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Clark, Gilbert, Ed.Artist's Point of View.International Society for Education through Art, Arnhem(Netherlands).ISSN-0268-23461998-00-0022p.

Cito/InSEA, PO Box 1109, NL 6801 BC Arnhem, The Netherlands;Fax: +31 26 3521202; Web site:(http://cspace.unb.ca/insea/).Collected Works Serials (022) Guides Non-Classroom(055) -- Reports Descriptive (141)InSEA News; v 5 n2 1998MF01/PC01 Plus Postage.Art Criticism; *Art Education; *Art Expression; *ChildrensArt; *Curriculum Development; Elementary SecondaryEducation; Foreign Countries; Global Approach; Reminiscence;Student ProjectsArt Students; *Folk Art; Microethnography

This issue of "InSEA News" features diverse articles fromauthors/art educators from Brazil, Australia, the United States, Guatemala,and Scotland that discuss water projects, childhood reminiscences,comparative curricula, local artists, and community efforts to involvestudents in exploring a city's history. Articles in the journal are: "WaterProject: Using Images, An Interdisciplinary Experience" (Ivone Richter);"Factors That Influence and Effect Artistic Development" (Shona Eban);"Japanese Art Education through Western Eyes" (Melanie Davenport); "PopularPainting in Comalapa" (Roberto Viscaino); "Public Art, Architecture, andDesign in Glasgow" (Glen Coutts; Mark Dawes); and "Microethnographic Researchin Japan: Exploratory Art Criticism of a Turkish Rug" (Mary Stokrocki). (BT)

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Artist's Point of View

Gilbert Clark, Ed.

InSEA News, Volume 5, Number 2, 1998

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Volume 5, Number 2, 1998 InEEM NEWSISSN #02682346 InSEA is the International Non-Governmental World Organization for

Education Through Art in Consultive Relations with UNESCO

EDITORIAL, Gilbert Clark, USA

PRESIDENT'S PAGE: Kit Grauer, Canada

WATER PROJECT: USING IMAGES, ANINTERDISCIPLINARY EXPERIENCEIvone Richter, Brazil

FACTORS THAT INFLUENCE AND EFFECT ARTISTICDEVELOPMENTShona Eban, Australia

JAPANESE ART EDUCATION THROUGH WESTERN EYESMelanie Davenport, USA

POPULAR PAINTING IN COMALAPARoberto Viscaino, Guatemala

PUBLIC ART, ARCHITECTURE, AND DESIGN IN GLASGOWGlen Coutts & Mark Dawes, Scotland

MICROETHNOGRAPHIC RESEARCH IN JAPAN:EXPLORATORY ART CRITICISM OF A TURKISH RUGMary Stokrocki, USA

OBITUARY: DR. SAM BLACKKit Grauer, Canada

NEWS AND ANNOUNCEMENTSInSEA 1997 Financial ReportSt. Petersburgh Children's Academy of ArtInternational Museum of Peace and SolidarityMaking A Difference In LondonNAEA Uses Paradigmological TechnologiesArt Resources Web Sites AnnouncedUSSEA Call For Papers30th InSEA World Congress

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InEEM NEWS Volume 5, Number 2,1998

Editor: Gilbert ClarkAssociate Editors:Li-Fen Lu & Melanie Davenport

Editorial Board:Doug Boughton, AustraliaAndrea Karparti, HungaryRiitta Heikkinen, FinlandNorihisa Nakase, JapanIvone Mendes Richter, BrazilEnid Zimmerman, USA

InSEA News is the official publicationof the International Society for Educa-tion Through Art.

Reprinting for educational purposes isencouraged. Credit should be given toInSEA News as the source.

Articles, Regional Reports, andAnnouncements are welcome at all times.Please send copy to:Gilbert Clark3240 N. Ramble Road EastBloomington, IN 47408-1093USAtelephone 812-336-0387e-mail clarkgil@indiana.eduFAX: 812-856-8440

Authors are encouraged to send allmanuscripts with disks and to includephotographs or art work.

Forthcoming Themes:

5-3: Tokyo InSEA Conference

6-1: Classroom Technology

6-2: School/Museum Cooperation

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EDITORIALGilbert ClarkBloomington, Indiana, USA

Each time I sit down to composeanother InSEA News, I barely haveenough material to put together anissue. I am sure there are thousandsof good stories to be told by membersof InSEA; each of you must have a'teaching moment' you could share,or an issue you feel strongly about, orsomething you would like to relate toother members.

A great many of you, from manycountries, attended the Tokyo InSEAConference. I intend to feature thatmeeting in the next issue; please shareyour experiences. If you delivered apaper, confronted a new issue, had anamusing incident happen whilewalking down a Tokyo street, or were'jolted' into thinking about somethingnew, you have the beginnings of aninteresting article. I need yourcontribution by about the end ofNovember (copy on a disc, withphotographs, if possible). My addressand e-mail address are on this page,

please send your copy for others toenjoy.

This issue is focused on a differenttheme. Ivone Richter's water projectin Brazil was based on interestingconcerns we all face. She describesher project with the enthusiasm sheobviously passes on to her students.Shona Eban, from Australia, sharesinsights of her growing up, as theyeffected her as an artist/teacher.Many of us have recollections ofteachers and schools we lovedorhatedand remember how wereacted. Melanie Davenport taught inJapan and has used that experience tocompare and contrast classroomcurricula in Japan and the U.S..

Roberto Viscaino describes localartists, in a Guatemalan town, andtheir evolution over time. Hispersonal experiences contributedgreatly to his writing. MaryStokrocki, from the U.S., was involvedwith teaching in Japan. She describeshow her students were well read andwilling to share insights. Glen Coutsand Mark Dawes, from Scotland,report a community's efforts toinvolve students from throughout theworld to explore and study Glasgow'shistory.

There are a number of veryimportant announcements in thisissue, and I call your attention to all ofthem. InSEA News is our primarymeans of communication amongmembers and many of you havecommented how you enjoy readingabout what is happening in otherparts of the world. Please, keepsending announcements and articlesof interest to all members so we cancontinue to build an international arteducation community

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Volume 5, Number 2, 1998 InEME NEWSPRESIDENT'S REPORTKit Grauer,University of British Columbia

It was 'New Year's Eve' as I wrotethis report. Not the New Year's Evethat falls predictably at the beginningof each calendar year, but the one thatstarts a new school year in my part ofthe world. High expectations andmany 'new year resolutions' are madeby students and teachers alike. Alittle anxiety is always added to themix, as my son Alexander remarked,"Some people get butterflies in theirtummies, I think I have wasps!" Ouranxiousness has to do with venturinginto new territory; new teachers, newcurriculum, new classmates. Formany of us involved with arteducation, this is a time of change, nomatter where we live.

Educational reform seems to berampant throughout the world. Itcertainly was a major topic at theAsian Regional Conference, in Tokyo.There, over 700 delegates from 28countries gathered to discuss issuesand learn from each other. We alsomanaged to have a very collegial

time, if attendance and participation atsocial activities were any indication. Iwould like to acknowledge thetremendous effort that ProfessorNorihisa Nakase and his committeemade for that conference to be such asuccess. Professor Nakase is to becommended for his tireless efforts inoffice as an Asian World Councilorand his continuing efforts for InSEA(planning this conference was just oneof many projects he has undertaken).All InSEA members have benefitedfrom his dedication.

