World Creativity Summit

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World Creativity Summit

• Plenary reports on strategic proposals

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ISSUE? Need a map
not creativity not arts what is not known
What is the nature of the interaction?
IDEA
To? From?
InSEA
creativity arts what is known
Who? How?
ISME
What are the benefits of building the
village? For whom?
What do we need to build the village?
Arts are defined by location/landscape, spaces,
time, communities, values
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• GROUP 2

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Look for alternative pedagogies and
assessment suitable for this new globalization
era
Promote Longitudinal research that looks at
values of arts learning
Recreate current practices
Advocate for more universal teacher education in
the arts
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GROUP 3

• Creativity is broader than arts education
• In order to discuss, develop creative solutions
  to world problems, many more and a wider cross
  section of participants are needed e.g. private
  sector, government etc.
• We propose practical solutions to 3 problems
• Environmental sustainability
• Cultural diversity
• Social innovation
• We propose city-based interventions finding
  creative solutions for global problems (including
  arts practices and education)
• Why an alliance of arts education? Here now?
• Uffe Why 3 to form alliance? Support them in
  their purpose. Where is dance?

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GROUP 4

• Collate current mapping research in arts
  education being undertaken internationally. Embed
  as an ongoing research project for the Alliance.
• Within the next year devise a structure for the
  Alliance that is open, transparent and inclusive,
  based on shared and clearly defined principles
  and values.
• Establish an international Task Force to study
  and report back on ways in which challenges
  around issues of cultural diversity can be
  effectively addressed through arts education.
• Affirm the principle of making Alliance documents
  available in clear and accessible language, and
  in the six UN languages.
• In view of the trend toward creative knowledge
  economies, encourage tertiary institutions to
  adopt arts and culture as a mandatory part of the
  curriculum in all faculties.
• Establish an international advisory group to
  advise on ways to develop creative partnerships
  with both the political and private sectors, as
  well as educational authorities and the
  professional arts.
• Affirm the value of the indigenous and
  traditional arts as a means to counter cultural
  colonization.
• Devise and strategize an international Web-based
  advocacy campaign.
• Establish a research program to identify why
  people do not engage with the arts, and what new
  strategies might succeed in engaging them.
• To begin to address the shortage of arts
  education opportunities in developing countries,
  organize an international seminar targeting (and
  funding) political decision-makers in small
  communities.

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GROUP 5

• The aesthetic process as an approach to ethical
  education
• To balance economic capital with cultural capital
• Countering alienation through the recognition of
  others
• Rethinking development through crossing-borders
  and emotional limitations
• Generating understanding knowledge from young
  peoples identities and personal trajectories
• From tradition to social development and
  empowerments

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GROUP 6

• Establish an international group to develop
  promote drama for inter-personal collaboration
  peace education
• Create places/opportunities for artists to
  collaborate within and outside of formal
  education system
• To value, develop and benefit from the local
  rituals tradition which we find artistically
  and educationally worthwhile for better future

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GROUP 7

• Possibilities for the World Alliance
• Creativity Contexts
• A clear definition of artistic creativity and
  artistic methods is needed, that show the
  benefits (including the social, cultural,
  educational, economic benefits and that they
  provide unique modes of learning and
  communication)
• Creative Industries is a tool for competition,
  not co-operation and it reflects back to
  imperialism there is the danger of software
  cultural imperialism.
• Research
• Inter-continental research is needed A
  comparative study investigating the impact of
  local contexts upon young peoples artistic
  competencies.
• Advocacy
• Prepare a statement to be available for use in
  political advocacy, or to obtain government or
  political support for arts education both in
  schools and for life-long learning.
• A similar statement is required for the minimum
  requirements of arts education in initial teacher
  education, and to support continued professional
  learning.
• Consider creating a manifesto of no more than 3
  pages in length. Its purpose would be advocacy,
  guiding policy decision makers and to place
  visual performing arts education clearly on the
  same level as economic, political and
  environmental level, in government policy making.

