The InSEA 2017 Congress will include a number of hands-on workshop. Workshop proposal has been reviewed and accepted. This page provides brief descriptions of workshops that will be offered at the InSEA2017 Congress.
Arts can be understood by not only vision but also tactile, hearing, smelling, tasting perception. Also, everyone has the equal right to enjoy the pleasure of appreciation and creation.
So children and adults with visually impairments or blindness should be educated through arts to communicate with people, events, and the environment surrounding them.
In the first part of this workshop, participants will understand the development of art education for the blind in Taiwan. Then, the organizer will give a brief introduction of audio description, and the cases of how artists without vision to create arts. Next, participants will learn how to interpret an image and visual information for blind people via descriptive video service, then being blindfolded to draw after touching tactile pictures and 3D objects. All participants will be distributed in a small group to practice recognizing images and drawing pictures by touching and hearing.
After this workshop, all participants can share their blindfolded experiences and feelings without sight. Non-visual arts not only design for blind persons, but also for the sighted. So, teachers can transfer creating experience in the dark to figure out multi-sensory art courses for students, and the skill of audio description also assists students to create imagination without visual perception.
|Description|| It is about the ropes with knots of the Incas, called Quipu. They not only recorded the accounting in the cords; they also served to recall sequences of rituals. The only people capable of reading and interpreting them were the "Quipucamayoc". They carried the quipu tied to their belt and carried in this way information as vast as the one of a P.C. of the year 2000.
In the workshop, after a visual introduction, each participant will work by tying thoughts into his own string, which will be incorporated in a large collective quipu.
The purpose of this workshop is to understand cultural diversity through learning colors and its meanings formulated by their nationality, regions, nature and so on.
We are surrounded by various “Colors”, e.g. “Nature Color” (climate, seasons, etc.), “Culture Color” (traditional culture, clothing, food culture, ceremonial occasion, etc.), and “Society Color” (gender, LGBT, politics, economics, education, digital world, disabilities, etc.).
For example, in Korea, five colors of yellow, blue, white, red, black, called “Obangsaek”, have been used since ancient times. In China, four colors are used to represent the orientation. In Japan, the color scheme called "kasane no Irome (combination of colors created by layering of garments ( colours) )" expresses the change of four seasons.
Please bring some objects contained typical colors which represents your nationality, regions, nature to our workshop if it is possible, for example, clothes, fabrics, Photograph, postcard, sweets, general merchandise, etc.
We are looking forward to you participate, produce a new understand and exchange much together.
The procedure of this workshop is below.
|Description||Sumi-ink,Washi-japanese paper,and water can create a variety of tones such as spreading and cracking by their harmony. We called this Workshop Sumi art and planned that the teachers would fell the wonder and the beauty of Sumi. During this workshop, we practiced three techniques as follows,
Dear You is a cross-cultural mail art project created for children aged 4-15 years old. The aim of Dear You is to connect children internationally by making and sharing art with new friends from abroad. Through this process of exchange, a child’s worldview is widened and their skills for self expression are honed. The workshop, Dear You: connecting spaces, will be held in the form of a combined seminar/art practice. Arlene Tucker, author and workshop facilitator, will give insight into Dear You’s methodology in order for workshop participants to utilize and engage in transnational collaborations.
This special Dear You InSea experience will be presented in two major parts. The first section proposes process-based art practices and the second focuses on the application of semiotic concepts in educational and artistic projects. Betwixt the variety of hands-on activities, we will discuss how one can create their own functioning participatory design-based projects, which empower students and educators through open dialogue. There will be an opportunity for the development of and practical application of the proposed techniques. The workshop, as a whole, is intended to be informal, interactive, and immediately applicable.
|Description||This paper mainly observes and recognizes the connection, interaction and common development of the art education curriculum and society from the angle of the open of the school art education. Simultaneously,combining the education traits in the “big data”era closely,it understands the new type of relationship among students,society,arts,spirit and growth from various angles.Also,it promotes schools,society and families to think cautiously over several art education problems,considering correlative case researches.|
Turkey is a region where many civilizations from the first ages traveled through and settled due to its special geopraphic, geopolitical, and strategic location. For this reason, it contains much cultural diversity and richness of different communities who lived in its lands.
The history of woodcut printing on textile (yazmacılık) art, which is one of Turkey’s cultural values and traditional arts, face extinction by being overshadowed with technological developments and today is practiced by few people who were taught by previous generations that dates back to the 16th century. This art, which is learned in master and foreman relationship, is done on textile by printing with a woodcut is considered one of the first fabric etching methods. Woodcuts, which are used while performing this art, reflect the region’s distinctive designs and have its own unique story and are always printed in the exact same order.