I am pleased to report a verysuccessful World Council meeting heldin Tokyo. Many items were discussed,including oral and written reportsfrom World Councilors. Some pointsare covered in this newsletter (financialreport, etc.). It is a great relief to saywe are financially healthy because werely almost entirely on membershipsfor operating income. It was also apleasure to see our MembershipBooklet in print, and that electionmaterial was received by members allaround the world.

If you haven't visited our web siterecently (http://cspace.unb.ca/insea/)it is important you do; a call for papersfor the World Congress in Australia, aswell as updated information about thatcongress, can be found there. Anotherweb site worth visiting is INSEA/IBGallery (http:// cap.unb.ca/ib/),where you can view artworks byadolescents from over 80 countries.

Our web site contract withUNESCO, featuring quality arteducation programs around the world,was signed in June. We are quiteexcited by possibilities and aprovisional editorial board will soonbe appointed. Our first meeting willbe in Paris, on October 9th, and DonSoucy, Peter Hermans, AndreaKarpati, and I will present ideas putforward by the World Council.

Andrea Karpati must beacknowledged for her perseverancein bringing about this contract.

I represented InSEA at theCanadian National Symposium onthe Arts earlier this month. Alsopresent was the International Societyfor Music Education (ISME)Secretary General, and we hadfruitful discussions about mutualconcerns. The next ISME WorldCongress is planned for Canada, in2000, and InSEA may be involved.

I also attended the memorialservice for Dr. Sam Black, one of ourfounding members, and conveyedInSEA's condolences to his family.Before his death, Sam spoke highlyof his association with InSEA and hismany friends in the organization. Hewill be greatly missed by many of us.

As always, InSEA is both anexhilarating and frustratingorganization to represent. I amheartened by the excellent peopleassociated with InSEA, especially thecurrent executive and worldcouncils, and thank all of you foryour support in providing leadershipfor the work of the society. Despitechanges that are always part of anyenterprise, I am confident artteachers are making tremendousdifferences for children in all parts ofthe world. Happy New Year!

InEEM NEWS Volume 5, Number 2, 1998

WATER PROJECT: USING IMAGES, AN INTERDISCIPLINARY EXPERIENCEIvone Mendes RichterFederal University of Santa Maria, Brazil

This project was developed between the FederalUniversity of Santa Maria, Brazil, and Dr. WilhelmWalgenbach, of the Institute fur die Padagogik derNaturwissenschaften (IPN), Germany. A model wasdeveloped as a learning-laboratory /exhibition, based on

(1990) claims that learning through activity is characterizedby inter-relations with other kinds of activities and theirfunctions in socio-cultural and individual development.

Relating the abstract to the concrete, Davidov (1977)and Lompsher (1989), proposed teaching strategies that

Personifications of water in theater workshop

integration of arts, science, and technology. Schools tendto fragment studies into disciplines, rather than promoterelations between them; it is necessary to proposeinterdisciplinary studies to correct this problem.

We planned this work as a conjunction of aestheticvision and scientific knowledge, through technology, andthe importance of arts became very evident: "Art isconsidered...as the most immediate way to develop thecapacity of analysis and synthesis, through multiplemethodological approaches of aesthetic appreciation"(Barbosa, 1980, p. 90).

Science and technology are factors of human activity, butaesthetics is a pole of equilibrium; all three are fundamentalfor elaboration of knowledge. Aesthetic integration, linkedto scientific differentiation, enables new knowledge to beintegrated and used directly by society. Wolze (1990) claimsthat a subject and object, involved in co-evolution andmediated by an activity, is a characteristic of learning.

Learning is a double process of integration anddifferentiation. One side is related to internal structures,that determine dynamics of self-organization, and theother is concerned with external structures . Lompsher

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can be characterized as: (a) organizing learning activitiesto make conscious characteristics and relationsfundamental to control of an object or task, (b) askingstudents to infer or deduct characteristics and relationsthrough analyses of concrete phenomena, (c) using real orimagined change of objects, situations, or relatedrepresentations to make possible essential characteristicsto be processed by learners, and (d) using characteristics,relations, and methodology to implement simple, easy tomanipulate, graphic or symbolic models. These stepsfacilitate transitions from concrete phenomenon toabstract representations.

Peitgen and Richter (1986) demonstrated that computergraphics allow us to see previously invisible connectionsand meanings. Specifically, interactive graphic computersare enriching our perception to levels seldom reached byother instruments. Computers can present imaginaryworlds and artificial environments, or make us forget thereal world; they can also lift the veil of natural secrets.The use of mental images for integration among areas washighlighted by Arnheim (1969): "visual thinking calls...forthe ability to see...the structure of societies or ideas" (p.35). American art-educators, Feldman, Dondis, and

Volume 5, Number 2, 1998 InEEM NEWSDebes, postulated 'Visual Literacy' which proposeslearning to read images as preparation for life incontemporary society.

Richter (1989) analyzed relations between perceptionand visual thinking and recognized the importance of

images in daily communications and productive thinkingin arts and sciences. Renowned scientists have testifiedabout the use of images in the genesis of their scientifictheories.

In our laboratory exhibition, development of relationsbetween concepts and forms is critical. The exhibition isorganized in six sections: (a) Intuitive System Formation:The Magic of Water. Direct contact with water fromcultural and historical points of view; (b) Aesthetic SystemFormation: The Images of Flow. Presentation of art worksusing the aesthetics of water; (c) Scientific SystemFormation: Analyses of movement of water fromphenomenological, experimental, and systematicapproaches; (d) Abstract System Formation: Problems andadvantages of development of abstract theories; (e)Technological System Formation: Projects from models ofthe movement of water with graphic computertechnology; and (f) Ecological System Formation:Experiments and scale models for ecological systems.These sections included informative materials, images,and experiments with scientific and aesthetic approaches,enriched by materials produced by visitors. Theexhibition was presented in urban or rural schools in

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Germany and BrazilI will focus on experiences at the Primary School, Aracy

Barreto Sackis, with 1st to 8th graders, in Santa Maria,Brazil. All of the 30 teachers, 450 students, and directorsdecided to participate and halt all other activities during

this time. The first section was an installation by thesculptor Silvestre Peciar Basiacco, who controlled the waterand established magic and mystic relations with people. Inthe second section, visual and aural works were featured,including art works by Da Vinci, Klee, Escher, Smithson,and Kosice. In the third section, experiments presentedopportunities for understanding scientific phenomena, aswell as their aesthetic qualities. Section four showedgraphic and mathematical calculations of the movement ofwater and information about chaos theory. In the fifthsection, calculations with graphic computers werepresented, generating visual and aural results throughfractal geometry. In the sixth section, understandingsabout local ecological, historical, and contemporary aspectswere presented. Special attention was given to the arts inall sections.

Conducting experiments with water and with childrenand adolescents, we searched for their understandingsabout nature, artistic vision, and interpretations of theseforces. We presented art works, where forces of water andnature were represented, featuring works by theArgentinian sculptor, Kosice. Workshops in arts, music,sciences, and computers allowed for opportunities to

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deepen disciplinary knowledge.Students produced works individually or in groups.

These included: (a) field research about water mythsdeveloped through interviews with elderly people, (b) fieldresearch to verify the importance of water in cults andpopular religions, (c) construction of ecological scalemodels, (d) theater presentation with script and costumesthey created, (e) scientific experiments, and (f) scientific-aesthetic experiments.

