3rd Semester – Creativity and learning in cultural environments: critical perspectives

ECTS Units: 12

Professor: Nikonanou Niki

 

COURSE CODE B5-X

STUDY SEMESTER C

SELF-ENDED TEACHING ACTIVITIES

WEEKLY TEACHING HOURS 3

CREDIT UNITS 12

Teaching activities include teaching the unit once a week

COURSE TYPE Compulsory

PREREQUISITE COURSES: NO

TEACHING and EXAMINATION LANGUAGE: Greek

IS THE COURSE OFFERED TO ERASMUS STUDENTS NO

COURSE WEBSITE (URL)

https://eclass.uth.gr/courses/ECE_P_105/

 

2. LEARNING OUTCOMES

The learning outcomes of the course are described, the specific knowledge, skills and abilities of an appropriate level that the students will acquire after the successful completion of the course.

Consult Appendix A

Description of the Level of Learning Outcomes for each study cycle according to the Qualifications Framework of the European Higher Education Area

Descriptive Indicators for Levels 6, 7 & 8 of the European Qualifications Framework for Lifelong Learning and Annex B

Comprehensive Guide to Writing Learning Outcomes

Upon successful completion of the course students will be able to:

have specialist knowledge of:

• artistic education subjects (music, theater, visual arts)
• critical considerations in creativity
• institutional criticism of cultural organizations
• critical cultural mediation
• museum pedagogy, museology and cultural education
• have specialized skills:
• for the critical approach and discussion of artistic and museum education issues
• collaboration and communication with groups and individuals from different fields of expertise

to acquire skills:

• development and expression of ideas and reflections related to cutting-edge topics in the field of culture and education.
• application of innovative artistic practices in educational practice
• evaluation of cultural mediation applications and tools for different groups (adults, children, families)

General Skills

Taking into account the general competences that the graduate must have acquired (as indicated in the Diploma Annex and listed below) in which / which of them is the course aimed at

• Search, analysis and synthesis of data and information, using the necessary technologies
• Adaptation to new situations
• Decision making
• Autonomous work
• Teamwork
• Work in an international environment
• Work in an interdisciplinary environment
• Generating new research ideas
• Respect for diversity and multiculturalism
• Respect for the natural environment
• Demonstrating social, professional and ethical responsibility and sensitivity to gender issues
• Exercise criticism and self-criticism
• Promotion of free, creative and inductive thinking
• Solving problems by combining knowledge from different scientific fields
• Developing arguments in discussions and presentations
• Participation in decision-making processes
• Collaboration in groups
• Autonomous work
• Search, analysis and synthesis of data and information, using the necessary technologies
• Generating new research ideas

 

3. COURSE CONTENT

In this course a thorough investigation of the role of art in shaping creative learning contexts is attempted. Central to our approach is the critical consideration of the terms ‘art’, ‘creativity’, and ‘learning’ through the study of theoretical approaches and practices that highlight but also problematize the multi-layered and often tense relationships between them. The main thematic axes-questions that will concern us are the following:

• The emerging politics of creativity in art education
• Contemporary approaches to the relationship between cultural institutions and education
• Policies of informal artistic education
• Politics of “unlearning” and art education
• Artistic creativity in the context of the ‘entrepreneurial turn’ in education: relations and contradictions
• Music pedagogy and contemporary music: Pedagogical practices of musical improvisation and collaborative composition
• Museum education and cultural phenomena: perspectives and contradictions
• Children’s music as art – Anthropological and philosophical dimensions of children’s music concept construction and reception
• Cultural experience: critical approaches to the concept of participation
• Art education and democracy
• Art, history and the city: issues of knowledge construction and participatory educational processes
• Culture-inclusion-cultural democracy
• The theory of publics: educational and cultural publics

As part of the courses, there are lectures as well as thematic presentations of material by students. There is provision for the invitation of lecturers of known prestige whose scientific

The course is structured on the basis of the following thematic axes:

I. Education, Arts and Democracy – Aesthetic Politics

II. Critical considerations of modern instrumentalizations of artistic creativity

III. Cultural institutions and Institutional Criticism.

IV. Openings: radical educational/artistic acts/views

 

4. TEACHING AND LEARNING METHODS – ASSESSMENT

DELIVERY METHOD

Face to face, Distance learning etc.

Life teaching

 

USE OF INFORMATION AND COMMUNICATION TECHNOLOGIES

Use of T.P.E. in Teaching, in Laboratory Education, in Communication with students

In teaching, in guest speaker lectures, e-class, communication with students.