In this workout that implementation step of our woodcut printing on textile (yazmacılık) art will be done, participants will make new printing designs which can be used in daily life by considering appropriate composition to this art’s history and technic and staying with tradition in certain order.
The ımplementation steps will be done as follows;
|Description||I will use many flat dishes at this workshop. I would like to think about the new relationship between people and the environment, people and art using naturally friendly materials. The theme is "The impression that was born to the world". Every day, people around the world use flat dishes at meals. I regard the plate as one small gallery this time. I would like to arrange a lot of "this little gallery" with the participants and create a big work (place).The material uses soil clay and another unique material (packing material that can be adhered only with moisture).Participants will make small sculptures using these materials. Then we will exhibit it on a flat dish. Easy preparation and way, participants can enjoy it enough for a short time. What kind of diversity, communication and collaboration can be found? Through this workshop, I am looking forward to meeting the participants' ideas, and for making wonderful communication beyond words. Let's experience the power of art.|
|Description|| Though most art education programs list creativity as a major goal, analysis of actual practice suggests that art curriculum does not always provide sheltered and open spaces in which deep, idiosyncratic creative capacities can be manifested and fostered.
Join us as we convene a Surrealist Bureau of Educational Research to investigate and generate alternative visions for joyous and evocative art making communities. Reclaim your creative rights by engaging in authentic Surrealist methods of engaging images and words to access the individual and collective unconscious. Recall that all creativity generates anxiety and consider how to support our students, colleagues, and communities as they meet and manage the conflicted characters of their own creative unconscious.
In times when rational-linear approaches to human progress encounter many impediments, gaming and playing together may become the avenue to reach for new visions. Shrug off old pedagogical habits. Stop curmudgeonly curriculum. Cultivate our capacities to imagine odd, inspirational, silly, wild, irreverent, bizarre and marvelous things.
Why put so much energy into cultivating the imaginary? Perhaps the best answer is in the words
The workshop with ten short drawing tasks aimed at raising the motivation (self-efficacy beliefs construct) of participants and to improve their drawing skills, although in a very short period of 46 – 60 minutes. Actually, the participants will simulate one of the life-long learning drawing and motivating strategies that author uses in his in-service training of elementary teachers of art in Slovenia in the period of last 13 years.
The underlying theoretical construct of this workshop is based on the motivational concept of self-efficacy beliefs, originated by Albert Bandura. Art education advisers, teacher trainers and teachers themselves may find this approach as challenging for their work in art teaching,
and can adapt it into their learning situations and age of students. Art education students may find this workshop as a motivation for their further art pedagogy studies.
Participants will be firstly given 10 sheets of A4 size paper and a pencil, softness B2 – B6, will secondly realize drawings according to his instructions. The educational purpose of the task will not be revealed at the beginning but at the final evaluation, based on the drawing collections of participanty volunteers.
Several criteria for determining the success of the workshop will be presented.
This session, Pedagogical Globalization: Traditions, Contemporary Art, and Popular Culture of Korea, is a panel presentation/discussion on the InSEA (E-Book) anthology that will be published in 2017.
In the era of globalization and cultural hybridity, the emphasis on art education require a shift from exploring single cultural traditions to making various connections and relocations. This means seeing emerging new cultural territories and spaces as new educational spaces through a clash of cultural identities and also the relationship of the local to globalization. This is true for our art teachers and students who have faced the critical issues of cross-cultural, and intercultural issues in art.
Editors believed that it is timely to provide an in-depth understanding of global issues through a cultural lens of Korean art and visual and popular culture interacting and engaging with artistic and educational practices in various other global contexts, as well as in-between spaces of the local and the global.
Co-editors and authors of the new InSEA anthology (e-Book) will discuss diverse perspectives, practices, and pedagogical approaches for K-12 art educators by emphasizing a notion of global, cross-cultural awareness that is essential to both teaching art and visual culture in and beyond Korean cultural and geographic contexts.
This symposium brings together authors contributing to two soon to be published books examining “International Perspectives on Visual Arts Education Dissertations.” In turn we hope to invite cross-cultural and transnational dialogues concerning international arts research by bringing together a scholarly community of NABERS (Networks of Arts-Based Educational Researchers) to foster critical debates and critical practices about art as research from diverse educational standpoints, frameworks and methods of practice.
This research symposium aims to bring forward conversations on how art educators and doctoral students are thinking about and applying ABER within differently contextualized socio-cultural and organizational environments.
Such comparisons have significant implications for academics, students and policy makers and will factor into the sustainability of art education as a field of study given the changing role of universities globally. While a number of questions will be addressed at the symposium these three may guide initial discussions: