International Journal of Education Through Art - Volume 17, Issue 3, 2021

It is hard to coherently narrate traumatic memories as they are intensely emotional and fragmented. I created this narrative inquiry in the hope of enacting care and performing mourning for the unexpected death of Seonjeong Yi Lebrun (1983–2017). Seonjeong was a Korean-born art education researcher in Canada whose work exemplified how artistic approaches to narrative evoke empathy and connectivity. Her research spanned arts-based self-study to participatory action research about comfort women (Korean sex slaves for the Imperial Japanese Army during the Second World War). In performing mourning for Seonjeong through examining her research, I endeavour to have my research possibly initiate a new form of arts-based collective care for her, comfort women and those suffering from other forms of trauma.

트라우마에 관한 기억들은 감정적으로 강렬하고 분열되어 있기 때문에 조리있게 내러티브화하기 어렵다. 이선정 (1983–2017) 의 예상치 못한 죽음에서 비롯된 나의 트라우마를 내러티브화하기 위해, 그리고 그녀에 관한 배려와 애도를 시행하고자 하는 소망으로 이 내러티브 연구를 하게 되었다. 선정은 한국에서 태어나 캐나다에서 연구하던 미술교육 학자였으며, 내러티브에 관한 예술적 접근이 어떻게 공감성과 연결성을 증진시키는가에 관한 연구를 하였다. 선정의 연구는 예술기반 자기연구부터 위안부 (일본 제국주의 군사에 착취된 한국인 성노예)에 관한 참여적 실행연구로 다양하였다. 그녀의 연구를 통해 선정에 대한 애도를 표하면서, 나의 연구가 새로운 예술기반 형태의 선정을 위한, 위안부를 위한, 그리고 다른 트라우마에 고통받고 있는 이들을 위한 함께하는 애도의 시발점이 되기를 바라는 바이다.

This visual essay depicts my personal experiences with the San peoples of South Africa. Almost twenty years ago, I learned of a personal loss while examining their ancient rock carvings and used the San people’s beliefs about the reconciliation of death and nature to heal. In 2019, I ran a workshop for young Khoe-Sans peoples, offering them a chance to connect and find harmony within themselves. They shared their personal stories and visual creations with each other, reviving the disappearing storytelling tradition. As Indigenous peoples have often been treated as objects without respect, following the ethical rules of research was part of reconciliation. My approach throughout the workshop was to embody connectedness and care; according to the feedback, our interaction succeeded despite our cultural differences.

Tämä visuaalinen essee kuvaa henkilökohtaisia kokemuksiani sanien parissa Etelä-Afrikassa. Lähes kaksikymmentä vuotta sitten tutkiessani sanien kalliopiirroksia sain kuulla läheiseni menetyksestä – surutyössä auttoivat sanien ajatukset, jotka sovittavat kuoleman ja luonnon yhteen. Vuonna 2019 pidin khoisan-nuorille työpajan tarjoten heille tilaisuuden löytää yhteys toisiinsa ja itseensä. He jakoivat henkilökohtaisia tarinoitaan ja kuvallisia tuotoksiaan toisilleen elvyttäen katoamassa olevaa tarinankerrontaperinnettä. Koska alkuperäiskansoja on usein kohdeltu ilman kunnioitusta heitä esineellistäen, tutkimuseettisten sääntöjen noudattaminen oli osa sovinnon etsimistä. Koko työpajan ajan tavoitteena oli vahvistaa yhteenkuuluvuuden tunnetta ja välittämisen henkeä. Palautteen mukaan vuorovaikutuksemme onnistui kulttuurieroista huolimatta.

The purpose of this study is to investigate how constructivist approaches are conceptualized and implemented in ‘gallery tour and studio workshop’ educational programmes at art museums, and the relationship that exists between the gallery and studio learning for children. A qualitative multi-case study was employed, and three art museums were involved. Data collection methods included programme observations, participant interviews, photos and museum documents. The findings of the study offer examples of educators’ teaching approaches, which reflect constructivist tenets, as well as factors that might strengthen the connection across gallery and studio learning. An inviting learning environment, consideration of students’ prior knowledge and experience, use of themes and motivating questions and facilitation of reflections, as well as educators’ collaboration all promoted well-connected tour and workshop programmes. This study offers insights and strategies to interested museum professionals and educators who aim to provide children with meaningful and well-connected art-viewing and art-making programmes.

