Arts Education and Creativity

World Conference on Arts Education

Building Creative Capacities for the 21st Century

Lisbon, Portugal, 6-9 March 2006

Working Document

UNESCO

This document has been produced for the World Conference on Arts Education Building Creati e Capacities for the 2!st Centur"# $%&' (arch 2))%* +isbon* ,ortugal-. /t is based on conclusions from preparator" 0or1 that 0as carried out in the different geo& cultural regions in relation to arts education and creati it".

This document 0as prepared b" of the 2i ision of Arts and Cultural Enterprise of UNESCO Sector for Culture. 2rafting Team* under the direction of Tere3a Wagner4 An&5eleen 2e 6reef* ,enelope 7eenan* +urdes ,ereira +a"out and 2esign4 Claire Nooi8 Contact4 t.0agner9unesco.org Co er4 +ogo of the Conference

C+T:;)!:2 ,ublished in 2))% B" the United Nations Educational* Scientific and Cultural Organi3ation ,roduced b" (undicon enius +isbon* ,ortugal

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World Conference on Arts Education Building Creative Capacities for the 21st Century
Index

Introduction........................................................................................................................ I. !egional reports............................................................................................................." A. Asia and the ,acific.........................................................................................................% !. Arts education and creati it" in Asia and the ,acific.............................................% ...................................................................................................................................!; 2. =ecommendations..................................................................................................!; B. +atin America and the Caribbean..................................................................................!> !. Arts Education in the Caribbean ..........................................................................!> 2. 2eclaration ...........................................................................................................2! <. To0ards ?ualit" Arts Education4 Challenges and Opportunities in +atin America ....................................................................................................................................2< ;. 2eclaration of Bogot@...........................................................................................2> ...................................................................................................................................<) C. Europe and North America...........................................................................................<) !. S"nergies bet0een Arts and Education in Europe and North America................<) 2. =ecommendations.................................................................................................;! 2. Africa............................................................................................................................;< !. =ecommendations..................................................................................................;< =ecommendations for go ernments and political leaders.........................................;< =ecommendations to the African Union....................................................................;< =ecommendations to UNESCO.................................................................................;< E. Arab States.....................................................................................................................;; !. =ecommendations..................................................................................................;; II.#ational !eports..........................................................................................................$$ Africa.................................................................................................................................;; A. /mplementing Arts Education ,rogrammes in Africa* the role of museums................;; B. 6eneral structure of the Art Education Curriculum in Oman $Aine Arts and Crafts-...;% III. International report..................................................................................................$% (o ing Aor0ard on Arts and Education =ecommendations for implementation of Arts Education programmes

Introduction
The document presents the current status of Arts Education in theor" and practice in prospect of different dimensions* 0ith a thematic approach and at geo&cultural le el. The first part consists of four regional reports* 0hich recapitulate the main outcomes and results of the discussions that 0ere underta1en during a series of =egional Conferences in preparation for the World Conference in Asia:,acific $No ember 2))B* Seoul-* Caribbean $Cune 2))B* St. Augustine-* Europe:North America $September 2))B* Dilnius-* +atin America $No ember 2))B* Bogot@-* in addition to conclusi e statements of recommendations and declarations. The second part of the document elaborates on t0o national case studies of (ali and Oman* 0hich touches on the sub8ect of Arts Education curriculum de elopment and implementing arts education programmes in partnership 0ith local cultural institutions* such as museums. The document concludes 0ith a report based on an international eEpert meeting in Australia $September 2))B* (elbourne-* 0hich brings together different actors and specialists in the field of Arts Education in order to present an o er ie0 of ho0 to impro e the Fualit" of arts education. The original ersions of the papers and reports* from 0hich the teEts of this document 0ere elaborated* can be ie0ed online at4 http&''(((.unesco.org'culture'lea

I. !egional reports
A. Asia and the )acific 1. Arts education and creativity in Asia and the )acific1
/ntroduction
The Asia and ,acific =egional Conference emphasi3ed the importance of arts education as an essential area of Fualit" education for peace and sustainable de elopment. (oreo er* it stipulated that Fualit" education could not be accomplished 0ithout Fualit" arts education 2. The effects of arts education to0ards peaceful coeEistence ha e been demonstratedG ho0e er* the" need to be studied and de eloped more thoroughl"* particularl" in connection to iolence <* 0hich is one of the important global concerns of our contemporar" societies. /n the =epublic of 7orea* the 6o ernment has recogni3ed the importance of arts education and the conseFuential need for polic" support and implementation. This recognition pro ided the foundations of an announcement b" the (inistr" of Culture and Tourism $(CT- and the (inistr" of Education and 5uman =esources 2e elopment $(OE- to promote a comprehensi e initiati e to facilitate arts education. O er the last t0o "ears* the (inistries ha e planned and implemented arious policies to promote national arts education across the countr". The enactment of The Arts Education Support Law is under0a" to pro ide further institutional support. T0o fields 0ithin societ" are positi el" affected b" arts education. Airstl"* it creates a demand for professionals in the arts 0ith an understanding and appreciation of cultural di ersit". Secondl"* it supports the programmes and acti ities that are needed to establish respect for each otherHs di ersit" of historical eEperience and culture ;.

a. Arts in the educational de elopment of the child

The UNESCO 2irector&6eneralHs international appeal to promote arts education in formal and non&formal settings stressed the message* Creati it" is our hope#. Within this frame0or1* the need to reform education s"stems in the region to include the Arts in Education# approach* its benefits and its relation to the art for artHs sa1e# method 0as eEtensi el" discussed B. The 1e" features of the Arts in Education $AiE- approach include4 AiE uses the arts as a tool for eFuipping students 0ith 1no0ledge and s1ills across the curriculum to stimulate cogniti e de elopment and to encourage inno ati e and creati e thin1ing. The AiE approach is often eEplained using the concept of multiple intelligences#* reflecting the belief that there are man" 1inds of intelligence and a number of 0a"s of learning. /t is also 0orth mentioning that man" researchers ha e pointed out that* through engendering a range of cross&cutting s1ills and abilities in learners and b" moti ating students to ta1e an acti e
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UNESCO Asia&,acific =egional Conference in ,reparation for the World Conference on Arts Education* 2<I 2B No ember 2))B* Seoul* 7orea. Original ersion in English 2 Samuel +ee* Secretar"&6eneral* 7orean National Commission for UNESCO < (i&1"ung +ee* (ember of ,arliament and Chairperson of the Culture and Tourism Committee of the 7orean National Assembl" ; 2ongchae Chung* (inister for Culture and Tourism* =epublic of 7orea B Sheldon Shaeffer* 2irector* UNESCO Office in Bang1o1

participation in class* arts education is recogni3ed as a means of achie ing one of UNESCOHs central educational goals4 Fualit" education. /t is* therefore* critical that the arts be gi en a central place in all educational programmes and acti ities* both formal and informal* 0ith the ultimate goal of mainstreaming arts education 0orld0ide%.

b. Current ,olic" related to Arts Education in the Asia&,acific =egion

A sur e" conducted in the Asia&,acific =egion re ealed that arts education is present on the official curriculum of ;2J of all countries in the =egion. Aor the ma8orit" of countries sur e"ed* the ministries of culture and education handle arts education in an independent or 8oint capacit"* and the implementation of integrated learning transpires in a ariet" of pedagogical approaches. The ma8or obstacles to arts education 0ere identified as lac1 of budget* resources and eEpertise >. /n Australia* for instance* education is the 8oint responsibilit" of Aederal and State 6o ernments. Aederal 6o ernment directs polic"* research and national programmes* 0hereas State and Territor" 6o ernments are responsible for school management* curriculum* accreditation and assessment. Within the frame0or1 of strategies such as the National Statement on Education and the Arts* programmes such as the Boys from the Bush ha e been launched in rural Australia* 0hich ha e successfull" impro ed the participation and achie ement of primar" school bo"s through dance* music and public spea1ing K. 5o0e er* it 0as reported that Fualit" in arts education 0as a ital constituent to better fulfil the ob8ecti es of the programmes. Other eEamples such as Capan* 7"rg"3 =epublic* Bhutan* (ala"sia and (aldi es* demonstrate an integration of arts education in the primar" and secondar" school curriculum. /n (ongolia and Bangladesh* for instance* some arts education is taught at secondar" le el* but the teaching methods donHt focus on promoting childrenHs abilities in creati it" and critical thin1ing. /n Cambodia* a three&"ear plan to integrate arts education into the curricula is currentl" being de eloped. One of the obstacles that arts education faces is that it is often taught theoreticall" at the primar" le el* and as electi e sub8ects in secondar" schools. Artistic practices are based on childrenHs artistic eEpressions* 0hich are the foundations for creati it"* problem sol ing and critical thin1ing. The challenges for implementing arts education in Asia include a lac1 of teacher training* resources and a solid go ernment plan. (oreo er* 0estern# models* 0hich are used in most Asian countries* do not ta1e into consideration Asian traditional cultures* 0hich are not separated from e er"da" life* and are performed 0ith local materials in a more pla"ful atmosphere outside of formal educational settings* so that children can de elop their s1ills of obser ation* eEpression and imagination'. /t 0as noted that in some countries* such as Ne0 Lealand* unprecedented reforms in arts education o er the last fi e "ears include the implementation of the Arts in New Zealand curriculum and a national standards&based assessment !). As a bi&cultural nation* Ne0 Lealand has dual arts curricula* 0hich 0as implemented in 2))<. While the English curriculum follo0s a standard 0estern# model* the (aori curriculum encompasses the beliefs* alues and customar" arts of the indigenous population. The benefits of the ne0 credit&based s"stem of education for arts education includes learning programmes that are designed to meet student needs* 0here arts sub8ects are 0eighted the same as maths or science on the curriculum and 0here credit is attributed for learning outside the classroom. ,arallel to this reform is that teachers are as1ed to
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Shaeffer* S. Educating for Creativity:An Agenda for the !st Century. UNESCO Asia&,acific =egional Conference in ,reparation for the World Conference on Arts Education 2< I 2B No ember 2))B* Seoul* =epublic of 7orea. 000.unesco.org:culture:lea > 5"eon&seon Ceong* 6"eongin National Uni ersit" of Education* =epublic of 7orea K Sall" Basser* 6eneral (anager* /ndigenous Arts and Training* 2epartment of Communications* /nformation and Technolog" and the Arts* Australia ' Tar3an =ai* 2esigner* Curriculum 2e elopment Centre* Nepal !) 5elen Cooper* Senior Arts Ad isor* (inistr" of Education Ne0 Lealand

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completel" re ie0 their teaching practice* and that families* whanau* and the communit" ha e an in ol ement in the educational process. This ne0 polic" brought about a shift in practice from encouraging educators to loo1 at learner&based outcomes* to recogni3ing e idence& and collaborati e&based practices* therefore establishing the ie0 of the arts as a critical entr" point to school life for the famil" and the communit". Other countries in the =egion that ha e (aori populations such as Ai8i and the Coo1 /slands ha e similar approaches to arts education* ho0e er* the" are not "et entirel" de eloped. Some participants remar1ed on the increase of mobilit" 0ithin the =egion* 0hich has contributed to greater migration issues and the marginali3ation of arts education. 2emocrati3ation in decentrali3ation ma" be possible b" going into the peripher" communities and encouraging cultural eEpression through the arts. There is a need for subsidised arts training for teachers and greater de elopments are reFuired in the areas of partnership programmes and media production* such as radio programmes. The lin1s bet0een the UN (illennium 2e elopment 6oals* the UNESCO Uni ersal 2eclaration on Cultural 2i ersit" and arts&education pro8ects ha e to be mainstreamed to help reduce po ert"!!. /n a number of countries in the ,acific* such as the Solomon /slands* Danuatu and Tonga* the arts are er" important because the" are s1ills that people bring bac1 to their illages. The arts are a li ing tradition through 0hich beliefs about the en ironment and lifest"le are eEpressed !2. To some eEtent* se eral go ernments are recogni3ing the importance of arts education as a process of addressing the issue of the dormant giant#G in other 0ords* the national cultures 0hich are left behind!<. /n conclusion* it is important to stress the follo0ing common issues in addressing arts education4 !. The need to promote a bilingual:multilingual education s"stem. 2. The importance of the traditional arts 0ithin an integrated learning process* both in formal and informal education. <. The great imbalance in the Fualit" of arts education* as it is largel" taught outside the curriculum b" N6Os. ;. The ac1no0ledgement of educational reforms currentl" being underta1en and 0hich strongl" emphasi3e the arts. B. The encouragement of teachers to upgrade their s1ills !;.

c. Ad ocac" and E idence of the impact of Arts Education

#eed for I*agination and Creativity /magination and creati it" need to be relocated to the core of the social agenda. (ember States are increasingl" being confronted 0ith arious global concerns that highlight the necessit" of the arts in influencing the direction of current issues. (aE W"man described some of the e ident and less e ident benefits that the arts perpetuate* and contended for the re&introduction of creati e acti it" at all stages of learning4 ,"ramid of influence# for arts&education ad ocac" !B4 To polic"&ma1ers and politicians4 emphasi3e 0hat imagination&based education can do for a societ"* and 0hat it can do to contribute to building a better 0orld for all To teachers and teacher trainers4 emphasi3e 0hat arts education can do to help them nurture intellectual* imaginati e and spiritual gro0th in the indi idual
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Cecile 6uidote Al are3* EEecuti e 2irector* National Commission for Culture and the Arts ,hilippines Nipon 2echachart* /nstructor* Bunditpatanasilpa /nstitute and Arts EEpert* (inistr" of Culture* Thailand !< Timoth" Omani* ,rincipal Curriculum Officer* Curriculum 2e elopment Centre* (inistr" of Education and 5uman =esources 2e elopment* Solomon /slands !; Eric1 Natuoi i* Danuatu /nstitute of Teacher Education* Danuatu !B (aE W"man* ,resident* Canadian National Commission for UNESCO

To the arts communit"4 find ne0 0a"s to reach out to present and future audiences. To parents and general population4 emphasi3e 0hat arts education can do for human de elopment and to instil essential human alues. Can (e tal+ a,out Arts Education in general/n some less de eloped# countries* there is the percei ed need to de elop arts education according to the model presented b" de eloped# countries. 5o0e er* in the de eloped# countries the arts are absent from e er"da" life and are the preser e of the elite. /t is critical to pull art and arts education out of the limiting boEes that the" ha e been placed in* and to bring bac1 into focus the uses and purposes of art in traditional Asian societies and the man" human needs that the arts help to meet. There are four 1e" areas of learning through the arts that must be ad ocated. !% !. Creati e* perceptual and cogniti e s1ills 5eightened concentration* special s1ills* hand&brain capabilities. 2. Aesthetic s1ills and ideas of Asian art practices Asia pre iousl" had 0hat 0e are no0 tr"ing to retrie e4 arts that 0ere transformational and transmittal. The arts 0ere totall" integrated 0ith li ing. 2onHt loo1 bac1 to traditional art forms per se* but rather loo1 bac1 into Asian cultures for the purpose and aesthetic alues of the arts to find the ans0ers. <. Communication and sharing s1ills Arts education must shift from learning how to ma1e art to learning through art. Compulsor" art classes loaded 0ith information and techniFues must be changed. ;. An understanding of our culture and alues. These are some of the man" challenges and issues that arts education 0ill ha e to face and impro e. .uality Education and Arts Education Are 0e successful in educating "oung people to de elop the 1no0ledge* s1ills and Fualities necessar" to meet the demands of toda"Hs 0orldM 5o0 effecti e ha e the current school curricula beenM Are the" aluable toda" and 0ill the" be rele ant tomorro0M Are there better and more efficient 0a"s for us to deal 0ith pressing education and societal goalsM The ans0ers to those Fuestions point to a great need to comprehensi el" restructure current school curricula and teaching practices!>. ?ualit" arts education* 0hich promotes emotional de elopment* as 0ell as cogniti e achie ement* is a 1e" factor to achie e Fualit" education !K. The definition of Fualit" in arts&education teaching I b" appl"ing fi e of Cecilia Brasla0s1iHs!' ten principles of Fualit" education to arts education I can be approached through the follo0ing principles4 !. =ele ance of the teaching content in relation to the social and cultural en ironment of the child. The concept deals 0ith inner&contentment* 0ell&being* independent thin1ing and other feelings 0hich create en8o"able or satisf"ing learning conditions. ,ractices should

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Sha1ti (aira* Artist* /ndia 7"ung&he Sung* 7orea /nstitute of Curriculum and E aluation* =epublic of 7orea !K Tere3a Wagner* Senior ,rogrammeme Specialist* 2i ision of Arts and Cultural Enterprises* UNESCO* ,aris !' Aormer 2irector of the /nternational Bureau of Education* UNESCO* 6ene a

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ha e uni ersal scope but be locall" rele ant. /n addition* the" should be both acti e and reflecti e and also practical and theoretical. 2.Team0or1 has man" benefits and is per se part and parcel of arts education. An interdisciplinar" approach to 1no0ledge is another important pedagogical method for impro ing Fualit" education. <.,artnerships bet0een schools* families* cultural and artistic institutions and the communit". The contributions of eEternal cultural organi3ations and institutes bring ne0 alue* guidance and pedagogical support to tuition* and encourage teachers to sho0case studentsH 0or1* thus also con incing parents of the benefits of arts education. Artists and recogni3ed creati e agents should also be included in the teaching process. ;.,lanned curricula for each grade le el pro ide guidance and structure for the teaching of arts practices on each grade le el. ,ro8ect&based 0or1 should be encouraged* and time structured to allo0 for formal teaching and practice. B.,luralism and the Fualit" of teaching methods 4 the di ide bet0een practitioners and theoreticians has become a huge problem for arts education. Teachers should be allo0ed more freedom to in estigate ne0 methods of teaching and* if the" 0ish* contribute to research in this field. Case studies and research are beginning to sho0 that the arts ma1e a aluable contribution to the total education of children especiall" in relation to academic performance* attitudes to school* and perceptions of learning. According to research on the impact of arts 0ithin education 2)* the benefits of arts education fall into three main areasG the child* the teaching and learning en ironment* and the communit". Characteristics of good arts programmes4 acti e partnerships 0ith creati e people and organi3ations accessible to all children ongoing professional de elopment fleEible organi3ational structures shared responsibilit" for planning and implementation permeable boundaries bet0een the school* organi3ation and the communit" detailed assessment and e aluation strategies /t is most important to point out that arts education can be a meaningful tool for promoting emotionall" 0ell balanced "oung people* and ma" ha e therapeutic effects on children 0ith special needs* onl" 0hen Fualit" is met.

d. Case studies
)olicy / Inter0*inisterial )artnership& Arts Education in the !epu,lic of 1orea 21 Since an Arts Education ,olic" 0as launched in 2))<* ma8or results ha e been achie ed through cooperation bet0een the t0o ministries of culture and education. The polic" operates 0ithin a frame0or1 of fi e central ob8ecti es4 Establishment of polic" directions and the eEpansion of consensus =esearch pro8ects Wee1l" Arts Education ,olic" Aorums online and off&line Arts education TD programmes* e.g. "isits to the #orld$s Arts Education Sites /nternet hub site for arts education http4::arte.ne.1r
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Anne Bamford* 2irector of the Engine =oom* Wimbledon School of Arts* +ondon* U7 5oseong Nong* 2irector of the Culture O Arts Education 2i ision* Arts Bureau* (inistr" of Culture and Tourism* =epublic of 7orea

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 (onthl" 0eb3ine and 0ee1l" ne0sletter Arts Education case&stud" boo1 Official White ,aper Ditali3ation of arts education in schools Cooperation bet0een ministries of culture* education and local go ernment Classroom lectures* eEtracurricular acti ities* special&s1ills training A pool of isiting arts instructors to <2J of primar" to senior public schools +ocal go ernments pro ide matching fund for isiting teacher placements Ditali3ation of arts education in social areas Training programmes at eEisting cultural facilities Arts programmes for prisoners and immigrant spouses Training of arts&education professionals (andator" and oluntar" training programmes Self&stud" groups ,rofessional training centre to be established 2))% S"stems support for arts education Dia the 7orea Arts and Culture Education Ser ice $the main Conference organi3ers- and their 0ebsite As of 2))%* 7orea 0ill begin the s"stematic implementation of arts education in the curriculum* 0ith legislati e support to follo0. )artnership& renegotiating para*eters22 To ma1e an" programme successful* there is a need to emplo" the 0or1ing methods of arts education 0ithin an Asian concept of integrati e and collaborati e 0or1ing st"les. An eEample of this can be seen in the arts&in&heritage education pro8ect* Children of the City* in 0hich "oung people aged !) to !% eEplore their cultural and historical identities through the heritage of the inner cit". The ma8or components* 0hich constitute the frame0or1 of the Children of the City pro8ect* include4 =ecruitment of ,articipants ,ro8ect appro al on annual basis $not pro8ect&to&pro8ect- from the Education 2epartment. Contact school principals 0ith letters and pro8ect brochures. Approach principals and students 0ith school briefings#. Creati it" and persistence 0hen recruiting from schools. +ocal Net0or1ing Conducted 0ith the belief that the arts are found in local culture and should not be ta1en out of conteEt. Sta1eholders from different fields of competence and other parts of the communit" are in ited to participate. =eason for local net0or1ing has consciousl" arisen from an Asian conteEt I the belief that the communit" should share in the responsibilit" of deli ering the arts.
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Canet ,illai* Coordinator of the Arts Education ,rogrammeme for Noung ,eople* Uni ersit" Sains* (ala"sia

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 Each participant has a role that the" are comfortable 0ith and their in ol ement is tailored to the needs of the pro8ect.