 

TEACHING ORGANIZATION

The way and methods of teaching are described in detail.

Lectures, Seminars, Laboratory Exercise, Field Exercise, Literature Study & Analysis, Tutorial, Internship (Placement), Clinical Exercise, Art Workshop, Interactive Teaching, Educational Visits, Study Preparation (Project), Writing Paper / Assignments, Artistic Creation, etc. etc.

The student’s study hours for each learning activity as well as unguided study hours according to ECTS principles are listed

Activity

Semester Workload

Preparation for attending lectures

20 hours of study

Artistic Workshops

10 hours of study

Educational visits

20 hours of study

Literature study

90 hours of study

Final thesis writing

140 hours of study

Organization of work presentations

20 hours of study

 

STUDENT EVALUATION

Description of the evaluation process

Assessment Language, Assessment Methods, Formative or Deductive, Multiple Choice Test, Short Answer Questions, Essay Development Questions, Problem Solving, Written Assignment, Report / Report, Oral Examination, Public Presentation, Laboratory Work, Clinical Patient Examination, Artistic Interpretation, Other / Others

Explicitly defined evaluation criteria are mentioned and if and where they are accessible by students.

The evaluation is done in the Greek language through the implementation of a final paper (70%) as well as intermediate small participative exercises (30%) on the thematic fields of the seminar. Specifically, during the semester, students study and present selected articles from relevant literature, participate in on-site educational activities in cultural spaces and in experiential workshops for which they file reports of participation.

In the final paper they are asked to present a bibliographic research or to research educational activities in cultural spaces or to design original educational actions and interventions.

 

5. RECOMMENDED-BIBLIOGRAPHY

Suggested Bibliography:

– Related scientific journals:

Doukas, D., Nikonanou, N. & Tsevreni I. 2021. Designing with the children: participatory practices for the creation of an insect museum, in Proceedings of the 6th Panhellenic Conference “Education and Culture in the 21st Century”. EKEDISY / Educational Society of Greece, Athens, 23-25 April 2021, 781-792.

Kanellopoulos, P. & D. Stefanou, (2016). Critical creativity exercises: Free musical improvisation in education – reflection on a workshop. Proceedings of the Art&Education Conference: Didactic and pedagogical approaches in the 21st century school. Athens: I.E.P.

Kanellopoulos, Panagiotis & Danai Stefanou,. Music, music education and democracy: mischievous notes. The Dawn, April 4, 2016 http://www.avgi.gr/article/10839/6418051/mousike-mousike-ekpaideuse-kai-demokratia-ataktes-semeioseis

Karamba Elpida, Zevkili, Despina, Stathopoulou, Glykeria. (2019). Creativity as instrumental reform or Art will survive, artists will not. Athens: Oplos.

Kombatsiaris, Panos. (2013). The critique of institutions as mutual transformation. Occupy Art, activism and crisis. Criticism and Art, v. 5, 64-75.

Kouzelis, Makis. (2014). Fascism and Democracy. Athens: Nisos.

Menioudaki, Kalliopi. (2013). From the viewer back to the citizen. Renewing hope for effective critical artistic practices. Criticism and Art, v. 5, 106-122.

Boubaris, Nikos. (2016). The voice of many. In P. Panopoulos and E. Rikou (eds.), Voices (136-151). Athens: Nisos.

Nikonanou, N., Kanellopoulos, P., Viseri, E & Moraitopoulou, E., Experimental artistic practices and educational co-cultural spaces: creating small cracks, in Proceedings of the 5th Panhellenic Conference on Sociology of Education, Patras 2022 (in press).

Nikonanou, N. Kanellopoulos, P., Moraitopoulou, E. & Viseri, E. Educational communication in cultural organizations: openings and resistances, in the Proceedings of the 8th Conference of the Hellenic Sociological Society/KEE, Athens 2022 (in press).

Nikonanou, N., Nakou, Ei. , Kanellopoulos, P. (ed.) 2015. Museumedu 1: Museums and Education – Theory and Practice. Music, Dance, Mathematics (Specialist), On line: http://museumedulab.ece.uth

Atkinson , D. (2017).Without Criteria: Art and Learning and the Adventure of Pedagogy. The International Journal of Art & Design Education, 36(2), 141-152.

Atkinson , Dennis. (2012).Contemporary Art and Art in Education: The New, Emancipation and Truth The International Journal of Art & Design Education 31(1), 5-18.

