2013

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Contents

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072

073

075

077

078

079

081

084

085

087

090

092

094

098

099

108

108

109

110

115

129

130

135

136

137

140

148

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01.

02.

03. 01

04. 02

05.

06.

07. 01

08. 02

05_2.

05_3.

06.

CONTENTS

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01 01_1 01_2 01_3

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(International Arts Education Week) .

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(8)

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5.23(), 18:00~21:00 /

5.24(), 18:00~20:00 / D

5.24(), 16:30~20:00 /

5.24(), 16:00~18:00 /

(10)

5.20(), 9:00~12:00 / 734

5.20(), 10:00~12:30 /

5.21(), 9:00~12:00 /

5.21(), 10:00~12:30 /

5.23(), 9:00~11:30 /

5.23(), 14:00~16:30 /

5.23(), 9:00~12:00 /

5.24(), 9:00~12:00 /

5.25(), 9:30~12:00 /

5.27(), 10:00~12:30 /

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[ ]

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300

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Chen, ruo bing _

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10:00~11:30

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1222013

Distinguished Minister of Culture, Sports and Tourism,

Distinguished President of Korean Arts & Culture Education,

Ladies and gentlemen

Thank you very much for your invitation to speak here. It is a great honor for me to take part in

the opening ceremony of the Week of Arts Education in Seoul 2013.

The government of The Republic of Korea, especially KACES, has always been a staunch pro-

ponent of arts education and surely its most significant supporter in the context of UNESCO.

In 2010, Korea hosted the very successful UNESCO 2nd World Conference in Arts Education;

and last year, UNESCO, together with Koreas culture ministry, co-hosted the international

inauguration ceremony for the first International Arts Education Week that had been proposed

by Korea. In addition, KACES has regularly published and circulated an important, internation-

ally recognized newsletter about national and international developments in arts education.

Now that I have the privilege of being a guest here to speak in the country where these inno-

vative initiatives originated, I would like to take the opportunity to personally say: Thank you to

all the people being responsible for these developments in The Republic of Korea; thank you,

KACES. Thank you for the wonderful work you have been doing to raise public awareness of

the importance of arts education here and beyond the borders of Korea. On the basis of your

untiring efforts your country has become the most important voice in arts education in the

world.

Especially now, in the current world situation, arts education needs strong support. We are

facing big challenges and arts education can play an important role in the solution of these

problems. But the gentle voice of arts education is often overheard in the midst of all the noise.

In this situation, I am glad to have your voice, the clear, resolute voice of KACES in the world

and to have you at our side.

In this case, our side / my side means the International Network for Research in Arts Educa-

02 / ( )

12305

05-1

tion, a group of UNESCO-Chairs and UNESCO-Observatories around the world that forms the

core of UNESCOs research activities in the field. The 130 researchers in arts education from

more than 40 countries who attended a conference in Germany last week asked me to deliver

this greeting to you.

While preparation for this conference in Germany was underway, we decided to publish an

International Year book for Research in Arts Education.

To move on to the subject of our conference today: First of all I would like to congratulate the

organizers for the slogan they have chosen:

A Step Closer to All,

A Step Closer to People Around,

A Step Closer to Everyday Life,

A Step Closer to One Another,

A Step Closer to the World,

A Step Closer to a Dream,

A Step Closer to Tomorrow.

What a wonderful slogan: A step closer! Yes: A step on a long way to meet the challenges of

the world I just mentioned before. A step on a way we have to go.

We see thousands of attempts to solve existing problems around the world, e.g. unemploy-

ment, illiteracy, hunger, military tensions, civil rights. Although a multitude of experts, govern-

ments, and volunteers are trying to solve these crucial and existential problems most of them

tend to concentrate on solving a particular problem without taking the whole broad cultural

context into consideration. And most of them fail - for this reason. I am convinced that these

efforts, undertaken with the best intentions, are approached too narrowly defined. They forget

the Culture Factor. Culture is the texture, where all kinds of mentalities, habits, attitudes,

perspectives are based.

The following example illustrates what I mean.

One of the most disturbing conflicts in the back yard of Europe, having lasted longer than 60

years now, is the conflict between Israel and Palestine. If one looks for Israel Palestine on

,

1242013

Google, one can find the following pictures on the first page of results, showing the tensions of

this conflict.

