ARTWORK

Topic outline

• General
  

  General

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  • Welcome to the artwork platform!
    
    In the platform you will find material and impulses for training artists/cultural workers/adult educators who are interested in working cross the diverse sectors.
    
    We locate this work in the context of socially engaged arts (SEA) practice, which refers to artistic and arts-based participatory approaches aiming to influence and instigate social change through art or artistic processes in collaboration with or within a particular community or, more broadly, society. SEA is a multifaceted field of artistry practised in many contexts and informed by several discourses. 
    
    The platform was incited by the partners of the "Artwork" project, convinced that artists bring and have brought significant impulses to adult education. From the psychology of learning, we know how important the mindset and inner beliefs for people's behavior are and how difficult they are to change. Artistic methods allow the participants to contribute their point of view, but also to open and broaden their horizons. This is just one example of what the involvement of artists in adult education can achieve. 
    

    
    

    Who is this platform for?

    This open platform is aimed to support artists who want to move down the path of working across diverse sectors with socially engaged arts practices, but also organizations in the field of art/culture that want to open up this path to artists and it also offers help for adult educators and their organizations. 

    You are free to use the platform the way you find appropriate for your purposes.

    
    

• OVERVIEW Course Content
  

  OVERVIEW Course Content

  

  COLLABORATIVE LEARNING is the opening section of this platform designed for learning more about opportunities and challenges of collaborative learning and working processes between artists and adult educators.

  Hands-on training for socially engaged arts includes 3 parts with a total of 8 units. The contents have been designed on the basis of the required competence areas in SEA and a Curriculum Guidelines for training artists who want to work in the field of education as well as in the social field. 
  

            Part A) Socially engaged arts practice, fundamentals, and contexts (5 units)

            Part B) Socio-pedagogical, ethical and creative facilitation of socially engaged arts (2 units)

            Part C ) Project leadership, trans-professional collaboration, innovation development and entrepreneurship in SEA (1 unit)

  Aesthetic Diary is a section providing you a Method of Evaluating, Reflecting and Researching

  Resources for socially engaged arts projects and learning about them can be found at the end of this page with links to other materials and a library of references.

  This work is licensed as Open Educational Resource (OER) under a Creative Commons Attribution-ShareAlike 4.0 International License.
  
  

  • This project has been funded with support from the European Commission. This publications reflect the views only of the authors, and the Commission cannot be held responsible for any use which may be made of the information contained therein. This applies to the whole material of the platform.
    

    (This applies to all documents on the platform)

    
    

• COLLABORATIVE LEARNING and working in education, arts, and culture
  This topic
  

  COLLABORATIVE LEARNING and working in education, arts, and culture

  

  In this section, you will learn more about opportunities and challenges of collaborative learning and working processes.
  

  The section contains the following:
  

  • - A manual for collaborative learning and working, addressing artists, cultural practitioners and education staff in adult education and beyond,
  • - A comprehensive report from Denmark, providing a brief review and analysis of the views, reflections and experiences as regards collaborative  working and learning,
  • - A short test to confirm the learning success of this section,
  • - A self-reflection unit to sum up the learning outcomes.

  
  

  
  

  • Education, Arts, and Culture: A Manual for Collaborative Learning and Working Page

    

    On this page, you will find a manual addressing artists / cultural practitioners on the one hand and education staff in adult education and beyond on the other. It is designed to support them in developing mutual activities in education and training for the benefit of different beneficiaries, and to enable them to learn with each other, from each other and about each other's sector. By learning and working collaboratively, the knowledge already present individually shall become known to all parties involved: from distributed knowledge to shared knowledge.
    

  • Collaborative Learning: The Danish Perspective File

    

    
    

    This document describes the ARTWORK interdisciplinary collaborative learning model from the Danish perspective. The report (in English langauge only) provides a brief review and analysis of the views, reflections and experiences, as expressed through an interdisciplinary group discussion and supplementary individual interviews in the Danish context.
    

  • Test: Collaborative Learning and Working Quiz

    The test shall give you the opportunity to reflect on your learning process as regards collaborative learning and working between stakeholders in education, arts and culture. 

  • Self-Reflective Questions Page

    Finally, after finishing the above section, you should be able to answer yourself the self-reflective questions positively.
    

