Cultural Sustainability and Arts Education: International Perspectives on the Aesthetics of Transformation

Description

This book is based on the topics, questions and results of the international conference "Aesthetics of Transformation - Arts Education Research and the Challenge of Cultural Sustainability". It aims to foster and sharpen the understanding of the potential role of arts education and arts education research for cultural sustainability. In an ever more complex and interconnected world, culture is a valuable resource for sustainable development. Based on the thesis that the change towards sustainability has to be a change that starts with cultural practices of perception and knowledge, this book makes an important contribution to the broad discourse on cultural sustainability, which has begun to emerge in recent years. In this context, the volume first deals with Intangible Cultural Heritage and how aesthetic practices and certain forms of art are changing through cultural transformation processes. Subsequently, it focuses on issues such as arts and cultural education in times of neoliberalism, (post-)migration and post-coloniality as well as on arts and cultural education under conditions of digital transformation. These theoretical and empirical contributions are complemented by insights into field trips to institutions and exemplary places of practice, showing different representations of educational art practices, cultural heritage, and cultural sustainability. Against this background the book finally offers responses and commentaries that can form the starting point for a far reaching interactive dialogical process on the utmost importance of cultural, aesthetic and arts education as part of a global endeavor for sustainable development. Acknowledgments Contents Editors and Contributors 1 Introduction 1.1 Background and Structure of the Volume 1.1.1 Part I: Intangible Cultural Heritage (ICH) and Aesthetic Practices Under Conditions of Cultural Transformation 1.1.2 Part II: Arts and Cultural Education in Times of Neoliberalism, (Post-)Migration and Post-Coloniality 1.1.3 Part III: Arts and Cultural Education Under Conditions of Digital Transformation 1.1.4 Part IV: Field Trips: Experiencing Cultural Change 1.1.5 Part V: Comments and Critical Perspectives References Part I Intangible Cultural Heritage (ICH) and Aesthetic Practices under Conditions of Cultural Transformation 2 Intangible Cultural Heritage: A Challenge to Aesthetic and Cultural Education 2.1 The Human Body as Medium 2.2 Practices of Communication and Interaction 2.3 Mimetic Learning and Practical Knowledge 2.4 The Performativity of Cultural Practices 2.5 Central Structural and Functional Elements 2.5.1 Producing Culture 2.5.2 Generating Order 2.5.3 Enabling Identification 2.5.4 Embodying Remembrance and Projection 2.5.5 Overcoming Crises 2.5.6 Relating to the Sacred 2.5.7 Dealing with Difference 2.5.8 Initiating Mimetic Processes 2.5.9 Imparting Practical Knowledge 2.5.10 Elaborating Subjectivity 2.6 Difference and Otherness 2.6.1 Egocentrism 2.6.2 Logocentrism 2.6.3 Ethnocentrism 2.7 Conclusion: Intercultural Education References 3 The Transformation of the Popular Song as a Tool for Arts Education and Cultural Sustainability 3.1 Introduction 3.1.1 Conceptual Matters 3.2 The Popular Song 3.3 Mwema (Eng. GOOD) by Mercy Masika 3.4 The Knowledge 3.5 Popular Music Arrangement 3.6 Cultural Sustainability 3.7 Aesthetics of Transformation References 4 Culture and Sustainability in Situations of Conflict; Artistic Practices in West Africa 4.1 Introduction 4.2 Agbadza Dance and Bɔbɔɔbɔ Music in Ghana Reflecting Cultural Knowledge and Fostering Community Building 4.3 Visual Representations as a Tool for Creating Social Cohesion in Borno State, Nigeria 4.4 The Art of Cultural Transformation References 5 Transformation of Traditional Art Forms in the Evolving Contexts: Cantonese Opera in Hong Kong as an Example 5.1 Background 5.2 Cultural Traditions of Cantonese Opera 5.2.1 Ritual Performances as Original Performance Context 5.2.2 Improvisatory Nature of Cantonese Opera 5.2.3 Transmission: Quasi-Family Relationship Between Master and Apprentice 5.2.4 Superstition and Taboo: Psychological Needs 5.3 Evolution of Cantonese Opera Since the 1920s 5.3.1 Nature: From Improvisation to Rigorous Script Writing 5.3.2 Function: From Ritual Performance to Fine Art 5.3.3 Transmission: From Apprenticeship to Formal and Non-formal Education 5.3.4 Contents: From Traditional Chinese Culture to the Infusion of Modern Western Elements 5.4 Developmental Stages of Cantonese Opera in Hong Kong 5.4.1 1920s–1950s: The Golden Age 5.4.2 1960s–1990s: Period of Deterioration 5.4.3 2000–Present: Period of Revival 5.5 Cultural Sustainability: A Challenge 5.6 Conclusion References 6 Let’s Chat 6.1 Introduction 6.2 The ADPAE Program and Background of Student Teachers 6.3 Background of Amanda Heng 6.4 Housework as Artwork 