,artnerships and Aunding /nstitutional and organi3ational affiliation 0ith heritage organi3ations and arts institutions are er" important* and contribute to the pro ision of human* ph"sical and financial resources. The 6o ernment pro ides core funding* but pri ate companies and communit" organi3ations pro ide small amounts of mone" for educational purposes. Onl" clean# partnerships are accepted. 5uman =esources Uni ersit"4 students on practicum* graduate students* lecturers. Communit"4 cit" residents* students* teachers* researchers* artists* historians* architects. Aocus is on establishing long&term relationships and sustainable partnerships. Space and EFuipment (an" spaces in the cit" are used $e.g. acant shops* heritage sites-* 0hich are negotiated 0ith proprietors. 2onations and eFuipment come from the communit". As the pro8ect concerns their children* the local area and communit"* no reFuests ha e e er been refused. Approach to Training Carried out in real heritage sites. Trainees in estigate data anal"sis* research a topic* inter ie0 people* collect data* sit in groups and discuss* present their documentation in creati e or artistic 0a"s and report bac1 to a facilitator. 2issemination EEhibitions in public spaces* e.g. mar1etplace* streets and schools. ChildrenHs 0or1 published in three languages and distributed to the communit". All data that is ta1en from the communit" is gi en bac1 to the communit". These are the main issues that should be considered and e entuall" reFuested in the process of implementing a pro8ect that combines artistic creation and heritage. Arts Education )rogra**es& #e( *ethods of teaching and learning 22 The 5ong 7ong /nstitute of Contemporar" Culture has created a ne0 school for arts education* the +ee Shau 7ee School of Creati it". The School caters for students bet0een the secondar" and communit" college le el and ser es as an arts incubator* a place of inno ation and a communit"& oriented* multimedia arts centre. /ts design is sensiti e to its role as a communit" space and features a semi&public promenade as 0ell as teaching bloc1s* a multimedia theatre* a librar" and a galler". The school curriculum and timetable features inno ations such as an entire da" de oted to creati it" 0ith no formal classes* and dail" acti ities such as seminars* stud" groups* performances and eEhibitions* 0here students can perform and eEhibit their 0or1. The range of partnerships* 0hich includes becoming a UNESCO Obser ator"2;* has concluded 0ith three eEample pro8ects4
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Ada Wong* Chairperson of 5ong 7ong /nstitute of Contemporar" Culture* 5ong 7ong See Asia%&acific Arts in Education '(servatory &rogrammeme &roposal* p.!2 of this document

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 +ight&ride Summer Techno art camp is a t0o&da" art camp for 2)) secondar" students* 0here the" eEplore the intersection bet0een technolog" and art. The camp features four& 0a" interaction* 0ith students as participants* artists as mentors* and teachers and uni ersit" students pro iding creati e documentation. The Creati e Campus TD pro8ect in ol es schools setting up campus tele ision* and features open lectures* artists&in&residence programmes and screenings. +iberating +ab I /nteracti e Teaching and +earning Through (ultimedia Arts is another multi&sta1eholder model that studies globali3ation* health* media and other issues of global concern and distributes a teaching 1it. Obser ations and reflections in connection to Arts Education s1ills and competences4 Scarcit" of cross&sectoral talents. /nfleEibilit" of schools 0ith regards to timetable $some 0ere resistant to change and 0ere rigid in their interaction 0ith PeEternalH institutions-. +e el of commitment of different sta1eholders* due to short length of pro8ects. /t is hoped that this 0ill change 0ith the completion of the school. /nsufficient documentation and assessment of outcomes. Sustainabilit" of partnerships. Asia0)acific Arts in Education 3,servatory )rogra**e proposal 2 The establishment of a series of sub&regional Obser atories to function as clearinghouses of information about the instrumental uses of arts in education are outlined in UNESCOHs Action &lan Asia ). The Obser atories 0ill 0or1 0ithin a close net0or1 of institutions to collect information and then s"nthesi3e and repac1age it for 0ider dissemination. The Obser atories 0ill focus on the cross&curricula potential of the arts in generating greater achie ements* disco eries and eEpressions of creati it". Aurthermore* it 0ill introduce opportunities for challenging current education models in pro iding ne0 possibilities in learning* including the creation of closer ties bet0een the humanities* the sciences and the arts. The Obser atories 0ill also ma1e the ac1no0ledgment of Best ,ractices in Arts Education a focus in its programme. =esearch on iable alternati es for the profession enhances ocational opportunities and empo0ers teachers as agents of change that* in turn* encourages an outcome& focused curriculum de elopment. The Australian Obser ator" on (ulti&2isciplinar" =esearch in the Arts 0as recentl" established 0ithin the facult" of Architecture* Building and ,lanning at the Uni ersit" of (elbourne. The Obser ator" is based on the principle that speciali3ed areas of learning are considerabl" enhanced in a multi&disciplinar" learning en ironment 0ith the collaborati e support of schools* tertiar" institutions and N6Os. One of its eEpected results is to act as a research hub and clearinghouse for research pro8ects. The outcome 0ill be supported through the production of acti e 0ebsites* refereed 8ournals and through the identification and promotion of e idence&based collaborati e arts pro8ects. /n addition* the Obser ator" 0ill ser e as an acti e lin1 to outreach areas* such as rural and indigenous communities. The capacit" to attract funds* ho0e er* has presented a crucial issue to ensure the success of the initiati e.

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+indsa" Coubert* Senior +ecturer* Aacult" of Architecture* Building and ,lanning* Uni ersit" of (elbourne* Australia 2% See 000.unescob11.org:fileadmin:userQupload:culture:ArtsQEducation:&QActionQ,lanQAsiaQ&.pdf

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2. !eco**endations
a. Edited ersion2>
The delegates to the *NESC' Asia%&acific +egional Conference in &reparation for the ,#orld Conference on Arts Education$ held in Seoul* =epublic of 7orea* 2<&2B No ember 2))B* co& organi3ed b" the (inistr" of Culture and Tourism of the =epublic of 7orea* UNESCO and the 7orean National Commission for UNESCO* Understand the challenges to cultural di ersit" posed b" globali3ation* and the increasing need for imagination* creati it" and collaboration as societies become more 1no0ledge& basedG =ecogni3e the need for countries of the Asia&,acific =egion to de elop educational and cultural strategies and policies that transmit and sustain cultural and aesthetic alues and identit"* so as to enhance and promote cultural di ersit" and to de elop peaceful and prosperous societiesG =ecogni3e the alue and applicabilit" of the arts in the learning process and their role in4 de eloping cogniti e and social s1illsG promoting inno ati e thin1ing and creati it"G and encouraging beha iours and alues 0hich underlie social tolerance and respect for di ersit"G =ecogni3e that arts education brings about impro ed learning and s1ills de elopment in terms of fleEible structures $such as time* discipline and roles-* rele ance to the learner $meaningfull" connected 0ith the li es of children and their social and cultural en ironment-* and cooperation bet0een formal and informal learning s"stems and resourcesG Ac1no0ledge that art in Asia&,acific societies 0as traditionall" part of e er"da" life and pla"ed a 1e" role in cultural transmission and in communit" and indi idual transformationG =ecogni3e that the con ergence bet0een the traditional conception of arts in Asia&,acific societies and the more recent understanding that learning through the arts can lead to impro ed learning and s1ills de elopmentG Ac1no0ledge that arts education* li1e all t"pes of education* must be of high Fualit" to be effecti eG Understand that arts education* b" engendering a range of cross&cutting s1ills and abilities and raising student moti ation and acti e participation in class* can contribute to increasing the Fualit" of education* and thereb" achie ing one of UNESCOHs siE Education for All $EAA- goals. /n light of the abo e* and in order to maEimi3e the opportunit" of this Conference* t he delegates* in dra0ing on the eEperiences of the Asia&,acific =egion* endorse the follo0ing recommendations for UNESCO and for the World Conference on Arts Education4 Advocacy concerning the I*pact of 4earning in and through the Arts !. =aise public a0areness and promote the alue and social impact of arts education* creating a demand for arts education and s1illed arts educators. 2. Share information and e idence 0ith sta1eholders* including go ernments* communities* the media* N6Os and the pri ate sector.
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2ocument edited after its appro al b" the participants of the Conference

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<. ,ro ide leadership* support and assistance for arts teaching and learning. ;. ,romote acti e participation in and accessibilit" to the arts for all children as a core component of education.

!esearch and International'!egional Cooperation !. Encourage collaborati e research and dissemination of research results about the role the arts pla" in learning* particularl" in childrenHs de elopment $ph"sical and neurologicaland among ulnerable groups. 2. ,romote ongoing e aluation of the emotional* social* cultural* cogniti e and creati e impacts of arts education. <. Encourage research and redisco er" of the traditional use of arts in learning and e er"&da" life. ;. ,romote 1no0ledge&sharing and net0or1ing through the establishment of Arts in Education Obser atories $clearinghouses- in the Asia&,acific =egion* 0ith UNESCO Chairs and the UN/TW/N Net0or1.2K B. ,romote international support for training teachers in arts education and for curriculum de elopment* to 0iden co erage and impro e the Fualit" of arts education* particularl" in resource challenged countries. Inter0*inisterial Cooperation and )artnership ,et(een the )u,lic and )rivate 5ectors !. ,romote partnership among all concerned ministries and go ernmental organi3ations to de elop coherent and sustainable arts education policies and strategies. 2. =ecogni3e the importance of the acti e in ol ement in education of arts and cultural institutions* foundations* media* industr"* and members of the pri ate sector. <. Encourage the 8oint de elopment of strategies for implementation and monitoring* so as to ensure the Fualit" of arts education. Cooperation ,et(een 5chools and Co**unities !. Encourage acti e and sustainable partnerships bet0een educational conteEts $formal and non&formal- and the 0ider communit". 2. Aacilitate participation in learning conteEts b" local arts practitioners and the inclusion of local art forms and techniFues in learning processes in order to strengthen local cultures and identit". <. (obili3e local resources 0ithin communities to de elop arts education programmes* through cooperation bet0een schools and parents* communit" organi3ations and institutions* so as to enable communities to share in the responsibilit" of transmitting cultural alues and local art forms. ;. /mplement and e aluate collaborati e school&communit" pro8ects that are based on the principles of inclusi e cooperation* integration and rele ance. 6raining Arts Education )ractitioners !. Support ongoing professional de elopment of teachers* artists and communit" 0or1ers* in order to de elop arts professionals 0ith an appreciation of cultural di ersit" and 0ho can de elop their studentsH potential to create* critiFue and inno ate. 2. Encourage the use of local* conteEtuali3ed and sustainable human and material resources as both the pro iders and the content of Fualit" education. <. ,ro ide resources and learning materials to assist educators to de elop* utili3e* and share ne0 arts&rich pedagog".

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=efer to PAction ,lan Asia4 Arts in Asian Education Obser atoriesH* Educating for Creativity: Bringing the Arts and Culture into Asian Education* =eport of the Asian =egional S"mposia on Arts Education* UNESCO 2))B

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;. ,ro ide assistance to enable arts education practitioners to harness technological de elopments 0hich enable arts education to reach marginali3ed groups* and facilitate the creation of inno ati e 1no0ledge products and the sharing of 1no0ledge. B. Encourage effecti e documentation and sharing of 1no0ledge among educators and learners. The delegates furthermore ac1no0ledge the importance of facilitating regular reflection and continuous impro ement* and the Asia&,acific =egion supports the offer of the =epublic of 7orea to host a second World Conference on Arts Education.

b. Original teEt appro ed b" delegates in Seoul

The delegates to the *NESC' Asia%&acific +egional Conference in &reparation for the #orld Conference on Arts Education held in Seoul* =epublic of 7orea* from 2< to 2B No ember 2))B* co&organised b" the (inistr" of Culture and Tourism of the =epublic of 7orea* UNESCO and the 7orean National Commission for UNESCO* Understand the opportunities of the modern 0orld economies and societies 0hich increasingl" need the s1ills of imagination* creati it" and collaborationG =eflecting the gro0ing recognition of the alue and applicabilit" of the arts in the learning processG Understand that art in Asia ,acific societies has traditionall" pla"ed a 1e" role in cultural transmission* communit" and indi idual transformation and de elops emotional* cogniti e and social s1illsG =ecognise the need for Asia ,acific countries to transmit and sustain cultural and aesthetic alues and identit" b" de eloping appropriate educational and cultural strategies and policies to meet these challengesG =ecognise the opportunit" in the con ergence bet0een the traditional conception of arts in Asia ,acific societies and the more recent understanding of learning in and through the arts can lead to impro ed learning and s1ill de elopmentG Understand that Fualit" arts education is necessar" to accomplish impro ed learning and s1ill de elopment for 0hich the 1e" components include4 fleEible structures $such as time* discipline and roles-G rele ance to the learner $meaningfull" connected 0ith the li es of children and their social and cultural en ironment-G and cooperation bet0een formal and informal learning s"stems and resources. /n light of the abo e* in order to maEimi3e the opportunit" of this con ergence* the delegates endorse the follo0ing recommendations emanating from the eEperiences of the Asia ,acific for UNESCO and the World Conference on Arts Education4 Advocacy of I*pact of 4earning in and through the Arts !. ,romote the alue and social impact through raising a0areness and building a consensus around the benefits. 2. Share information* research and e idence 0ith parents and other sta1eholders* including go ernment* the business communit"* the media and N6Os. <. ,ro ide leadership* support and assistance for teaching and learning. ;. ,romote acti e participation in and accessibilit" to the arts for all children as a core component of education. !esearch and International'!egional Cooperation !. Encourage collaborati e research and dissemination into the role the arts pla" in learning and de elopment* particularl" childrenHs de elopment. 2. ,romote continued assessment and e aluation of the impact of learning and s1ills de elopment $e.g. emotional* social* cultural* cogniti e and creati e- through the arts. <. Encourage redisco er" and research of the use of arts traditionall" used in childrenHs learning and de elopment $ph"sical and neurological-.
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;. ,romote 1no0ledge&sharing and net0or1ing through the establishment of Arts in Education Obser atories 0ith UNESCO chairs and UN/TW/N Net0or1 in the Asia& ,acific =egion* 0hich 0ill act as a clearing house.2' B. ,romote international de elopment research and cooperation for teacher training and curriculum de elopment* to 0iden co erage and impro e Fualit" of arts education* particularl" in resource challenged countries. Inter0*inisterial Cooperation and )artnership ,et(een the )u,lic and )rivate 5ectors !. ,romote partnership among all concerned arious ministries and go ernmental organi3ations to de elop coherent and sustainable arts education strategies. 2. =ecogni3e the importance of the acti e in ol ement of educational* arts and cultural institutions* industr"* foundations* media and other members of the pri ate sector. <. Encourage the 8oint de elopment of implementation and monitoring strategies to ensure the Fualit" of arts education. Cooperation ,et(een 5chools and Co**unities !. Encourage acti e and sustainable partnerships bet0een schools* artists and the 0ider communit". 2. (obili3e and s"nergi3e local resources 0ithin communities to de elop arts education programmes* through the cooperation of schools* parents and communit" organi3ations and institutions. <. Collaborate on the implementation and e aluation of school&communit" pro8ects that are based on the principles of inclusi e cooperation* integration and rele ance. 6raining Arts Education )ractitioners !. Support the role of the arts in education through ongoing professional de elopment among all educators including teachers* artists and communit" 0or1ers. 2. Encourage the use of local* conteEtuali3ed and sustainable human and material resources as both the pro iders and the content of Fualit" education. <. ,ro ide resources and learning materials to assist educators to de elop* utili3e and share ne0* arts rich pedagog". ;. Encourage effecti e and reflecti e documentation and sharing among and for educators and the learners. The delegates furthermore ac1no0ledge the importance of facilitating regular reflection and continuous impro ement and the Asia&,acific =egion supports the offer of the =epublic of 7orea to host a second World Conference on Arts Education.