When we look at the faces of these two men from the two countries, we ask: Will they aim

and shoot each other? Will they kill each other? I dare to say, yes, they would. They would, if a

specific constellation allows it.

But there are exceptions; there are some who wouldnt. They would resist.

What this projects shows, is that arts education cannot be something for only few or particular

people. To have one step closer to the dream of peace one needs that this experience is shared

by all ordinary people. Only then, when we take a step closer to all like your slogan declares

we will have successful arts education.

Just let me tell you more about Barenboims project: Barenboim is the general music director

of the German Berlin State Opera as well as the West-Eastern Divan Orchestra. The name of

the latter is based on the title of the book West-Eastern Divan by Goethe, Germanys most im-

portant writer, who lived 200 years ago. You briefly saw the monument to Goethe in the video.

The inner structure, the inner grammar of Barenboims project seems to be quite simple:

To bring together two groups in a third space, which is neutral for both and where the two

groups create something new, new for themselves and new for the audience. The new thing,

the creation, is something which belongs to the realm of beauty, the realm of the arts. And

beauty has the power of transgression. In this example we can find four factors, which form

the inner grammar: First, the arts as a third space; second, joint creation (which is not free of

conflicts - but one that is bound to aesthetic considerations); third, a person of integrity, whom

people can trust; and fourth, a goal which is worth working for.

UNESCO

Let me come back now to the issue of UNESCO. Why is it important to deal with arts educa-

tion in the context of UNESCO? I think there are a lot of reasons, but there is one main one.

Arts education can be used or misused for various purposes. That is why we need a normative

framework of values within which we are able to define the purpose of the efforts undertaken

in arts education. UNESCO can deliver this framework.

12505

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I just mentioned the four factors of success of projects like Daniel Barenboims, but the fourth

factor is what I would call the important goal. UNESCO delivers the framework for these

important goals. Education for all is one of the main goals again, you can find here a close

link to your slogan a step closer to all. The Seoul Agenda, the major outcome of UNESCOs

2nd World Conference, is the best example of how UNESCOs normative approach has been

developed in mutual and participative discussions to face the current challenges. The Seoul

Agenda served as the central reference document during the discussions at our meeting last

week in Germany, too. It was proposed there that we should perhaps publish a catalogue of

projects of reference, projects which give an adequate answer to the main challenges of the

world. These projects would be discussed and commented on by experts in regards to their

structure, to reveal their inner grammar like mentioned above. Perhaps this could be a joint

project of INRAE together with KACES?

Four approaches

Such a catalogue of projects of reference could also show the diversity of approaches to

arts education around the world. Reflecting on international experiences, Professor Liebau,

INRAE-member and department chair at my university he is standing in the center of the

screenshot named four basic approaches to arts education:

1. economic

2. heritage and cultural diversity

3. socio-political

4. educational

One of the most influential approaches, the economic approach has potential economic prof-

its in view. The main argument is the increase of creativity by means of arts education. Creativ-

ity is understood as a skill which our societies will increasingly need in the future. Besides

the creativity argument, there are more expectations in regards to other key-competencies,

especially communicative and cooperative abilities. These diverse outcomes should have, at

least, a direct economic effect not only, but mainly on the growth of the creative industries.

This rationale is very popular in modern, developed societies.

In a contrast, one can find another very influential approach that is based on the heritage and

diversity. In 1972, UNESCO adopted the World Heritage Convention concerning the Protection

of the World Cultural and Natural Heritage.

,

1262013

And in 2005, UNESCO adopted the Convention on the Protection and Promotion of the Diver-

sity of Cultural Expressions. This convention strives to protect the diversity of cultural habits

and practices. The growing importance of arts education in this context during the last years

can be discovered in Article 10: Article 10 says, that the parties shall: encourage and promote

understanding of the importance of the [convention] through educational and greater public

awareness programs []

The third influential approach is the socio-political one, which stresses questions of social

integration and prevention . Here arts education is seen as a social therapeutic means of high-

est potential. One can find this in many kinds of therapeutic settings from prisons to hospitals,

from individual therapeutic settings (like art therapy) to the different fields of creativity in social

pedagogy. Barenboims project belongs to this category.