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There are many great arts education stories
Group 8

What works to share these stories?
How can we find better ways to communicate - to
reach mainstream audiences with our message?
How can we generate more projects that
connect arts in the community and Arts education ?
Dissemination
Networking
Embrace popular culture as our partner
Get our story on mainstream TV cinema magazines
Documentation
Hands on workshops sharing practice
Connect local indigenous
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GROUP 9

• Acknowledge driver of social inclusion social
  stability
• Cultural diversity is to be celebrated
  protected
• Acknowledge the migration of world population
  from rural to urban, from country to country and
  continent to continent. Present issues of
  assimilation to be balanced against maintaining
  developing cultural diversity
• Needs thorough literature review sharing of
  data. Locally contextualised evidence based
  research also necessary
• Useful to collate case studies in different
  economies from which individuals can draw our
  conclusions
• Research, which is transparent in sharing its
  data externally conducted, should be
  commissioned
• Rigorous examination of practice ? dissemination
  and adoption and adaptation of best practice.

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GROUP 10 Brilliant Ideas

• Use email to conduct conversations and
  discussions. Develop an international arts
  education blog. Enable e-learning.
• Bring international filmmakers together to create
  media products for youth as the primary audience.
  The media should expand creative horizons and
  stimulate a process of inquiry. The media would
  be widely and inexpensively distributed on CD or
  DVD.
• The WAAE should establish a World Arts Education
  Week (or Month). Encourage world leaders and
  heads of state to recognize, celebrate, award
  excellence and articulate the contributions and
  benefits of arts education. Many events could be
  tied to the Week and many partners could
  collaborate and participate.
• At the next World Creativity Summit bring arts
  education practitioners together to share
  expertise, conduct workshops, create art, and
  provide demonstrations.
• Encourage continuity in arts education across
  grade levels by tying curriculum to local
  cultures. Avoid top-down curriculum.
• Brilliant Genius Ideas

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GROUP 11

• Make use of UNESCO road map (Lisbon) and develop
  plan for monitoring implementation
• Advocate for inclusive cultural exchange of art
  educators as a means for increased learning about
  other cultures
• Advocate for more effective inclusion of arts
  education in development corporations
• Advocate more for funding arts education and arts
  in education
• Provide a platform to continue dialogues between
  the current participants

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GROUP 12

• Documenting ways in which each art subject can
  develop generic competencies as an advocacy.
• Using data to assess the need and formulate
  policies (e.g. Creativity index to look at
  cultural, social, and infrastructural capitals).
• What should a child of 10 have tried ?
• Small ideas can change the world.
• 5. Ask the population to give ideas for
  change.
• Recognizing modes of cultural expressions with
  indigenous artists as consultants in schools.
• Partnership between artists and education

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GROUP 13

• Education is self serving
• Teaching pupils how to think, but not to think
• Teaching what seems important for the educators /
  teachers and what do they know
• Future
• Teachers / Educators as learners Teachers
  training must be redesigned
• Development of artistic culture at school
• Providing more resources effectively to develop
  creative education/arts education in schools and
  community
• Government level should have policy to encourage
  creative education
• Rely on best experience and the key message of
  that experience is that creative work is life
  long learning

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GROUP 14

• Recommended actions for WAAE in 3 aspects
• NETWORKING
• To liaise with new partners from the fields of
  dance, film and media arts
• To recommend to national members to collaborate,
  to develop national agenda and strategies (e.g.
  on the development of art education)
• RESEARCH
• To collect research results that are of
  importance to advocate arts in education
• To collaborate on new needed research on art in
  education
• Best practices in specific areas of humanities
  and arts drawn from different cultures to promote
  cross-cultural exposure and understandings
• Drama and creative aesthetic learning approaches
  to strengthen the teaching and learning
• On artistic talents and assessments of creativity
  in different fields of arts
• ADVOCACY
• Support to local groups and young adults to come
  together to create works of art that also promote
  the goal of civil society
• To identify projects that integrate the ability
  of the arts and creative pursuits to heal

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GROUP 14(cond) RESEARCH

• To collect research results that are of
  importance to advocate for the arts in education
• To collaborate on new needed research on art in
  education
• Best practices in specific areas of humanities
  and arts drawn from different cultures to promote
  cross-cultural exposure and understandings

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GROUP 15

• Involve the community in all arts endeavors.
• Network with different constituencies (internally
  among arts educators and externally with other
  sectors of the society).
• Arts as an empowering tool. Encourage people to
  relate the arts to the society, creativity as a
  transformative agent.
• Document good practices of arts and creativity
  initiatives. Develop models.
• Build liaisons between educators and artists,
  continue dialogues.
• Reminder Initiatives of the Alliance should be
  distinctive from, and/or complementary to, those
  of the individual organizations.

