LEARNING UNITS
LEARNING UNITS (INTERTWINING HI/STORIES)
The “Learning Units” each present arts education histories with a different geographical and historical focus. Seven topics provide orientation in the resources, allowing to follow a path connecting several learning units.
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DECOLONISING LITERACY WITH CRITICAL PEDAGOGY
This Learning Unit is intended to provide activity plans for students or other learners in late primary to high school, though they can be shared with any group of people with moderate literacy skills. The activities may be used in classrooms or workshop settings and can be used to develop and enhance critical dimension of…
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ACTIVATING ARCHIVES THROUGH RADICAL METHODS: INTERGENERATIONAL CONVERSATIONS
This Learning Unit is concerned with decolonising art educations, unlearning histories that replicate the colonial gaze, re-formatting our own art educations and a re-positioning of this canon by centring artists and cultural producers of colour. We are focused on histories of 1980s ‘Black Arts Movement’ in the United Kingdom and its impact on artists of…
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RECONSTRUCTING 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. The Learning Unit…
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PEDAGOGY 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.
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HOW TO WORK WITH ARCHIVES THAT ARE “NOT THERE”? ENGAGING MEDU ART ENSEMBLE IN THE NOW
This Learning Unit is concerned with the politics of archival access or how to work with archives that are ‘not there’. The central story of the Johannesburg Working Group (JWG) is the Medu Art Ensemble (Medu), a collective of informal members; most of them exiled artists from South Africa, working in Botswana circa 1979-1985. Due…
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REENGAGING 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…
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REENGAGING FREIRE: PAULO & ELZA IN GENEVA
This Learning Unit offers historical information about the ten years the pedagogue Paulo Freire (1921, Recife – 1997 São Paulo), his wife Elza and their children spent in Geneva in the 1970s. It also presents four experiments, realized by autonomous gallery educators, to reinvent and reengage Freire’s thinking in present-day Switzerland
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Co-creation TOOLKIT for UNESCO
Phase 1 September -December 2023 As part of our residency at Javett-UP we were tasked with developing a toolkit for them as a deliverable to the UNESCO Office for Southern Africa. The project was building on the outcomes of the ongoing National Liberation Movements Heritage Programme implemented by the UNESCO Office for Southern Africa, as…
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DISCREPANCIES 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…