6.5 Discussion 6.6 Conclusion References Part II Arts and Cultural Education in Times of Neoliberalism, (Post-)Migration and Post-Coloniality 7 Making Creative and Entrepreneurial Selves in Education: The Governing of Life in Contemporary Time 7.1 Introduction 7.2 Being Responsible by One’s Self 7.2.1 Governmentality: From the Government of Souls to the Government of Citizens 7.2.2 Governing in Advanced Liberal Democracies: Being Free to Choose 7.3 Governing Through Creativity and Entrepreneurship 7.3.1 Creativity: Between the Confessional and the Technological Self 7.3.2 Creativity as a Technology of Government 7.4 Conclusion: It’s All About Human Capital References 8 The Influence of Neoliberalism on Arts Education: “Creativity” and “Critical Thinking” as Semantics of an Educational Discourse 8.1 Prelude 8.2 Portugal’s Curriculum Changes in the European Context 8.3 Economical and Labor Market Interests 8.4 Neoliberalism and the Chameleonic Citizen 8.5 Creativity and Skill 8.6 Critical Thinking and Disobedience 8.7 Discussion References 9 Arts Education and Decolonization: Challenges and Opportunities for Cultural Sustainability in the Context of Migration 9.1 Migration and Arts Education 9.2 Migration and the European Commissions’ Framework 9.3 Functional Role of Art 9.4 Intercultural Functionality 9.5 Migration to Latin America and Decolonial Thought 9.6 Towards a Critical Interculturality in Arts Education 9.7 Challenges and Opportunities References 10 Transcultural Aesthetic Practices in the Classroom: Sounds, Spaces, Bodies 10.1 Introduction 10.2 The Rhythm of School: The Senses in the Field 10.3 A Reading in the Classroom—Ethnographic Notes from a Theatre Studies Perspective 10.4 Bodies and Objects 10.5 Sounds and Music 10.6 Emergent Spaces 10.7 Conclusion References 11 Storying [Post-]Qualitative Inquiries, Methods and Pedagogies in|for|as Arts-Based Educational Research 11.1 Introduction 11.2 Background 11.3 Arts Integration in SPACE 11.4 Propositions in S.P.A.C.E 11.5 Da[r]ta as Practice—Practice as Da[r]ta in Arts Integration 11.6 Conclusion References Part III Arts and Cultural Education Under Conditions of Digital Transformation 12 Arts and Recent Technology, Exploring Responses in Times of Change 12.1 Introduction 12.2 Arts and Technology 12.3 Characteristics of the Recent Technological Changes and the Impact on Arts 12.4 Future Challenges and Possible Responses References 13 Critical Incidents as a Participatory Research Approach for Transformative Cultural Practices 13.1 Introduction 13.2 Culture as Practice 13.3 Methodological Challenges 13.4 The ‘Critical Incident Technique’ Reconsidered 13.5 Two Post-digital Incidents 13.6 Toward a Participatory Research Program on Transformative Cultural Practices References 14 Museums and Other Users in Digital Space: Pioneers, Produser and Partners in Dialogue 14.1 Introduction 14.2 Museums, Arts Education and Digital Space 14.3 Participation—What Exactly Is It and What For? 14.4 Discoveries 14.4.1 Museum A: Staedel Museum Frankfurt 14.4.2 Museum B: Historisches Museum Frankfurt 14.5 Preliminary Conclusion References 15 The Transformation of Museum Exhibitions in the Era of Digital Objects 15.1 Introduction 15.2 Theoretical Basics: Museum—Museum Exhibition—Exhibit—Visitors 15.3 The Museum in the Era of Digital Transformation Dynamics 15.3.1 Example 1: “Game on” Exhibition 15.3.2 Example 2: Eve Online 15.4 Conclusion References Part IV Field Trips—Experiencing Cultural Change 16 Cultural Education in the Field of Tension Between Tradition and Transformation—A Theoretical Introduction 16.1 Culture and Cultural Education 16.2 The Need for Reformulation/Rethinking in Cultural Education in the Context of Cultural Transformation Dynamics 16.3 The Meaning of Cultural Transformation Dynamics for Concrete Areas of Cultural Education References 17 From Institution to Subculture and Back: A Fieldtrip to Komm/K4/Künstlerhaus Nuremberg References 18 Commemorative Culture in the Age of Globalization and (Post-)Migration: Traditions and Transformations in Nuremberg 18.1 Introduction 18.2 Questions of Traditions and Transformations 18.3 Location and Buildings References 19 Germanisches Nationalmuseum References 20 The “Villa Leon” and the Children’s Museum References Part V Comments and Critical Perspectives 21 The Seoul Agenda: A Commentary 21.1 Setting a UNESCO Context 21.2 UNESCO UNITWIN Reflections 21.3 Conclusion References 22 Aesthetics of Transformation: Questions to Ask, Ideas to Contemplate 22.1 Beauty and Freedom 22.2 Aesthetics of Transformation 22.3 Meaning Making: Aesthetic vs. Anesthetic; Alteration vs. Transformation 22.4 Doing Right Things and Doing Things Right 22.5 Ethics and Aesthetics as Infrastructure of Knowledge 22.6 Do Aesthetics Make Life More Worth Living? 22.7 Interface Between Art and Human Experience 22.8 Future Orientation 22.9 Some Final Reflections on the Importance of Conferences References