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KFC - Karlien, Fleur en Joëlle (2013), leerlingen 4 havo, Rotterdam
Authentic Art Education RemixedSocial Interventions, Hacks and Mash-upsFolkert Haanstra, Emiel Heijnen
Context: authentic art education
Art teachers need to face the fact that what is frequently taken to be the content of the art that is made in school is not about art as it exists beyond the school; it may be more a function of the school life-style itself.(Arthur Efland, 1976)
Context: authentic art education
A tradition of educational reform movements that try to close the gap between school and ‘real life’
Social constructivism Learning as a situated and social activity.Self-regulation of learning and learning in real-life environments.
Authentic education
School art style versus
authentic art education
Context: authentic art education
Four key principles:
a Knowledge is constructed in complete & complex task situationsb Learning is aimed towards the culture of the student c Learning tasks are derived from activities performed by art professionalsd Communication and cooperation play an important role in the learning process
Problem definition:
The design principles of authentic art education need to be updated in the light of contemporary informal and professional visual production.
Authentic art education is still a rather theoretical concept.
Main research goals
Exploring the original principles of authentic art education among contemporary visual producers, both in the informal and in the professional domain .
Using the found characteristics of contemporary visual production to update Haanstra’s original principles of authentic art education and convert them into an educational model.
Investigate the impact of the new model in educational practice.
Method:design based research
“The systematic study of analyzing, designing and evaluating educational interventions in order to solve complex educational problems for which no ready-made solutions are available and to gain insight in key design principles” (Nieveen, 2007)
Method:design based research … is both theory-driven and utility-oriented;
… is interventionist;
… is collaborative;
… is iterative.
Learning is aimed towards the culture of the student.
Learning tasks are derived from activities performed by art professionals
Study to contemporary art practices
Study to informal visual networks
Revised model for authentic art education
Teachers design a course based on characteristics
Courses are implemented and evaluated
(20 teachers, 300 students)
Tested model for authentic art education
Theoretical implications
Original characteristics (2001)
Investigation
Prototyping
Assesment
Reflection
Design-based research phases
The Investigation Phase
Investigation phase 1:
informal visual networks
Focus group interviews with informal visual communities(with Freedman, Kallio-Tavin, Karpati & Papp (2013)
Demoscene groupsFinland
Fan ArtistsUSA
GamersUSA
CosplayersHungary/USA
Art production Canada/Netherlands
Street ArtNetherlands/Turkey
MangaUSA
informal visual networks: some findings
•Members develop specific forms of expertise
Gap collectionTabone (2010)
informal visual networks: some findings
•Members develop specific forms of expertise
TagTabone
informal visual networks: some findings
•Members develop specific forms of expertise
•Learning through informal mentorship
informal visual networks: some findings
•Members develop specific forms of expertise
•Learning through informal mentorship
•Creative production through play, copying, sampling and remixing
My little pony full group Yayacosplay
Investigation phase 2: Contemporary artists and collectives
Map - Aram Bartholl (2006-2010)
Interviews with 9 contemporary artists and collectives
Pilvi TakalaFinland/Turkey
WandschappenNetherlands
Antonio MacotelaMexico
Aram BarthollGermany
BijaRiBrazil
Jeanne v HeeswijkNetherlands
Authentic BoysNetherlands/Germany/Switserland
Propeller GroupVietnam/USA
Evan RothFrance/USA
Since 1955, Loes Veenstra knitted over 500 sweaters that she stored in cardboard boxes in her home.
The sweaters had never been worn.Until today.The collected knitwear of Loes Veenstra
https://www.youtube.com/watch?v=Pul1Ja8gWBg
“I do not have the ambition to solve social problems, but it would be beautiful if we could contribute something to the solution.”
Wandschappen
Contemporary artists and collectives:some findings
•Rooted in conceptual art, located in broad cultural contexts (social, critical, political etc.)
“I believe in the ambiguity of thinking together. Making art is for me a form of collective development and learning”
Jeanne van Heeswijk
Contemporary artists and collectives:some findings
•Rooted in conceptual art, located in broad cultural contexts (social, critical, political etc.).
•Critical exchange and joint creation are important learning forms.
“I am not starting from the medium of course. My works are not connected by medium, but they are connected through an approach”
Evan Roth
Contemporary artists and collectives:some findings
•Rooted in conceptual art, located in broad cultural contexts (social, critical, political etc.).
•Critical exchange and joint creation are important learning forms.
•Production is interdisciplinary and process-based.
Study to contemporary art practices
Study to informal visual networks
Revised characteristics for authentic art education
Original characteristics (2001)
Teachers design a course based on the new model
Courses are implemented and evaluated
(20 teachers, 300 students)
tested model for authentic art education
Theoretical implications
The Prototyping Phase
15 different courses
Some examples of central assignments:
Reflect or comment on the conventions in pop music by remixing existing music videos .(The Hague)
Create a short documentary about an unusual local story or person. (Den Helder)
Choose a billboard in public space and alter its visual appearance in such a manner that it expresses your critique on the product.(Rotterdam)
The Assessment Phase
Evaluation data:
•Interviews with the 20 teachers who designed and implemented the courses
•Learner reports by 300 of the participating students
The Reflection Phase
Implications: curriculum design
Curriculum design is an underrated aspect of the daily practice of art educators.
“I do not design most of my lessons, to be honest. I know I should, but most of the time I just teach.”
art teacher in a secondary school
Implications: art curriculum
The revised design principles of authentic art education stimulate innovative forms of curriculum design which enables students to think and act more like present-day creative producers….:
The courses in this study:•discuss actual issues via the work of living artists and contemporary visual culture
Dina Goldstein – Fallen Princesses
• technique and form are subservient to the expression of personal and societal engagement:
Intervention by students of the courseA Matter of Time and Space
• interdisciplinary artistic research is encouraged;
Documentation by students of the course Advertism
• digital techniques, hacking, sampling and remixing as acknowleged artistic methods:
Work by a student participating in The Stolen Moment
• artistic production is presented as a collaborative, interactive endeavor.
Fragments of films by students participating in Teach me how to Dougie
Implications: art curriculumA broad cultural orientation toward art can strengthen the intrinsic aspects and innovation of art education itself.
“I found out that you can make things more clear with art” Student, 18 years
“The students picked up that contemporary conceptual art relates to our daily realities.” Teacher“I learned that matters are not always what they appear to be”Student, 15 years
Political implications
Authentic art education creates opportunities for students to criticize and even to playfully disrupt existing power relations
“I learned that you have to be critical and that you have to investigate things”
Student, 16 years