B. 4atin A*erica and the Cari,,ean 1. Arts Education in the Cari,,ean27

/ntroduction
Caribbean societies no0ada"s are facing a social crisis 0ith man" important issues to handle. Abo e all* these societies are challenged b" an increase in iolence and related socio&economic
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=efer to Action ,lan Asia4 Arts in Asian Education Obser atories# Educating for Creativity Bringing the Arts and Culture into Asian Education* =eport of the Asian =egional S"mposia on Arts Education* UNESCO 2))B <) Based on conclusions and papers presented at the =egional Conference* &ractice - &rospects of Arts Education for Societies%in%Crisis. 2nd Caribbean /nternational Arts Education S"mposium* St. Augustine* Trinidad* 2%&<) Cune 2))B. Original ersion in English

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problems. Social alues are diminishing as the famil" en ironment loses its strength. /n this conteEt* the school has to assume more responsibilities and a more important role in addressing these social problems in order to help children and adolescents understand the societ" in 0hich the" li e. /n recent "ears* the Caribbean region has started to see and use arts# 0ithin a broadened conteEt as a means of addressing problems. Arts education $0hich includes 0riting* isual arts* music* film* drama* theatre and dance- cannot be a uni ersal and general solution to all the concerns the Caribbean has to confront* in particular because of the cultural compleEit" of this region. There is no single and simple solution. Still* arts education can be a 0a" to understand* approach and address social difficulties 0hich confront present Caribbean communities. The forum 0as aimed at assessing and focusing on the role of arts for societies&in&crisis and stressed the idea of the arts as being a real motor of self* regional and national de elopment in tac1ling iolence and fostering creati it". /t therefore underlined the positi e changes arts could bring* especiall" to the "outh* through their in ol ement in music* carni al arts* theatre* dance* isual arts* creati e 0riting and poetr".

a. Cultural d"namics4 heritage and traditions

Caribbean societ" reflects a compleE* multi&cultural frame0or1G one that is characteri3ed b" cultural di ersit". /n comparing current Caribbean societies&in&crisis 0ith the 6ordian 7not#* it can be argued that in difficult times li1e these* e en if problems seem to ha e been abolished#* the" ha e not been sol ed/!. Through this metaphor* it is eas" to understand that the Caribbean is confronted b" a thorn" situation that reFuires an audacious and original response. /t brings us to the Fuestion of 0hether arts education can be a method to untie the 1nots of Caribbean societ" instead of simpl" cutting through them in other 0a"s. Arts and culture are intimatel" related* as arts contribute to and are part of national and indi idual identit". Not onl" does arts education shape childrenHs beha iour and ision of life* it also pro ides a means of responding to the present crisis that Caribbean communities are eEperiencing. Cultural heritage and traditions must pro ide strong lin1s to the past* but the" should not pre ent societies from e ol ing. The 0orld changes* as does culture and people and it seems essential that the artsI for instance drama* stor"telling and fol1loreI should pla" an important part and be used in pro iding an ans0er to toda"Hs issues. To achie e that goal* and to pro ide greater eFualit" in the Caribbean* the arts ha e to be made a ailable to e er"one* especiall" to e er" child* as soon as possible. This is not al0a"s simple because social* economic* status and geo&cultural factors remain important issues in Caribbean societies. Carni al remains the main cultural and artistic e ent 0here Caribbean heritage and traditions are performed. Some pro8ects ha e been created to preser e it. Arts&in&Action $AiA-* for instance* is a non&profit public&education programme created b" the Centre for Creati e and Aesti al Arts $CCAA- in !''; to eEtend the 0or1 of the Centre into rural and urban communities of Trinidad and Tobago. /t uses theatre performances* not onl" in schools* but also in communit" groups and corporations. Arts&in&Action# is a programme 0hich is deepl" committed to promoting arts acti ities in the social and personal de elopment of "oung people. Through Aorum Theatre and theatre&in&education techniFues for conflict resolution and mediation* AiA aims to pro ide an ans0er to social problems* such as 5/D:A/2S pre ention* iolence* and alcohol and drug

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Bishop* ,at. PThe 6ordian 7notR =e isitedH. Cf. +ea international 0ebsite 000.unesco.org:culture:lea: 0orld conference on Arts Education:Caribbean preparator" forum:papers presentedG 2irect lin14
http4::portal.unesco.org:culture:en:e .php&=+Q/2S2K)>BOU=+Q2OS2OQTO,/COU=+QSECT/ONS2)!.html

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addiction. AiA also uses theatre to moderni3e fol1lore* and to promote creati it" and Carni al heritage. Than1s to another AiA pro8ect called +iberating /magination for EEpression $+./.A.E.-* carni al arts are also used as tools for social rehabilitation and s1ills de elopment of eE&delinFuents. /n 2));* the /nter American 2e elopment Ban1 declared Arts&in&Action as an eEemplar" and note0orth" "outh&dri en pro8ect.

b. Arts and Societ"

Arts and societ" are inter&dependent. Arts ha e an impact on societ" and on indi iduals* in particular children* "ouths at ris1 or afflicted people $trauma ictims or 5/D:A/2S sufferers* for instance-. Arts education can indeed ha e a positi e* optimistic influence on societ". The great transforming po0er of the arts# <2 is seen in the 0a" the" change attitudes and perceptions* ma1ing people a0are* and encouraging their creati it" $in finding a solution to a problem* for eEample-. Arts* in general* affect societ" in a positi e 0a". Therefore* great efforts ha e been made b" go ernments and pri ate organi3ations to recogni3e the benefits of arts and to promote arts programmes. Steelpan* the ne0 musical instrument created in the 2) th Centur" b" under&pri ileged "ouths* has become a national cultural art form of Trinidad and Tobago. This is an eEample of arts in cultural di ersit" and a 0a" to o ercome iolence. /n bringing groups of economicall" depri ed "outh together* steel bands# represent a real social phenomenon at the heart of the cultural heritage and ha e become a cultural s"mbol of the islands. These bands promote cultural di ersit" and create bonds bet0een "ouths 0ho gather as friends and musicians. This icon of Trinidad and Tobago has e ol ed 0ith the changes in societ" $the bands integrate more and more 0omen* for eEample-* and has become a full&blo0n culture 0ith a 0orld steel band music festi al* man" pri ate pan schools and courses at uni ersit". The Nouth Training Centre $NTC- for incarcerated "oung men in Trinidad can be regarded as an encouraging practice of arts in action. /t is a centre that 0or1s for 8u enile delinFuentsH rehabilitation. (ost of the bo"s at the NTC come from single&parent families or from the streets* li ing most of the time on their o0n. Through drama or music education* the" gain self& 1no0ledge* gro0th* confidence and hope. The philosoph" of the Centre is that there is good in e er"bod" and that the positi e must be stressed. The emphasis is on education rather than punishment. As part of its educati e programme* the CCAA has created a training curriculum at the Nouth Training Centre . This drama&based inter ention gi es "oung people opportunities to eEpress their talents* deal 0ith their o0n difficulties and de elop social and potentiall" economic s1ills. The Area Nouth Aoundation $ANA- in 7ingston* Camaica* is another successful eEample of good practice in the field of Arts Education. /t is a charitable organi3ation for arts and education* 0hich 0or1s 0ith inner&cit" "oung people $!<&2B-. This foundation promotes the personal de elopment of "outh through arts&based programmes $in particular theatre and drama-. /t also aims to support formal education and s1ills training. (oreo er* the ANA produces* promotes and disseminates recordings of productions created b" participants. The main positi e benefits of this pro8ect are impro ements in "oung peopleHs self&esteem and social relations.

c. Arts in Social Therap"

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Bull"* Al0in. PArts in Education& The Social ,raEisH. Cf. +ea international op.cit.

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EEpressi e arts also pro ide opportunities and positi e tools for social therap". ,la"bac1 Theatre* a form of interacti e and impro isational theatre in 0hich participants tell stories from their o0n li es* encourages rehabilitation and helps treat post&traumatic stress in indi iduals. ,la"bac1 Theatre stories are used in educational* therapeutic* social and arts settings. After 5urricane / an hit 6renada in 2));* for eEample* this drama techniFue 0as used to help afflicted people tal1 about and eEpress their traumatic eEperiences. This therapeutic techniFue* 0hich is promoted b" /2EA* 0as implemented b" Tracie =ogers // 0ho adapted it to the socio& cultural histor" and identit" of 6renada. /t also promotes tolerance and dialogue* encouraging people to o ercome social and cultural barriers. Another practical eEample of the positi e and rehabilitati e po0er of arts is the practice of isual art&0or1 0ith children affected b" the 2)); Tsunami in Sri +an1a* such as the practice facilitated b" 2ani +"ndersa"<;. /nteracti e theatre* music and isual arts can pla" a er" important role in the reco er" process for people* in particular children* 0ho ha e suffered traumatic eEperiences. Artistic acti ities li1e dra0ing* painting and sculpting can help children eEpress 0hat the" feel and thin1 in a different 0a".

d. Arts Education and cultural di ersit"

Airst of all* on the sub8ect of education* it 0as put for0ard that there is no essential di ision bet0een pedagogical and aesthetic theatre. On the contrar"* theatre can be both instrumental and artistic* and it is e en through the aesthetic that theatre can be instrumental. <B Theatre can con e" a message* be instructi e and be entertainment at the same time. EEamples of educationall" original theatre for "oung people* in particular as"lum see1ers* ha e been mentioned. Cultural pluralism is one the main features of Caribbean countries. 5o0e er* school curricula still do not reflect the di ersit" of the region and are mostl" biased to 0estern paradigms* 0hich are neither adapted to nor representati e of Caribbean social conditions and needs. ConseFuentl"* there is an urgent need to incorporate a culturall" di erse repertoire in arts and to underline and preser e cultural heterogeneit". 5o0e er* in order to ha e e er" culture represented 0ithin the Caribbean di ersit"* all cultures need to be promoted to an eFual eEtent.
The Caribbean has a rich culture of festi al performances* rituals* fol1lore* music* dance and beliefs. This can be a strength in fostering creati it" and facing current issues. /n this respect* the Con ention on Cultural 2i ersit"* 0hich 0as adopted b" UNESCO in October 2))B* intends* to preser e and protect the cultural heritage of all nations especiall" the smaller and more ulnerable ones#.

Conclusions
/t is er" difficult to generali3e the situation in the Caribbean in terms of arts&education polic". (ost of the time* arts in schools do not pro ide a real ans0er to the modern 0orld and en ironmental conteEt. The creation of the Caribbean Contemporar" Arts $CCA>- in !''>* 0hich promotes a solid polic" in terms of arts supports and infrastructures* helped a lot in this respect. 5o0e er* in general* Caribbean countries are still on the margins as far as using artistic heritage and traditions for contemporar" creations is concerned.

<<

=ogers* Tracie. P2e 2a" We See Wind in 6renada4 Communit" 2ialogue O 5ealing through ,la"bac1 Theatre#. Cf. School of ,la"bac1 Theatre 0ebsite4 000.pla"bac1school.org. Tracie =ogers is a 2rama Therapist O ,art&time +ecturer at the Uni ersit" of the West /ndies* St. Augustine Campus* Trinidad. Cf. +ea international op.cit. <; +"ndersa"* 2ani. 001 Tsunami Lessons: #eaving the E2pressive Arts for healing products* Centre for Creati e and Aesti al Arts* St Augustine* Trinidad. Cf. +ea international op.cit. <B Cac1son* Anthon". ,The dialogic* the aesthetic and the 2ail" eEpress...*H Cf. +ea international op.cit.

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Arts education is* as "et* inadeFuatel" adapted to the socio&cultural conteEt* e en though it is impro ing. An educational model is still lac1ing* but a single one 0ill not suffice. Arts ha e to adapt to the changing 0orld in order to respond to the social crisis. This is the main challenge that arts and arts education in particular are facing toda" in the Caribbean* and one that the" are surel" up to. Thus* in order to meet this challenge* social* cultural and educational institutions are eagerl" a0aited to bac1 up arts education* 0ith UNESCO being one of its first and principal supports. The Conference adopted a set of recommendations 0hich is included in the Ainal 2eclaration* and 0hich is reproduced hereafter.

2. 8eclaration
We* the participants of the 2nd Caribbean /nternational Arts Education S"mposium4 The ,ractice O ,rospects of Arts Education for Societies&in&Crisis* 0hich 0as held in St. Augustine* Trinidad* from Cune 2%th to <)th* 2))B* under the auspices of The Uni ersit" of West /ndies* Centre for Creati e O Aesti al ArtsG W5E=AS The S"mposium* in collaboration 0ith UNESCO and the Trinidad O Tobago (inistr" of Education* brought together some K) practitioners of arts education* representati e of the Caribbean region4 Aruba* Barbados* 6renada* 6u"ana* Camaica* (ontserrat* St. +ucia* Suriname* Trinidad O Tobago* as 0ell as from Europe* Canada* the United States* Central and South America* South&East Asia and the Caribbean 2iaspora* and 0ith a participating audience of approEimatel" 2B) artists* teachers* students* polic" ma1ers and obser ersG W5E=AS Cultural 2"namics* Social ,raEis* ,edagog"* ,olic"4 ,ractice and ,rospects 0ere the themes shared and discussed through papers* practical and interacti e demonstrations and roundtable discussionsG W5E=AS Caribbean nations represent a confluence of cultures from the four corners of the earth4 a uniFue combination of ethnicities* nationalities* languages and topograph". This cultural compleEit" has spa0ned a creati e energ" and a natural abilit" through each of the creati e and eEpressi e arts4 music* dance* isual arts* drama* film* and literatureG W5E=AS This cultural compleEit" has produced indigenous perspecti es and practices in education that are specificall" Caribbean and non&0esternG W5E=AS 2espite the fact that most practising artists in the Caribbean ha e not been eEposed to formal institutions of training* man" of the uniFue and inno ati e results* e.g. steel pan* reggae* rapso* cal"pso and carni al* ha e gained international recognition and are being replicated throughout the Caribbean 2iaspora and the 0orldG W5E=AS Within the Caribbean and its diasporic nations* there are crises as in other post&industrial societies* such as4 increasing le els of crime and iolence decreasing le els of literac"

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drug&related issues communal O gang 0arfare gender ineFualities and male under&achie ement domestic iolence child abuse and barrel<% children political corruption unemplo"ment* and health and natural disasters

W5E=AS The Caribbean S"mposium participants 0ere eEposed to Caribbean&focussed techniFues and strategies 0hich ha e indicated that the arts are of alue in the healing or the searching for solutions to the gro0ing Caribbean and international problems and that* furthermore* arts education $inside and outside of school- is a iable instrument 0hich can prepare the Caribbean child to ta1e his:her place in the globali3ed s"stem 0ithout losing his:her identit"G W5E=AS /t 0as also recogni3ed at the S"mposium that the problems and crises in societ" cannot be sol ed 0ithout the immediate global implementation of arts education and* that 0hile the arts are not a panacea for all ills* the" are indispensable to the solutionsG Therefore be it =ESO+DE2 that the follo0ing reco**endations be directed to the rele ant authorities in the region4 !.Arts education polic" ac1no0ledge and articulate the lin1s bet0een communities* educational and social institutions and the 0orld of 0or1G 2.The arts be implemented throughout the Caribbean school s"stem* 0ithin the curriculum and as positi e alternati es outside of the school en ironmentG <.Trained human resources* inside and outside of educational institutions* be made a ailable in order to permit and foster the gro0th and promotion of Caribbean arts educationG ;.,rofessional training for artists and teachers be made a ailable to enhance the Fualit" of arts&education deli er" in the regionG B.(aterial resources necessar" for the effecti e deli er" of the arts4 space* media* tools* boo1s* etc.* be produced and made a ailable to all Caribbean schools and librariesG %.A complete databan1 of Caribbean human and material arts&education resources be researched* documented and made a ailable to all educational institutions and on the /nternetG >.The current oral culture of societies&in&crisis be documentedG Be it further =ESO+DE2 that the follo0ing be internationall" recogni3ed as Cari,,ean Best )ractices in Arts Education4 !.Area Nouth Aoundation $Camaica2.Arts&in&Action $Trinidad<.,la"bac1 Theatre $6renada;./.C.T.A. $/n ention O Creati it" Through the Arts I TrinidadB.Carni al +egac" $Trinidad%.(as Camp $Trinidad>.Carni al in the 2iaspora $e.g. +uton Carni al ,ro8ect* U7K.Aorum Theatre for ,rison rehabilitation
<%

Children 0hose parents reside abroad and support their families b" sending barrel&shaped containers of clothing and other material necessities.

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'.Steel ,an as a pedagogic practice and crisis resolution !). =eggae Studies $Camaica!!. Aesti al O Carni al Arts Studies $Trinidad O TobagoBe it further =ESO+DE2 that the follo0ing reco**endations be directed to UNESCO4 !.UNESCO ma1e pro ision in its upcoming budget to foster arts education in the Caribbean and to promote its inclusion in school curriculaG 2.UNESCO continue to include arts education in its international programmesG <.UNESCO ac1no0ledge and include in its programme for the #orld Conference on Arts Education in +isbon* ,ortugal* (arch 2))%G ;.the abo e recommendations from the 2))B Caribbean =egional Arts Education S"mposiumG and B.Caribbean eEamples from the reports on Best ,ractices* Wor1shops and theoretical perspecti es in arts educationG %. UNESCO promotes research on arts education in the Caribbean $such as the impact of Best ,ractices listed abo e- in order to inform the de elopment of future initiati es in this eEpanding field.

2. 6o(ards .uality Arts Education& Challenges and 3pportunities in 4atin A*erica29

/ntroduction
+atin American countries are in essence multicultural. /n each of them* di erse language and cultural communities li e side b" side* all 0ith their o0n er" different but rich traditions and artistic practices. This ariet"* and the fact that it is rooted in so man" communities* is no0 I 0ith the gro0ing recognition of the importance of cultural di ersit" <K I considered to be a ital asset in the de elopment and intellectual a0a1ening of these countries. Though this di ersit" 0as* until recentl"* often eEperienced b" the populations as a 0ea1ness* reducing learning and 1no0ledge to particular cultural alues and traditions* this 0orld0ide mo ement to0ards recogni3ing national and regional cultures and communities has led the go ernments of +atin American countries to contemplate the possibilit" of introducing cultural and artistic acti ities into the o erall learning programme of "oung people* both in and outside the school. Teaching related to arts education mainl" ta1es place outside of the school s"stem and it is mainl" than1s to ministries of culture and public or pri ate cultural institutions that it is promoted. =eforms ha e ne ertheless been underta1en and ha e brought about a greater integration of arts education in the school en ironment* as1ing that it be made part of school curricula. This brief report aims to re ie0 the progress made in terms of educational policies in the training of teachers and the implementation of partnerships for the teaching of art disciplines in the countries of this region.

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Original ersion in Spanish See the Convention on the protection and promotion of diversity in cultural e2pressions * appro ed during UNESCOHs <<rd 6eneral Conference* No ember 2))B.

