Transcript
Page 1: Reproductions supplied by EDRS are the best that can be ...all submissions, whenever possible. * * * * * * * * * * * * * * * * * * * * * It is difficult to construct each issue when

ED 445 944

AUTHORTITLEINSTITUTION

ISSNPUB DATENOTEAVAILABLE FROM

PUB TYPE

JOURNAL CITEDRS PRICEDESCRIPTORS

IDENTIFIERS

ABSTRACT

DOCUMENT RESUME

SO 029 947

Clark, Gilbert, Ed.Local and International Curriculum Projects.International Society for Education through Art, Arnhem(Netherlands).ISSN-0268-23461998-00-0018p.; For related issue, see SO 029 946.Cito/InSEA, PO Box 1109, NL 6801 BC Arnhem, The Netherlands;Fax: +31 26 3521202; Web site:(http://cspace.unb.ca/insea/).Collected Works Serials (022) -- Guides Non-Classroom(055) Reports Descriptive (141)InSEA News; v5 n1 1998MF01/PC01 Plus Postage.*Art Education; *Cartoons; *Childrens Art; ComparativeAnalysis; Cross Cultural Studies; *Curriculum Development;Elementary Secondary Education; Foreign Countries;International Cooperation; Social Science ResearchArt Students; Artistic Evaluation; *CurriculumImplementation

This theme issue of "InSEA News" is about severalinternational and local curriculum concerns, building on topics of theprevious two issues. The authors, from Taiwan, Brazil, Hungary, theNetherlands, and Portugal, address international cooperation projects ordescribe local curriculum projects. Some articles are accompanied byillustrations submitted by the authors, while others were created at a girls'elementary school in the United Arab Emirates. Articles in the journal are:"Relationships between Children's Drawings and Social Contexts: ACross-Cultural Study" (Li-Tsu Chen); "Relationships between. Competencies andCreativity in Training of Professional Artists" (A. D. Correa); "Assessmentof Studio Work: An International Comparison" (A. Karpati; D. Schonau); and"Cartooning: An Art Project in a Public Portuguese School" (J. Silva). (BT)

Reproductions supplied by EDRS are the best that can be madefrom the original document.

Page 2: Reproductions supplied by EDRS are the best that can be ...all submissions, whenever possible. * * * * * * * * * * * * * * * * * * * * * It is difficult to construct each issue when

Local and International Curriculum Projects

InSEA News; v5 n1 1998

N71-

PERMISSION TO REPRODUCE AND

IC)DISSEMINATE THIS MATERIAL HAS

BEEN GRANTED BY

D. V._amonct.4)TO THE EDUCATIONAL RESOURCES

INFORMATION CENTER (ERIC)1

U.S. DEPARTMENT OF EDUCATIONOffice of Educational Research and Improvement

EDUCATIONAL RESOURCES INFORMATIONCENTER (ERIC)

This document has been reproduced asreceived from the person or organizationoriginating it.

Minor changes have been made toimprove reproduction quality.

Points of view or opinions stated in thisdocument do not necessarily representofficial OERI position or policy.

2 BEST COPY AVAILABLE

Page 3: Reproductions supplied by EDRS are the best that can be ...all submissions, whenever possible. * * * * * * * * * * * * * * * * * * * * * It is difficult to construct each issue when

InEEM NEWSISSN #02682346 InSEA is the International Non-Governmental World Organization for Education through Art in Consultive Relations with UNESCO

-.....r1111111.11=i1MaAll illustrations in this issue, notattributed to authors, were created in agirls elementary school, in the UnitedArab Emerites.