    
    

• TRAINING PART A: Socially engaged arts practice, fundamentals, and contexts
  

  TRAINING PART A: Socially engaged arts practice, fundamentals, and contexts

  

  

  FOCUS AND CONTENT OF PART A
  

  This part should help you understand the field of SEA and position oneself in it, understand the basic concepts and their use, theory on issues related to SEA practices and how to apply them in practice. Emphasis in this part is in the area of contextual competence related to artistic, social and pedagogical areas of competence, with the support of research and development areas of competence. (See Competence areas in SEA). The working mode for this part is theoretical and analytical which can be applied in practice (praktikum). 
  

  For detailed elaborations on the content of Unit A see Curriculum guidelines 
  

  
  Part A is an introduction to SEA which will help you become familiar with the ways and contexts of SEA practice and the related basic concepts and theories. Working through the Unit A1 to A5 you will consider principles of practice as part of a SEA project and the basic skills and competencies of professional SEA practice. This will help you become aware of your artistic core and skills and their potential and interrelation with the social, ethical, and pedagogical practices of SEA. You will also become aware of the relevance of research, development, and entrepreneurship skills and competence in relation to SEA practice and employment.
  
  

  Each of the Part A's five Units consists of a focused videolecture and learning tasks. The tasks will lead you to consider the contents of the lecture and apply them in practice. This includes reflecting and analysing real-life case examples as well as training to design a SEA project and what it entails. A detailed description of content and tasks can be found in the figure below.

  

  For further information on SEA see the curriculum guidelines and competence areas below.

  • Curriculum Guidelines File
  • Competence Areas in SEA File
• Unit A1: Theory meets practice in socially engaged art
  

  Unit A1: Theory meets practice in socially engaged art

  The first LECTURE (25 min) Introduces key theoretical and philosophical views that underpin SEA practices:
  

   - origins of SEA 
   - SEA as an umbrella concept for arts-based projects
  - social, pedagogical, and ethical turning points in contemporary arts
  - the hybrid artist
  - diversity of ideals, goals, possibilities, and features in SEA project designs
  - influential features of SEA projects
   Lecturers: Dr. Eeva Siljamäki and Dr. Kai Lehikoinen from the University of the Arts, Helsinki, Finland
  
  

  TASKS: 
  01) Contributing to a glossary of SEA concepts and practices using researcher skills; 
  02) Analysing key features in a site-specific SEA project; and, 03) Initial ideation of a SEA project.

  Start with reading the Preparatory reading for lecture, which helps you digest the theoretical and philosophical contents of the lecture. The text is from Helguera, P. (2011). Education for Socially Engaged Art: A Materials and Techniques Handbook. Jorge Pinto Books. 

  • Preparatory reading for lecture File
  • Video lecture A1: Theory meets practice in SEA Page
  • Task A1_01 Glossary of SEA practice
  • Task A1_02 Analysing SEA practice - case Urbanauts Page
  • Task A1_03 Designing your initial ideas of a SEA project Page
• Unit A2: Social, ethical and pedagogical artistry
  

  Unit A2: Social, ethical and pedagogical artistry

  The second LECTURE (39 min) addresses the social, pedagogical, and ethical aspects of SEA practice:
  

  -artistic core 
  -social aspects
  -genuine dialogue and participation
  -differences and similarities of SEA and social work / arts education
  -pedagogical approaches: transpedagogy, critical pedagogy, and sociocultural animation
  -ethical principles in SEA practice 
  -ethical conduct
  Lecturers: Dr. Eeva Siljamäki and Dr. Kai Lehikoinen from the University of the Arts, Helsinki, Finland
  
  

  TASKS: 
  01) Analyzing principles of practice in a site-specific SEA case;
  02) Configuring ones’ own key principles of practice for a SEA project; 
  03) Artistic exploration of the principles of practice

  
  

  • Video lecture A2: Social, ethical and pedagogical artistry Page
  • Task A2_01 Principles of practice - case Toinen koti Page
  • Task A2_02 Designing your SEA project: principles of practice Page
  • Task A2_03 Artistic exploration of principles of practice Page
  • Reading for Task A2_01: Lehtonen (2018) Toinen koti.pdf File
• Unit A3: Facilitation of social change
  

  Unit A3: Facilitation of social change

  The third LECTURE (17 min) considers facilitation of social change and what it means from different perspectives:
  

  - facilitation
  - equality, equity and social justice
  - equitable balance of power
  - transformation
  - artistic activism
  

  • Lecturers: Dr. Eeva Siljamäki and Dr. Kai Lehikoinen from the University of the Arts, Helsinki, Finland
    