One more approach, which traditionally dominates the field of arts education especially in

Central Europe, focuses on the educational processes in regard to the intrinsic value of the

arts. In Germany, we use the German term Bildung for education in this sense and it seems

characteristic that there is no translation for this term in English. Bildung aims at the develop-

ment of ones personality, aims at the enrichment of the biography through experience of the

arts in productive and receptive processes. Thereby arts education is seen as one of the most

important parts of the quality of life.

Please let me emphasize that all of these four basic approaches are equally valuable. One

cannot claim that one approach is better than the other one. Different circumstances need

different answers; and the four approaches that I have explained are these answers. And all of

them follow the idea that arts education must give these chances to each person.

Germany

Let me give you an example in Germany: In Germany one can find many agencies and

stakeholders whose goal it is to foster arts education and to bring it to all the people around, to

every day life. We have governmental bodies at the federal, state and local levels engaged on

the one hand; and several private institutions, especially foundations, on the other.

I would like to introduce one of these foundations, the Meracator Foundation. One of their

main interests is to foster arts education in Germany They call it cultural education, as you

can see on the front page of their website.

12705

05-1

Mercator Foundation claims: We wish to increase the importance of arts education in Ger-

many. Education must play a key role if our society is to continue to thrive in the future, as this

is the only way we will be able to face the challenges of the globalised world. The importance

of cultural education for the acquisition of knowledge, personality formation, creativity and

sustainability is still often underestimated. The acquisition of knowledge, creativity, personal-

ity formation, and sustainability. One can fond the four approaches here combined.

Looking more closely at the projects Mercator support, we can identify this same mixture of

approaches again. Mercator Foundation supports the initial phase of concrete innovative

projects. The Language through Art project uses the arts to promote language acquisition in a

fun and creative way outside the school environment. School students of migrant background

broaden their linguistic expression and capabilities through active artistic-aesthetic engage-

ment in the Folkwang-museum.

Art offers a number of highly concrete ways in which to engage intensively with objects and

experiences, such as paintings. Students can use their own bodies to re-enact what they have

seen or can paint or draw for themselves the impression they have gained from a particular

picture. This makes it easier for them to express concepts that they may not yet be able to

describe using language. The project gives students the opportunity to approach language

in a playful manner, dispelling fears and building motivation. At the same time, however, they

are also familiarized with important art works and cultural institutions, such as a museum. This

helps break down any barriers.

I hope I could give you some insight into the strategy of a German private foundation; howev-

er I would like to add, that from my standpoint as an academic at the university, it is important

that such projects and structures should be founded in the context of research.

I will attempt to interpret your slogan in reference to the four approaches without misinterpret-

ing their original meaning.

A Step Closer to All,

A Step Closer to People Around,

A Step Closer to Everyday Life,

A Step Closer to One Another,

A Step Closer to the World,

,

1282013

A Step Closer to a Dream,

A Step Closer to Tomorrow.

In my eyes A step closer to all, to the people around means a democratic approach to arts

education. It means a political promise, a promise of participation. And this aspect is connected

to the diversity approach. People are always manifold, multifaceted, and diverse. In the second

part of your slogan, especially in the phrase a step closer to a dream, I recognize the approach

of Bildung. Schiller, the famous German philosopher, writer and poet, was the closest friend

of Goethe, who I mentioned earlier. Schiller had great influence on the concept of Bildung. I

would like to quote one of his famous sentences: Man is only fully a human being, when he

plays. In reference to your slogan, I would like to modify this quotation slightly: Man is only

fully a human being, when he dreams. Thank you very much.

12905

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(Shen Jun Jun, )

(Sato Toru, )

(Tsutsumi Yasuhiko, NPO )

(Yoshino Satsuki, )

( )

( ), ( )

( )

,

,

20 60 (80)

20 Lil marvel, , (K. F. E), , ,

( ), DAMIAN, , ,

, , , DJ Chadoll, E-goon, , ,

(VeganWave), , , , ,

, , , , We R Magic, , ,

, ,

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15506

[ ] ( ) :

TFT

(Ken Macleod, CEO)

(Antonio Delgado, )

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[ ] 10, 10

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(aec )

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(2012 )

2013

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ISBN

2013. 09.

www.arte.or.kr ()

www.arteweek.kr ( )

www.arte365.kr

www.facebook.com/artejockey

02 6209 5900

()

KACES-1370-C001

978-89-6748-057-8 03370

.

, 2 .

2013