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a. Arts education and cultural and educational policies

We must stop lo ing sciences and the arts as though the" 0ere t0o enem" sisters.# This idea* ta1en from 6abriel 6arcia (arFue3Hs (anifesto on education <'* summari3es 0ell the malaise surrounding arts education. /n fact* though there is consensus about the fundamental nature of artistic practices for the balanced de elopment of a human being* the prospect of setting up school curricula that promote these practices is accompanied b" the fear of seeing the sciences demoted. E er"thing suggests that public authorities consider arts and sciences as fields that stand apart from each other* contrar" to the Colombian Nobel pri3e 0inner 0ho sees them as complementar". /f a personHs creati it" is de eloped b" eEercising a discipline* it is stimulated e en more through the practical eEperience of art. The child disco ers his or her creati e potential through pla" and repetition* 0hich pa es the 0a" to action and creati it". Arts education* in de eloping "oung peopleHs emotional intelligence and imagination* creates an a0areness of di ersit" in practices and cultures as 0ell as of their en ironment* 0hich in turn ma1es them attenti e to en ironmental and de elopment issues. This is 0h" public programmes for arts education and creati e practices are chiefl" aimed at children li ing in underpri ileged or sociall" ulnerable milieus. Creati e acti ities for them are a 0a" to resist the degradation of their surroundings and their self&image. Art enables them to 1eep their cultural heritage ali e and at the same time opens up ne0 possibilities to be stimulated. The eEperience in (eEico is significant in this respect. As part of their deliberations on cultural di ersit" and the benefits of this di ersit" for sustainable de elopment and the 0ellbeing of societies* (eEico recentl" carried out a pilot eEperiment concerning the comprehensi e reform of the secondar" school. This pilot programme foresees that an intercultural perspecti e be brought into sub8ects that are taught* and that indigenous spo1en languages and traditional cultures be made part of the teaching curriculum. Stud" programmes 0ere designed for the eight largest geo& cultural groups in the countr". Their ob8ecti es are4 To promote a stronger recognition of the cultural differences in each region of the countr" and to ad8ust educational contents in order to impro e the Fualit" of teaching for children eEperiencing great learning difficulties and regular failure at school. To promote cultural identities and respect for the other and for the self* b" better enhancing national cultures. To promote language di ersit" as a decisi e cultural alue. The eEamples of Colombia and Chile are also 0orth" of note. The national plan for music and cohabitation $,N(C&2))<&2))%-* set up b" the Colombian (inistr" of Culture* aims at promoting music practice and 1no0ledge as 0ell as social participation* for instance* b" creating music schools all o er the territor". The purpose of this large&scale programme is to de elop the creati e capital of Colombian "outh. /n Chile* a great effort 0as made to eEpand the teaching of arts $ isual arts* music and theatre- in the school en ironment* and to produce teEtboo1s and teaching curricula. The aim of these programmes is also to create ne0 audiences for the arts and culture* and at the same time encourage creati e initiati e and pro ide the most depri ed 0ith ne0 opportunities to access 1no0ledge and learning.

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=ui3* Clarissa. La Educaci3n art4stica. factor vinculante de la cultura y la educaci3n * Lineamentos de pol4tica para la educaci3n art4stica en Colom(ia. Cf. 000.unesco.org:culture:lea

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b. The training of teachers and a profile of their 1no0ledge of art and creati it"
6enerall" spea1ing* it is important to emphasi3e that the teachers 0ho are responsible for teaching arts must be at the centre of an" reform in arts education* and must be able to follo0 the re ision of the curricula step&b"&step. This is an eEcellent 0a" to ensure their acceptance of the proposed educational pro8ect and their competence in the arious artistic fields. 6reat importance must be gi en to the training of teachers in isual arts* dance* music* theatre* etc.* if the Fualit" of arts education* and thereb" of school education in general* is to impro e. Aor instance* the initial training of art teachers must not onl" ta1e into account ne0 teaching methods that emphasi3e the creati it" and traditional 1no0&ho0 of the communit"* but also the use of electronic tools as a means of artistic production and learning and a source of 1no0ledge that can no longer be ignored. /n the case 0here generalist teachers* 0ho do not necessaril" master the sub8ect* ha e to teach the arts* it is suggested that the" choose an artist to 0or1 together 0ith them in the class. /t seems important* ho0e er* to define the profile of teachers both in primar" and secondar" school* as 0ell as in eEtracurricular art acti ities. The Fuestion must be as1ed* 0hen should artists participate in the teaching* and 0hether one must spea1 of teaching artists or artist teachers* or both. Teacher training in art disciplines toda" faces a serious lac1 of funding. /n Cuba* the 6o ernment has set up tele ised music&teaching programmes to meet teachersH needs. /n countries such as 5aiti* Costa =ica or 5onduras* alternati e solutions ha e been found* but do not entirel" resol e this shortcoming. The main purpose of arts education is not to train artists* but to 1indle aesthetic sensiti it" in the child and the adolescent* to initiate them to the practices and language of the arts and to de elop their creati it". 6eneralist primar"&school teachers must be able to recei e adeFuate training in at least t0o art disciplines* of 0hich the standard could be defined on a national le el. /n addition* teaching support can be gi en b" professionals from cultural institutions $music centres* museums* theatres* etc.- and:or artists. /t is essential on each school le el to define an educational pro8ect that 0ill be implemented in partnership 0ith a cultural institution chosen b" the school. (ore importantl"* since one of the learning methods in art sub8ects is to encourage the student to do research and ta1e part acti el"* the teacherHs o0n 1no0ledge becomes of secondar" importance in the 1no0ledge&transmission process. This method in fact do0npla" relati i3es the 1no0ledge of the teacher I in particular in terms of the studentsH beha iour& and is based on the studentsH desire and intentions to0ards the artistic ob8ect. /n as far as possible* it limits the gi ing of instructions* promotes the studentsH autonom" and respects their critical abilit". The training of teachers is a 1e" issue that cannot be resol ed 0ithout the help of eEisting training and research centres. To this effect* UNESCO chairs speciali3ing in this field could be associated in the research* in particular the follo0ing4 Teacher training through distance learning at the (inas 6Trais Uni ersit" $Bra3il-G +egional networ5 for the improvement of teaching 6uality and e6uity in Latin America at the Uni ersidad del Dalle $Colombia-G Education sciences at the +atin American and Caribbean pedagogical institute $Cuba-G and Education and human development at the A"rton Senna /nstitute $Bra3il-.

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c. The co&operation of artists and their communities as 0ell as cultural and artistic institutions in the education process of the child and adolescent
Arts education that initiates children and adolescents in artistic techniFues and language* as 0e ha e said* builds cultural identities and reinforces self&confidence and respect of the other and his culture. /n this 0a"* it also opens the door to multiculturalism. /n order to introduce the child to the practical eEperience of art and its di erse eEpressions* arts education must loo1 at both traditional eEpressions of art and those de eloped on its contemporar" side. /t is at the intersection of these t0o cultural reference fields that the child e ol es 0ithin his or her communit". Cultural institutions such as museums* music centres* culture centres* theatres and cinemas as 0ell as craft centres are all places that must be promoted. The" must be able to contribute to the educational effort of each nation and more specificall" to the education of the arts. Another rich source lies 0ith artists themsel es4 dancers* actors* musicians* poets* 0riters* painters* sculptors and craftspeople all ha e undeniable s1ills in terms of creati it"* action and reflection. The" are the go&bet0eens from one artistic tradition to another. The" are also the li ing memor" of a communit"Hs art and culture and the magicians that transform these traditions into future memor". Their role in arts education is e ident* but the 0a"s in 0hich the" could participate still need to be defined. A number of er" positi e and interesting eEperiments are being promoted in man" countries* mainl" b" socio&cultural N6Os* and financed b" public or pri ate funds. The UNESCO& supported programme 'pening *p Spaces;) in Bra3il is a good eEample. This programme lends support to schools in underpri ileged areas that suffer from great social and economic tension. The programme is currentl" implemented 0ith success in o er % ))) public schools in ,ernambouco* Bahia* =io de Caneiro* SUo ,aulo* =io 6rande do Sul* (inas 6erais and ,iauV. O er fi e million people* including children* adolescents* "oung people and adults* are in ol ed in this eEtracurricular programme. The main principle is to open up school establishments to students* their families and the communit" o er 0ee1ends* and to offer them artistic* cultural* scientific* sports* social and ci ic acti ities* depending on the possibilities of each establishment. +aunched in 2)))* this pro8ect has had a er" positi e effect in reducing 8u enile iolence in the communities 0here it is implemented. /t is interesting to note that the 0or1shops held in each school are* in K)J of the cases* run b" olunteers that spontaneousl" came for0ard to the local co&ordinators of the pro8ect. Their profiles ar" 0idel" 0ith* of course* a large number of artists and craftspeople 0or1ing in different fields of art and craft* but also socio&cultural organi3ers and social&ser ice 0or1ers. The programme is a model of solidarit" and mutual aid 0ithin a communit" that stands together to fight po ert"* iolence and intolerance* and that 0ants to de elop 1no0ledge through different forms of learning and action. Other eEamples could be named such as the one in 5onduras* promoted 0ith the help of the /nter& American 2e elopment Ban1 $/A2B- as part of the Comprehensive &ilot &rogramme to 7ight *r(an &overty. 0hich includes an arts&education section for children of tra elling salespeople* or in Ecuador* 0here a programme training audiences for the arts has been launched 0ith "oung people and their families in underpri ileged areas. Also 0orth mentioning is the er" large and fruitful music&education programme* 8outh 'rchestras* started b" the Dene3uelan conductor Antonio Abreu* 0hich in a matter of 2) "ears has spread 0ith great success to a large number of countries in the region. /t has turned se eral generations of "oung people a0a" from iolence and has a0o1en true musical callings. The
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Original title4 A(rindo Espa9os : Educa9:o e Cultura para a &a;. Cf. report entitled4 A guia pratico para a(rir escolas nos finais de semana <programmea a(rindo espa9os: educa9:o e cultura para a pa;=. UNESCO 2))B in 000.unesco.org:culture:lea $Ad ocac"-

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Argentinean pianist (iguel Angel Estrella* 0ithin his association >ope ?usic. founded in the !'>)s* has done er" 0orth0hile social 0or1 mainl" in the Cu8u" pro ince. The initiati e also spread to other countries of the subcontinent. (ore recentl"* the Colombian choreographer and dancer Al aro =estrepoHs pro8ect La Escuela del Cuerpo has sho0n er" encouraging results* pleading for more sustained recognition for the role of art and high&Fualit" arts education in the de elopment of "oung people 0ho li e in depri ed areas. The richness and ariet" of both public and pri ate initiati es set up to curb po ert" and iolence in this region is one of the main features of educati e action in the field of arts and creati it". But in spite of their eEtent in terms of time and space* the" remain isolated phenomena that are set up b" the 0ill of indi iduals 0ithin the frame0or1 of a true solidarit" action to0ards crippled communities.

$. 8eclaration of Bogot:
The participants at the +atin American and +atin Caribbean =egional Conference* To0ards ?ualit" Arts Education4 Challenges and Opportunities#* organi3ed in Bogot@* Colombia* 2K& <) No ember 2))B b" the (inistries of Education and Culture of Colombia and the =egional Office for Culture in +atin America and the Caribbean $O=CA+C-* 0ith the support of the =egional Office for Education in +atin America and the Caribbean $O=EA+C-* UNESCO and the =egional Centre for Boo1 ,romotion in +atin America and the Caribbean $CE=+A+C-G 5a ing the follo0ing purpose4 That (ember States of the =egion promote a Fualit" arts education for all that encourages and de elops sensiti it" and creati it" in their peoples and is aimed at building a future based on the appreciation and protection of the natural and cultural heritage* as 0ell as on solidarit" and respect for cultural di ersit"G And that national* regional* +atin American* and Caribbean eEchanges and cooperation be encouragedG On the basis of4 The principles contained in the (eEico Cit" 2eclaration on Cultural ,olicies $(eEico Cit"* !'K2-* the World Congress on the Status of the Artist $,aris* !''>-* the =ecommendations of the /ntergo ernmental Conference on Cultural ,olicies for 2e elopment $Stoc1holm* !''K-* the /nternational Appeal for the ,romotion of Arts Education and Creati it" at School made b" the 2irector&6eneral of UNESCO during the <)th session of the UNESCO 6eneral Conference $,aris* !'''-* the UNESCO Uni ersal 2eclaration on Cultural 2i ersit" $,aris* 2))!-* the strategic ob8ecti es of the =egional Educational ,ro8ect for +atin America and the Caribbean $,=EA+C- $5a ana* 2))2- and the UNESCO Con entions concerning the ,rotection of the World Cultural and Natural 5eritage $,aris* !'>2-* on the Safeguarding of the /ntangible Cultural 5eritage $,aris 2))<-* and on the ,rotection and ,romotion of the 2i ersit" of Cultural EEpressions $,aris* 2))B-G The concepts and prospects contained in +earning4 the treasure 0ithin#* the report of the /nternational Tas1 Aorce on Education for the 2!st Centur"* chaired b" CacFues 2elors. Noting that4 !.The de elopment* through arts education* of an aesthetic sense and creati it"* and of creati e* critical thin1ing and reflection as inherent to the human condition* is the right of e er" child and "oung personG 2.The (ember States of the =egion possess a rich natural and cultural heritage* both tangible and intangible* 0hich is under threat from multiple compleE* sociocultural and en ironmental changesG

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<.Attention must be paid to the reFuirements and demands arising from artistic and cultural changesG ;.6reater a0areness must be created among children and "oung people of themsel es and of their natural and cultural en ironmentG B.Access for all to cultural goods must be among the ob8ecti es of education and cultural s"stemsG %.Current li ing conditions reFuire education to pro ide ne0 isions and strategies for meeting the challenges of the present and building the futureG >.Arts education* as a form of political and ci ic construction* constitutes a basic tool for social inclusionG K.Arts education ma1es a fundamental contribution to0ards achie ing the abo e&listed ob8ecti es and capacitiesG '.Arts education pla"s a strategic role in safeguarding tangible and intangible cultural heritage. Considering that4 !./n most States in the =egion* education policies place little alue on arts education* and this is reflected in the isolation and de aluation of this area of 1no0ledgeG 2./n the =egion* it is obser ed that the cultural and educational areas are dissociated* 0ith t0o separate agendas often mo ing in parallel or in opposite directionsG <./n the pedagogical policies* strategies and practices of its arts education* the =egionHs cultural di ersit" fails to achie e the le el of intense* full eEpression reFuired for the affirmation and de elopment of local and regional identitiesG ;.The er" limited relation obser ed bet0een the different le els and modalities of arts education hinders articulation bet0een significant eEperiences and de elopmentsG B.Countries recogni3e that there are insufficient teacher training programmes speciali3ing in arts educationG %.There eEist significant eEperiences in arts education* underta1en spontaneousl"* that are neither researched nor s"stemati3edG >.Budgets for arts education are either ineEistent or insufficient to co er its de elopment needsG K.=ecognition of artists and their participation in the processes of arts education is insufficientG '.The competencies and mechanisms for articulating formal and non&formal arts education bet0een institutions of the educational and cultural sectors are undefinedG !). Continuit" of commitment and acti ities influencing the constitution of and support for the StateHs public policies on arts education is affected b" changes of go ernment. Adopt the follo0ing Bogot@ 2eclaration on Arts Education 0ithin the frame0or1 of the preparation for the World Conference on Arts Education to ta1e place in +isbon* ,ortugal* in (arch 2))%G Underta1e to4 ,ro ide follo0&up to the Appeal to (ember States launched b" the 2irector&6eneral of UNESCO for the ,romotion of Arts Education and Creati it" at School b" ta1ing administrati e* financial and legal measures to ma1e this education compulsor" in schools from preschool education up to the last "ear of secondar" education. /n close cooperation 0ith the UNESCO =egional Offices for Education and Culture and other intergo ernmental bodies* promote arts education b" practising the follo0ing4 !.=ecogni3ing the special nature of the pedagogical training and practice that sustains the identit" of the arts educatorG 2.Training teachers in the theor" and practice of arts educationG

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<.2e eloping and implementing arts education at the different le els and in the different modalities of education programmes from an interdisciplinar" and transdisciplinar" perspecti e* the purpose being to open up ne0 aesthetic channelsG ;.Encouraging the participation in primar" and secondar" education of artists* tradition& bearers and cultural promoters in order to enrich pupilsH creati e use of the different forms of artistic eEpressionG B.Aacilitating coordination bet0een cultural and educational institutions in each countr" so that the" can agree upon and implement policies and acti ities for the de elopment of arts educationG %.Creating cooperati e net0or1s bet0een (ember States in the =egion and 0ithin their respecti e education and cultural s"stems* including N6Os* ci il societ" and international organi3ations* so as to base the successful de elopment of arts education on cooperati e acti ities and alliancesG >.Encouraging the participation and organi3ation of arts education teachers* both nationall" and internationall"* so that the" acFuire greater social representati it" and professional capacit"G K.,romoting 1no0ledge of sociocultural and en ironmental problems in arts education programmes so that pupils de elop alues concerning their en ironment* a sense of belonging to their cultural realit" and of commitment to the search for sustainable de elopmentG '.2esigning policies for national and regional research in the area of arts education* ta1ing into account the specificities of ancestral cultures as 0ell as ulnerable population groupsG !). ,reparing and implementing regional and international training and research pro8ectsG !!. S"stemati3ing significant eEperiences that can ser e in preparing Fualit" indicators for arts education* and promoting the eEchange of eEperiencesG !2. =ecording and e aluating bibliographical resources and other sources of information on arts education eEisting in the =egion* 0ith a ie0 to their republication and dissemination. !<. ,romoting the allocation of space:time in the communication media to support the ob8ecti es of arts education and help de elop aesthetic sensiti it" and foster human aluesG !;. /ncorporating the ne0 information and communication technologies in teacher training programmes and in formal and non&formal education processes* as means of creation* artistic eEpression* reflection and critical thin1ingG !B. Encouraging the creation of teEts* materials* methodologies and teaching:learning guidesG !%. ,romoting in estments that pro ide arts education 0ith the cultural goods* material resources and funding to4 Create speciali3ed areas in schools and cultural spaces that offer an" form of arts educationG ,ro ide speciali3ed didactic materials* including publications in nati e languagesG Ensure the de elopment of arts education and promote fair pa" and 0or1ing conditions for teaching professionals 0ho are de eloping this area of 1no0ledge. !>. Encouraging the definition of abilities and mechanisms for articulating formal and non formal arts education bet0een educational and cultural institutionsG !K. 6uaranteeing continuit" that transcends go ernmental programmes in the StateHs public policies on arts educationG !'. =ecogni3ing the role of arts education in preparing audiences and different sectors of the public to appreciate artistic manifestationsG 2). Ensuring dissemination* implementation and follo0&up b" (inistries of Education and Culture in the =egion of the measures mentioned in the present 2eclarationG =ecommend that the UNESCO Offices for Culture and Education in +atin America and the Caribbean4

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!. Encourage the creation of regional programmes for research and lifelong training for professionals $artists* teachers* managers* planners* etc.- connected 0ith arts education 2. ,romote a regional s"stem to gather and disseminate information on arts education <. Encourage the creation of collections and in entories of +atin American and Caribbean 0or1s that enrich arts education in the isual* musical and theatre artsG The participants at the =egional Conference of +atin America and the +atin Caribbean* To0ards ?ualit" Arts Education4 Challenges and Opportunities#* than1 the 6o ernment of Colombia for the eEcellent organi3ation of the Conference and the hospitalit" gi en to the countr" representati es. The" in ite OE/* CAB* CE=+A+C and other intergo ernmental bodies to follo0 up on the measures agreed upon at this Conference.