Baldacchino, J. (2013). What creative industries? Instrumentalism, autonomy and the education of artists. International Journal of Education through Art, 9(3), 343–356. doi:10.1386/eta.9.3.343_1.

Baldacchino, J.(2013), ‘Willed forgetfulness: The arts, education and the case for unlearning’, Studies in Philosophy and Education, 32: 4, pp. 415–30.

Baldacchino, John. (2014). Art’s false ‘‘ease’’. Form, meaning and a problematic pedagogy. Studies in Philosophy and Education, 33, 433–450.

Bardy, Marjatta. (2003). Η ευρωπαϊκή φαντασία και η κοινωνική παρουσία της παιδικήςηλικίας. Στο Δ. Μακρυνιώτη (Επιμ.), Κόσμοιτης ΠαιδικήςΗλικίας (σσ. 167-184). Αθήνα: Νήσος.

Bašić, Elly . (1973/1988). O AυτοσχεδιασμόςωςΔημιουργικόMήνυμα [Improvisation as a creative message]. In: Stumme, W. ed. O αυτοσχεδιασμός[Improvisation]. Athens, Greece: Nasos, pp. 56-77.

Biesta, G. (2018). Walking the museum: Art, artists and pedagogy reconsidered. In Christopher Naughton, GertBiesta and David R. Cole (eds.), Art, Artists And Pedagogy: Philosophy and the Arts in Education (pp. 147-156). London: Routledge.

Biesta, Gert. (2011). Learner, student, speaker: Why it matters how we call those we teach. In M. Simons & J. Masschellein (Eds.), Ranciére, public education and the taming of democracy (pp. 31–42). Chichester, West Sussex, UK: Wiley-Blackwell.

Cameron Fiona, 2015. “The Liquid Museum. New Institutional Ontologies for a complex uncertain world”, in The International Handbook of Museum Studies: Museum Theory, ed. A. Witcomb& K. Message, John Willey & Sons, 346-361

Craft,Anna, Teresa Cremin, Penny Hay & James Clack , Ethnography and Education (2013): Creative primary schools: developing and maintaining pedagogy for creativity, Ethnography and Education, DOI: 10.1080/17457823.2013.828474

Darras, Bernard. (2011). Creativity, creative class, smart power, social reproduction and symbolic violence. In J. Sefton-Green, P. Thomson, K. Jones, & L. Bresler (Eds.), The Routledge International Handbook of Creative Learning (pp. 90–98). London: Routledge.

Fineberg, Jonathan. (1997). The innocent eye: children’s art and the modern artist, Princeton University Press, New Jersey.

Finney, J. (2011b). John Paynter, music education and the creativity of coincidence. British Journal of Music Education, 28(1), 11–26.

Finney, John. (2011a). Music Education in England, 1950-2010. London: Ashgate.

Fitzsimons, Peter. (2002) Neoliberalism and education: the autonomous chooser, Radical Pedagogy, 4, available at: http://radicalpedagogy.icaap.org/content/issue4_2/04_fitzsimons.html Accessed 08/02/2009.

Fraser, Andrea. (1991). Museum Highlights: A Gallery Talk. October, 57, 104.

Garoian, Charles, R. (2013). The prosthetic pedagogy of the ignorant schoolmaster. Στο C. R. Garoian, The prosthetic pedagogy of art: Embodied research and practice (pp. 41-55).. New York: SUNY Press.

Gielen, P. (2013). Artistic praxis and the neoliberalization of the educational space. The Journal of Aesthetic Education, 47(1), 58–71

Gielen, P. (2018). Playing with the Rules of Play: The Spirit of the Avant-Garde in Arts Education. The Journal of Aesthetic Education, 52(4), 69-82.

Hope, Alice (2018). Young Children as Curators. The International Journal of Art & Design Education, 37(1), 31-40.

Jacobs, Ruben. (2016). Everyone is an artist: On authenticity, the position of the artist, and the creative inductries. Rotterdam: V2_Publishing.

Jones, Ken (2011). Capitalism, creativity and learning: Some chapters in a relationship. In J. Sefton-Green, P. Thomson, K. Jones, & L. Bresler (Eds.), The Routledge international handbook of creative learning (pp. 15–26). London: Routledge.

Kalin, N. M. (2018). The Neoliberalization of creativity education: Democratizing, destructing and decreating. Cham, Switzerland. Palgrave.

Kalin, Nadine. M. (2016). We’re All Creatives Now: Democratized Creativity and Education. Journal of the Canadian Association for Curriculum Studies (JCACS), 13(2), 32-44.