During evaluations, it was possible to detect: (a) transferof information to scale models and objects studentsconstructed; (b) emphasis on characteristics of water; (c)establishment of relationships among areas; (d) transfer ofknowledge and ecological concerns to students' scalemodels; and (e) concern with local surroundings andenvironments. During comparative evaluations, it waspossible to detect significant decrease of stereotypes,presence of aesthetic and scientific elements of theexhibition, main characteristics of water, such as swirls,spirals, and fluidity, and the capacity of transfer fromconcrete phenomenon to graphic representations. Inwritten post-tests, it was possible to detect demonstrationsof understandings about acquired knowledge,relationships of knowledge elaborated during theexhibition, and many references to sculptures and artreproductions the exhibition presented.

I would like to conclude with testimonies of someteachers: (a) "The project was very productive for students,they used their imagination, energy, and creativity...students felt secure in their work, valorized, resulting inself-esteem, they felt they were important"; (b) "I didn'tthink students would have such positive behaviors, feel sowell, or have so much organization, responsibility, andactivity"; and (c) "I believe all teachers felt the importanceof this project and that teachers have found a new horizonto their work"

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REFERENCESArnheim, R. (1969). Visual thinking. Berkeley: University

of California.Barbosa, A.M. (1989). Muitas culturas, Muitas artes. In

Revista do Centro de Artes e Letras. Santa Maria, 6, 1-2.Davidov, V.V. (1977). Problems of activity as a mode of

human existence and the principle of monism. In V.A.Lektorsky (Ed.), Activity: Theories, methodology andproblems. Orlando: Paul Deutsch.

Dondis, D.A. (1989). A primer of visual literacy. 4th ed.Cambridge: MIT Press.

Feldman, E.B. (1970). Becoming human through art. NewJersey: Prentice-Hall.

Lompsher, J. (1989). Formation of learning activity inpupils. In E.D. Corte, N. Bennet, & H.F. Friedrich,Learning and instruction. Vol. 2, Oxford: Pergamon Press.

Lompsher, J. (1990). Concepts of learning activity. SecondInternational Congress on Activity Theory, Finland.

Peitgen,H.O., & Richter, P.H. (1986). The beauty offractals. Berlin: Springer-Verlag.

Richter,I.M.O. (1996). Pensamento visual e sua relacaocorn a counicacao visual no processo de aprendizagem.Revista de Centro de Artes e Letras. Santa Maria, 11, 1-2.

Roger, P., & Yaylor, C.D. (1993). Computational methodsfor fluid flow. Berlin: Springer-verlag.

Schwenk,T. (1988). Das sensible caos. Stuttgart: VerlagFreies Geistesleben.

Walgenbach, W. (1990). Self-system formation throughinterdisciplinary system formation with flowing water.Second International Congress on Activity Theory, Finland.

Wolze, W. (1990). Learning in the complementarity ofautopoiesis and evolution. Institute fur die Padagogik derNaturwissenschaften an der Universitat Kiel (IPN).

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Volume 5, Number 2,1998 InEEM NEWSFACTORS THAT INFLUENCE AND EFFECT ARTISTIC DEVELOPMENTShona EbanCamp Hill, Australia

As children participate in recurrent activities of theirdaily lives, they come to understand that people andobjects have an existence on their own. Thus, childrenbegin to contemplate as well as interact with people andthings surrounding them. (Dyson, 1990, p. 50)

Through the long grasses of the veldt, my little legswaddled as I tightly clenched my brother's hand. The skywas a brilliant palette of reds, oranges, and yellows, mixingin time to the beat of distant drums. As we reached themud verandah of our house, my mother exclaimed, "Lookat you two! Where have you been?" My dirty face bowedas my brother told of our adventures with Gourit andSanina, friends from the local Shona tribe. The Ma-Shonapeople took pride in the creative hands of their artists.Most noted for their creative carving and weaving abilities,they produced a wide variety of statues, masks, pots, andother amazing items.

Clay became an important symbolic material to me.When we moved to southern Africa, I insisted my fatherbuild a clay patch and I spent hours modeling figures andcharacters. My father often would inquire about my work,reminding me of our days in the bush. I was his littleartist...his little Shona. Adapting to nursery school was notdifficult, as there were many Ndebele nannies. Kellogpointed out that "Age five is often a time of crisis in childart. The child's spontaneous art is seldom appreciated byteachers...unfamiliar with preschool work....Schools inevery land make an effort to have the child copy the waysart adults prefer as typical of the local culture" (in Kellman(1994, p. 63).

This was a crisis in my life. I longed to sculpt, paint,communicate, but access was denied. We were asked todraw one of our pets in our books. Adrenelin pumpedthrough my veins as I contemplated this task. I could drawany animal I wished, from my pet chameleon to myneighbor's monkey. I was very impressed, however, by mybrother's new goldfish. So, I carefully drew a bright orangegoldfish, with succulent lips and saucer-like eyes, in a glassbowl. The water was shaded aqua-blue and the surface ofmy page was colored in red and white checks to depict atable cloth. It was a fantastic picture and I sat proudly,waiting for my teacher's comments.

As she lifted my book, she looked at me over the edge,then threw the book down! She yelled, "How dare youdraw in your book upside down?" Before I had time toconsider a reaction, I was whipped across my knuckles.That teacher would never realize to what extent she hadbruised me. Hands heal quickly, but hearts take a life-time.

It is Wright's (1985) belief that dictated art is detrimentalto artistic expression and development in early childhoodeducation. Wright differentiates between 'creative art' and'dictated art': "An art program must place emphasis onindividual, self-chosen, and self-dictated art activities withan environment in which the teacher offers encouragement,support, and guidance" (p. 44).

Despite my school environment, a hero emerged whoencouraged me to draw, paint, construct, dance, sing, ormake a mess. I would bring my prized works (made fromlocal rubbish) and explain every intricate detail. My fatherreassuringly admired it and encouraged me to explainfurther, as his eyes chuckled.

As my education continued, it became clear to myparents it definitely was lacking any spark of creativity orimagination. What concerned them most, however, wasthat we were being indoctrinated to believe those of uswith white skin were superior to others' around us. Myparents taught, daily, that we are all created equally andthat none is superior to another, except God.

One evening, my father told us to pack our bags,because we were going to move. We left our house as itwas, taking only six suitcases! We moved to Australia andmy primary years there are a bit of a blur. My energy wasconsumed adjusting to a new environment. The memoriesare very vivid, however, especially concerning the subjectof art. My new art room was always bright. There werecollages, paintings, drawings, prints, and all kinds of artworks surrounding us. Cupboards proved exciting to acreative mind. Boxes of brightly colored fabrics, yams,threads, and beads exploded as doors were opened.Another cupboard displayed pastels, charcoal, crayons,pencils, and the like. For someone like me, it was likewalking into a mirage!

Our teacher empowered us with skills and knowledgefrom a variety of sources, and provided opportunities forus to experiment with these skills. Every lesson wasexciting as we were given time and opportunities to create,problem solve, design, and talk, aspects forbidden in mostother rooms. As we studied artists and their works, Ibegan to understand a much bigger picture. With art, Ilearned to communicate my joys, sorrows, struggles, andbeliefs.

Art "deals with human feelings, beliefs, and conduct"(Chapman, 1978, p. 121). "It is a means of communicatingour creative productivity and imaginative thinking"(Jalonga, 1990, p. 196). "Art has the role of helping childrenbecome more themselves, instead of like everyone else"(Clemens, 1991). From these statements, it is very clear that

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art is a valuable medium in society and, therefore, shouldbe part of every child's education. Myths andmisconceptions, however, still remain in society and willcontinue until the whole of society comes to vitallyunderstand the importance of art in children's lives.

REFERENCESChapman, L. (1978). Approaches to art in education.

