Art of Protest: Education of Social & Political Awareness
Dr. WONG Kwok Choi Kacey
Teaching World Music in Hong Kong
Mr. Christopher PAK
Simulating the Photography Studio: Online Learning and the Challenges to the Art School
Dr. Shane HULBERT
Arts & Social Phenomena
Mr. KOK Heng Leun
MAD: Experiments from an Independent School
Dr. Roger MCDONALD
The Implications of Recent Approaches in Visual Arts Curriculum Development
Dr. MA Kwai Shun
This, That and More: Toward an Interdisciplinary and Transmedia Art Education
Prof. Gunalan NADARAJAN
Theory as Practice and Practice as Theory: Praxis and the PhD in art
Prof. Frank VIGNERON
School Art Education and Audience Building: with reference to the Learning and Teaching of Visual Arts in Hong Kong in Recent Secades
Mr. YEUNG Wai Fung
The Influences of Technology in Art and Design Learning
Mr. Christopher CHEUNG
The Everyday Artists
Mrs. Sylvia CHEUNG
The Absence of Happiness in Art
Dr. CHEUNG Ping Kuen
Possibilities of Arts Education
Mr. Fumio NANJO
Since 1998, government of the Hong Kong Special Administrative Region has initiated a policy that aimed to brand Hong Kong as the “Asia’s world city.” Hong Kong is often described as “a cultural hub with world-class infrastructure.”
Many educators around the world believe that music is one of the art forms that can develop an effective communication and flow of ideas among different cultures and communities. In recent years, music curricula developed for primary and secondary education in many countries have already incorporated elements of world music that meet the local cultural and social conditions in their contexts. However, in Hong Kong teaching of world music knowledge or multi-culturalism is rarely one of the main themes in music education. Although the 2001 curriculum reform in primary and secondary education in Hong Kong echoed the claim to develop the city as a “cultural hub”, and “cultivating critical response and understanding arts in context” are engineered as key learning areas in arts education, no notable component in world music is being incorporated in the new curriculum. Knowledge and understanding of musical culture beyond the Chinese/Western boundary is still largely excluded from the mainstream music curriculum in local schools.
In this presentation the speaker will discuss the issues and challenges regarding the teaching of world music in primary and secondary schools in Hong Kong. In general, factors that influence world music education in Hong Kong include perspective of world culture among the general public, predominant musical culture in Hong Kong, development of higher music education, as well as government policies.
Many of the contemporary art and design schools in Hong Kong are still operating on the old vocational paradigm; that is solely to train their students to become gallery artists or designers in the office. The courses offered in these art and design schools are often isolated from the context of the everyday world the student exists in, creating emotionally detached and socially disengaged students as a result. Are there other alternative platforms for artists to practice besides the traditional gallery and museum? What if the education of future artists and designers are highly connected to social and political awareness? This paper will share experimental examples from art and design studios featuring students’ as well as artists’ works, illustrating possibly a more cohesive learning experience that focuses on developing students’ empathy towards the society and humanity, equipping them to become not only better artists and designers of the future, but also more socially concerned and engaged citizens.
The rhetoric is familiar – “the future is uncertain, we do not know what kind of jobs the next generation will have, some of them have not yet been invented”. If this is true, what should we be doing differently? Some education specialists claim the system is all wrong, that we are still educating our children for the needs of the industrial revolution, yet we have managed to innovate ourselves into a position of extraordinary technological achievement, with an accelerating trajectory.
At the centre of this unknown future emerges a new type of empowered learner; uncoupled from the credentialing institutions, owning and controlling what and when they learn, seeking the 24/7 on demand “Netflix” experience, centred around online delivery and online communities. Online content is no longer incidental to learning; it is becoming essential.
How then, does an art school respond to this changing online environment – especially given that tactile, studio-based learning is a crucial part of the art student’s experience? Never mind classroom 4.0, we won’t use them. What will the studio of the future feel like? How do we engage students seeking the 24/7 experience (as well as the ones not seeking this), and what are some of the complexities faced by art school academics in this future?This paper proposes a way of creating a simulated studio experience, and explores this through two case studies outlining practical photography courses delivered in fully online environments. One, a credentialed Massive Open Online Course (MOOC) delivered internationally through a specialised online provider, currently with 65,000+ enrolments over 18 months. The second, a fully online, credit award studio photography course delivered through a University Art School to both local and offshore students.
