TAGS CLOUD
about intertwining histories ARAC Art Education cairo working group COLONIALISM CRITICAL LITERACY glossary intertwining hi/stories johannesburg working group Kampala kampala working group Maseru maseru working group Meetings and events nyanza working group Paulo Freire POPULAR EDUCATION un/chronological timeline Vienna workshop
Tools and Activities for Learning
News
-
PDF documents – tools and activities for learning
Interview with Grimaldo Rengifo Vásquez – Crianza Or The Art of Nurturing – EN Published at: April 26, 2021 Kampala 1967_UN_CHRONO_LOGICAL TIMELINE Published at: April 26, 2021 Learning Unit – Berlin Published at: October 31, 2023 Learning Unit – Bogota Published at: October 31, 2023 Learning Unit – Geneva Published at: October 31, 2023 Learning…
-
INTERTWINING HI/STORIES, LEARNING UNITS, LEARNING UNITS INTERTWINING HI/STORIES, QUITO, TOOLS FOR EDUCATION POPULAR EDUCATIONDISCREPANCIES BETWEEN PAULO FREIRE’S METHOD OF CRITICAL LITERACY AND ANDEAN WORLD-VIEWS
The work itinerary that we propose in this learning unit consists of materials, texts, images and personal anecdotes that Sofía Olascoaga[1] and I gathered on a visit we made to WAMAN WASI, a center of cultural affirmation and recovery of Amazonian Andean peasant technologies in Lamas Peru. The questions we asked at the time were: How does…
-
REFLECTION OF PRACTICES THROUGH DIALOGUE WITH IMAGES AND WRITTEN CONVERSATIONS – ACTIVATION OF ARCHIVES OF POPULAR EDUCATION
This Learning Unit shows, with the help of a video we as Bogota Working Group produced, a possibility of how to put central concepts of Paulo Freire into a new and present context.
-
GENEVA/ZURICH, LEARNING UNITS, LEARNING UNITS INTERTWINING HI/STORIES, TOOLS AND ACTIVITIES FOR LEARNINGREENGAGING FREIRE: PAULO & ELZA IN GENEVA
How do we engage students or participants of a learning programme in a gallery in discussing an artwork in a critical and potentially emancipatory manner? This Learning Unit proposes to reflect on methods for the critical reading of images by engaging with pictures for learning situations that were created following Paulo Freire’s approach of “generative…
-
GENEVA/ZURICH, INTERTWINING HI/STORIES, LEARNING UNITS, LEARNING UNITS INTERTWINING HI/STORIES, TOOLS AND ACTIVITIES FOR LEARNINGREENGAGING FREIRE: DECODING AND RE-CODING FREIRE’S “GENERATIVE IMAGES” AND CRITICAL ARTS EDUCATION
How do we engage students or participants of a learning programme in a gallery in discussing an artwork in a critical and potentially emancipatory manner? This Learning Unit proposes to reflect on methods for the critical reading of images by engaging with pictures for learning situations that were created following Paulo Freire’s approach of “generative…
-
HONG KONG, INTERTWINING HI/STORIES, LEARNING UNITS, LEARNING UNITS INTERTWINING HI/STORIES, TOOLS AND ACTIVITIES FOR LEARNINGRECONSTRUCTING THE ROUTE IMPORTATION OF GERMAN ART EDUCATIONAL IDEAS
This Learning Unit aims at helping the readers to get a glimpse of the big picture of the importation ofGerman art educational ideas to China in the early 20th century. This big picture includes the importationof Western visual arts, aesthetics and art education before 20th century and the historical, political, social-cultural context
-
INTERTWINING HI/STORIES, LEARNING UNITS, LEARNING UNITS INTERTWINING HI/STORIES, TOOLS AND ACTIVITIES FOR LEARNINGPEDAGOGY AND CRITICISM OF CAPITALISM IN WEST BERLIN FROM 1969
1970, West Berlin. At the height of the Cold War, three years after the revolts staged by students, particularly in Paris, Frankfurt, and (West) Berlin, the publisher Basis Verlag started calling itself a socialist collective. The name of the publisher “Basis Verlag” unmistakably refers to the Marxist pair of terms “base” and “superstructure”. Many of…
-
1 – Path: Working with images
In most respects, working with images (whether still or moving) is one of the older modalities of art education, but the preponderance and sheer volume of sensate triggers that presently confront the contemporary beholder call upon much more than scanning and taking in the visual field. The learning units that take on this mode of…
-
2 – Path: “The artist” – “the child” – “the native”
This path is based on research into the discursive co-constitution of the triad of “the artist” – “the child” – “the native” and its historical connections to colonialism and mechanisms of exclusion. This triad relies on a gaze which is characterized by a simultaneous act of othering and idealization: it admires those who have not…