Sydney: Harcourt, Brace, Jovanovich.Clemens, S. (January, 1991). Art in the classroom: Making

every day special. Young Children, pp. 4-11.Dyson, A. (January, 1990). Symbol makers, symbol

weavers: How children link play, pictures, and print.Young Children, pp. 50-57.

Jalonga, M. (Summer, 1990). The child's right to theexpressive arts: Nurturing imagination as well as intellect.Childhood Education, pp. 195-201.

Kellman, J. (1994). The case for developmentallyappropriate lessons: The child and art. Visual ArtsResearch, pp. 62-69.

Wright, S. (1985). Art to promote whose creativity-theteacher's or the child's. Early Childhood, Vol. 2.

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JAPANESE ART EDUCATION THROUGH WESTERNEYESMelanie DavenportIndiana University, USA

As principles of discipline based art education (DBAE)continue to exert influence on art education, they will beenriched by diverse interpretations and styles ofimplementation. These processes may be particularlyenlightening in Japan, where interest in art educationreform and integrating art disciplines is high.

In the past, Japanese art education has been heavilyinfluenced by American trends. American art educators(eg. Carson, 1981; Dobbs, 1983; Foster, 1990,...) oftenexpress wonder at the apparent success of Japaneseeducation, evident in the consistency and high quality ofartistic achievements among Japanese students.Differences between art education in Japan and the U. S.seem quite pronounced, due to the cultural contextssurrounding education.

As participant in a Japan Exchange in Teaching Programa few years ago, I had opportunities for extendedobservation and study of Japanese art education in a semi-rural, middle school setting. At that time, introduction ofdiscipline based art education (Clark, Day, & Greer, 1987)had not yet happened (Monbusho). Yet, similaritiesseemed to exist and Japanese teacher's interest in Americantrends made assimilation of DBAE principles into Japaneseschools seem imminent.

How the Japanese might perceive, interpret, andimplement a DBAE curriculum will no doubt differ fromours. In order to appreciate how these two very differentcultures might distinctively shape evolution of the concept,it would be helpful to have comparative baseline data.With this goal, I conducted a survey (Davenport, 1993) of59 middle school teachers from all regions of Japan, aboutart education practices, and then compared their responseswith similar data from the U.S., reported by Chapman in1979. In this article, I will present highlights of thiscomparison as a 'snapshot' of two different systems on theverge of transformation.What Is Taught? Survey results revealed that teachers inthe United States offered more drawing, printmaking,ceramics, stitchery, mixed media, jewelry, batik,architecture, photography, interior design, and filmmakingto middle school students. Lettering and graphics weremore popular in Japan, which reflects their traditionalimportance in that culture. Another question revealed thatart history is offered by 62% of Japanese middle schoolteachers, but only 20% offered art criticism. 88% ofAmerican art teachers claimed to teach art history.Program Enrichments American middle school students

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Volume 5, Number 2, 1998 InEEM NEWSwere more likely than their Japanese counterparts toexperience student art exhibits or festivals, museum orgallery field trips, visits by local artists, team-teaching, andvolunteer parents helping in their art rooms. Perhaps U.S.teachers perceived a greater need for outside enrichment.Alternatively, Japanese teachers have considered such non-traditional methods frivolous or distracting. The Japanesealso found transportation for field trips too expensive,because most Japanese school systems don't have buses.

Problems Japanese teachers raised issues about havingtoo many classes, and not enough planning time or ideasfor their own artwork. In contrast, U.S. teachers were moreconcerned about apathetic or unruly students and lack ofadministrative support. These seemed to reflect differencesin the status of teachers in Japan and the United States.Japanese society holds teachers in very high esteem; lack ofsupport, interest, or discipline were not their concerns.Great responsibilities and high expectations placed onJapanese teachers left many feeling overworked andunderprepared. They described their working conditionsas including long hours, little vacation time, and manyextra duties.Artist-Teacher Role Results indicated that more U.S.teachers received commissions and sold artworks.Interestingly, more U.S. teachers felt it was essential for anart teacher to be a practicing artist. Teachers in the U.S.may also have had more opportunities for artistic

expression.Art History Strategies for teaching art history seem quitesimilar between pre-DBAE art programs in Japan and theU. S.. The majority of art teachers who taught art historyindicated they prefered to introduce historical concepts inrelation to creative art assignments.Teacher Strategies, Program Goals, and EducationalPriorities Chapman's survey (1979) included a set ofquestions designed to rate respondents' attitudes toward

teaching. Japanese responses to similar questions offer arevealing comparison. Making sure students felt free toexperiment was a goal shared similarly by teachers in bothcountries, although more Japanese teachers said they triedto acknowledge student effort and achievement. More U.S.teachers tried to set high standards and get studentsinvolved cooperatively. This comparison is surprising:first, many assume Japanese teachers push their studentsby setting very high standards, and second, Japanesesociety is generally based on group orientations andcooperation. Perhaps these aspects are so intrinsic thatindividual teachers didn't feel a conscious decision toinclude them was necessary.

Japanese art programs placed high priority ondeveloping openness to new ideas and originality, andnurturing an awareness of art in everyday life. Programsin the U. S., however, try to build skills and present a goodfoundation in design principles. Making art relevant to

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student's interests was more important to Japaneseteachers, but U. S. teachers wanted to make art moreexciting and show that this effort takes dedication. Overone-fourth of the teachers in both countries felt it wasimportant to demonstrate that art is a solid subject.Conclusion In summary, this comparison indicates that:(a) Japanese middle school curricula were narrower, butperhaps deeper in scope than those in the United States, (b)Japanese middle schools utilized fewer enrichmentactivities in their art programs, (c) teacher concernsreflected attitudes and priorities of the larger societies inboth countries, (d) more American middle school artteachers create their own art and felt it was necessary tobe a practicing artist, (e) respondents in both countriesused similar methods for teaching art history, and (f)teachers' attitudes differed from popular expectations inboth countries.

Middle school art education in Japan seemed to conformmore to a production-based than a discipline-based model.A narrow range of subjects studied in depth, with arthistory included primarily as it related to creative activities,indicated that a studio-oriented approach was the norm inJapanese art education. Teacher's attitudes, as revealed bythese surveys, suggest that methods of assessment andfeedback also differed considerably between art teachers inthese two countries. Japanese emphasis on acknowledgingstudent achievement, relating art to student's interests, andnurturing awareness of art in students' lives seems to fit aportfolio-based assessment model. Perhaps art teachers inthe U. S. , interested in these forms of authentic assessment,might benefit from a closer look at Japanese techniques.10

In conclusion, marked contrasts in the philosophy andpractices of art teachers in Japan and the U. S. illustratehow shared historical influences can be interpreted andapplied differently, depending on cultural contexts. Ifdiscipline based art education becomes widelyimplemented in Japan, it is likely to undergo changes thatwill be instructional, but unanticipated.

REFERENCESCarson, J. (1981). What American art educators can learn

from the Japanese. Art Education, 34(6), 42-46.Chapman, L. (1979). Teacher viewpoint: The results.

School Arts 78(9), 2-5.Clark, G., Day, M., & Greer, W.D. (1987). Discipline-based

art education; Becoming students of art, Journal ofAesthetic Education, 21(2)129-193.

Davenport, M. (1993). Middle school education: Acomparative study of teacher surveys from Japan andAmerica. Unpublished master's thesis, Georgia StateUniversity, Atlanta, GA..

Dobbs, S. (1983). Japan Trail '83: American art educationodyssey to the Orient. Art Education, 36(6), 4-11.