  TASKS: 
  01) Analyzing a case of SEA and reflecting SEA against or in comparison to artistic freedom;
  02) Designing a SEA project: refining the plan based on what has been learned in the lecture and tasks
  

  • Video lecture A3: Facilitation of social change Page
  • Task A3_01 Artistic activism and artistic freedom Page
  • Task A3_02 Designing a SEA project: refining the plan Page
  • Reading for task A3_02: 10-Questions.pdf File
• Unit A4: Leading socially engaged arts projects
  

  Unit A4: Leading socially engaged arts projects

  The fourth LECTURE (31 min) focuses on devising, organizing, and leading needs-based SEA projects:
  

  - the communities and contexts of SEA practice
  

  • • - why a SEA practitioner needs to understand diversity, specific needs, and challenges entering a new environment as a SEA practitioner
      
  • - multi-professional work and its' possibilities and challenges in SEA practice leadership 
    
  • - impacts of a SEA project
    
  • - online toolkits and resources for SEA projects 
    
  • - the communities and contexts of SEA practice 
  • - why a SEA practitioner needs to understand diversity, specific needs, and challenges entering a new environment as a SEA practitioner
  • - multi-professional work and its' possibilities and challenges in SEA practice 
  • - leadership 
  • - impacts of a SEA project
  • • Lecturers: Dr. Eeva Siljamäki and Dr. Kai Lehikoinen from the University of the Arts, Helsinki, Finland
      

  TASKS: 
  01) Reflecting on multi-professional collaboration and leadership;
  02) Designing an evaluation agenda for a SEA project

  • Video lecture A4: Leading SEA projects Page
  • Task A4_01 Reflecting multi-professional collaboration or leadership Page
  • Task A4_02 Designing your SEA project: evaluation agenda Page
  • Reading for Task A4_02: æffect assessment tools.pdf File
• Unit A5: Professional resilience
  

  Unit A5: Professional resilience

  The fifth LECTURE (15 min) focuses on resilience in SEA professionalism:
  

  • - what resilience is and why it matters in expanded professionalism.
  • - characteristics of resilience, which can be developed and nurtured
  • - questions related to livelihood in creative fields
  • - working ability -> sustainability of one's work
  • - competence areas in SEA practice
    Lecturers: Dr. Eeva Siljamäki and Dr. Kai Lehikoinen from the University of the Arts, Helsinki, Finland

  TASKS: 
  01) Considering measurement and reviewing of resilience in relation to SEA practice;
  02) Considering ones' own competence in relation to SEA and oneself in five-years-of-time

  
  

  • Video lecture A5: Professional resilience Page
  • Task A5_01 Reviewing resilience Page
  • Task A5_02 SEA practitioners competence areas Page
  • Reading for Task A5_02: Brief Resilience Scale (2008).pdf File
• TRAINING PART B: Socio-pedagogical, ethical and creative facilitation of socially engaged arts
  

  TRAINING PART B: Socio-pedagogical, ethical and creative facilitation of socially engaged arts

  
  FOCUS AND CONTENT OF UNIT B

  This unit focuses on practice-based learning in relation to creative and ethical skills in facilitation, facilitation of social processes and collaborative learning. Emphasis is placed upon social, pedagogical and artistic competence with the support of contextual and research competence. (See Competence areas in SEA ). The working mode should be in practical and active training intertwined with research-knowledge.

  For detailed elaborations on the content of Unit B see Curriculum guidelines 
  
• Unit B1: Accompany Group Processes
  

  Unit B1: Accompany Group Processes

  • In order to be able to accompany group processes, you need know-how about group processes and a variety of methods that can be adjusted to the respective situation when working with groups.

    Groups and teams are dynamic systems in which different roles are (continuously) assigned or assumed, positions and rules are clarified and conflicts are dealt with. Tuckman characterised five iterative group phases: forming, norming, storming, performing and adjourning.

    The following keywords express thoughts, methods and further hints for accompanying groups in different phases.

    The overall goal is to enable artists to engage in group work and to impart the necessary knowledge and helpful methods.