C. Europe and #orth A*erica

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1. 5ynergies ,et(een Arts and Education in Europe and #orth A*erica

/ntroduction
B" 2))>* the total population of the European Union 0ill approach B)) million* representing an immense richness of cultural* social and linguistic di ersit". (oreo er* our societies are undergoing ma8or demographic changes* resulting in an ageing and shrin1ing 0or1ing&age population and sustained immigration flo0s. /n such a conteEt* the shared alues that hold our societies together* such as freedom* fairness* tolerance and solidarit"* become more important than e er.#1 There is an increasing interest b" go ernments in culture* the arts and its relation to education. The changing face of European identit"* societ" and culture demands ne0 t"pes of teaching and learning societies focused on fostering cultural identit"* creati it" and social cohesion. Throughout Europe and North America* there is a 0ealth of 1no0ledge and inno ati e* arts initiati es that reflect the man" influences of the region* ho0e er* in most cases the programmes are periodic and irregular. O er the past decade* 0e ha e 0itnessed the gro0ing interest of polic" ma1ers in culti ating creati it". As 0e mo e into the 2! st Centur"* the abilit" to thin1* sol e problems and adapt in a fleEible manner cannot be emphasi3ed more. Ne ertheless* both on a polic" and practical le el* the fundamental ties bet0een creati it" and arts practice arenHt being ac1no0ledged* and the arts continue to be marginali3ed on the school curriculum. Arts education features on the polic" reFuirements of most countries in the Europe and North America =egion* "et there is a mar1ed gap bet0een arts polic" and arts practice. The arts present enormous possibilities to culti ate imagination* eEpression and inno ation* ho0e er* the o erall pedagog" of teaching the arts doesnHt support the process and promotion of creati it". ?ualit" arts practice and impro ed teacher training 0ere identified as areas of concern at the =egional ,reparator" Conference.
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(ain conclusions from the =egional ,reparator" Conference $Europe and North America- Synergies (etween Arts and Education for the World Conference on Arts Education* K&!! September 2))B in Dilnius* +ithuania. Original ersion in English ;2 Commission of the European Communities. ?a5ing citi;enship wor5: fostering European culture and diversity through programmemes for 8outh. Culture. Audiovisual and Civic &articipation. '.<.2)); CO( $2));- !B; final.

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The nature of the arts as a broad and interpreti e medium and the definition of 0hat constitutes art ar" bet0een different countries and cultures. The UNESCO 6eneral Conference $!'''- ;< defined arts education in terms of literature* isual arts* music* drama* dance and film 0hile encouraging the participation of cultural institutions* communities and families. This holistic approach 0as also detailed in a sur e" b" Cultuurnet0er1 Nederland ;; 0here arts and heritage education 0as defined 8ointl" or separatel" b" 2! (ember States of the EU. Ten countries used a separate definition for arts education and heritage education* ten adopted a 8oint definition* and one had both a 8oint and a separate definition. The separate definitions of arts education in the sur e" refer to arts education in the conteEt of teaching indi idual art disciplines* 0hereas the definition of heritage education focused on the arts 0ithin a broader cultural and historical conteEt. While this presents a good indication of the ibrant and intangible nature of the arts* the lac1 of definition can create difficulties in clarif"ing the area 0ithin a national education s"stem.

a. Educational and Cultural ,olicies in the field of Arts Education

Although creati it" is ran1ed er" high in most polic" documents* there eEists a lac1 of fundamental recognition of the importance of Fualit" arts education as a principle means to facilitate creati it". Considerable differences eEist bet0een countries in terms of a clear repartition of the responsibilit" for arts education 0ithin the (inistr" of Culture and:or Education and the different mechanisms that secure the implementation and e aluation of arts education programmes. The creation of s"nergies bet0een the arts and education and the promotion of creati e learning eEists er" scarcel" in European countries. /n Arance* for instance* although the (inistr" of Culture and Communication and the (inistr" of National Education* 5igher Education and =esearch are t0o separate entities* a partnership eEists bet0een them in forming 8oint policies and budgets for class pro8ects that ta1e place inside or outside school hours $curricular and eEtra curricular-. Teachers can appl" for pro8ect funding through the school or local administrations. A result of this cooperation is the 7ive%8ear &lan to @evelop Arts and Culture in Schools* 0hich 0as launched in 2))!. /t intends to place art and culture at the centre of education rather than at the margins of the curriculum. /t pro ides compulsor" and optional sub8ects and cooperation bet0een schools and cultural institutions. The main ob8ecti e is to o ercome social and cultural ineFualit" ;B. The implementation of the pro8ect is embedded in the Arench decentrali3ation polic" and is assured b" the local communities. This* in turn* enables the territorial educational policies to be controlled b" prefects* 2=ACS $=egional 2irectors of Cultural Affairs- and chief education officers. /n the Netherlands* arts and education are alread" united on a polic" le el as the (inistries of Education* Culture and Science form one entit". /n !''>* The (inister and Secretar" of State launched the Cultuur en School proAect $Culture and School pro8ect- in order to lin1 the education s"stem* the cultural 0orld* and the different le els of go ernment. The <) municipalities and !2 pro inces are mainl" in charge of the structural cooperation bet0een cultural institutions and schools and contribute to the financing of the pro8ect. Arom 2))! to 2));* the different partners for this pro8ect made a ailable W!; million. The pro8ect has three priorities4 cultural heritage* multicultural issues and media education. On the local le el* arts and heritage pro8ects 0ere launched and on the national le el secondar" school pupils 0ere stimulated to eEtend their cultural acti ities through discounts and the distribution of ouchers. /n 2));* the pro8ect 0as
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2uring this Conference an appeal for the promotion of arts education and creati it" in schools and non& formal settings 0as launched. ;; Cultuurnet0er1 Nederland. $2));- Culture and School. A survey of &olicies for Arts And >eritage Education across the European *nionB =eport European Conference* The 5ague* K&!) September 2));* Utrecht4 Cultuurnet0er1 Nederland. ;B Cultuurnet0er1 Nederland. $2));- Culture and School. A survey of &olicies for Arts And >eritage Education across the European *nionB =eport European Conference* The 5ague* K&!) September 2));* Utrecht4 Cultuurnet0er1 Nederland* p. <<.

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elaborated to the primar" and higher education le els. This supplementar" in estment added W; million to the total budget* 0hich in turn 0ill be increased to W22 million in 2))>. ;%

b. Cultural ,artnerships
,articularl" in Europe* the past B) "ears ha e reflected a mar1ed increase in the establishment of cultural institutions* 0hich indicates the continued alue placed on de eloping cultural identit". Communities continue to strengthen their ties to specific cultural origins based on the foundations of stories* rituals* languages and beliefs. Throughout Europe and North America* most cities* to0ns and illages ha e some 1ind of cultural facilit". /n the current en ironment* 0e can recogni3e that the learning en ironment is no0 no longer eEclusi el" in the schools. Ne0 possibilities of pedagog" ha e resulted from the de elopment of partnerships bet0een schools and cultural institutions. /n Europe* there is proof of long&standing collaborations bet0een educational and cultural institutions* ho0e er* the eEtent and effecti eness of these partnerships aries 0idel" bet0een the countries. (ost European and North American countries are in fa our of a close partnership relationship bet0een education and cultural institutions. ,olic" inno ation in this dimension of arts and cultural education does feature as a priorit" for the region* 0hich materiali3es mainl" in isits to cultural institutions. /n most cases* an" decision to isit a cultural institution is determined b" the indi idual school or the teacher in charge. Therefore* the le el of support and commitment on the behalf of cultural institutions and schools is ital to ensure the success of the collaboration. A number of programmes that are currentl" in operation in Europe and North America are pro ing highl" successful in strengthening cultural partnership lin1s. The European Culture 000 supports the creation of a net0or1 of schools* uni ersities* libraries and museums and focuses its interests in the promotion of artistic* literar" and cultural programmes 0ithin the EU and abroad. This siE&"ear flagship programme 0as established in 2))) and 0as allocated a budget of W2<% million. 2ue to the continuing progress of the initiati e* the European Commission has proposed rene0ing the programme for a further siE&"ear period 0ith an increased budget of W;)K million. /n Cul" 2));* the Commission launched an Cntegrated Action &rogramme in the field of lifelong learning comprising of sectoral programmes on school education $Comenius-* higher education $Erasmus-* ocational training $+eonardo da Dinci- and adult education $6rundt ig-. As part of this initiati e the Comenius Action* for eEample* financed a pro8ect launched b" The Teachers Training /nstitute in +"on $Arance- to de elop a Pcultural co&educationH bet0een schools and cultural institutions. Annuall"* more than !) ))) schools in the EU benefit from Comenius and it is estimated that b" 2)!< at least one pupil in 2) 0ill be ta1ing part in Comenius programmes. ;> /n the U.7.* the Creative &artnerships &rogramme is a W!%) million 2epartment of Culture (edia and Sport $2C(S- and Arts Council EnglandXs flagship programme* 0hich 0ill last four "ears ending in (arch 2))%. /n addition to its responsibilit" of go ernment polic" in fields such as arts* sport* tourism and the media* the 2C(S 0or1s closel" 0ith other go ernment departments in de eloping* co&ordinating and achie ing polic" in a range of cross&go ernment agendas* such as issues of education and social inclusion. The Creative &artnerships &rogramme* based at the Arts Council England* is the national de elopment agenc" for the arts in England. The initiati e recei es funding from the 2C(S and the 2epartment of Education and S1ills and distributes public funds from go ernment and National +otter" sources. The pro8ect is aimed at lin1ing schools 0ith the 0idest possible range of cultural and creati e partners and focuses on areas of economic and cultural depri ation and areas that suffer from rural isolation. ;K

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(inesterie Dan Onder0i8s* Cultuur en Wetenschap. Cultuur en school*

http4::000.minoc0.nl:cultuurenschool:factsheet.html* Yaccessed on %:!2:2))BZ. ;> See EU=O,A4 6ate0a" to the European Union. http4::europa.eu.int:

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The Nor0egian Cultural School Bag $2en 1ulturelle s1olese11en-* a go ernment& funded initiati e launched in 2))!* operates as a 8oint pro8ect of the (inistr" of Culture and Church Affairs and the (inistr" of Education and =esearch. The Secretariat for the initiati e is the Nor0egian Archi e* +ibrar" and (useum Authorit" $AB(&ut i1ling-* 0hich co&operates 0ith the Nor0egian 2irectorate of ,rimar" and Secondar" Education. The responsibilit" of coordinating and implementing the initiati e is that of the count" authorities and cultural sections 0ithin the indi idual regions. The Cultural School Bag is funded mainl" b" profits from Nors1 Tipping A:S $Nor0a"Xs State&o0ned gaming compan"- and NO7 !%) million $W2) million- 0ill be spent on the initiati e in the 2))B&2))% academic "ear. Aurthermore* the great ma8orit" of cultural institutions and man" other institutions are in ol ed in pro iding art and culture for schools. These institutions* the regional authorities and man" local authorities in est substantial sums in this 0or1 from their o0n budgets. The Cultural School Bag* 0hich see1s to be a permanent element of basic education* co ers primar" and lo0er secondar" schools all o er the countr" and offers cultural acti ities that represent different artistic and cultural eEpressions* such as the performing arts* music* film* literature and cultural heritage. The pro8ect aims to bring artists* teachers* local life and decision&ma1ers closer together at all le els. ;' /n Ainland* The 'a5 of 7inland &lus is a programme that see1s to strengthen the role of cultural heritage in education b" fostering the creati it" and 1no0ledge of local histor" and to promote tolerance. One hundred schools currentl" ta1e part in programme that is 8ointl" funded b" the Ainnish 6o ernment* cit" councils and pri ate sources. Another Ainnish initiati e that has pro ed successful is &roAect Creativity and Cultural Education 001% 00) * a scheme that aims to encourage collaboration bet0een schools and cultural institutions b" eEchanging eEamples of good practice. /n some countries such as S0eden and in the U7* the go ernment also finances an intermediate institution* 0hich acts as a bro1er bet0een schools and the cultural sector* encouraging co&operation. A ma8or recommendation resulting from the =egional ,reparator" Conference 0as the greater in ol ement of cultural organi3ations in teaching arts education as part of the school curriculum. Cultural institutions are housed 0ith a 0ealth of information and ast potential for interrelated and tangible teaching practices. ,redominantl" in primar" education& 0here "oung children respond strongl" to isual learning& an acti e collaboration bet0een the institutions can pro ide opportunities for enhanced teaching methods and a broadened perspecti e of the learning en ironment. ,erformance&based practices such as drama ha e also pro en to be an effecti e tool in language learning. Effecti e partnerships are also fruitful for teachers 0ho benefit from the ne0 pedagog"* 0hich can enrich their o0n teaching methods. This positi e resonance is also e ident in Ainland* 0here the partnership bet0een teachers and cultural institutions has resulted in the de elopment of enhanced teaching methods. /n ,aris* Arance* La ?aison du Deste et de l$Cmage is an association financed and managed b" the municipalit" go ernment. /t offers both in&school and eEtra&curricula programmes gi en b" professional artists in fields such as theatre* ideo* sound* photograph" and 0riting. The in&school pro8ects in ol e the collaboration bet0een the artist* schoolteacher and school and are catered to the age of the participants* the teaching methods and duration of classroom inter ention. (ost cultural institutions ha e an education department. Some ma8or cultural institutions pro ide comprehensi e online teaching resources for arts educators* families and students ali1e. The 0ebsite for The National 6aller" of Art B) in the U.7.* for eEample* pro ides an education lin1 0ith bac1ground information and lesson plan ideas aimed at teachers* students and their families. As part of its education department* the 6aller" also offers a Summer Teaching /nstitute that aims
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2epartment for Culture* (edia and Sport. Creative &artnerships.

http4::000.culture.go .u1:arts:artsQeducation:creati eQpartnerships.htm * Yaccessed on <:!2:2))BZ.

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=ief* A. 2en 1ulturelle s1olese11en#. =egional ,reparator" Conference Synergies (etween Arts and Education for the World Conference on Arts Education* K&!! September 2))B in Dilnius* +ithuania B) See 000.nationalgaller".org.u1:

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to help teachers increase their 1no0ledge of art histor" as 0ell as integrating isual art into the classroom teaching. The changing topics relate directl" to the 7&!2 Curriculum. Ne0 forms of artistic eEpression ha e opened up ne0 a enues for staging cultural e ents. /n accommodating for inter&acti e and more eEperimental art forms* the traditional concept of the cultural enue is changing. We can see ne0 possibilities for festi als* cultural enues* concerts* eEhibition spaces and theatres. An important ad antage of the eEpanding notion of the cultural enue is that it allo0s for the cultural and artistic practice to reach as 0ide an audience as possible. Arom her farmhouse in ,ortugal* the internationall" reno0ned ,ortuguese pianist* (aria Coao ,ires founded the Belgaio Centre for Stud" of the Arts. The uniFue establishment 0elcomes artists from all disciplines interested in de eloping their craft in a supporti e* open and democratic en ironment. The presence of artists encourages the free flo0 of creati e ideas and artistic eEchange. As part of the Centre* there is also a school and a choir for local children* as 0ell as 0or1shops and pro8ects in a ariet" of arts disciplines.

c. Teaching (ethods
6eacher 6raining0 pri*ary and secondary Teaching methods and teacher training are t0o ital aspects that contribute to the impro ement of the Fualit" of arts education. The alue and empirical benefits of arts education rest in the Fualit" of its content and method of teaching. /n this respect it is essential to reconsider teaching methods and impro e the pedagog" and teaching st"les that 0ould ser e children better. B! /n this regard* ne0 de elopments are at the core such as /nformation and Communication Technolog" $/CT- in education together 0ith ne0 didactic and methodical eEpertise ser ing further fleEibilit" to contribute to the progress of childrenHs communication s1ills and positi e attitude to0ards societ". /n 6erman"* the Aederal (inistr" for Education and =esearch $B(BA- and the +[nder (inistries eFuall" finance the 6erman Eu(im pro8ect. (ore specificall"* the programme operates 0ithin the frame0or1 of the Bund%LFnder%Eommission fGr Bildungsplanung und 7orschungsfHrderung <BLE=* a 8oint bod" of the Aederal 6o ernment and the LFnder for educational planning and research funding. Education in 6erman" is dealt 0ith both on the federal and regional le el $+[nder- 0hile culture is the uniFue responsibilit" of the. Each +[nder has its o0n (inistr" of Education* Culture Affairs and Science to de elop guidelines in fields such as science and the arts. /n order to a oid large disparities bet0een the educational policies of the +[nder* each (inistr" is represented in the Aederal 6o ernment. The Eu(im pro8ect $Eulturele Bildung in ?edien Zeitalter- is a fi e&"ear programme see1ing to foster creati it" in the frame0or1 of ne0 technologies. /t 0as launched in spring 2))) to de elop and test groundbrea1ing models for creati e and proficient use of ne0 media&technologies and other inno ations in the field of cultural education and training. The programme is made up of 2< large&scale pro8ects and has a budget of W!!*% million $2)))&2))B-. Eu(im is lin1ed to the larger conteEt of concepts and programmes in 6erman" 0hich aim to help to build the global Cnformation Society and impro e arts and media education. Based on conclusions deri ed from the =egional ,reparator" Conference* the training and preparation of arts teachers should be a ne0 priorit" 0ithin the education s"stem. /n most countries in Europe and North America* arts teachers in secondar" education are usuall" specialised teachers in a field of the arts* 0hether it is in dance* drama* music or isual arts. /n primar" education* an indi idual teacher gi es instruction in nearl" all sub8ects. Aor the ma8orit"
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Wagner* T.* P?ualit" education and arts educationH* *NESC' Asia%&acific +egional Conference in &reparation for the #orld Conference on Arts Education. Seoul* =epublic of 7orea* No ember <. 2))B* p.;.

