Images and Identity

Description

Highlighting the ways that digital media can be used in interdisciplinary curriculum, Images and Identity brings together ideas from art and citizenship teachers in the Czech Republic, Germany, Ireland, Malta, Portugal and the United Kingdom on producing online curriculum materials. This book offers a practical strategy for ways these different, but related, subjects can be taught. The first part of the book explores issues of art and citizenship education within a European context while the second contains case studies of curriculum experiments that can be applied to global classrooms. It will be of great interest to students and teachers of art and citizenship education.

 

Foreword – Liam Gearon and Concepción Naval Introduction: Images and Identity: Improving Citizenship Education through Digital Art – Rachel Mason Part I:  Reflective Chapters Chapter 1: Learning to Speak as a Listener: Teaching European Citizen Identity through Art – Gary Granville and Mary Richardson Chapter 2: Identity and Artistic Education – Carl-Peter Buschkühle Chapter 3: Errant Identities in Contemporary Art Education – Raphael Vella Chapter 4: Zde Jsem: What Is My Situation? Identity, Community, Art and Social Change – Marie Fulkova and Teresa Tipton Chapter 5: The Role of Talk in Image-based Learning – Fiona M. Collins and Susan Ogier Chapter 6: Action Research and Interdisciplinary Curriculum Planning – Anabela Moura Chapter 7: North–South Exchange: Student Art Teachers’ Visualisations of National Identity – Dervil Jordan and Jackie Lambe Chapter 8: Tool, Medium and Content: Digital Media and the Images and Identity Project – Marc Fritzsche Part II: Case Studies of Classroom research  Chapter 9: Family and Citizenship: Case Study by Portugal – Anabela Moura and Cristiana Sá Chapter 10: Greetings from Europe: Case Study by Ireland – Aoife Keogh Chapter 11: Identifying with European People and Places: Case Study by England – Susan Ogier Chapter 12: Mapping Identity: Case Study by the Czech Republic – Lucie Hajdušková Chapter 13: Freedom and Identity: Case Study by Germany – Carl-Peter Buschkühle Chapter 14: Personal and Community Identities: Case Study by Malta – Olivianne Farrugia

Sujets

• Social Science
• EDUCATION
• Sociologie, société et politique
• Anthropology
• Social
• Culture
• Europe

Informations

• Publié par: Intellect Books
• Date de parution: 01 novembre 2013
• Nombre de lectures: 0
• EAN13: 9781783201198
• Langue: English
• Poids de l'ouvrage: 1 Mo

Extrait

First published in the UK in 2013 by
Intellect, The Mill, Parnall Road, Fishponds, Bristol, BS16 3JG, UK
First published in the USA in 2013 by
Intellect, The University of Chicago Press, 1427 E. 60th Street,
Chicago, IL 60637, USA
Copyright © 2013 Intellect Ltd
All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without written permission.
A catalogue record for this book is available from the British Library.
Cover designer: Ellen Thomas
Copy-editor: Ed Hatton
Production managers: Sarah Connolly and Tom Newman
Typesetting: Contentra Technologies
ISBN: 978-1-84150-742-2
ePDF ISBN: 978-1-78320-120-4
ePub ISBN: 978-1-78320-119-8
Printed and bound by Hobbs the Printers Ltd, UK
Contents
Acknowledgements
Foreword
Liam Gearon and Concepción Naval
Introduction
Images and Identity: Improving Citizenship Education through Digital Art
Rachel Mason
PART I: Reflective Chapters
Chapter 1: Learning to Speak as a Listener: Teaching European Citizen Identity through Art
Gary Granville and Mary Richardson
Chapter 2: Identity and Artistic Education
Carl-Peter Buschkühle
Chapter 3: Errant Identities in Contemporary Art Education
Raphael Vella
Chapter 4: Zde Jsem : What Is My Situation? Identity, Community, Art and Social Change
Marie Fulkova and Teresa Tipton
Chapter 5: The Role of Talk in Image-based Learning
Fiona M. Collins and Susan Ogier
Chapter 6: Action Research and Interdisciplinary Curriculum Planning
Anabela Moura
Chapter 7: North–South Exchange: Student Art Teachers’ Visualisations of National Identity
Dervil Jordan and Jackie Lambe
Chapter 8: Tool, Medium and Content: Digital Media and the Images and Identity Project
Marc Fritzsche
PART II: Case Studies of Classroom Research
Chapter 9: Family and Citizenship: Case Study by Portugal
Anabela Moura and Cristiana Sá
Chapter 10: Greetings from Europe: Case Study by Ireland
Aoife Keogh
Chapter 11: Identifying with European People and Places: Case Study by England
Susan Ogier
Chapter 12: Mapping Identity: Case Study by the Czech Republic
Lucie Hajdušková
Chapter 13: Freedom and Identity: Case Study by Germany
Carl-Peter Buschkühle
Chapter 14: Personal and Community Identities: Case Study by Malta
Olivianne Farrugia
Acknowledgements
We are very grateful to the authors who contributed chapters to this book. They all participated in the Images and Identity project between 2009 and 2011. We want to take this opportunity to thank everyone else involved in this project also.
Images and Identity set out to produce teacher education materials that integrate learning in art and citizenship. The approach it adopted to curriculum development was to involve interdisciplinary teams of teacher educators, student teachers and teachers in the Czech Republic, England, Germany, Ireland, Malta and Portugal in classroom-based action research. It is their commitment to exploring the theme of identity with school children in the context of art and citizenship education that has resulted in the publication of training materials and provided the basis for all the discussion and reflection in this book. The sources of the artist’s images and of the images from the Internet are acknowledged in each case. The project secured signed consent from all the teachers and children participating in the project to publish photographs by and of them.
The project as a whole was made possible by generous funding from the European Commission, through its Comenius scheme and the support of six partner universities: Charles University Prague, Justus Liebig University Giessen, Instituto Politecnico Viana do Castelo, National College of Art and Design Dublin, University of Malta and the University of Roehampton, London.
 