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GROUP 16

• RESEARCH THEMES
• documentation of diverse practices e.g
  communities, social/collective/individual
  dimensions of creativity
• Arts education as change agent
  collation/mapping exercise of impact studies
  documentation of creative pedagogies and
  authentic practices processes of change
• Forms of assessment sharing best practice
  curriculum innovation
• Promotion of arts-based methodologies
• ADVOCACY THEMES
• arts as unique knowledge (asking questions about
  and making explicit) (a) what kind of knowledge
  (b) whose knowledge
• creativity as a right inclusive practices
  documenting what is unique to creativity in arts
  is
• develop an International campaign for arts
  education develop WAAE as an independent
  lobbying organization (businesses, governments)
  representing all the arts provide a voice for
  arts education in all its diversity to promote
  and develop the World Alliance of Arts Education
  as an organization which seeks political
  recognition for the importance of arts education
  as a key element in our multicultural world
• RESOURCES
• UNESCO chairs at universities (specifically to
  encourage/establish new areas of research)
• Powerful web resource central linked to 3
  partnered societies reports

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GROUP 16(cond)

• Facilitating virtual workshops/ materials
• Research agency/agents i.e. World Research
  Council (advisory, support, expertise. to
  identify new areas)
• v
• Artistic creativity as a collaborative,
  collective, cooperative process advances in arts
  education will result from collaborations
• Collaboration on what? Collaboration how?
• Advocacy
• Art as knowledge
• Campaign for the Arts email lobby
• Research
• Childrens creativity
• Documentation
• Non western pedagogies
• Authentic practices
• Best Practices
• g Impact of arts education
• Student, teachers evaluation

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GROUP 17

• Possible roles of the Alliance
• Advocacy to government
• Practice creative seeing(??) to identify gaps,
  define the problem, question what creativity
  means, including gaps between the 3 organizations
• Sharing of ideas, content, methods, people,
  resources
• Engenders collaboration between generations,
  between disciplines, between industry arts
  sector
• Consider need for a centre of learning online
• Consider membership, database and its role in
  advocacy

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GROUP 18

• 1.Intercultural Resource Centre (good practice,
  research, e-library)
• 2. Produce a tool kit for advocacy of a local
  political level (an intercultural tool kit)
• 3. Providing festivals at world level for
  childrens art, moving from one region to the
  next (organized by children and young people)
• 4.Comparative case studies in Partnership
  Projects between Artists and Teachers (exchange
  of artists at international level)

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Group 19

• The Alliance should only be a co-ordinating body
  for existing and potential organisations and
  individuals
• Explore having platforms to give marginalised
  artistic voices without access to markets an
  opportunity to be heard globally
• Advocacy for local control of their own language
• Engage technology for culture communication to
  give voice to the people
• Multi-literacy should be identified and promoted
  as a development tool
• To empower the dissemination of culture language
  through access to media
• Advocate and facilitate travel between different
  cultures by culture workers
• To facilitate translation and dissemination of
  marginalised culture

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Group 20

• In-service teacher training must develop programs
  to help teachers understand the contemporary and
  electronic arts that are their students everyday
  world.
• Teachers need programs to help their students to
  understand that the arts, amongst other things, a
  business as well as the business of life.
• Arts educators need to develop strategies to
  share with their students the traditions and
  histories of the arts from other parts of the
  world.
• A sub-committee of the alliance needs to be
  established to research and identify the
  character of creativity that is specific to the
  arts. This will allow arts educators to
  understand their own practice better.
• The World Alliance needs to develop relationships
  with other alliances in fields from science from
  business to help make creativity in all its forms
  the heart of education