Foster, M.S. (1990). Art education in Japan: A textbook-based curriculum. School Arts, 89(9), 12-15.

Volume 5, Number 2, 1998 InEEM NEWSPOPULAR PAINTINGS IN COMALAPARoberto VizcainoColegio Naleb, Guatemala

Located 85 miles west of Guatemala City, the town ofSan Juan Comalapa originated from a Maya settlement ofthe K'achiquel ethnic group. They had fled from Pedro deAlvarado, who, in 1524, founded the first Spanish city inNil-riche, site of the capital of the K'achiquel kingdom.Traditionally, it had been an agricultural town with corn asits basic crop. Recently, it has diversified, introducing asmall textile industry, manufacturing cloth, tablecloths, andhandbags.

Although small and poor, the town's 26,000 inhabitants(98% indigenous and 2% ladinoo; a mix of indigenous andSpanish), support two catholic churches. One isadministrated by a group of elders and the other by apriest. Father Fidencio Flores assumed the parish in 1926.The next year, he gathered almost 400 youngsters from thecommunity and divided them into four groups. One wastaught how to arrange altars, another how to manufacturepaper flowers, a third learned how to make candles, thefourth was taught how to touch up images and muralpaintings.

San Juan Comalapa also is known today as a town withmany art workshops. It is the cradle of popular K'achiquelprimitive painting, which has generated comment bynational and international art critics. During the 1930s,Andres Curruchiche introduced his works and wasconsidered the first generation of K'achiquel painters.Other painters, from the second generation, tell of DonAndres' refusal to share his knowledge. He would sendout his children to do chores, so they would not becomecompetition for him. He never accepted pupils or taughtanyone his techniques.

A second generation of painters came to be due to DonAndres' success in selling paintings to tourists. Theseincluded Don Francisco Telon, Don Santiage Tutuc, andDon Vicente Curruchiche, the son of Don Andres. Somepainters relate that when the sun set, Don Vicente wouldpaint landscapes of his town, people flying kites ordrinking 'atol' (nonalcoholic corn drink), fairs withprocessions, and Christmas celebrations.

Don Francisco Telon is the sole survivor. Thesemen did agricultural work, and painted in their 'spare'time. Don Telon began when he was ten years old, after hesaw his teachers painting at the school. Because he waspoor, he only attended school through the fourth grade;then had to work in fields with his father. He would startearly in the mornings, so he could paint in the afternoons.As time passed, he got married and had ten children, butonly one became a painter.

Now, a third generation of artists has emerged, among

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InEEM NEWS Volume 5, Number 2, 1998

them; Maria Elena Currichiche, Salvadore Cumes, FelicianoBal, Ivan Gabriel Sarno', Salvador Simal, Oscar EstuardoPerren, Julian Chex, Samuel Sotz, and others. More womenare now taking part in this movement. A Surrealist group,landscape artists, and costume painters now dominate thegroup. Most of the Surrealists are women and have beencriticized because it is hard to accurately represent the localculture in this movement. Landscaper painters have lessproblems; they are the most accepted and admired.Costume painters have become very popular. They areaware of their importance and the great need to recordcostumes and teachings of their grandparents. They notonly paint fairs and typical dances, but also paint theircreed, legends, and history.

Maria Elena Currichiche is one of the more committed;through the traditions and teachings of her family, sheinterprets the poetics of ancient histories to help educateher people. She tells about her father and how he spoke ofspirits of things, animals, and plants. She now paintsimages of the blessing of things people make. This blessingceremony is done by burning candles and incense amongfinished objects, while ordering them to be useful to theirowners. She paints images of her people going to the coast,looking for cotton to make their clothes. Moral values aredisplayed in her paintings, as are solemn rites such asweddings.

The indigenous K'achiquels in Comalapa have found inpainting a way to preserve their culture, imagination, andcreativity. Amid their poverty, they show that art is anauthentic way to affirm their values from one generation toanother, and keep their spiritual and material richness asindependent as possible from encroaching cultures.

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PUBLIC ART, ARCHITECTURE, AND DESIGN INGLASGOWGlen Coutts & Mark DawesUniversity of Strathclyde, Scotland

We would like to announce a multimedia project thataims to excite and enlighten children and adults throughuse of Glasgow as a site of world-class architecture andpublic art. It is a joint venture between the Degas Project,Department of Applied Arts, University of Strathclyde, andthe Glasgow Festival of Architecture and Design. As weapproach 2000, the potential for a multimedia publicationis being critically examined by researchers, combiningeducational attention to public art, architecture, and designwith new technology and teaching materials.

We plan to encourage activities that will both enliventhe Expressive Arts curriculum and deal fundamentallywith art and the built environment. This project will drawattention to Glasgow's urban environment. It will have abroad appeal by opening discussion of vital environmentalissues and commentary by expert witnesses. Our visualessay will explore many areas, drawing parallels betweendifferent artifacts, such as: (a) traditional murals andmodern graffiti, (b) figurative and modern publicsculpture, (c) contemporary public art, (d) monuments andcommemorative sculpture, (e) street performance,pavement art, and poster sites, (f) urban artifacts andstructures, and (g) street furniture.

A number of urban trails through the city can beexplored; it will be possible for viewers to explore thearchitecture, public art, urban layout, and character ofGlasgow in a fully indexed and informative environment.Information will be offered for primary students,secondary students, and adult users. Soundsambientsounds of the city, voice overs by artists, architects, andothers, as well as music will give an extra dimension tothe experience.

A series of 'recipes,' such as how to make a largeprojection, or discussion points about the roles of publicartists, will constitute a Teacher's Pack. A series of mapsfor a trip through the city could be printed from the CD toencourage exploration and an active approach to public artand architecture.

For more details concerning this project, contact theauthors at: Department of Applied Arts, University ofStrathclyde, 76 Southbrae Drive, Glasgow, G13 1PP, UnitedKingdom, or e-mail: g.coutts@strath.ac.uk

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Volume 5, Number 2, 1998 InEEM NEWSMICROETHNOGRAPHIC RESEARCH IN JAPAN; EXPLORATORY ART CRITICISM OF A TURKISH RUGMary StokrockiArizona State University, USA

As a presentation in Tokyo, I decided to demonstratehow children respond to art criticism experiences. I feltthat 'showing' is better than 'telling,' so I e-mailed NorihisaNakase and Keisuke Ohtsubo and asked them to find agroup of fifth graders to participate in a 'treasure hunt.'My demonstration was held during the InSEA conferencein Tokyo. During this hour session, six female and fourmale students, and their art teacher, Keisuke Ikeda,participated from the Aoyama Gakuin Elementary School(while two English teachers translated). I was modeling an

looking at the rug's details, and waited for question clues.The children started 'description' by identifying farm

animals (birds), adding wild animals (hawk, deer, & fox),and even a peacock! During 'analysis,' they reacted to thesymmetrical design; their most insightful answer was'turtle-shaped design' as they called the large medallions'turtles.' Interpretation, a process of finding meaning,overlapped all stages.

Japanese children at first found the rug 'smooth;' oneboy explained that "the way you run your hand across the

art criticism method for teachers and documentingstudents' reactions.

Microethnographic research involves documenting,analyzing, and interpreting a daily event, a teachingexperience in this case, to discover insights aboutinstruction and learning. I audio-taped and Japanesecolleagues photographed the event.