School is universal. That means, on the street – when you talk about these things with people at the grocers; the school is at the grocer’s at that moment.
This sharing of how the speaker’s company, Drama Box, works, will look at how art make interventions in public space, through how the space is being used, how the space is being engaged, and how the artwork is being made in the public space.
And of course, the most important question is: where is the art in all this? When does art begin, when does it end?
To cater for the needs of the changing political, social and cultural environment of Hong Kong, and the needs of the new generation relating to the aims of foundation education and arts education, this paper aims to review and evaluate the recent approaches in Visual Arts curriculum development with particular reference to the impact of Modernism and Post-modernism in both global arts and arts education fields. Relevant examples and implications will be examined and followed by further discussion in this panel.
Making Art Different (MAD) is an independent contemporary art school founded in Tokyo in 2001 as a non-profit initiative. As one of its founding members the speaker has been involved in the programme since its inception, directing the courses and teaching. Unlike an accredited arts programme MAD does not issue degrees or equivalent certificates, and hence has always had an experimental attitude to teaching and structure. In this paper, the speaker would like to share some of the methods and contents of the school’s experiments over the years, trying to contextualise them within the changing landscape of arts learning more generally. The following topics will be covered: higher arts learning for non-specialist audiences, the importance of experiential learning, “curating” innovative courses and finding right spaces for shared learning.
While there has been an increasing acknowledgement of and excitement in recent years about the role of creativity in the emerging new economy, there has been a lack of corresponding transformation in the pedagogical approaches and structures at art educational institutions. There is a broad range of disciplines (including engineering, natural sciences, social sciences, business, medicine, public health, environmental sciences and the humanities) that could inform creative practice as well as be transformed by the engagement with creative practitioners but are currently not connected in any meaningful or sustainable way. The challenges in enacting these connections are many – ranging from pedagogical systems and biases in our educational institutions (both art schools and universities) to the larger structural and cultural obstacles that frustrate our ability to extend the scope and influence of creative practitioners. This paper will focus on what art schools can and ultimately need to do to respond to the challenges and potential of increasing the cultural value of creative education. It will present a vision for art education that seeks to meaningfully connect creative education to the potential for creative practitioners to interact with and radically transform a wide range of fields and spheres that cannot be effectively deployed until art schools radically rethink and eschew media-specific and discipline-centric approaches. Examples and scenarios of innovative curricular, technological, institutional and pedagogical efforts to enable interdisciplinary and transmedia art education will be presented.
The doctorate in studio art remains a contentious issue in international academia. Beyond the institutional problems it seems to generate, especially in the United States, it also raises questions on the nature of research in the context of art making. For some art academics, separating practice from research is a naïve approach to art making, an approach that reduces art to a mere set of manual skills. Institutionally, the UK was the first country where these questions have been addressed and the framework that has been defined there for postgraduate studies in studio art is still the one that dominates other English speaking academic contexts. With ideas from such English academic figures as Jonathan Dronsfield and Christopher Frayling, and with examples of art practices in a doctoral context from practitioners based in Europe and Hong Kong, this paper will reflect on the idea of knowledge creation in the context of the arts as research.
Hong Kong has injected a gigantic capital on the West Kowloon Cultural District. Together with the various vibrant art events organised in recent years, such the Art Basel, Art Central, Affordable Art Fair, Hotel Art Fairs, regular preview exhibitions by major art auctioneers and numerous art exhibitions organised by art institutes and independent galleries, Hong Kong has truly flourished to be the art hub in Asia as well as in the international art scene. But how far are these activities penetrating into the society at large or are they just participated and enjoyed by a privileged few?As the school education system in Hong Kong is mostly maintained by public funding and monitored by the government, the government is often conveniently blamed by the general public for the inadequacy of art education in schools as a result of biased policy and fund allocation towards academic subjects; Visual Arts is neglected. But is it the case? How and to what extend is visual arts being promoted in schools which aim at providing a broad-based curriculum in general education and catering for mixed-abilities students? What problems are visual arts education facing in schools and what are the possibilities and opportunities? Are our future art audiences well educated and prepared for the recent mega art initiative by the government? Are our future citizens able to lead a quality and artistic life in this dynamic art hub of so called Asia World City?