    (c) Birgit Waltenberger, Montbrun Les Bains
    

  • 01: Trust and Safety (Safe Space) Page
  • 01: Exercises & Methods Page
  • 02: Conflict and Communication Page
  • 02: Exercises & Methods Page
  • 03: Trusting the Process and Open-Ended Page
  • 03: Exercises & Methods Page
  • 04: Open and Curious Page
  • 01 - 04: Bibliography & LINKS Page
  • 04: Exercises & Methods Page
  • 05: Encounter and collaboration Page
  • 05: Methods & Resources Page
  • 06: Critical of Power and Geared towards Equality Page
  • 07: Improvisational and Fun Page
  • 08: Self-organized and Seeking Solutions Page
  • Further Keywords: 

    • Geared toward Lifeworld and Resources
      
    • Self-Determined and Hands-On 
      
    • Reflecting Knowledge Critically
      
    • Experimenting and Unpredictable 

    
    

• Unit B1: Planning Artistic Interventions
  

  Unit B1: Planning Artistic Interventions

  

  Artistic group processes need to be well prepared. 
  

  The material provided in this unit will help you in your preparation.

  
  

  • 01: Target Group Page
  • 02: Situation / Background Page
  • 03: Target Page
  • 04: Project and Process Management Page
  • 05: Resources Page
  • 06: Collaboration / Teamwork Page
  • 07: Artistic Process Page
• TRAINING PART C: Project leadership, transprofessional collaboration, innovation development, and entrepreneurship in Socially Engaged Arts
  

  TRAINING PART C: Project leadership, transprofessional collaboration, innovation development, and entrepreneurship in Socially Engaged Arts

  FOCUS AND CONTENT OF UNIT C
  

  This unit focuses on supporting professionalism, developmental approach and self-employment. Emphasis is placed upon entrepreneurship and development competence area in relation to contextual competence area with the support of research competence area. (See Competence areas in SEA). The  suggested working mode is a competence portfolio, which should be worked on throughout the studies from beginning to end. This includes the planning, refining and evaluation of the personal and individual study and development plan throughout the studies.

  For detailed elaborations on the content of Unit C see Curriculum guidelines  

  
  
• Unit C1: Entrepreneurial Mindset and Project design
  

  Unit C1: Entrepreneurial Mindset and Project design

  

  This ARTWORK UNIT aims to qualify artists, cultural and social workers to design projects from  the collaborative  and entrepreneurial  mindset and perspective of Socially Engaged Art (SEA).

  In total, the unit is made up of the following sections:

  • Section 1): The Entrepreneurial Mindset – what are we talking about
  • Section 2): To design a Project
  • Section 3): The Design Process: Aims and Objectives
  • • Section 4): The Design Process: Target Groups and other Stakeholders                           
    • Section 5): The Design Process: The Methodological Design incl timetable, documentation and evaluation, dissemination  and sustainabily as well as budgeting
    • Section 6): Processing teamwork and collaboration
    • Appendix with literature and links about The Entrepreneurial Mindset and Project Designing

                                 

  
  

  • Section 1) The entrepreneurial mindset – what are we talking about? URL

    - In this section we briefly explore the concept of entrepreneurial mindset itself. We present a number of sources that have given suggestions on how to define and illustrate the very core of the entrepreneurial way of thinking and approach to work and creation.
  • Further read: The entrepreneurial mindset – what are we talking about? File
  • Section 2) To design a project URL

    - In this section - and in the following sections - we are dealing with the practice of designing a project from a step-by-step design methodology through a series of learning sections, we review the topics and questions that all project managers and applicants are recommended to ask themselves in a project design process.
  • Further read: To design a project File
  • Section 3) The design methodology – aims and objectives URL

    - In this section and introductory part of the DESIGN METHODOLOGY, we focus on the formulation of overall aims and concrete objectives. The experience from many project descriptions has shown that the initial work of clarifying the project aims and objectives is often decisive for the further steps in the design process in terms of providing a clear, concise and coherent description. Therefore, it is an important recommendation that you give yourself plenty of time to reflect critically on your aims and objectives.
    
  • Further read: The design methodology – aims and objectives File
  • Section 4) The design methodology – target group and other stakeholders URL

    - In this section of the DESIGN METHODOLOGY, we deal with the part of the project description, which concerns the definition of the project´s TARGET GROUP or possible target groups. This also includes a clarification of OTHER STAKEHOLDERS who are expected to play a important role in the implementation of the project, even if they do not belong to the direct target group.
    