Art criticism is a process of systematically observing anddiscussing a work of art (Mittler, 1986). I added the word'exploratory' because most of the children had neverparticipated in an art criticism discussion; their experienceswere intense looking and sharing of their discoveries. Iprepared guiding questions and prompts to help in theirsearches. Our conversation evolved from a loose, butsystematic, exchange of reactions to rudimentary artcriticism; describe, analyze, interpret, and judge (Feldman1970). We used a Turkish rug to criticize, because it wasportable, did not require a copyright, and is a traditionalart form. The Japanese children were eager, spent time

ne.

rug makes a difference,' a very perceptive distinction.They reacted to the major colors, which were red, navyblue, and white. They also suggested that the colors felt'heatlike,' when they found a phoenixbird of fire.

Students slid into 'interpretation,' a process ofdiscussing meanings and symbols. The children surprisedme when they mentioned the story of Noah's ark andAesops fable with a sly fox. They were from a Christianschool and had learned about Noah in their religiousstudies classes. They also knew 'magical spell', 'chesssign', and the Egyptian sun god 'Ra.' Their answersrevealed both their own cultural signs and their exposureto other cultures. English teachers learned the importanceof using art criticism with their students. Our experiencebecame an interdisciplinary and cross-cultural event as Ishowed the students pictures of children from othercountries discussing the same rug and shareing theirresponses.

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InEEM NEWS Volume 5, Number 2, 1998

I also took this opportunity toreview the technical weavingprocess, and dyes and their sources.They guessed the use of fruit seeds,strawberries, cherries, red peppers,eggplants, grapes, and prunes. Theyalso mentioned ox-blood, animportant color in mixing glazes.

The students recognized the'multicolors' of the rug as valuable.One child said, 'If the rug was old, itwouldn't be here.' He understoodthe value of age. I told the studentsthis rug was about 50 years old (somerchants tell everyone), and thatthe more knots per inch, the morevaluable the rug. They immediatelybegan counting the knots through amagnifying glass. After about fiveminutes, they gave up because theknots were so difficult to see. Onechild remarked, 'It looks expensive.'They discussed the aesthetics andworth of the rug, without prompts,and learned a little about judgmentof a Turkish rug.

At the end of the experience, I asked whether they hadfound a treasure? They immediately responded to finding'gold' in the rug. When I asked where it was, one boypointed to a region of golden color and said, 'fox fur.' Theyalso found symbolic 'jewels' in the rug.

This experimental teaching session demonstratedseveral things: (a) how to use art criticism in action, (b)how interpretation interlaces throughout the experience, (c)how data may be gathered during microethnographicresearch, (d) how questions help understanding of aculture, and (e) how teaching and research can becomecooperative and interdisciplinary. Anderson (1995)advocates a cross cultural approach to art criticism for (a)focusing vision and ideas, (b) developing severalviewpoints, and (c) building bridges for exchangingcontextual values and meanings. My task now is toinvestigate these findings more deeply by searching fortheir cultural meanings.

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REFERENCESAnderson, T. (1995). Toward a cross-cultural approach to

art criticism. Studies In Art Education, 36(4), 198-209.Feldman, E.B. (1970). Becoming human through art.

Englewood Cliffs, NJ: Prentice-Hall.Mittler, G. (1986). Art in focus. Peoria, IL: Glencoe.

16

Volume 5, Number 2, 1998 InEEE NEWSINTERNATIONAL MUSEUM OF PEACE ANDSOLIDARITYAnatoly IonesovInternational Museum of Peace and Solidarity, Russia

The International Museum of Peace and Solidarity, inSamarkand, Russia, is a non-profit, non-governmentalinstitution. It is the first private museum in Russiacommitted to universal human values, promotion of peacethrough person-to-person contacts, and development ofpublic awareness about issues and challenges people nowface. Believing in citizen diplomacy, the museum runs awide range of educational activities and internationalprojects, presents art exhibitions, and has a permanentcollection of about 15,000 objects as literature, art works,and memorabilia from 100 countries. The museumwelcomes contacts with others, from all countries, withsimilar interests. For information, write to the InternationalMuseum of Peace and Solidarity, PO Box 76, UZ-703000Samarkand, Republic of Uzbekistan.

MAKING A DIFFERENCE IN LONDONRichard McKeeverUniversity of East London, Great Britain

A report about Making A Difference, an arts exhibition,has been published by the Centre for New Ethnicities at theUniversity of East London. This Youth Arts exhibitiongrew from the Frontlines Backyards Conference organizedby the Centre for New Ethnicities. That conferenceinvolved leading scholars, cultural practitioners, policymakers, and educators exploring ideas about race, nation,and ethnicity through a variety of art forms anddiscussions.

This innovative project developed new ideas for visualarts education. This initiative provided beginnings a newart education curriculum that is unique and educationallyrigorous, and can be both inclusive and healing.

Four artists worked with students: Chris Christadoulou,John Davies, Rayna Nadeem, and Sandra Shelvin. Theseartists always worked at the center of this project.

The report features color illustrations of works by 87students from four schools in London. Backgroundmaterial is included along with a curator's essay. The focusof the Centre for New Ethnicities Research is on exploringlinks between local cultures and communities, in EastLondon, and global patterns of immigration, settlement,and identity as these effect policies in Great Brittain andEurope.

For review copies, photographs, or other information,contact: Richard McKeever, Centre for New EthnicitiesResearch, University of East London, Longbridge Road,Dagenham RM8 2AS, Great Brittain or e-mailr.mckeever@uel.ac.uk

NAEA USES PARADIGMOLOGICALTECHNOLOGIES:Art Education: Content and Practice in a Postmodem EraNational Art Education Association, USA

NAEA has published a new Built-in Orderly OrganizedKnowledge (B.O.O.K.), Art Education: Content andPractice in a Postmodern Era. According to an NAEApress release, this B.O.O.K. presents a paradimological useof technology: no wires, no electricity, no batteries, nothingto be connected or turned on. Edited by James Hutchensand Marianne Suggs, this B.O.O.K. examines effects ofpostmodern discourse on content and practice of teachingart in schools and colleges. It calls for rethinking aboutelements and principles of design, creative self-expression,art in daily living, and discipline-based and multiculturalart education.

It is so easy to use, even a child can operate it. Just liftits cover. Compact and portable, it can be used anywhere,even sitting in an armchair by the fire, yet it is powerfulenough to hold as much information as a CD disk. Here ithow it works: each B.O.O.K. is constructed of sequentiallynumbered sheets of (recyclable) paper, each capable ofholding thousands of bits of information. These pages arelocked together with a custom fit binder, which keeps thesheets in their correct order.

Opaque Paper Technology (O.P.T.) allowsmanufacturers to use both sides of a sheet, doublinginformation density and cutting costs! Experts are dividedabout further increases in information density; becauseB.O.O.K.s with more information simply use more pages.This makes them thicker and harder to carry and hasdrawn criticism from mobile learning advocates.

Each sheet is scanned optically, registering informationdirectly into your brain. A flick of your finger takes you tothe next sheet. A 'browse' feature allows users to moveinstantly to any sheet, and move backward or forward asthey wish. Many B.O.O.K.s come with a 'search-index'feature, which pinpoints the exact location of selectedinformation for instant retrieval.

Portable, durable, and affordable, the B.O.O.K. is beinghailed as the entertainment and information wave of thefuture. You can get a copy of the B.O.O.K., (#233) ArtEducation: Content and Practice in a Postmodern Era, fromNAEA. The cost is $22.00 ($18.00 for NAEA members) plusshipping and handling: NAEA, 1916 Association Drive,Reston, VA. 20191-1590, USA.