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of primar" school children* the arts education the" recei e is from their generalist* primar" school teacher. As most primar" teachers recei e little training in arts education* the Fualit" of arts education at the primar" le el is an area of concern. The distinction* ho0e er* isnHt to encourage primar" teachers to ha e the s1ills of the artist* nor to ha e the specialised training to teach the arts at secondar" le el. =ather* primar" teachers need to be encouraged to de elop an a0areness of culture and the arts and to recognise the ob8ecti es of promoting creati it" and eEpression. This can be de eloped through partnerships 0ith artists. 6eacher 6raining0 pre0service and in0service Within Europe and North America there is a large ariation in the pre&ser ice and in&ser ice teacher training that arts professionals recei e. The le el of in&ser ice training in the arts aries from no pro ision to er" detailed and s"stematic pro isions. /n order for teachers to full" benefit from the a ailable in&ser ice teacher training* it is necessar" that the" be gi en support from the school management. /n Spain* it 0as re ealed that there 0as limited or no pro ision for training generalist or specialist teachers. Aurthermore* as teacher salaries are comparati el" lo0* the teachers are less able to attend professional de elopment training B2. This is* in turn* reflected in the Fualit" of arts education 0ithin the school s"stem. Se eral countries that ha e instigated strategies aimed specificall" at impro ing the le el of Fualification of arts educators* ha e commented on* not onl" the ast impro ement in the Fualit" of pro ision of arts education* but also the impro ed teaching pedagog" that benefits the teaching of all disciplines. /n some countries* such as the U7* teachers can ta1e specialist&training programmes for the arts for primar" and secondar" schools at uni ersit" le el. /n California* USA* 0here arts education is mandator" for grades !&!2* The California Arts ,ro8ect $TCA,- B< has de eloped the PCollaborati e 2esign /nstituteH* 0hich brings together art educators to de elop and field&test standards&based instructional units. O er the course of the "ear* arts educators eEamine e idence of student achie ement and ma1e refinements to the collaborati e units the" ha e de eloped. /t is also used as a means to become more informed about current arts education issues* reFuirements* research and leaderships. California also has professional de elopment opportunities pro ided b" the four arts education professional teacher associations in dance* music* theatre and isual arts $including digital arts-. /n Canada* man" teachers 0ho opt for additional Fualifications often choose arts&based training to assist in general teaching pedagog". Teaching education in creati e and imaginati e approaches is also a feature of the Canadian s"stem. A similar pattern in Ainland has sho0n that the incorporation of arts education in teacher training programmes has strengthened the creati e capacit" of generalist teachers. 6eacher shortages According to the Organi3ation for Economic Co&operation and 2e elopment $OEC2- B;* !; OEC2 countries reflect an alarming rise in teacher shortages. Education as a cultural and economic in estment is not an idea restricted to Europe and North America* and the pattern of teacher shortages is indeed a global issue. /n the Europe and North America =egion* the number of teachers in higher education cannot compete 0ith the increasing amount of students see1ing higher Fualifications in an effort to compete 0ith current demands. /n =ussia* 0hich has a centralised s"stem* the same professional arts education s"stem still eEists as it did in the So iet Union. There is a strong net0or1 of state music* ballet and fine arts schools for children and specialised conser atories. 5o0e er* due to the increased mobilit" of =ussians* lo0 salar" and high demand of =ussian arts teachers abroad* particularl" music and ballet teachers* man" arts teachers are immigratingBB.
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Bamford* A. $2))%-. The #ow 7actorB Dlo(al research compendium on the impact of the arts in education. (\nster4 Anne Bamford: WaEmann Derlag 6mb5. p.K2. B< See http4::csmp.ucop.edu:tcap: B; OEC2. $2))<- Education at a Dlance% 'EC@ Cndicators 00/. ,aris4 OEC2. BB Council of Europe: E=/ Carts. $2))B- Compendium of Cultural &olicies and Trends in Europe. )th Ed. Strasbourg4 Council of Europe.

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;ap ,et(een policy and practice There is a considerable disparit" bet0een 0hat is mandated in a countr" and 0hat the student actuall" recei es at a practical le el. /n the USA* for eEample* the PNo Child +eft Behind ActH $2))2- lists arts education as a core academic sub8ect* ho0e er* in man" US States children recei e no formal arts education. /n the European Union* arts education features on countr" polic" reFuirements* "et the s"stem 0ith 0hich go ernments approach arts and cultural education follo0s no dominant model. /n some countries* the teaching methods of arts and creati e practices abide follo0 standard national assessment criteria and* in others* teachers ha e greater freedom and fleEibilit" in the method of teaching. Arts Education in the general curriculu* The e idence of arts and cultural sub8ects in the national curriculum is particularl" e ident in European countries. (ost European curricula reflect a strong presence of arts education at primar" le el "et at secondar" le el* arts education eEists on the peripher". /n most cases* compulsor" arts sub8ects disappear completel" from the curriculum after the earl" "ears of secondar" educationB%. /n comparing the a ailable statistics and research* it is 0orth noting the ar"ing definitions of arts and cultural education and their incorporation in to the curriculum in a cross&disciplinar" approach. Aor instance* it 0as noted that in Ainland there is a er" high number of hours de oted to arts education but 0ithin the Ainnish curriculum areas of arts and cultural education* such as theatre and dance* are often integrated into other sub8ects* such as mother tongue and ph"sical education classesB>. This inter&disciplinar" approach can also be seen in countries such as the Netherlands* 0here the integration of culture into the curriculum is an important ob8ecti e. Culture is taught 0ithin an inter&disciplinar" frame0or1 of histor"* geograph"* economics and language. Other countries ha e used performance&based arts practices* such as drama* in the classroom as an effecti e tool in language learning. /n Arance* Belgium and the U7* ma8or programmes ha e been introduced to increase the le el of culture in education. Arts Education as an extra0curricula activity /n Ainland* Arance* 6erman"* 6reece and Estonia* eEtra&curricular arts education pla"s a ma8or role in the arts education of children and adolescents. /n Europe and North America* there is a 0ide selection of eEtra&curricular programmes that are a ailable to students 0ho ha e a special interest in the arts and are able to pa" for eEtra tuition. And there are eEisting programmes that offer under&pri ileged children the opportunit" to 0or1 0ith professional artists. Aor the ma8orit" of primar" students* 0ho are neither from pri ileged or under&pri ileged bac1grounds* the le el of arts education that the" recei e is solel" dependent on their primar" school teacher. )artnerships0 professional artists Artists are eEperimenting 0ith ne0 ideas* ne0 materials and ne0 modes of eEpression. Although programmes in ol ing professional artists in the classroom ha e pro en to be highl" beneficial* in general* professional artists remain an untapped resource in arts education. The contact of the professional artist pro ides students 0ith an opportunit" to eEperiment 0ith concepts and materials* taught in an alternati e method and from a different point of ie0 from their teacher. Children are pro ided 0ith the support to access and encourage their creati it"* and to de elop ideas and possibilit". 5a ing a professional artist in the classroom is also re0arding for gifted or especiall" interested pupilsBK. The introduction of professional artists has also pro en to be beneficial to teachers* 0ho perhaps lac1 the degree of specialised 1no0ledge. The Netherlands*
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=obinson* 7. $2))2- A ?ust or a%?use% Conference +esults. Arts and Culture in Education: &olicy and &ractice in EuropeB Utrecht4 Cultuurnet0er1 Nederland. p.;B&;'. B> Bamford* A. $2))%-. The #ow 7actorB Dlo(al research compendium on the impact of the arts in education. (\nster4 Anne Bamford: WaEmann Derlag 6mb5. p.>). BK Aischl* A and ,lan1* A. PShort Contribution to the compounds of Teacher Training.H presentation at the +egional preparatory conference Synergies (etween arts and education for the World Conference on Arts Education* K&!! September 2))B in Dilnius* +ithuania.

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U7 and USA ha e reported that long&term partnerships bet0een teachers and artists ha e pro ided eEcellent models for professional de elopment. /n 2))!* the Arench (inistr" of Education implemented a long&range plan for the de elopment of arts and culture in schools. Central to the reform 0as the ob8ecti e of bringing children into contact 0ith artists and 0or1s of art b" ha ing the artists participate in the educational pro8ect inside the schools. The Artsmar5 programme* a U.7. initiati e* pro ides and de elops Fualit" arts opportunities for "oung people and their teachers* and also recognises Fualit" arts practice in schools. IC6 in arts education The current 1no0ledge&based societ" uses technolog" in a range of areas of the artsG in design* architecture* photograph"* film and music. /mages are being made a ailable and shared in 0a"s that 0ere pre iousl" impossible. And ne0 technologies are continuing to be de eloped in order to support and further the future creation* de elopment and realisation of ideas. /n the Europe and North American region* there is e idence of the integration of /CT in the school curriculum* but this often doesnHt eEtend to arts education sub8ects. What is e ident is that arts education is pro ing aluable in the method of teaching /CT* but there is little proof that /CT is being incorporated into arts practice. A substantial e idence base 0as gathered in the U7 to pro ide case studies of the impact of /CT in arts education. The research 0as compiled based on a re ie0 of current and recent literature* sur e" data and case stud" school isits made to schools in Aebruar" and (arch 2))<. The results of the stud" indicated little integration of /CT into art and design education in schoolsB'. /n some schools* /CT is still ie0ed as a means of de eloping office&based s1ills and* therefore* man" art and design teachers donHt see the use of /CT as rele ant to their sub8ect area. Teachers are not familiar 0ith ne0 creati e practices using ne0 technologies and* conseFuentl"* students are see1ing eEtra&curricular training or independent learning. Although man" schools 0ould li1e to 0or1 0ith media* the" often lac1 the eFuipment and 1no0&ho0. With the media pro ing to be one of the most po0erful tools of the modern age* there is a need for more eFuipment and 1no0&ho0. )luralis*< diversity and *ulti0cultural a(areness ,reser ing and promoting cultural di ersit" are among the European Communit"Hs founding principles%). Culture* customs* beliefs and language are 1e" elements of this di ersit". /n addition to the 2) official languages of the EU* there are at least %) languages spo1en b" migrant communities. +inguistic di ersit" one of the EUHs operating principles. /t is* therefore* imperati e to allo0 for an arts education that is countr" and culturall" specific* allo0ing for fleEibilit" in pedagog" that can cater to the arious cultural traditions and alues of the communities of the countr". A particular eEample that illustrates the importance of accounting for cultural di ersit" in the learning en ironment is the case of the local school in the suburb of 58ulsta in Stoc1holm* S0eden. The school reflects a district population that consists of KBJ immigrants 0ho spea1 almost !)) different languages. The multi&cultural school population has forced the school to eEplore complementar" components for their curriculum that include possibilities be"ond the spo1en and 0ritten 0ord* for eEample in drama* isual arts* handicrafts* music and dance %!. Arts education has an important role to pla" in an increasingl" multicultural en ironment* one that further demands a cultural competence in the a0areness of erbal and non& erbal language. /n S0eden* life&long learning has ta1en the forefront of the political and educational agenda %2. Ne0
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2a ies et al. $2))<- Eeys to Cmagination : CCT in Art Education. +ondon4 Arts Council England. Official Cournal of the European Communities. $2))2-Consolidated "ersion of the Treaty esta(lishing the European Community* Article !B!* Title ]//4 Culture. C <2B of 2;:!2:2))2. %! Cutuurnet0er1 Nederland. $2))!- A ?ust or a%?use Conference +esults. Arts and Culture in Education: &olicy and &ractice in EuropeB =otterdam* the Netherlands* 2%&2' September 2))!. Utrecht4 Cultuurnet0er1 Nederland. p.>B. %2 Wi1land* Ulla.PCulture and Aesthetics in Social /mpro ementH* =egional ,reparator" Conference Synergies (etween Arts and Education for the World Conference on Arts Education* K&!! September 2))B* Dilnius* +ithuania

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media and ne0 languages ha e been introduced* 0hich ha e pro ed beneficial for children and "oung people 0ith speech difficulties. The school management has also gi en a lot of support to in&ser ice teacher training. At the =egional ,reparator" Conference* it 0as highlighted that the Aboriginal people ie0 life from a holistic point of ie0* 0here e er"thing is connected and nothing is isolated %<. Arts education is communall" lin1ed 0ith their culture and 0a" of life. The arts are integrated into the essence of ritual* stor"telling* beliefs* spiritualit" and their relationships 0ith one another and the en ironment. /n Canada* there is an assimilation of aboriginal arts and creati it" into the teaching curriculum* 0hich see1s to encourage mutual respect and understanding.

d. Arts Education in peripheries

The onset of the /ndustrial =e olution spurred enormous changes in population distribution and greater urbanisation* 0hich established a pattern that continued throughout most of the 2) th Centur". The population of the EU alone is approaching nearl" half a billion inhabitants* most of 0hom li e in urbanised areas. 2ue to the increase in centralised populations* there is an eEpectation for go ernments to centre their attentions on cit" areas 0ith higher population densit". /n the =egional ,reparator" Conference* the process of cultural decentralisation 0as noted as being one of the most urgent problems of +ithuanian cultural polic" implementation. /n +ithuania* the presence of non&go ernment organi3ations $N6Os- has gro0n almost !) times* ho0e er the statistics sho0 that onl" a Fuarter of them are successful %;. /n peripher" communities there is a greater need for collaboration and s"nthesis bet0een polic" and practice initiati es and increased support to de elop small and medium&si3ed cultural institutions. The Socrates programme 0as put in to practice in +ithuania in 2))) and has had a positi e effect. /n the case of +ithuania* such a programme is a much&needed tool to help foster cultural identit"* eEchange and integration into the European Union. The implementation of the pro8ect has been particularl" beneficial to professional de elopment of +ithuanian teachers* allo0ing them to participate in the eEchange of 1no0ledge 0ithin the EU. The geographical nature of Nor0a"* 0ith its dispersed and decentrali3ed population* is reflected in the structure and implementation of its arts education programmes. /n Nor0a"* '>J of children attend schools o0ned b" municipalities and counties run b" the central go ernment. /t is mandator" for each school to ha e a partnership 0ith some cultural facilit". As part of The Cultural School Bag* a particularl" successful pro8ect too1 place in Dega* in northern Nor0a". Dega is one of fi e municipalities that share a common art school that offers educational programmes in isual arts* animation films* architecture and crosso er pro8ects. The pro8ect in ol ed groups of !< "ear&old children from !> schools participating in a t0o&da" 0or1shop collaboration 0ith professional artists $an animator and a sculptor- to produce small animated films%B.

e. Children 0ith special needs

Aor children 0ith special needs* 0ho donHt respond to the standard educational s"stem* the arts can pro ide a fleEible and stimulating learning en ironment 0here the" can gain further
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(ac7en3ie* Armaud.PSupporting Arts Education for Aboriginal ,eoplesH* =egional ,reparator" Conference Synergies (etween Arts and Education for the World Conference on Arts Education* K&!! September 2))B* Dilnius* +ithuania. %; Brasis1is* +.PActualities of Cultural Action and Arts Education and its importance in +ithuanian ,eripheriesH. =egional ,reparator" Conference Synergies (etween Arts and Education for the World Conference on Arts Education* K&!! September 2))B in Dilnius* +ithuania. %B =ief* A.PThe National /nitiati e for ,rofessional Art and Culture in Education in Nor0a"H* =egional preparator" conference Synergies (etween arts and education for the World Conference on Arts Education* K&!! September 2))B in Dilnius* +ithuania.

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confidence and moti ation. The positi e influence of arts education on student moti ation and the o erall learning process ha e been 0idel" ac1no0ledged* for eEample* in the USA* 0here schools that ha e a good arts education programme ha e greater student morale and higher attendance records. Substantial studies in Ainland demonstrate ho0 drama can gi e "oung people different 0a"s to eEpress themsel es. And e idence based on studies conducted in Austria* the Netherlands and Canada affirms the role of art education in the de elopment of self&confidence. The goal of arts education is not to compensate for the poor performance in specific anal"tical or literar" sub8ects* but to encourage and further de elop the Fualities that the child possesses. The arts allo0s for a learning en ironment 0here the students can build confidence and communicate more effecti el"%%. =esearch has sho0n that an a0areness of beats can influence the 0a" that "oung children assimilate speech patterns* 0hich ma"* in turn affect reading and 0riting abilities. =esearchers from the Uni ersit" College of +ondon conclude that d"sleEic children 0ere less able to detect beats in sounds 0ith a strong rh"thm* 0hereas children 0ho read 0ell 0ere better able to spot rh"thms%>. Arts education can ma1e a significant contribution to the learning en ironment for children 0ith special needs* and creati e acti it" in the frame0or1 of arts education ensures a lo0&stress climate for sociall" handicapped children to achie e good results. /n the case of the minorit" =oma populations in Europe* there is an increased difficult" in safeguarding a culture that is economicall" and sociall" unstable%K. Often the" donHt recei e an adeFuate le el of primar" education to allo0 them to mo e onto secondar" school. According to the UN2, %'* in Serbia onl" !'J of them ha e completed elementar" school and the" are siE times poorer than the po ert" of the ma8orit" population sur e"ed. /n 5ungar"* there are alternati e programmes of schooling that include their culture* art and language dimensions on the curriculum. The =abindranath Tagore Aoundation School in ^3d* for eEample* pro ides a mainstream educational s"stem as 0ell as pro iding courses that encourage* empo0er and de elop their cultural identit". These programmes ha e pro en to be successful in integrating =oma children in to the mainstream educational s"stem* ho0e er most of these special schools operate as small&scale N6Os and need greater support>).

f. Art Therap" in Arts Education

The arts can pro ide children and "oung people 0ith a means of communication and a safe space in 0hich to eEplore ideas and emotions. Teachers can often learn of the initial signs of the inner turmoil of children and "oung people through their artistic eEpression. The =egional Conference ac1no0ledged that teachers should be eFuipped 0ith the 1no0ledge and a0areness of recognising signs of trauma or beha ioural issues. Art therapies ha e pro en to be highl" beneficial in assisting "oung people to cope 0ith the aftermath of large&scale traumatic situations. The arts pro ide an outlet and a means of communicating 0hat the" canHt articulate.
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,re odni1* (. POutdoor ,ainting Acti ities 0ith (entall" =etarded Children* Nouth and Adults as a Wa" of +earning Disual ArtsH* =egional ,reparator" Conference Synergies Between Arts and Education for the World Conference on Arts Education* K& !! September 2))B* Dilnius* +ithuania. %> ,NAS. Amplitude envelope onsets and development dysle2ia: A new hypothesisB $August %* 2))2- ol.''* no.!%. 000.pnas.org:cgi:doi:!).!)><:pnas.!22<%KB''. %K Benede1* A. PNe0 approaches to arts education in the light of social eFuit"H* =egional ,reparator" Conference* Synergies Between Arts and Education for the World Conference on Arts Education* K& !! September 2))B* Dilnius* +ithuania. %' UN2, $United Nations 2e elopment ,rogrammeme-. $2))B- >uman @evelopment +eport. Ser(ia. UN2, >) UN2,. $2))2- Avoiding the @ependency Trap: A +egional >uman @evelopment +eport Trap. Chapter B 4 Education. UN2,.