Technology has created many great tools for teaching and learning. With the invention of the Internet to the devices we use daily, it has drastically altered our habits and the ways of thinking.
On many fronts technology and innovation has greatly increased our experiences thus helping us to learn more at a quicker rate than ever before. Information is abundant and the means to sharing ideas and outcomes have become a series of simple mouse clicks and keyboard strokes. We live in an exciting digital world full of wonder and amazement but how does that transfer to teaching and learning of art and design to our students?As we move into a generation where the Internet and digital life is a norm, does that change art and design thinking? How are these young minds developing? How do we innovate art and design-teaching methods to interact with or counteract this phenomenon of today?
In today’s system of education it is common to construct our curriculums by dividing it with subject matter boundaries. This in turn have also influenced our teaching in the concepts of art, as we develop learning objectives within these boundaries and separations by subject contents, like painting, drawing, music, dance, theatre etc.This is common practice as it is how adults understand and comprehend art, but what about children? How is art conveyed in their eyes? Are there better approaches to encourage the learning of the arts by understanding how they see it? Does it need to be confined to just art subjects? What are the benefits of exploring new ways in sharing new art experiences with children? These questions should be discussed and explored as many artists will tell you, art is not limited to a specific subject or centre thus why should we limit the teaching of art to a certain class or time? The child’s artistry is boundless, and should be extended throughout the school day by encouraging a child’s creativity in all activities. It is valuable to explore the many advantages of how to create an environment that encourages the development of the everyday artist in all children.
Education has long been acknowledged as the process of imparting and acquiring knowledge through various modes of teaching and learning particularly at a school or similar institution. Based on the assumption that acquiring knowledge is a basic human need as it can help people gain ability, maintain one’s living, and get to know the social norms so as to be accepted to the adults’ circle, the emphasis of education has been naturally place on the cognitive domain and then the psychomotor domain. Attributes of the affective domain, though still being recognised, are seen as subordinate. No wonder the quote by Francis Bacon (1561-1626), “Knowledge is power,” has won extreme popularity and the “happiness index” in Hong Kong has long been low.
Art is important not because it can help us earn big money; it is important because it can help us see our nature and the environment in an alternative perspective in which beauty is valued. In a modern city claimed to be “knowledge-based”, people are now more and more aware of the need to acknowledge the value of the aesthetics. They gradually discover that the aesthetics can guide them to see the ordinary from other angles and find the extraordinary equally or exceptionally attractive. They discover that the appreciation and creation of art can help them revive their long-neglected dreams and imagination and this experience can bring them genuine happiness. In other words, happiness in success could be taken away but happiness in the aesthetics, whether it is in artwork or in nature, is basically free and could never be done away with
Even if we go back to the pursuit of “effectiveness” when creativity is celebrated, art is also crucial. What pushes culture forward is not knowledge or cognitive achievement. It is art. According to American science writer Chip Walter, it was the art which drove culture forward and made us human. Art appeared far before language was invented and helped human observe and describe the world. (National Geographic, January 2015)
It is the time to imagine how we can expand the horizon of our education to reconsider the essence of our community. Besides being “knowledge-based”, can Hong Kong be an “art-based” society as well?
For long, museums and galleries have been valued as an educational resource to enhance arts literacy of the general public. Many museums and galleries now run their own educational programmes, going beyond the notion of seeing themselves merely as a space for the collection and display of art works and artefacts. In this presentation, the speaker will draw upon his experience at the Mori Art Museum and potential examples worldwide to discuss how museums and galleries can become sites of learning about the arts. Even the word "education" is contested (if "education" is understood as, in a traditional or one-way sense, "to teach"), for in these programmes there is a major shift towards opportunities for visitors to learn through interactive, shared and engaging experiences. How do we create learning processes that are site-specific, occurring within art spaces and connected to the community? What possibilities of arts learning do programmes like these provide, when the constraints of age, time, space and curriculum within school systems no longer exist?