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ST. PETERSBURG CHILDREN'S ACADEMY OF ARTSergei KatinChildren's Academy of Art, Russia

A Children's Academy of Art (CAA) was foundedthrough the initiative of two St. Petersburg artists (N.Gulyaeva & S. Katin); it is the first self-supportinginstitution of its kind in Russia. The recent Academy arosefrom "Avantgarde", a children's art center founded in 1985.The Academy's main task is to create considerate personswho are able to express their feelings through art.Knowledge and experiences acquired at the Academyshould prove useful in different spheres and activities ofstudents' lives.

The CAA offers several programs; students from ages 3to 5 use materials for painting, graphics, and ceramics.Students aged 6 to 9 focus on painting or ceramics. Bothgroups derive inspirations from fairy tales, ancient legends,and songs; fabulous beasts, birds, and flowers are alsofavorite themes. Students aged 10 to 17 study graphics andhandicrafts, in addition to drawing and painting naturalscenes. Students realize their creativity with a variety ofmaterials and in many different scales; they do small worksthat measure in centimeters, and murals that measure inmeters.

'Peace via Culture' was the motto of the first Russian-American junior artists camp organized in St. Petersburg,in 1989, and Los Angeles, in 1990. The language of artunited children from different countries as they realizedthe possibilities of their communications. Tours of thewell-known Hermitage and Russian Museum are part ofthe curriculum. Students receive a solid educationalfoundation through study of artistic traditions andheritage. Young students study Greek vases and Persianminiatures and older students make copies fromoutstanding masterpieces. Many of these copies ofpaintings now decorate newly restored parts of theAcademy' buildings, which were renovated by teachers.16

Future plans of the CAA include introducing bronzecasting and computer graphics into the curriculum. As thebuildings of the Academy are restored, exhibitions ofstudents' and teachers' works will be displayed.

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Volume 5, Number 2, 1998 InElMa NEWSDr. Sam Black: 1913-1998Kit GrauerUniversity of British Columbia, Canada

With great sadness, members of InSEA learnedthat Dr. Sam Black, Professor Emeritus, Universityof British Columbia (UBC), passed away on April23, at Lions Gate Hospital, in Vancouver, Canada,after a courageous battle with cancer. He was aprofessor of Art Education until he retired in 1978.Sam received his early training at the GlasgowSchool of Art. Before his career at UBC, Sam was anelementary and secondary school art specialist, anInspector of schools in the UK, and a principalLecturer in Art at Jordenhill Teachers College,Glasgow.

In 1951, he was one of the leaders in art educationinvited to Bristol, England, by UNESCO andbecame one of the founding members of InSEA. Hewas instrumental in the success InSEA achievedthroughout the world and was an ambassador forgoals of the society wherever he went.

Sam joined UBC in 1958 as an AssociateProfessor, and was promoted to Professor in 1962.He was an elected member of the Royal ScottishSociety of Painters, the Canadian Society ofPainters, and the Canadian Society of GraphicArtists. At UBC, Sam won the Master Teacher'sAward in 1970. He was a well-known Canadianartist and art educator. Sam's work hangs innumerous private and public collections throughoutthe world.

A memorial service was held in celebration ofSam's life on April 28, at Shaughnessy HeightsUnited Church, Vancouver, and InSEA President KitGrauer attended on behalf of the Society. Sam willbe missed acutely by InSEA members throughoutthe world as a great teacher, colleague, and friend.

is

ART RESOURCES WEB SITES ANNOUNCEDCompiled by the Editor

NATIONAL ASSOCIATION OF SCHOOLS OF ART ANDDESIGN-US

www.arts-accredit.orgThe National Association of Schools of Art and Design is

an organization of schools, colleges, and universities,established in 1944, to improve educational practices andmaintain high professional standards in art and designeducation. The association's main role is as a specialized,professional accrediting agency. It establishes thresholdstandards for undergraduate and graduate degreeprograms. Annually, NASAD collects, compiles, andpublishes statistics associated with operations of art anddesign schools and departments. The association publishesbooks and reports, holds annual meetings and otherforums, and provides information to leaders of art anddesign programs. NASAD pursues an analysis andpublications program about the arts, education,accreditation, and cultural development. All publishedaccounts of the association are available to the public.

NATIONAL SOCIETY FOR EDUCATION IN ART ANDDESIGN-UK

www.nsead.orgThe National Society for Education in Art and Design,

established in 1888, is the leading national authority on art,crafts, and design in education in the United Kingdom. Itoffers its members combined benefits of a professionalsubject association and a trade union. NSEAD membersdevelop and reappraise the Society's policies to supportand sustain its principle aims of promoting art, crafts, anddesign education. The Society gives its members clearvoice in governmental consultations and provides up-to-date information about developments in the field. TheNSEAD council is made up of art, crafts, and designeducators from all sectors of education and all regions ofthe United Kingdom.

INTERNATIONAL SUMMER SCHOOL FOR ARTEDUCATIONdebatart@niu.edu

Summer, 1999, will mark the fifth summer studentsfrom the U.S. and the University of Zagreb, Croatia, arejoined to explore art education concepts in the ancient cityof Stan Grad. Past instructors for this program haveincluded Dr. Smith-Shank (Northern Illinois University),Dr. Stokrocki (Arizona State University), Professor Tanay(University of Zagreb), and Dr. Ligtvoet (FontysUniversity). Stari Grad is located on the Adriatic Sea, offthe coast of Croatia. The two week course focuses on theancient city as a classroom. Students learn archeology of

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InEEM NEWS Volume 5, Number 2,1998

the island, and about many cultures that have lived there:Illyrians, Greeks, Romans, Turks, French, and Croats.Students may study such subjects as: philosophies of arteducation, watercolor, sculpture, or cultural semiotics.Students interested in this program should write (from theU.S.) to: Dr. M. Stokrocki, Arizona State University, Box871505, Tempe, Arizona, 85287-1505, and (outside the U.S.),Mrs. L. Tanay, Draskoviceva 30, Zagreb, Croatia.

SCHOOLARTS ONLINE MAGAZINEwww.schoolart.co.ukSchool Arts Magazine is a familiar name in the U.S., but

this one is brand new, an on-line art education magazinefree to all visitors, three times a year. School Arts director,Nigel Meager, has written and compiled the first issue.Annual subscriptions entitle purchasers to access for 12months. The Demo..., About..., Magazine, and Discussionsections are free. School Arts Magazine is a comprehensiveart support service for teachers, schools, and anyoneinterested in teaching and learning through art. Therealready are over 200 School Arts units describing arteducation projects and lessons for children 3 to 18 years ofage. These units, contributed by leading UK art educators,embrace many classroom topics and themes in art, crafts,and design. Check the subscription page for UK rates,dollar rates, and teacher training college rates.

ARCHIVE OF CHILDREN'S TILE AND MOSAICCERAMIC WORKweb site not yet available

When searching for resources about children's tile work,Diane Churchill discovered very little material available.Thus, she began design of a web site as an archive ofchildren's tile work from around the world. She hopes thesite will include ceramic resources, links to related sites,ideas, images, and 'how-to' information, and be helpful toteachers, artists, and children.. This web site will create apowerful and creative network among individualsinterested in children's ceramic works.

Vital to the website is the International Children andArtists Project, which will bring together tiles made bychildren, from all over the world, into a large-scalesculpture or architectural installation. Critical to success ofthis project is collaboration of a group of artists who willdesign the final project. The first will be in New York City,with tiles made by children from all around the world. Theorganizer would like to hear from others interested in thisproject. Please write to: Diane Churchill, Fieldston Lower,Bronx, New York, 10471, USA.