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/n recent e ents such as the 2)); tsunami and the traged" in Beslan* =ussia* arts and creati e therapies ha e pro ed particularl" beneficial in the rehabilitation process for the children in ol ed in the tragedies. /n Cul" 2))B* as part of its ongoing rehabilitation efforts for the children of Beslan* UN/CEA created an arts therap" pro8ect that allo0ed some of the older children 0ho 0ere in ol ed in the traged" to use photograph" as a means of eEpressing their stories. The pro8ect began 0ith a 0or1shop 0ith a UN/CEA photographer and resulted in a photograph" eEhibition of !)) photos at a communit" centre in Beslan. UN/CEA said that the pro8ect 0as successful in helping the "oung people approach the disaster from the safet" of being behind the cameraI!.

g. Communit" and Cultural 2e elopment

Aostering a sense of communit" and cultural citi3enship is a 1e" role pla"ed b" arts education. The ma8orit" of countries in the Europe and North American region rate the social and cultural aspects as principle benefits of arts education at primar" school le el. There is a strong connection that eEists bet0een the peaceful eEpression of cultural di ersit" and acti e citi3enship. Net the po0er of culture* 0ith its strong lin1s to alues* creed and beliefs* has the abilit" to both unite and di ide>2. The strength of the arts and their ital lin1 to communit" identit"* tolerance and morale can be full" realised in times of social uphea al* conflict or oppression. /n reaction to the onset of the conflict in Bosnia&5er3ego ina* there 0as a flo0ering of cultural life* particularl" in Sara8e o* that continued throughout the 0ar. 2uring the siege of Sara8e o ><* the 7amerni Theatre BB staged o er K)) performances ranging from theatre and music performances to pra"ers for peace. ,erformances also too1 place in orphanages* destro"ed buildings and shelters* and art eEhibitions such as the #itness of E2istence series displa"ed art 0or1s composed of materials found in the 0ar ra aged buildings and streets. Cultural acti it" ser ed as an important source of strength and of unification. The arts pro ided a positi e tool to unite people in fostering and strengthening multiculturalism and hope. A strong characteristic of the artistic practices and techniFues in North America and Europe fa our social cohesion and peace. Throughout the =egion there are programmes that embod" an a0areness of culture* en ironment and communit"G some eEamples of 0hich 0ere put for0ard at the =egional Conference. (an" eEciting and effecti e eEamples of arts educational practices reflect positi e conteEtualisation. The" foster communit" and en ironmental in ol ement* and promote cultural di ersit" and identit". As part of his presentation at the =egional Conference* Timo Co1ela >; presented a range of eEamples of effecti e practices eEisting in Ainland that foster creati it"* communit"* famil" and en ironment. The programmes bring into pla" the immediate en ironment and communit" and dra0 on the means and resources of the particular en ironment. /t 0as highlighted that the arts ha e an important role in promoting social change* and this element needs to be recognised in the training and teaching of the arts. (ost of the pro8ects are group&based* in ol ing the collaboration of artists* researchers* schools* tourism* art educators* cultural institutions and local communities.
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United Nations Office for the Coordination of 5umanitarian Affairs. $2))B- *nicef >umanitarian &rogrammeme in the North Caucasus !%/0 Novem(er 001. Acti it" =eport no.'2. 000.sdc&ha.ru: >2 Williams* C. PCulture* Creati it" and Citi3enship in CommunitiesH. =egional ,reparator" Conference Synergies Between Arts and Education for the World Conference on Arts Education. K& !! September 2))B* Dilnius* +ithuania. >< The siege of Sara8e o too1 place from April !''2& Aebruar" !''%. See UN Commission of EEperts. $!''2- Study of the (attle and siege of SaraAevo. Ainal =eport4 AnneE D/& part !. >; Timo Co1ela* ,rofessor of Arts Education and Artist* Uni ersit" of +apland* Ainland. P,ro8ect studies as a method to promote s"nergies bet0een arts and other disciplines in art&teacher trainingHB =egional ,reparator" Conference Synergies Between Arts and Education for the World Conference on Arts Education. K& !! September 2))B* Dilnius* +ithuania.

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The programmes ha e been er" successful in strengthening acti e citi3enship* en ironmental a0areness and cultural identit"* respect and responsibilit". One programme in particular* #inter Art 001* in ol ed the co&operation of 2) schools in the +apland area in creating en ironmental and communit" art on the sub8ect of 0inter. The pro8ects 0ere highl" effecti e in promoting team0or1* collaboration 0ith communit" sectors and strengthening the school communit". The effecti eness of the Ainnish practices is due to their rele ance and specificit" to the people* culture and en ironment of that part of the 0orld. The creati e s"nthesis of the ob8ecti e* method and benefits of arts education is 0hat is brought to the foreground.

h. /mpact4 Assessment and E aluation

The measurement of the social* economic and cultural impact of arts education contribute to the recognition of its meaning. 5o0e er* it is a difficult tas1 to map out and measure the benefits of arts education and to Fuantif" Fualitati e data. This cannot be done through statistical models alone and needs to be complemented b" ethnographic methods* inter ie0s* obser ation* narrati e and reflections that are commonl" referred to as thic1 description#. >B (ost countries monitor de elopment using studies and:or reports* 0hile inspections* eEpert meetings* s"mposiums and debates 0ere also sho0n to be common methods. >% 5o0e er* the effects of arts education are commonl" based on anecdotal e idence and are uncorroborated b" empirical facts. 6reater research is needed on the impact of arts rich programmes >> on general education if arts education is to be gi en a higher priorit". A ne0 6erman initiati e* the P7ompeten3nach0eis 7ulturH $Cultural Competenc" =ecord-* has been introduced at a national le el. /t aims to document the effect of eEtra&curricular culture and arts education pro8ects on a studentHs social and cultural de elopment. The diploma doesnHt centre on classif"ing specific le elsG instead* it focuses on competencies in light of impro ing the pupilHs future position in the labour mar1et.>K

2. !eco**endations
Ta1ing into account the deliberations carried out during the sessions of the =egional ,reparator" Conference $Europe* North America- S"nergies bet0een Arts and Education#* 0hich too1 place K& !! September 2))B* Dilnius* +ithuania* in preparation for the World Conference on Arts Education* to be held %& ' (arch* +isbon* ,ortugal. We* participants from 2B countries* namel"G Austria* Belarus* Belgium* Canada* Croatia* C"prus* Estonia* Ainland* Arance* 6erman"* 6reece* 5ungar"* /celand* +at ia* +ithuania* Nor0a"* ,ortugal* =omania* Slo enia* Spain* S0eden* S0it3erland* U1raine* United 7ingdom* USA* ha e agreed that4
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6eert3* C. $!'><- PThic1 2escription4 To0ard an /nterpretati e Theor" of CultureH. The Cnterpretation of Cultures* Ne0 Nor14 Basic Boo1s. >% Cultuurnet0er1 Nederland* Culture and School. A survey of &olicies for Arts And >eritage Education across the European *nionB =eport European Conference* The 5ague* K&!) September 2));* Utrecht4 Cultuurnet0er1 Nederland >> Arts&rich programmeme4 an" educational plan* curriculum* educational practice* model of teaching and learning that in ol es that arts in a significant and substantial 0a" and has a direct impact on the education of children. >K Witte* =.* PAssessment of Cultural Education =esultsH* =egional ,reparator" Conference Synergies (etween Arts and Education for the World Conference on Arts Education* K&!! September 2))B* Dilnius* +ithuania.

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in recognition of engagement 0ith cultural eEpression and creati e acti it" I through fostering the process of learning to 1no0* learning to do* learning to be and learning to li e together& can contribute in profound 0a"s to the competence of human indi iduals to respond throughout life in confident* imaginati e* entrepreneurial* ethical* reflecti e and generous 0a"s to the compleE challenges of the contemporar" 0orldG reaffirming that arts education* through strengthening the creati e* reflecti e and eEpressi e process* reinforces the uniFue Fualities of cultures* encourages adaptabilit"* inno ati e ision and the sharing of 1no0ledge* fosters social and inter&cultural understanding and respect for otherness* and contributes to the economic prosperit" and ph"sical health of societiesG 0e urge the delegates at the World Conference on Arts Education in ,ortugal to consider adopting the follo0ing recommendations for simultaneous action4 to governments: that* since it can be clearl" sho0n that arts education can contribute significantl" to the impro ement of student performance in topics such as literac" and numerac"* as 0ell as pro iding the human and social benefits identified abo e* arts education be gi en a permanent central place in the educational curriculum* funded appropriatel"* and staffed b" teachers of appropriate Fualit" and s1ill* and that partnerships among schools* artists and cultural institutions be integrated into the core educational process* that education authorities should ta1e research into account 0hen ma1ing funding and programme decisions and that ne0 norms of assessment of the impact of arts education be articulatedG that the training and preparation of arts teachers become a ne0 priorit" 0ithin the education s"stem* enabling them to contribute more effecti el" to the process of learning and cultural de elopment* and that sensiti3ation to these issues be part of the training of all teachers and of education actorsG that arts education be made a ailable inside and outside schools to all indi iduals* 0hate er their abilities* needs and social* ph"sical* mental or geographical situationG that* recalling the principles contained in the UNESCO 2eclaration on Cultural 2i ersit"* arts education be pro ided to indigenous peoples* including indigenous children* in a manner appropriate to their cultural methods of teaching and learning* accessible in their o0n languagesG to governments and *NESC': that urgent priorit" be gi en to the need to ad ocate the importance of arts education* in order to generate a better understanding and deeper recognition of the essential contributions made b" arts education to indi iduals and societ"* and that go ernments at e er" le el 8oin forces 0ith educators* artists* N6Os* lobb" groups* members of the business communit"* the labour mo ement and members of ci il societ" to create specific ad ocac" action plans and messagesG that the gro0ing understanding of this importance be translated into the commitment of resources sufficient to translate principles into action* in order to create a greater a0areness of the benefits of arts and creati it" for all and support for the implementation of a ne0 ision for arts and learningG to *NESC': that an international data&base of research on this topic be established to pro ide scientificall" sound e idence of the indi idual and social significance of arts education and creati e in ol ement* including but not limited to such areas as the de elopment of the integrated human being* social cohesion* conflict resolution* public health and the use of ne0 technologies in creati e eEpression in the schools* and that international net0or1s to facilitate regional cooperation and sharing of best practices in implementing arts education policies be put into actionG that* to reflect the important contributions that arts education can offer to all areas of societ"* UNESCO identif" arts and education as one of its ma8or sectoral cross&cutting strategies* lin1ing it* 0ith appropriate resources* to related areas such as Education for All and Education for Sustainable 2e elopment*

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and further that UNESCO* b" eEample and b" eEhortation* acti el" encourage go ernments and other agencies to facilitate collaboration among ministries* departments* cultural institutions* N6Os and arts professionals* emphasi3ing the need for bottom&up strategies that empo0er and alidate practical* grassroots initiati es.

8. Africa 1. !eco**endations
The follo0ing recommendations are from deliberations ensuing Wor1ing Session ///4 /mplementing Arts Education in Africa* 0hich too1 place at the #orld Conference on Arts Education: Building Creative Capacities for the ! st Century $%&' (arch* 2))%-* +isbon* ,ortugal. =ecommendations for go ernments and political leaders !. ,romote arts education as an integral part of national de elopment policies and de ote substantial financial resources thereto 2. Ensure the training of arts education trainers and teachers and promote acti e* participati e teaching methods <. (a1e arts education compulsor" in all schools and introduce a secondar" teaching diploma in arts education $e.g. bachelorHs degree;. Set up arts education departments in African uni ersities B. Create budget items to facilitate the professional integration of graduates from arts& education institutions %. (a1e use of pri ate institutions to train "oung people in arts education >. Carr" out a sur e" on the arts&education situation in the arious countries in order to determine the ob8ecti es and priorit" actions for national policies =ecommendations to the African Union With reference to the conclusions of the recent Summit of 5eads of State and 6o ernment of the African Union* de oted to Education and Culture $7hartoum* Canuar" 2))%-4 !. ,romote sub&regional and regional cooperation in the field of arts education* especiall" in the frame0or1 of NE,A2* in ie0 of reinforcing regional integration 2. /nclude arts education in the African Cultural Charter adopted b" all member states <. Adopt a regional polic" in terms of arts education for all African countries ;. Stud" 0a"s and means to dra0 up an African arts&education programme based on African alues and traditions =ecommendations to UNESCO With reference to the partnership agreement concluded bet0een the AU and UNESCO after the Summit of African 5eads of State and 6o ernment $7hartoum* Canuar" 2))%-4 !. Support the adoption and proclamation b" UN member states of a 2ecade for Arts Education for All $2))%&2)!%2. =ethin1 the ob8ecti es of the Education&for&all strateg" in order to include arts education <. /n collaboration 0ith the African Union* consolidate support to national institutions that endea our to promote culture and the arts in Africa $e.g. C=AC in Togo* CE+T5O in NigerR-* to arts&education institutions $public or pri ate- as 0ell as to initiati es from ci ilian organisation that aim at consolidating endogenous artistic abilities ;. Together 0ith the African Union and intergo ernmental sub&regional organisations $CE2EAO* SA22EC* CE(ACR-* pro ide support to hold an African =egional Conference on arts education.
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E. Ara, 5tates 1. !eco**endations

As part of the #orld Conference on Arts Education: Building Creative Capacities for the ! st Century $%&' (arch* 2))%-* +isbon* ,ortugal* a Wor1ing Session 0as held to discuss Arts Education in the Arab States. The participants of the restricted meeting discussed and corroborated the eEisting =ecommendations of the World Conference on Arts Education* and added the follo0ing considerations4 !. Ac1no0ledge the essential needs of "oung people to ha e a space for artistic acti ities* such as communit"&cultural centres and art museumsG 2. Establish cultural centers and other Arts Education spaces and facilities for "outh* if the" do not alread" eEistG <. =ecogni3e the de elopment of information and communication technologies $/CT- in all areas of societies and economies* and the potential the" represent for enhancing Arts EducationG ;. Encourage and promote the de elopment of arts practices through digital media.

II.
Africa

#ational !eports

A. I*ple*enting Arts Education )rogra**es in Africa< the role of *useu*s9%

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TeEt based on a stud" entitled ,atrimoine culturel et Tducation artistiFue au ser ice de lHTpanouissement des 8eunes dTfa orisTs. Un pro8et rTgional de formation de formateurs _ lHTducation artistiFue et dHateliers _ lHintention des 8eunes dTfa orisTs au (ali $Cultural heritage and arts education to help underpri ileged "outh fulfil their potential. A regional training pro8ect for arts education trainers and 0or1shops for underpri ileged "outh in (ali#-* carried out b" Samuel S/2/BE* 2irector of the (usTe National du (ali* on reFuest from UNESCO. Original ersion in Arench

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The eEperiences gained b" museums in Africa and* in particular* the national one o er the past 2) "ears in the carr"ing out of their acti ities aimed at a "oung audience* sho0 that a merel" cogniti e approach is not sufficient to transmit an interest in cultural heritage. The appreciation of 0or1s that form part of heritage is also lin1ed to the emotions the" e o1e for the "oung isitor. Arts education* in that it de elops the childHs sensiti it"* enables him or her* through a personal creati e eEperience* to understand a 0or1 in its aspects of form $aesthetic and emotional- and techniFue* as 0ell as itHs meaning. This approach is crucial to enable "oung people* particularl" those from an underpri ileged bac1ground* to retrie e the lin1 0ith their traditional cultural en ironment from 0hich the" ha e often been disconnected. =e&creating or reinforcing this lin1 is essential to their mental and ps"chological balance and social integration. B" opening up the mind and critical abilit"* arts education also enables the "oung person to become part of the contemporar" 0orld. On the other hand* in our current conteEt of globali3ation* arts education based on cultural heritage and contemporar" artistic creation can help enhance local cultural productionsH alue in the e"es of the "oung* fa ouring a 1ind of creati it" that is rooted in the local cultural en ironment and sustains cultural di ersit". 2ue to the absence of arts&education programmes in schools and the gro0ing number of children that find themsel es marginali3ed in African to0ns* museums ha e an important role to pla"* for instance* in setting up pilot arts&education 0or1shops for underpri ileged children* using their collections and archi es as teaching aids. These 0or1shops* set up in close collaboration 0ith teachers* 0ill be aimed at !2&!% "ear&olds $corresponding to secondar" school-* in particular those from an underpri ileged bac1grounds. The" 0ill be run b" the museumHs educational staff in collaboration 0ith artists $contemporar" as 0ell as traditional- and N6Os 0or1ing 0ith marginali3ed children. Considering the need to pro ide 0or1shop leaders 0ith the appropriate teaching tools* these 0or1shops 0ill be preceded b" training. The training 0ill ha e a regional character and 0ill result in the dra0ing up of a good&practices handboo1. (useums and other cultural bodies that ha e educational programmes for "oung people 0ill be in ited to participate in the training. Wor1shop !4 Disual Arts This 0or1shop 0ill ma1e use of arious media such as sculpture* potter"* painting* photograph" and teEtile d"eing. +arge statue* terracotta and teEtile collections 0ill ser e as teaching aids. Wor1shop 24 (a1ing /nstruments and ,la"ing (usic Teaching aid4 a large collection of musical instruments and uniFue ideo teEt and sound archi es on (alian music.

1. I*ple*entation
Both the training and the 0or1shops 0ill ta1e place in the museum 0hich* 0ith its collections and archi es* offers the best possible immersion en ironment for children. The training* as 0ell as the 0or1shop programme and their methodological approach* is to be defined in more detail. 5o0e er* challenges to be met include the dra0ing up of a formal collaboration protocol bet0een the museum on the one hand* and the formal educational bod" and N6O concerned 0ith underpri ileged children on the other hand. This 0ill ensure the iabilit" of the 0or1shops and their impact on the childrenHs de elopment. ,arentsH in ol ement 0ill also be decisi e in this partnership.

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/f a partnership cannot be established 0ith the formal school* the 0or1shops 0ill be directed at children eEperiencing academic failure $0hose numbers are increasing-* in the conteEt of a partnership 0ith N6Os and parents.

2. Wor+shop 3,=ectives
6eneral ob8ecti es4 !.Contributing to "oung peopleHs intellectual and artistic fulfilment. 2.Enhancing the alue of the cultural heritage and promoting cultural di ersit". Specific ob8ecti es4 !.Training educators and artists to teach art practices. 2.,romoting access to the arts for se erel" underpri ileged children. EEpected =esults !.Wor1shop leaders and artists are trained in the teaching methods of art practices. 2.A teaching handboo1 of good practices in arts education is dra0n up. <.A large number of children from underpri ileged bac1grounds open up to an understanding of their cultural en ironment. =esult /ndicators !.A large number of 0or1shop leaders and teachers are trained. 2.The good&practices handboo1 is a ailable. <.A number of underpri ileged children ha e participated in the 0or1shops.

2. Evaluation
E aluation 0ill ta1e place in t0o respectsG a Fuantitati e and a Fualitati e e aluation. The Fuantitati e e aluation 0ill pertain to the number of 0or1shop participants* their regular attendance of sessions* and the degree to 0hich the pre&established olume and programme 0ere respected. The Fualitati e e aluation 0ill concern4 a. the impact of the educational acti it" on the childrenHs social* cultural and economic beha iour4 do the children ha e a different $more interested- ie0 of heritage ob8ects* of their cultural en ironment in generalM Are the" able to tal1 about it more easil"M 5as the 0or1shop de eloped their imaginationM Etc. b.the Fualit" of the partnership established bet0een the arious partners4 did the arious partners reall" percei e the importance of arts educationM 5o0 in ol ed 0ere the"M 2id the" monitor the childrenHs de elopmentM Etc.

$. Conclusion
,rogrammes of this t"pe could contribute to a better understanding among the "outh of the importance of historical* cultural past and present 0ithin culture and national arts in building peace* tolerance* creati e identities and contemporar" African societies.