Foreword
At the ‘Cave of a Hundred Mammoths’ in Rouffignac beside Neolithic paintings of those Ice Age animals which give the cave its name are seemingly insignificant scratches on the wall. Recent analysis of these markings seems to point to a greater significance. Clearly less dramatic in appearance than the prehistoric hunted creatures which dominate these and other caves, famously in Lascaux and other sites across Europe, the markings are likely those made by Neolithic children. New techniques to determine the age and gender of the children who made the scratches, what scientists have called ‘finger flutings’, were first theorised only around the time this book was being considered a research project.
Recent archaeological analysis, however, suggest the so called ‘finger flutings’ might be equally as significant as the more dramatic paintings of bison, deer and mammoth. Current interpretation suggests that the finger flutings may have been the intentional marking of the cave walls by children as young as three. Archaeologists conjecture that the most prolific of the young artists was a girl aged five. Conjecture it may be, but the findings are at least suggestive of a role for children as well as adults in prehistoric art.
This volume, representing a distinguished collection of essays on the role and relationship of citizenship and its representation in art, could be said then to have a history which far predates elaborated concepts of either art of citizenship. It points to the long history of art on the European landmass where these concepts of art and citizenship would, in subsequent millennia, find their expression as ideas and in the formation of societies.
Funded by the European Commission’s Comenius Scheme, the Images and Identity: Improving Citizenship Education through Digital Art project brought together teams of art educators from Germany, England, Portugal, the Czech Republic, Malta and Ireland. The project facilitated a collaboration which provided theoretically rich opportunities at the interface of aesthetic and political theory as well as the pragmatic pedagogies of the classroom. However, as the principal investigator recognises, combining art and citizenship is problematic: ‘Art educators are not always concerned about the political elements of citizenship and citizenship educators are nervous about making art’. With unusual candour, Professor Mason provides a model of self-reflexivity that will be of use to researchers in art, citizenship and other educational areas – the difficulties of funding, management, institutional support are familiar but so too are the clear benefits of such rich international collaboration.
Working across European countries and subjects has produced a unique set of lessons for teachers to use; we might ask then to what extent the project has developed a consciousness of the issues of contemporary citizenship. The case studies show only a limited historical consciousness: the German and the Irish exemplars do this most effectively, the former raising issues of conflict in its Nazi history, the latter in the contested questions of Protestant and Catholic identity through questions of religion. It seems clear that too often the project framed the work of the art educator as needing to confirm the ideological assumptions of the citizenship curriculum. And since this was a European project, and funded with European money from political sources, it would seem natural that the project should seek to fulfil expectations which were confirming rather than critical of the values of democratic education through concepts of citizenship, democracy and human rights, but without the necessary critical tools to apply in-depth interrogation of these concepts or their political formation. It has been recognised that the art educators rarely made use of those materials collated for their use by citizenship consultants.
It is worth recalling just how contested, even violently contested, is the history of the visual arts in modern times; we might in this regard make (albeit a somewhat strained) connection again to the prehistoric period. Many of the most famous of the prehistoric caves are found in the Dordogne region of France. In a cave system many miles long, the paintings were discovered only in the sixteenth century. This was also the century of European Reformation. As much in terms of art history as history of religion, this was a century of iconoclasm which witnessed in Protestant Europe the removal of the image from liturgical space, even the wholesale destruction of an irreplaceable Catholic cultural heritage. It reminds us that the history of art has often historically been associated with ritual and religion – from prehistoric cave paintings to the catacombs, the image formed a part of the complex language of human beings but it is rarely a safe and neutral space, theologically, politically, or culturally. Dangerous and likely to offend as such comparisons can be – how can prehistoric and Christian art be compared? – many theorists across a number of disciplines (from art to archaeology to anthropology) have felt the impulse to interpret visual images as something more than simply representational. It is what Dissanayake (2010) defined as Homo aestheticus or Henshilwood and d’Errico (2011) more recently characterised in their own edited collection as Homo symbolicus – seeing in the visual, consciously created image, the dawn of human language, imagination and search for meaning, especially religious and spiritual meaning.
The distance between cave paintings and the modern day is great, over ten and more thousand years, and, in some archaeological-anthropological calculations, likely far older. Yet human beings still create art, still make images. The form has changed but the inclination has not. Nor, when we look at the violence provoked by certain images and representations, have their contentiousness. We can observe therefore some fundamental developments in the history of modern aesthetics especially pertinent to Western ar