Editorial: Gilbert ClarkPresident's Report: Kit Grauer

Theme: Local and International CurriculumProjects

Relationships Between Children's Drawings andSocial Contexts: A Cross-cultural StudyDr. Li-Tsu ChenTaiwan, ROC

Relationships Between Competencies andCreativity in Training of Professional ArtistsA. D. Correa, Professor of Art Education. UFSU,Unicamp, Brazil

Assessment of Studio Work: An InternationalComparisonA. Karpati, Hungrary, & D. Schonau, TheNetherlands

Cartooning: An Art Project in a Public PortugeseSchoolJ. Silva, Portugal

Announcements of International Events &Opportunities

3INSEA NEWS Vol. 5, No. 1, 1998 1

Page 4: Reproductions supplied by EDRS are the best that can be ...all submissions, whenever possible. * * * * * * * * * * * * * * * * * * * * * It is difficult to construct each issue when

InEEM NEWSINSEA NEWSVolume 5, Number 1, 1998Editor: Gilbert ClarkAssociate Editors:Li-Fen Lu & Melanie Davenport

Editorial Board:Doug Boughton, AustraliaAndrea Karparti, HungaryRiitta Heikkinen, FinlandNorihisa Nakase, JapanIvone Mendes Richter, BrazilEnid Zimmerman, USA

InSEA News is the official publicationof the International Society for Educa-tion Through Art.

Reprinting for educational purposes isencouraged. Credit should be given toInSEA.

Articles, Regional Reports, andAnnouncements are welcome at all times.Please send copy to:Gilbert Clark3240 N. Ramble Road EastBloomington, IN 47408-1093USAtelephone 812-336-0387e-mail [email protected]: 812-856-8440

Authors are encouraged to submit allmanuscripts, with disks, and toinclude photographs or art work.

Forthcoming Themes:

5-1: Local Curriculum Projects

5-2: International Cooperation II orLocal Curriculum Projects II

5-3 : Classroom Technology

2 INSEA NEWS Vol. 5, No. 1, 1998

EDITORIALGilbert ClarkBloomington, Indiana, USA

InSEA is in need of recruiting newmembers. I would like to suggest thatwe could substantially rebuild ourmembership if each and every onewho is a member would activelyrecruit at least one new person formembership. Obviously, we needpeople who are supportive andinterested in international arteducation. I am sure each of youknows someone who fits thatdescription. It may be a teacher inyour building, someone youcorrespond with, someone you haveworked with on a committee, or just afriend who has shown interest inInSEA activities. There are a numberof countries without InSEA membersand it is important to gather membersin such places, although the criteria ofinterest in international issues aboutart education is most crucial. The lastpage of this issueas in all issuesisan application form for new members.Try to insure it is used. You mightthink of sponsoring a new member if

BEST COPY AVAILABLE

the person you recruit is not able topay membership dues.* * * * * * * * * * * * * * * * * * * * *

This issue is about severalinternational and local curriculumconcerns, building on topics of theprevious two issues. A few writershave addressed internationalcooperation projects and others havedescribed local curriculum projects;both topics are of interest to others inInSEA. As noted, some articles areaccompanied by illustrationssubmitted by authors, others shownin this issue were created at a girls'elementary school in the United ArabEmerites. Illustrations are sought forall submissions, whenever possible.* * * * * * * * * * * * * * * * * * * * *

It is difficult to construct each issuewhen there is a need to receiveappropriate manuscripts. There mustbe a number of you who have much tosay to our readers about (a) yourschool's international iniatives, (b)issues you face in your teaching, (c)international projects you haveparticipated in, (d) applications oftechnology in your classroom orschool, (e) local curriculum projectsthat worked to bring aboutinternational awareness, (f) researchstudies related to international arteducation, or (g) any other interestingart education topics that you arewilling to share with readers. Aseditor of InSEA News. I depend uponyou, as members, to contributematerials for publication. I amserious in wanting the journal tofeature member's work. Articles, withpictures, are always sought for futurepublication. Your willingness to shareyour experiences is important to thisjournal and its readers.

.;

Page 5: Reproductions supplied by EDRS are the best that can be ...all submissions, whenever possible. * * * * * * * * * * * * * * * * * * * * * It is difficult to construct each issue when

InSEa NEWSPRESIDENT'S REPORTKit Grauer,University of British Columbia

It is spring in my small corner of theplanet. My drive to work at the Universityof British Columbia takes me past avenuesof pastel cherry and plum blossomsagainst the blue vistas of mountains,water, and sky. It seems slightly ironicthat while the world around is anaesthetic delight, at the university it is atime of major stress and anxiety. Finalexaminations, projects, and papers areonly weeks away. Art teacher educationstudents, on their extended practica inschools, have full teaching loads and arediscovering the rigors of this challengingprofession. I am contemplating thecontinued growth and blossoming ofInSEA, even as I worry about due datesand what still has to be done prior to ourexecutive meetings.

