Africa Cluster's contents tagged with "Intertwining Histories"

Fulbright Specialist Recommends that Learning Units created by the Kampala Working Group are used as Templates for Art School Curricula (August 2019)

Sat, 08 Aug 2020 10:06:42 +0000

The US-based artist and art educator Sherry Erskine spent a semester in residence at the Nagenda International Academy of Art in Design (NIAAD), home of the Kampala Working Group. While she was at NIAAD, Sherry, who is a Fulbright Specialist in World Learning, both observed teaching and reviewed curricula.

In the report that she submitted at the end of her residency, Sherry recommended to NIAAD Senior Management that the academy adopt the teaching and learning formats developed through practice-based research by the Kampala Working Group within the context of the Intertwining Hi/Stories research as a template for all diploma and certificate course modules!

The Ignorant Schoolmasters at the Academy of Fine Arts Vienna (9 April 2019)

Fri, 14 Aug 2020 15:01:11 +0000

Lineo Segoete of the Maseru Working Group gave a lecture entitled The Ignorant Schoolmasters at the Academy of Fine Arts Vienna in the context of the seminar "Art and Education. Positions and Analyses," led by Barbara Mahlknecht of the Vienna Working Group on 9 April 2019. the lecture was based on a joint essay between Lineo and Nora Landkammer (Vienna Working Group) also titled The Ignorant Schoolmasters. The collaboration is reflection on the didactic role of two educators as emancipators in the context of knowledge being a universal phenomenon, and the implications of power and mutual learning associated with it.

In the study, Lineo and Nora critique Jacque Ranciere's text: the ignorant schoolmaster and Swiss missionary Edouard Jacottet who worked in Lesotho as an educator and writer. The lecture was followed by the "un/chrono/logical timeline game designed by the Another Roadmap Intertwining Histories Cluster, ie, an educational tool developed to engage with arts education histories and their global connections.

Kampala Working Group Research is Published in The Palgrave Handbook on Race and the Arts in Education

Sat, 08 Aug 2020 10:02:04 +0000

Emma Wolukau-Wanambwa of the Kampala Working Group had her essay, ‘Margaret Trowell’s School of Art, or How to Keep the Children’s Work Really African’ published in 2018 inThe Palgrave Handbook on Race and the Arts in Education, which was edited by Amelia M. Kraehe, Stephen B. Carpenter II and Rubén Gaztambide Fernández of the Another Roadmap Toronto Working Group.

The Palgrave Handbook on Race and the Arts in Education is the first edited volume to examine how race operates in and through the arts in education. Until now, no single source has brought together such an expansive and interdisciplinary collection in exploration of the ways in which music, visual art, theater, dance, and popular culture intertwine with racist ideologies and race-making. Drawing on Critical Race Theory, contributing authors bring an international perspective to questions of racism and anti-racist interventions in the arts in education. The book’s introduction provides a guiding framework for understanding the arts as white property in schools, museums, and informal education spaces.

Each section is organized thematically around historical, discursive, empirical, and personal dimensions of the arts in education. This handbook is essential reading for students, educators, artists, and researchers across the fields of visual and performing arts education, educational foundations, multicultural education, and curriculum and instruction. Emma’s essay concerns the work of a White British woman named Margaret Trowell (1903–1989), who founded anglophone East Africa’s first “professional” school of fine art in the Uganda Protectorate in the 1930s. Trowell is still popularly remembered in Uganda as someone who, contrary to the dominant European views of her day, genuinely believed in Africans’ creative abilities and championed their artistic expression. However, Emma argues that both her pedagogical theories and her teaching practice were strongly influenced by colonial government policy and that as a consequence her stated commitment to supporting the development of a “true African tradition of art” was far less emancipatory than it at first appeared.