본 연구의 목적은 미술관의 ‘갤러리 투어와 스튜디오 워크숍’ 교육 프로그램에서 구성주의적 접근 방식이 어떻게 개념화되고 구현되었는지 알아보고, 또한 어린이를 위한 갤러리와 스튜디오 학습의 연계성에 대하여 조사하는 것이다. 질적 다중 사례 연구를 진행했고 세 개의 미술관 사례를 분석했다. 데이터 수집 방법으로 프로그램 참관, 참가자 인터뷰, 사진 및 박물관 문서 등이 채택됐다. 본 연구의 결과는 구성주의적 교수법이 드러나는 교육자의 교육 접근법과 갤러리와 스튜디오 학습 간의 연계성을 강화할 수 있는 요소들을 보여주는 사례를 제공한다. 잘 연계된 투어와 워크숍 프로그램을 장려하는데 우호적인 학습 환경, 학생들의 사전 지식 및 경험의 반영, 테마와 동기부여 질문의 활용, 학습 성찰의 촉진, 그리고 교육자 사이의 협력이 중요했다. 본 연구는 아이들에게 의미 있고 잘 연결된 미술 감상과 미술 제작 프로그램을 제공하는 것을 목표로 하는 박물관 전문가 및 교육자에게 통찰력과 전략을 제공한다.

This arts-based exploration offers potentiality and theory to the wider arts-based research field by expanding and naming embodied experience as it relates to mechanical means of transport. The author dubs such a practice of physically moving the body between vast and varied spaces to be a roving art practice. She offers modes of potential, a preliminary list of protocols to contextualize a rover’s manifesto/a and ways to use roving as an educational tool applicable to the field of art education.

This article explores digital material/ism by examining student teachers’ experiences, processes and products with fully immersive virtual reality (VR) as part of visual art education. The students created and painted a virtual world, given the name Gretan puutarha (‘Greta’s Garden’), using the Google application Tilt Brush. They also applied photogrammetry techniques to scan 3D objects from the real world in order to create 3D models for their VR world. Additionally, they imported 2D photographs and drawings along with applied animated effects to construct their VR world digitally, thereby remixing elements from real life and fantasy. The students were asked open-ended questions to find out how they created art virtually and the results were analysed using Burdea’s VR concepts of immersion, interaction and imagination. Digital material was created intersubjectively and intermedially while it was also remixed with real and imaginary. Various webs of meanings were created, both intertextual and rhizomatic in nature.

Tässä artikkelissa tarkastellaan opiskelijoiden virtuaalitodellisuuden (VR) immersiivisiä kokemuksia, prosesseja ja tuotoksia kuvataidekasvatuksessa digitaalisen materiaalin ja materialismin näkökulmasta. Opiskelijat suunnittelivat Gretan puutarhan virtuaalitodellisuudessa käyttäen Googlen Tilt Brush -ohjelmaa. Lisäksi he skannasivat VR-puutarhaansa reaalimaailmasta valitsemiaan 3D-objekteja fotogrammetria-tekniikalla, lisäsivät mukaan 2D-valokuvia ja piirroksia sekä jatkoivat puutarhan 3D-muotoilua, veistämistä ja maalaamista (animaatio)siveltimillä. Gretan puutarha syntyi reaalitodellisuuden ja fantasian kohtaamisista. Avoimilla kysymyksillä selvitettiin, miten opiskelijat toteuttivat VR-taidetta. Tulosten tarkastelussa käytettiin Burdean VR- käsitteitä immersiivisyys, vuorovaikutus ja mielikuvitus. Digitaalista materiaalia syntyi opiskelijoiden vuoropuheluna, medioitten välisesti sekä todellisen ja imaginaarisen kohtaamisissa. Lukuisat merkitysverkostot olivat luonteeltaan intertekstuaalisia ja rihmastomaisia.

Review of: Education, Arts and Sustainability: Emerging Practice for a Changing World, Mary Ann Hunter, Arnold Aprill, Allen Hill and Sherridan Emery (eds) (2018)

Singapore: Springer, 120 pp.,

ISBN 978-9-81107-709-6, p/bk, $24.99