We have many successes to celebratealready this year. The National ArtEducation Association Conference inChicago was a wonderful occasion for ourexecutive and World Councillors tocombine InSEA business with what alarge American conference has to offer.Once again, our relationship with theNAEA provides opportunities to hold

'1

meetings, present sessions, and establishworking relations with many NAEAmembers and groups. This year's NAEAPresident is Dr. Michael Day, a long timeInSEA member and supporter. ManyInSEA Executive and World Councillorswere be honored at this year's NAEAconference. The highest award given bythe NAEA, National Art Educator of theYear, was given to InSEA WorldCouncillor, Dr. Enid Zimmerman. At theInternational lunch, USSEA presented theEdwin Ziegfeld Awards to former WorldCouncillor, Dr. Kristin Congdon, andInSEA Past President Dr. John Steers. TheHigher Education Division honored formerInSEA Vice President Dr. F. GraemeChalmers with the Pacific Region ArtEducator of the Year.

As an executive, we met to discuss ourown conferences that are in the planningstages. Nori Nakase presentedinformation about the InSEA AsianRegional Congress at Aoyama GakuinUniversity and the National Children'sCastle in Tokyo, Japan, from August 20 to24,1998. That congress is scheduled to hostInSEA members from Asia and all over theworld. Aoyama Gakuin University issituated in an area well known formuseums, galleries, and antique shops. Itis within minutes of the most popularattractions in the Tokyo area. Theconference theme is: People and ArtEducation, a message from Asia. Theofficial congress languages are English andJapanese. For more information contactMr. Akio Kasuga, The Affiliated JuniorHigh School of Ochanomizu Women'sUniversity, 2-1-1 Otsuka Bunkyo-Ku,Tokyo 112, Japan or visit our web site.

In October 1999, the InSEA WorldCongress will be held in Brisbane,Australia, and this promises to be an eventnot to be missed. Adele Flood and DavidHawke, from Australia, brought usupdates about this exciting event. Already,plans are underway for connecting theInSEA Congress to other art eventshappening in South East Asia and Pacificregion, and a web page is in the works thatwill provide more information.

Web pages seem to be the way of theworld. If you haven't visited the InSEAsite lately, you will be pleased to see the

new link with the InternationalBaccalaureate Gallery of images. Thisartwork was selected by IB moderatorsfrom photographs submitted in StudentCandidate Record Booklets. Access will beprovided through the IB home page andthe InSEA home page.

Design features of the gallery includedownloading facilities, a chat line forteachers and students, and variouscategories for access. We also hope thegallery will have an ongoing feature, withyearly additions to the exhibits. The IBprogram is offered in over 80 countries, sothe work will be of interest to all artteachers. We are also working on a webproject with UNESCO to highlight arteducation programs , teachers, andstudents around the world. Moreinformation will follow on this project.

Although it seems early, it is time to bethinking about nominations for the nextInSEA executive and World Council andfor nominations for the InSEA awards thatwill be presented at the World Congress inAustralia. I hope that all InSEA memberswill have time to contemplate theirparticular vistas and reflect on ourinvolvement with art education.

Kit Grauer, InSEA PresidentUniversity of British ColumbiaFaculty of Education, 2125 Main Mall,Vancouver, BC , Canada. V6T 1Z4Telephone: (604) 822-5327Fax: (604) 822-9366e mail: [email protected] page: http: / /cspace.unb.ca /insea

INSEA NEWS Vol. 5, No. 1, 1998 3

BEST COPY AVAILABLE

Page 6: Reproductions supplied by EDRS are the best that can be ...all submissions, whenever possible. * * * * * * * * * * * * * * * * * * * * * It is difficult to construct each issue when

InEEM NEWSRELATIONSHIPS BETWEEN CHILDREN'S DRAWINGS AND SOCIAL CONTEXTS:A Cross-cultural Study

