33); Bund Deutscher Amateurtheater, Jörg Sobeck (p. 58); daCi Deutschland, Tanztangente Berlin, S. Wenzel (p. 46); ­Deutsche Stiftung Denkmalschutz (p. 34); Fabian Hammerl, Thalia Theater (p. 43); Fotografie Angela Brill (p. 76, p. 95); German Commission for UNESCO (p. 3); German Federation for Cultural Youth Education (p. 52, p. 79); Goethe-Institut, Enrico Böttcher (p. 67); Goethe-Institut, Jong Duk Woo (p. 85); Goethe-Institut, Nico Knebel (p. 87, back cover); Goethe-Institut, Klaus Heymach (p. 9, p. 77); Heike Günther, Bürgerstiftung Hamburg (p. 7, p. 31); jaf-Verein für medienpädagogische Praxis Hamburg e.V. (p. 8, p. 40, p. 53, p. 57, p. 66); Jörg Fruck (p. 47); Jugendkunstschule Köln e.V. (p.2, p. 68); ­KinderKulturKarawane (p. 55, p. 83, p. 95); Laszlo Szito (p. 2, p. 14); Lernstadt Museum Sachsen (p. 35); Marlies Henke, Thalia Theater (p. 42, p. 44); Max Petermann, Grundschule Hessen (p. 11); M.O. Hübener (p. 38); Monika Ritterhaus (p. 51); musikFabrik, Klaus Rudolph (p. 32, p. 37); Pan y Arte (p. 80, p. 88); Popakademie Baden-Württemberg GmbH (p. 75); Robert Grimbs, Gymnasium Bayern (p. 21); RUHR.2010 GmbH / Rupert Oberhaueser (p. 49); RUHR.2010 GmbH / Clemens Behr (p. 48); Sara Burkhardt (p. 26); Siemens Foundation, Stefanie Seufert, Berlin (p. 30); Silke Goes (p. 50); Stiftung Lesen, Andrea Steinbrecher (p. 18); Stiftung Kinderland, Baden-Württemberg (p. 39); Tanzwerk Bremen, Norbert A. Müller (p. 6, p. 10); Theater Junge Generation, Juliane Mostertz (p. 41, p. 59); Theater Junge Generation (p. 17, p. 62); University Erlangen-Nuremberg (p. 71); Vision Kino (p. 64, p. 73); Website A Net for Children (p. 60) 94 Teatro Trono (Bolivia) performers, KinderKulturKarawane, see p. 83.

A wind instrument student at Gesamtschule Schinkel, Osnabrück, see p. 76. 95 ISBN 978-3-940785-16-9