  • Further read: The design methodology – target group and other stakeholders File
  • Section 5) The design methodology – the methodologial design URL

    - In this section, we focus more closely on the selection of the methods - the methodological design - that can best and most accurately support the realization of the project's aims and objectives as well as the achievement of the desired results for the selected target group. Thus, the section deals with the description of the project activities that expectedly can path the way to implementation and bring the aims, objectives and results to life. The description includes:

    •       The choice of relevant and adequate methods and activities

    •       The timetable

    •       The documentation

    •       The budgeting

  • Further read: The design methodology – the methodologial design File
  • Section 6) The design methodology – processing team-work and collaboration URL

    - In this final section of the design methodology, we give an example of how to initiate and facilitate a group work around the development and description of a common project or event design. In this case, we focus on an older methodology, called the Future Workshop, which over several decades has gained popularity within egalitarian contexts, where the participants are equal in a development process.
    

  • Further read: The design methodology – processing team-work and collaboration File
• Unit C1: Design thinking tools for artistic interventions
  

  Unit C1: Design thinking tools for artistic interventions

  This part gives you an overview of the term "artistic interventions" and its application possibilities. Additionally, it combines design thinking tools with the theory of artistic interventions and gives suggestions on which tools to use in different phases of artistic interventions process.

  • Artistic intervention a shift of perspective Page
  • TASK Page
  • Description of the process of artistic interventions Page
  • Design thinking process Page
  • EMPATHIZE Page
  • DEFINE Page
  • IDEATE Page
  • Case study on IDEATE phase File
  • PROTOTYPE Page
  • TEST Page
  • Summary File
• THE AESTHETIC DIARY as a Tool for reflecting on artistic processes
  

  THE AESTHETIC DIARY as a Tool for reflecting on artistic processes

  The overall aim of this module is for participants to reflect on artistic processes, to share their experiences, and thus to gain new insights.

   Learning outcome: 

  • Participants reflect on artistic processes using their aesthetic diaries to express their thoughts. 
    
  • Participants share their experiences and reflections to derive further insights for creative processes within (vulnerable) groups 
    

  In creative and artistic projects, an aesthetic diary is an instrument for the visualization of and reflection on aesthetic experiences and informal learning processes. 
  

  Specific questions deduced from the process serve as starting points from which the diaries can be designed and used in versatile and multimedia ways. 

  This is preceded by an introductory discussion of the concept of aesthetic experience. 

  
  

  • Essays Aesthetic Diary Folder

    Description what is meant under the term "aesthetic diary" - available in English and German
  • Aesthetic Experience File

    The two terms aesthetics and aesthetic experience accompany our work with aesthetic diaries. Find a short introduction here. 
    

  • Aesthetic Diary: Introduction File

    A diary can be a tool for many things from recording and documentation to reflection and diary research. The following pages will elaborate on that.

    TASK

    -> Exchange your own experiences with diaries with your colleagues.

    
    

  • Aesthetic Diary: 7 Thesis File

    What can be said about aesthetic diaries? We have established 7 theses. 

    What do you think about them? Would you like to add something? 

    
    

  • Aesthetic Diary: Description of Working Process File

    Working on the aesthetic diary includes several phases described here. First an introductory workshop, then individual work and a final workshop at the end to share one’s experiences with the group.

    
    

  • AESTHETIC DIARIES: EXAMPLES Page

    The following section presents examples of aesthetic diaries
    

  • Video example 1 - Aesthetic Diary working with sounds Page
  • Video example 2 - Aesthetic Diary working with painting Page
  • Video example 3 - Aesthetic Diary Page
• AESTHETIC DIARY- process
  

  AESTHETIC DIARY- process

  This part will show the steps of a process of developping an aesthetic diary. Working on an aesthetic diary is initiated by a guiding question that allows for a specific focus, which is pursued in the diary. Here you can find a comprehensive collection of questions that were formulated by artists during such a process.

  Let yourself be inspired.

  
  

  • 01: Target Group Page
  • 02: Relations – Me and the Target Group Page
  • 03: Artistic Strategies Page
  • 04: Group Processes Page
  • 05: Othering Page
  • 06: Motivation Page
  • 07: Social-Political Impact Page
  • 08: Resources Page
• RESOURCES FOR SOCIALLY ENGAGED ARTS projects and learning about them
  

  RESOURCES FOR SOCIALLY ENGAGED ARTS projects and learning about them

  Here you can find resources for learning more about designing and executing SEA projects. 

  • SEA library Page

    A common library for literature related to SEA and further readings for those interested in the subject. Please, feel free to add your input. Use APA Style (see the examples or Purdure Universitys APA Guide for reference) 
    

  • TIPPS AND TOOLS FOR SEA Page

    Links and resources for executing SEA projects or teaching about/in SEA [updated 12-May-2023]