Kanellopoulos, P. Α. ,Nakou, I. (2015). Experimenting with sound, playing with culture: Collaborative composing as a means for creative engagement with the museum world. MuseumEdu: Εκπαίδευση και έρευνα σε πολιτισμικά περιβάλλοντα / Education and research in cultural environments, 1, pp. 135-160. Available at: http://museumedulab.ece.uth.gr/main/en/node/343

Kanellopoulos, P. Α. ,Stefanou, D. (2015). Music beyond monuments: Re-imagining creative music engagement in the light of museum-based projects. MuseumEdu: Εκπαίδευση και έρευνα σε πολιτισμικά περιβάλλοντα / Education and research in cultural environments, 1, pp. 37-64. Available at: http://museumedulab.ece.uth.gr/main/en/node/343

Kanellopoulos, P. Α. (2016). Problematizing (musical) Knowledge – Power relationships: a Rancièrian provocation for music education. Philosophy of Music Education Review, 24(1), 24-44.

Kanellopoulos, P. A. (2015). Musical creativity and ‘the police’: Troubling core music education certainties. Στο Cathy Benedict, Patrick Schmidt, Gary Spruce, and Paul Woodford (Επιμ.) The Oxford Handbook of Social Justice in Music Education (318-339). Oxford: Oxford University Press.

Kanellopoulos, P. A. (2020). Cage(d): Children, creativity and ‘the contemporary’ in music education — a sociological view. In R. W. Wright, G. Johansen, P. A. Kanellopoulos& P. Schmidt (eds.), The Routledge Handbook of the Sociology of Music Education. New York: Routledge.

Kindlt, Maj. 2017. “When and How Do We Participate? On participation from a Musicological and Cultural-Political Perspective.” Arken Bulletin vol. 7.http://www.arken.dk/wp-content/uploads/2017/04/when-and-how-do-we-participate_-by-maj-klindt_bulletin-2017-1.pdf

Kolsteeg, Johan. (2013). Situated cultural entrepreneurship. Artivate: A Journal of Entrepreneurship in the ArtsVolue 2, Summerhttp://artivate.org pp. 3-13.

Kreps, C. (2013) ‘Participation, Museums, and Civic Engagement,’ in Nicholls, A., Pereira, M. &Sani, M. (ed) New Trends in Museums of the 21st century, The Learning Museum Network Project, 85–101. http://online.ibc.regione.emilia-romagna.it/I/libri/pdf/LEM7th-report-ne… accessed 20/5/2021

Kundu, Rina.,Kalin, N. M. (2015). Participating in the Neoliberal Art Museum. Studies in Art Education: A Journal of Issues and Research, 57(1), 39-52.

Leeds, Jo A. 1985, ‘Romanticism, the avant-garde, and the early modern innovators in arts education’, Journal of Aesthetic Education, vol. 19. no. 3, pp. 75-88.

Lettau, Paris. (2016) Artist, Non-Artist, Total Artist.

Lewis, George, A Power Stronger Than Itself. The AACM and American Experimental Music, Chicago, The University of Chicago Press, 2008.

Lewis, T. E. (2011). Rethinking the Learning Society: Giorgio Agamben on Studying, Stupidity, and Impotence. Studies in the Philosophy of Education, 30, 585–599.

Lewis, Tyson. E. (2014). Education as Free Use: Giorgio Agamben on Studious Play, Toys, and the Inoperative Schoolhouse. Studies in Philosophy and Education, 33(2), pp 201–214.

Malvern, S. B. (1995). Inventing ‘child art’: Franz Cizek and modernism. British Journal of Aesthetics,35(3), 262-272.

Masschelein, J., & Simons, M. (2010). Schools as architecture for newcomers and strangers: The perfect school as public school? Teachers College Record, 112(10), 533–555.

Masschelein, Jan. (2001). The discourse of the learning society and the loss of childhood. Journal of Philosophy of Education, 35(1), 1–20.

Masschellein, J., & Simons, M. (2011). The hatred of public schooling: The school as the mark of democracy. In J. Masschellein& M. Simons (Eds.), Rancière, public education and the taming of democracy (pp. 150–165). Chichester, West Sussex, UK: Wiley-Blackwell.

Moersch, C &Sieber, T., (ed.), 2016. Contemporary Curating and Museum Education, Transcript Verlag, Bielefeld.

Mould,Oli. 2018. Against Creativity. London: Verso.

Murray-Schafer. R. (1986). The thinking ear. Toronto: Arcana.