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USSEA CALL FOR PAPERSUSSEA/AAEA 2000:Crossing Cultural, Artistic, & Cyber Borders

This conference is proposed for January 7 and 8, 2000,with tours and museum visits on the 9th. The conferencewill be held at the Arizona State University, in Tempe, withmeetings in the Memorial Union, Computer Commons, ArtBuilding, Nelson Museum, and Architecture Building.Accommodations will be at the Mission Palms Hotel.

The USSEA and AAEA invite proposals on the themesof cross-cultural, artistic, and cyber forms and issues, forwhich teachers need more information. The conferencewill focus on these issues. The deadline for proposals isMarch 1, 1999. Submit proposals based on the followingform:

NameAddressPhone #Office #Fax #E-mailTitle of PaperCatalogue Description(30 words)Proposal Description(300 words)Certification: I am aware that if my paper is accepted, I willpay registration fees for the conference (due Oct. I, 1999).My presentation may be scheduled on any day.SignatureDateSend proposals to Dr. Gilbert Clark, 3240 N. Ramble RoadEast, Bloomington, IN, 47401-1093, USA.

Volume 5, Number 2, 1998 InEEE NEWSInSEA 1997 FINANCIAL REPORTDiederick Schonau, TreasurerThe Netherlands

InSEA's budget is based mainly on members'contributions. In 1997, the society had a total income of$23,662.96, out of which $22,880.00 (96%) was membershipfees. Other income was from modest publication profits ofthe InSEA/Getty international assessment book ($132.52)and interest ($313.78). The bulk of InSEAs expenditures goto publishing and mailing InSEA News ($9,416.69).Handling membership, and correspondence by thesecretary, cost $2,456.77. Bank costs added up to $103.20.Executive expenditures (limited to $500.00 per year perofficer) totaled $3,627.31, including delayed payments from1996. In 1997, $1,013.20 was spent on the Sir Herbert Readand El Bassiouny awards given by InSEA. $65.66 wasspent for photos of the InSEA Glasgow Conference for ourBretton Hall archive . Finally, $497.36 was spent for asuccessful trip by Andrea Karpati to UNESCO to negotiatesubsidizing InSEA's website.

InSEA is in sound condition, but the income andexpenditures prove this is achieved thanks to a very tightbudget that is far too small to run a world organization.We thank the editor of InSEA News, who produces thenewsletter with an extremely low budget. The WorldCouncil is working on ways to expand our income to makeInSEA financially less vulnerable. Increasing membershipwould be the best and most important way to achieve thisgoal. Business support would be another. Anysuggestions of members to strengthen InSEAs financialposition would be welcomed (my e-mail address is:insea@cito.nl). InSEA has bank accounts in four countries;for the convenience of this report, all figures have beenconverted to U.S. dollars.

AUSTRALIA AWAITS 30th INSEA WORLDCONGRESSAustralia Institute of Art Educators, Australia

The Australia Institute of Art Educators (AIAE) will hostInSEA's 30th World Congress, September 21-26, 1999, atthe Brisbane Convention and Exhibition Centre, in SouthBank, Queensland, Australia. This Congress will includetours, workshops at the Queensland University ofTechnology, research forums, keynote speakers, and otherworkshops. Brisbane's subtropical climate andcosmopolitan lifestyle will provide a variety of socialevents for delegates. An hours drive north or south ofBrisbane features beachside resorts and, further still, theworld renowned Great Barrier Reef.

The International Society for Education Through Art(InSEA) has over 2000 members, from 88 countries, andwas founded following an international seminar convenedby UNESCO. This World Congress is based on thecontinuing belief that art through education is animportant means for promoting internationalunderstanding and cultural cooperation. Proposals areinvited for the 1998 InSEA World Congress, to besubmitted by January 1, 1999.

The World Congress organizers, in Australia, hope toprovide a venue for extension of world cooperation in theexchange of ideas and cultural contributions in the visualarts. It will bring together specialists, teachers,government officers, and others directly concerned withencouragement and advancement of art education. Artand crafts will be used to explore approaches to arteducation that are more inclusive, interactive,collaborative, and interdisclipinary.

This InSEA World Congress will be a most significant,international event for people from many different nationsand cultures who are involved in education through art.An exciting meeting is anticipated in Brisbane. The WorldCongress Planning Committee members have the skills andcommitment necessary to develop and facilitateorganization of the Congress; they look forward to theevent. Plans are underway for pre and post Congresstours, accommodations to fit all delegates' tastes,entertainments, and a very exciting series of meetings.Plan an extended stay in Brisbane, and enjoy!

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InEEM-k

NEWSINTERNATIONAL SOCIETY FOR

EDUCATION THROUGH ART

PresidentKit Grauer, Canada

Vice-PresidentsJohn Steers, United Kingdom

Doug Boughton, AustraliaAndrea Karpati, Hungary

Joint Secretaries & TreasurersPeter Hermans & Diederik Schonau,

The Netherlands

World Councillors

Africa and Middle EastJima Akolo, Nigeria

Silva Braganca, MozambiqueZineb Lehmam, Morocco

AsiaAnn Cheng-Shiang Kuo, Taiwan

Norihisa Naskase, JapanChai-Woo Ro, Korea

EuropeRiitta Heikkinen, FinlandWieslaw Karolak, Poland

Britt-Marie Kuhlhorn, SwedenBirute Maliauskiene, LithuaniaDiederik Schonau, Netherlands

Peter Wolters, Germany

Latin AmericaLucimar Bello P. Frange, Brazil

Ivone Mendes Richter, BrazilLuis Errazuriz, Chile

North AmericaMaryl Fletcher de Jong, USA

Annie Smith, CanadaMary Stokrocki, USA

Enid Zimmerman, USA

South East Asia and PacificAlice Panares, Philippines

Phil Perry, Australia

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Volume 5, Number 2, 1998

membershipYes, renew my/our InSEA membershipPersonal member

1 yr 25.00 (US)2 yr 45.00 (US)

O 3 yr 60.00 (US)

Organizational member Full-Time Student1 yr 50.00 (US) 1 yr 15.00 (US)

O 2 yr 90.00 (US)O 3 yr 120.00 (US)

InSEA welcomes any amount of financial support to sponsor memberships for arteducators all over the world who can not afford to become members of the Society

I am donating for sponsored memberships.I enclose:

Bank Cheque in U.S. dollars drawn on a North American bank located in theU.S. or Canada. Make checks payable to CITO/InSEA.Note: InSEA cannot accept cheques drawn on banks located in the Netherlands.Travelers Cheques in U.S. dollars or equivalent Dutch Guilders.Cash (U.S. dollars or equivalent Dutch Guilders; registered mail)International Postal Money Order, in Dutch Guildrers.

Charge my credit card with the equivalent of my membership fee in British Pounds:

Visa Card Card #

Expiration date

Master Card Card #

Expiration Date

Cardholder's Name

Cardholder's address

Signature

Note : Credit card payments will be processed through NSEAD, Corsham, UK

at current tourist rates.

Mailing Address (or use the address above as mailing address).

Surname First Name

Address

City Postal Code

Country

Send this formto: CITO/InSEA, PO BOX 1109, 6801 BC Arnhem, The Netherlands.

22

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ERIC

This document is covered by a signed "Reproduction Release(Blanket)" form (on file within the ERIC system), encompassing allor classes of documents from its source organization and, therefore,does not require a "Specific Document" Release form.

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