B. ;eneral structure of the Art Education Curriculu* in 3*an >?ine Arts and Crafts@A7 1. 6he ;eneral )ostulate of constructing the curriculu*
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=esearch conducted b" 2r. (ohammed Al&Amri* College of Education* Curriculum and /nstruction 2epartment* Sultana ?aboos Uni ersit"* Oman* 2))!. Original ersion in English

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a. Omani en ironment and a ailabilit" of artistic materials

Art Education should contribute to de eloping the learnerXs abilit" to appreciate aesthetics and the artistic alues of Omani nature and its different en ironments. This di ersit" is e idence of the greatness of the creator and his abilit". Artistic eEpression should reflect this b" using different st"les and b" utili3ing materials a ailable in the local en ironment* such as cla"s* palm lea es or branches of trees* etc. and implementing them in an ideal 0a".

b. The /mmortalit" of Omani heritage and its glorious histor"

Art Education should acFuaint the learner 0ith the artistic culture and an a0areness of the artistic elements and principles of Omani heritage. /n addition* Art Education should include an understanding of the histor" of different arts* ci ilisations* and modern and traditional art mo ements.

c. Omani societ" and Art Education

Art Education should contribute to connecting the learner 0ith his:her societ" and b" reinforcing his:her national consciousness. This should include areas such as the econom"* social structure and the general nature of Omani societ". Therefore* the Art Education curriculum should be totall" embedded in societ". /t should contribute to the de elopment and formation of Omani man and lin1 him:her 0ith practical life and production.

d. Art Education and other different school curriculum

Art Education should be regarded as part of the school curriculum and should be part of an integrated curriculum* 0hich should include a theoretical and practical side such as dra0ing* painting* printma1ing and 0ea ing.

2. 6he ?oundations'Basis of constructing the Art Education curriculu*

a. ,hilosophical Basis
Art Education is an educational discipline* 0hich should help de elop Omani man in a complementar" and balanced 0a". /t should contribute to forming the alues and artistic attitudes of the learner. /t should gi e the learner a 0ide ision about his:her en ironment and de elop practical s1ills during the stud" of the different artistic st"les and the stud" of his:her histor". /t should also strengthen his:her association 0ith the 6ulf societ"* Arabic nation and his:her /slamic religion.

b. Social Basis
Art Education should help the learner de elop beha ioural traits* 0hich 0ill help him:her contribute to preser e the en ironment and in tr"ing to ma1e it beautiful. /t should utili3e local en ironmental materials in creating different art0or1s and gi e the opportunit" for learners to 0or1 indi iduall" as 0ell as in groups. /n addition* it should help students de elop artistic abilities* such as obser ation* common sense* master"* s1ilfulness and the abilit" to finish 0or1 on time.

c. ,s"chological Basis
Art Education should consider the indi idual differences among learners and the characteristics of their ps"chological de elopment. /t should gi e them an opportunit" to 8udge art0or1s and encourage them to eEchange their opinions and respect each othersX opinions. /n addition* it should respect the learnerXs artistic st"le and respect his or her artistic abilit".

d. Cogniti e Basis
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Art Education should contribute to eEpanding the learnerHs information and 1no0ledge* 0hich is related to his:her artistic culture and age. /t should help de elop a higher order of thin1ing. This should include both cultural and theoretical considerations* 0hich are related to different art disciplines and lin1 concepts and attitudes 0ith other school curriculum $(inistr" of Education* 2)))-.

2. 6he general ai*s for the Art Curriculu* in Basic Education

The general aims of the Art Education curriculum 0ere de eloped from these postulates. The general aims for art curriculum in Basic Education are4 !.To identif" the aesthetics and artistic alues in the components of Omani en ironment and traditional handcrafts* and 0or1 to de elop them through creati e ideas according to studentsX abilities and their le el of intellectual maturit". 2.To recogni3e the importance of materials in the en ironment and their relation 0ith st"les of implementation in art and 0or1 in an economical 0a" to0ard the consumption of rationalisation. <.To recognise the tools needed to produce art0or1s and 0or1 to0ards 1eeping and preser ing them. ;.To de elop the studentsX abilities for artistic appreciation of the aesthetic alues of Omani art and to foster creati e de elopment of such art. B.To impro e the artistic* and appreciati e abilities of the students in such a 0a" as to help them eEpress their realit" and future isuali3ations. %.To help students de elop s1ills to eEpress opinions and 8udge art0or1s. >.To help students acFuire the s1ill of obser ation* the abilit" to finish 0or1 appropriatel" and the abilit" of master". K.To foster cooperati e learning through the use of group 0or1 in producing different art0or1s. '.To de elop studentsX abilities in terms of their needs* interests and artistic readiness. !). To form plastic and artistic attitudes deri ed from Omani artistic heritage* /slamic and Arabic Arts through isiting museums and places of antiFuit". !!. To foster the de elopment of studentsX abilities and increase their le el of artistic s1ill. !2. To appreciate the alues of different 1inds of art0or1s and respect those 0ho created them. !<. To participate in de eloping and beautif"ing the surrounding en ironment* such as school and home. !;. To participate in national and international contests and represent the Sultanate in 6ulf* Arab* 6lobal contests. !B. To help students form attitudes around contemporar" issues and concepts and to help them eEpress these isuall" through different artistic topics. !%. To help students use their leisure times in producing ad antageous art0or1s. K! Appendix& Buseu*s in 3*an 3*an Buseu*& Was opened under the auspices of 5is (a8est" Sultan ?aboos bin Said on !> No ember !'>;. The museum contains the follo0ing sections4 Ancient 5istor"* (aritime 5istor"* +and O 5uman being* Architecture O Arts and Traditional Weapons. #ational Buseu*& Was opened in !'>K. /t is located in a suburb of (uscat and 0as pre iousl" 1no0n as the (useum of Bait Assa"ed : Nadir bin Aaisal bin Tur1i. /t contains aluable collections of Omani
K!

(inistr" of Education* 2)))* p.' and 2))!* p.!<

;K

heritage treasur" li1e sil er ornaments* copper crafts and samples of 1no0n Omani ships. /n addition* it contains the letter* dated bac1 to the Kth Centur" 5i8ri* sent b" the ,rophet (ohammed $ ,eace be upon him - to the rulers of Oman AXbd and Caifer Sons of Al Culanda* in iting the people of Oman to /slam. There is a special section in the museum for the belongings of Al Busaidi d"nast"* rulers of Lan3ibar. 3*ani 0 ?rench Buseu*& Was the residence of the Arench Consul in (uscat* 1no0n as Bait Aaransa. /t 0as presented as a gift b" the Sultan Assa"ed : Aaisal bin Tur1i to the first Arench Consul in (uscat in !K'%. /t 0as opened on 2' Canuar" !''2 under the auspices of 5is (a8est" Sultan ?aboos bin Said and the late Arench ,resident Arancois (etran. The museum contains historical documents* pictures and samples of Omani & Arench ships in addition to Omani and Arench costumes O 8e0eller". #ational Cistory Buseu*& Was opened on 2) 2ecember !'KB. /t contains the follo0ing four sections4 Oman the countr" of di ersified ph"sical features* Oman through geological ages* 2i ersified Wildlife of Oman* Wale O Sea Creatures 5all. /n addition to these* the museum contains four other sections for preser ation and archi e purposes. ChildrenDs Buseu*& Was opened on !; No ember !'') as a gift from 5is (a8est" Sultan ?aboos bin Said to Omani children. /n this museum children can learn* through $hands on- eEperience* basic scientific eEperiments and principles. /t contains se eral inno ati e ideas to eEplore these scientific methods for the children. 5ohar ?ort Buseu*& Was opened in Aebruar" !''<. /t consists of the follo0ing siE sections4 ,ri ate facilities* EEhibits of the ancient copper trade in Sohar* Tomb of the late Sa""ed : Thu0aini bin Said Al Busaidi $!K%%-* An underground passage directing 0est to the eEit* EEhibits of the importance of Sohar and its histor" of na igation and o erseas trade 0ith Canton in China* Archaeological e idences of Sohar and the e ents 0itnessed b" the cit". Bait al Eu,air Buseu* >1%AA@& /s OmanXs ne0est museum and has a ast collection of ancient household eFuipment* costumes and 0eapons. (ost of the eEhibits ha e come from the o0nerXs pri ate collection. Outside* there is a fala8 running through a full&scale Omani illage and sou1. Bait BuFna ;allery >2777@& Nestled in the heart of this spar1ling clean cit"* the Bait (u3na 6aller" also has its o0n uniFue histor". Originall" the home of a member of the Oman =o"al Aamil"* this traditionall" designed house 0as reno ated for use as an art galler" in !'''* opening its doors in Canuar" 2))). This reno ation came about through the ision and dedication of the American&born 0ife of a nephe0 of the original o0ner* Sa""ida (u3na bint Nadir. Art is the soul of a culture and the 6aller" recogni3es that contemporar" art is an essential indicator of the state and progress of a societ". As Oman continues to de elop and open up to international business and tourism* Omani art and artists are set to benefit from this increased eEposure. A main goal of Bait (u3na 6aller" is to pro ide an accessible and 0elcoming enue to sho0case these talents. Cooperation 0ith the Omani Aine Arts Societ" has helped in ma1ing this possible.

III. International report

Boving ?or(ard on Arts and Education

;'

Recommendations for implementation of Arts Education programmesK2 Bac+ground

The follo0ing statements are pertinent to Arts Education issues4

The Uni ersal 2eclaration of 5uman =ights4

& Article 2% Education shall be directed to the full de elopment of the human personalit" and to the strengthening of respect for human rights and fundamental freedoms. /t shall promote understanding* tolerance and friendship among all nations* racial or religious groups* and shall further the acti ities of the United Nations for the maintenance of peace. & Article 2> E er"one has the right freel" to participate in the cultural life of the communit"* to en8o" the arts and to share in scientific ad ancement and its benefits.

The Con ention on the =ights of the Child4

& Article 2' The education of the child shall be directed to R$a- The de elopment of the childXs personalit"* talents and mental and ph"sical abilities to their fullest potentialR & Article <! State parties shall respect and promote the right of the child to participate full" in cultural and artistic life and shall encourage the pro ision of appropriate and eFual opportunities for cultural* artistic* recreational and leisure acti it".H

A. !eco**endations for I*ple*entation of Arts Education )rogra**es 1. ;eneral )rinciple

Current state of arts and education polic" 0orld0ide4 The arts are 0idel" recogni3ed as an essential part of most national education and social policies. A significant bod" of national and international research eEists that highlights the positi e impact of participation in arts in education on all participants including the students* artists* arts organi3ations* schools and 0ider communit". The greatest and most urgent need is to significantl" impro e the implementation of polic" into effecti e practice. The e ol ing technologies and di ersit" of cultures being embraced b" the neEt generation are creating demands and opportunities that current arts and education structures are unli1el" to be able to meet. The arts should be part of the s"stemic and long&term changes reFuired of education structures and programmes. Artists and arts organi3ations pla" an in aluable role in formal* non formal and informal education in rich and di erse 0a"s.
K2

(ain conclusions from ?oving 7orward on Arts and Education* the Arts and Education (ini&Summit* 0hich 0as con ened b" the Australia Council and the /nternational Aederation of Arts Councils and Culture Agencies $/AACCA- 0ith the assistance of Arts Dictoria in (elbourne* Australia* !!&!2 September 2))B. Original ersion in English c.f4 Complete report and anneEes at 000.unesco.org:culture:lea

B)

 ArtistsH engagement 0ith schools forms a significant part of contemporar"* arts practice* pro iding a fertile conteEt for inno ation and enrichment of artistsH practice and art form. 5igh Fualit" education* not onl" in the arts. =ecogni3ing that education as a life&long process* from earl" childhood through to late adulthood.

6ood Fualit" arts education is an essential component of holistic education $formal and informal- since it4
enhances self esteem* a sense of identit"* unit" and di ersit" impro es the abilit" to handle change in a d"namic societ" encourages an appreciation and understanding of heritage enables the creation of future heritage* design and production increases indi idualsH potential to ma1e a li ing* be more creati e in the 0or1place and impro e achie ements in other spheres of life encourages freedom of eEpression and enriches the childHs creati e and imaginati e self impro es linguistic s1ills and stimulates social responsibilit" and spiritual gro0th.

2. Areas for action

Aour 1e" areas reFuiring action b" go ernments to impro e the implementation of arts and
education policies in order to eFuip "oung people for the 2!st Centur"4

a. /dentif"ing persuasi e arguments

There is a need to collate* anal"se and share findings from eEisting national and international research in ma1ing the case for arts in education and to a oid duplication in research effort. This material can pro ide the basis for ad ocating the alue and effecti eness of comprehensi e arts in education eEperience. /n ad ocating for impro ements to arts education 0e must stri e to4 brea1 do0n the di ide bet0een polic"* practice and research and facilitate communications bet0een polic" ma1ers and those 0ho implement polic" tell e ocati e and inspiring stories* using language appropriate to the audience and 1eeping messages simple and clear use the arts as a means of telling success stories and deli ering 1e" messages focus on presenting arts&based solutions rather than identif"ing problems ta1e a bipartisan* not part" political* approach challenge ideologies in politicians and polic" ma1ers b" describing the arts in a personal 0a" in ol e polic"ma1ers in arts education eEperiences to help them understand the po0er of the arts identif" heads of state that could become arts education champions ensure that practice informs research and both practice and research inform polic".

b. Enhancing the training and de elopment of artists and educators

B!

The nature of teaching and learning in the arts is open&ended* iterati e and e ol ing and not necessaril" content&dri en. There is a need for4 pre&ser ice and ongoing in&ser ice teacher training that assists teachers in understanding the e ol ing nature of the arts and does not focus on preconcei ed outcomes recognition and promotion of teachers as learners alongside students in the arts and ac1no0ledgment that students ma" 1no0 as much as or more than the teacher* especiall" in relation to ne0 technologies the de elopment and promotion of principles to guide school administrations in supporting the abo e more opportunities for professional de elopment for teachers* artists and arts organi3ations and for sharing eEpertise and learning. The arts and teaching professions must be alued for their integral role in societ" and the communit". There is a need to4 reconsider teacher 0or1loads to enable increased participation in the arts promote the means to support teachers as arts practitioners ac1no0ledge the arts as a means of rein igorating and moti ating teachers and thereb" impro e retention rates identif" career paths for artists in educational conteEts* e.g. b" redressing ineFualities bet0een education officers and curators in galleries. pro ide appropriate resources and incenti es for artists and arts organi3ations 0or1ing in formal and non&formal education settings to impro e the Fualit" of arts practice. The aesthetics of the arts are alid and rele ant in all areas of contemporar" education and therefore an important aspect of teacher training. There is a need to4 be eEplicit about the characteristics of Fualit" teaching* particularl" in the arts* and to conduct more research as reFuired ac1no0ledge the aesthetic dimension of effecti e teaching in an" area promote arts pedagogies in general teacher training engage artists in teacher training to de elop learning tools e.g. the use of drama s1ills b" teachers* effecti e use of the pause etc. ensure teachers ha e access to high Fualit" arts and artists as part of heir training and induction promote post graduate stud" in the arts to teachers of all sub8ects incorporate internships in arts partnership programmes into pre&ser ice teacher training pro ide educational and pedagogical training for artists eEplore different strategies reFuired to engage the full range of people in ol ed in education:learning e.g. parents* principals:administrators* communit" members* cultural institutions and organi3ations. 6i en the 0idespread focus on the issues of Fualit" teacher retention and of teacher registration* the area of aesthetics should be increasingl" important for educational polic"ma1ers.

c. =efining methods of accountabilit"

Accountabilit" is a critical component of an" Fualit" arts education programme. Accountabilit" can be enhanced b"4 ensuring it is more effecti e ma1ing it more holistic aiming to dri e learning not obstruct learning

B2

An alternati e paradigm for accountabilit" is reFuired I a ne0 culture 0ith four dimensions4 e idence and reflection* participation and presentation. Evidence adopting a resolute focus on practice 0hen gathering e idence ensuring an inclusi e notion of researchers such that all sta1eholders are considered researchers* including teachers* students* parents and administrators ac1no0ledging that gathering e idence is part of lifelong learning so there is an emphasis on process

+eflection

gathering e idence should inculcate a spirit of self&refleEi it" or reflection* thereb" building anal"tical s1ills

&articipation conducting research both erticall" and hori3ontall"* and 0here appropriate* re ersing the con entional hierarch" and enabling children to research their teachers `using peer to peer research* 0ith students trained as researchers to incorporate the ie0s of "oung people ma1ing research and polic" de elopment much more participator" b" including children and "oung people in decision&ma1ing &resentation 0hen presenting findings* using manageable and efficient methods that can be used in education as a 0hole* not onl" in education and the arts ac1no0ledging that 0hat 0e learn from the arts can help in de eloping this ne0 paradigm of accountabilit"* 0hich can be used in an" educational conteEt de eloping manageable and effecti e assessment instruments that can be transferred to all educational conteEts* be"ond the arts 0idel" distributing findings to parents* communities and decision ma1ers

d. /mpro ing collaborations 0ith other 1e" partners

The outcomes described abo e cannot be achie ed 0ithout collaboration and cooperation. Therefore* there is a critical importance for partnerships for Fualit" arts education. There is great alue in sharing information* ideas and resources across sectors* industries* regions and international borders. +ecommended conditions for effective partnerships: Clearl" articulated reasons for and benefits of the collaboration. ,arties need to identif" their needs and ho0 the" anticipate the" be met b" each partner. The needs are easier to identif" on a local le el* particularl" at school and communit" le el. Both intra& and inter&agenc" partnerships are important in order to identif" common directions and common interests 0ithin and bet0een agencies. /t is critical to de elop shared understandings about arts* culture* education and arts education and ho0 each partner can assist each other. The de elopment of a common language bet0een partners* e.g. bet0een bureaucrats and practitioners* bet0een go ernment and non&go ernment. An abilit" to loo1 be"ond the familiar 0hen see1ing partnership opportunities* e.g. to sectors such as 8ustice* social ser ices* festi als* communit" e ents.

B<

 Ac1no0ledgement of the different Fualities brought to partnerships b" different partners I not necessaril" al0a"s financial* but also ser ices* common directions* eEpertise. Ensuring there are shared interests and shared alues. Ta1ing a team approach and offering solutions* not 8ust identif"ing problems. Allo0ing de elopment time I good partnerships are not de eloped instantl". Sustained* long term connections* are considered of a great alue* rather than short term or one&off pro8ects. 2e elopment of s1ills in 0or1ing collaborati el"* from planning* research* implementation* e aluation and allo0ing time for critical reflection b" the partners. An understanding of cultural sensiti ities and protocols and mutual respect bet0een parties. 2e eloping mechanisms to support changeo er of indi iduals 0ithin partnerships to ensure continuit" of s1ills* commitment* etc. Creating opportunities for collecti e learning* mentoring and reciprocal benefits for all parties in the engagement. Allo0ing fleEibilit" around school hours and premises. Establishing clear agreements for corporate sponsorships and partnerships.

B. !eco**endation to G#E5C3
The delegates recommend that UNESCO commission an international case stud" of research that uses students as researchers in di erse conteEts that could then be used b" researchers as a guide for engaging in more participator" and practice&led research. EEamples can be pro ided if reFuired. Such a case stud" could lead to the de elopment of an international net0or1 of student researchers sharing methodologies and building better models of assessment 0ith students:artists:teachers:parents as acti e participants. This 0ould build capacit" for the future and inform lifelong learning and assessment.

B;