Nikonanou, N. & Misirloglou, Th. 2023. Together we curate: Cultural Participation and Collective Curation, Museum and Society 21 (1), 31-44

Nikonanou, Ν. &Venieri, F. 2017. “Interpreting social issues: Museum theatre’s protential for critical engagement”. Museum & Society. 15 (1): 16-32. On-line: http://www2.le.ac.uk/departments/museumstudies/museumsociety/documents/volumes/nikonanouvenieri

Nikonanou, N., Papavergou, E., Paraskeva, K. (2020) ‘The contribution of participatory projects in promoting the inclusive museum. Are visitors’ artistic creations welcomed in an international exhibition of contemporary art?,’ International Journal of the Inclusive Museum, 13(1): 1-11.

O’Neill, P. & Wilson M. ( eds.), 2010. Curating and the Educational Turn, London: Open Editions / de Appel

Paynter, J. 1972, Hear and now: an introduction to modern music in schools, Universal, London

Paynter, J. 1992, Sound and structure, Cambridge University Press, Cambridge.

Paynter, John & Aston, P 1970, Sound and Silence: classroom projects in creative music, Cambridge University Press, Cambridge.

Peters, Gary. (2018).John Cage and the “Freshening” of Education.The Journal of Aesthetic Education, 52(4), 1-20.

Prévost, E. (1995) No Sound is Innocent: AMM and The Practice of Self-Invention. Meta-Musical Narratives. Essays. Essex: Copula.

Rancière, J. (2012). Ο ΜερισμόςτουΑισθητού: Αισθητική και πολιτική(μτφρ. Θεόδωρος Παραδέλλης). Αθήνα: Εκδόσειςτου 21ου.

Rancière, J. (2015). Ο ΧειραφετημένοςΘεατής. Αθήνα: Εκκρεμές.

Rancière, J. (2008). Η ΠολιτικήτηςΑισθητικής (μτφρ. Βίκυ Ιακώβου). Στο Γ. Σταυρακάκης& Κ. Σταφυλάκης (επιμ.), ΤοΠολιτικόστηΣύγχρονηΤέχνη(σσ. 85-100). Αθήνα: Εκκρεμές.

Raunig, d. (2013). Factories of Knowledge, Industries of Creativity. Los Angeles: Semiotext(e).

Self, G. (1967). New sound in class: a practical approach to the understanding and performing of contemporary music in schools. London: Universal Edition.

Shahjahan, Riyad A. (2015) Being ‘Lazy’ and Slowing Down: Toward decolonizing time, our body, and pedagogy. Educational Philosophy and Theory, 47(5), 488-501.

Sheikh, S. (2013). Γράμμα στη Jane (διερεύνησημιας λειτουργίας). Κριτική και Τέχνη, τ. 5, 92-105.

Siegesmund, R. (2013). Art Education and a Democratic Citizenry The International Journal of Art & Design Education, 32(3), 300-308.

Simon, N. 2010. The Participatory Museum. Santa Cruz, California: Museum 2.0.http://www.participatorymuseum.org/read/

Sitzia, E. (2017). The ignorant art museum: beyond meaning-making International Journal of Lifelong Education, https://doi.org/10.1080/02601370.2017.1373710

Sternfeld, N. 2016. “Learning Unlearning”, CuMMA Papers #20, Department of Art Aalto university, Helsinki, 1-11

Sternfeld, N., “Unglamorous Tasks: What Can Education Learn from its Political Traditions,” e-flux journal, no. 14, March 2010, https://www.e-flux.com/journal/14/61302/unglamorous-tasks-what-can-education-learn-from-its-political-traditions/

The Finnish Association for Museum Education Pedaali, KaijaKaitavuori, Nora Sternfeld, and Laura Kokkonen 2013. Its all Mediating: Outlining and Incorporating the Roles of Curating and Education in the Exhibition Context, Cambridge Scholars Publishing,

Tilbury, J. (2008). Cornelius Cardew (1936-1981): A life unfinished. Essex: Copula.

Witcomb, A. & Buckley K., AM, 2013. “Engaging with the future of ‘critical heritage studies’: looking back in order to look forward”, International Journal of Heritage Studies, Vol, 19, No 6, 562-578

Woodford, P. (2018). Music Education in An Age of Virtuality and Post-Truth. New York: Routledge.

Worcman, K., 2016. “We are all Curators: Collaborative Curatorship as a new Museum Experience,,THEMA. La revue des Musées de la civilization, Museums without Curators, 125-130