Dr. Li-Tsu Chen/Chia Yi, Taiwan, ROC

Over the past hundred years, child arthas been valued for its archetypical,spontaneous, and aesthetic qualities. Littleattention was directed to its associationswith children's social experiences orconcerns. To explore relationshipsbetween children's graphic expression andtheir social experiences, a study wasconducted to compare children's drawingsof a fantasy world, in a qualitative manner,

school students at grades 6 and 8 in theUnited States and Taiwan. In Taiwan,there were 79 sixth grade and 133 eighthgrade students; in the United States, 87sixth graders and 111 eighth gradestudents also participanted. TheTaiwanese sample was selected fromdiverse communities in two differentlocations. The United States sample wasfrom three Mid-western communities.

In this study, the fourth item of Clark's-Drawing-Abilities-Test, Drawing a Fantasy

perception of school life and experiences,based on children's drawings of "MySchool and Me", Gamradt and Staples(1994) found that many drawingsincluded students' social reactions,comments, and criticism. In comparison,the scope of children's approaches tosocial experience was found similar to theapproaches proposed by Feldman,although on a smaller scale and in simplerform. Based on Feldman's analyticalapproaches to artists' social concerns, I

Table 1: Numerical Tabulation of Children's Drawings of Social ConcernsTaiwanGrade6 Grade8

USGrade6 Grade8

N=79 N=133 T=212 N=87 N=111 T =198Cy.

Socio-political Expression 4 5 4 12 13 13Satirical Criticism 2 1 1 1

Humanitarian Concerns 1 1 1

Description of Social Life 20 13 21 7 8 8

7/7

0American drawing of skateboarding

collected from Mid-western United Statesand Taiwan.

Subjects were elementary and middle

4 INSEA NEWS Vol. 5, No. 1, 1998

World, was used tocollect children'sdrawings. ProfessorClark and graduatestudents helpedadminister the test tostudents in the Mid-western United States. Iwas in charge ofcollecting Taiwanesechildren's drawings. TheClark's Drawing-Abilities-Test has beenused to measurechildren's drawingabilities, although it wasused only as a datacollection device for thisresearchContent Analysis

In an analysis of socialfunctions of art, Feldman(1967) proposed fourmajor approachescommonly applied byartists. These are Socio-

political Expression, Satirical Criticism,Humanitarian Concerns, and Descriptionsof Social Life. While studying children's

1,117,-;:UP.V "waz

ro, KiTir...11,

American drawing of Michael Jordon

classified my children's drawings toFeldman's four categories. Then, Ianalyzed how American and Taiwanese

6

Page 7: Reproductions supplied by EDRS are the best that can be ...all submissions, whenever possible. * * * * * * * * * * * * * * * * * * * * * It is difficult to construct each issue when

InEEE NEWSstudents interpreted their socialexperiences through the medium ofdrawing from these four perspectives.Social. Politica Land Ideological Expression

Few children in the present studytapped socio-political issues, and thosewho did dealt lightly with the subject. Nodirect attacks on socio-cultural or politicalconditions were found in any of thechildren's drawings. Eight drawings byAmerican students presented a world viewcalling for peace and love among nations.One drawing was filled with smiling faces,signs of friendship, and looked optimistic.On another drawing, a student wrote"Love conquers all". Obviously, thesechildren have strong awareness of thesignificance of peace, love, and friendshipamong all people and their effect on thequality of human lives.

Taiwanese children tended to beconcerned with local events and expressedtheir own personal concerns. For instance,a drawing presenting a clean beautifullandscape was entitled, "We need a cleanpark". Another student drew an image of alittle tree crying, and titled it, "The voicefrom the tree's heart." Perhaps, the student

was claiming that young people arevoiceless, never quite understood bysociety. Another drawing presented apicture of Taipei City in 2011 AD, whensubway and traffic systems are runningwell. Two other drawings presented futureworlds as having well organized trafficsystems. The inefficiency and chaos oftraffic in Taiwan have been an importantissue for both adults and children.Satiric Criticism

Some children's abilities to create satiriccriticism were amazingly impressive andinteresting. Three drawings, one by anAmerican student, and two by Taiwanesestudents, all in the eight grade, involvedunambiguous satire. Their ironic potentialwas transmitted effectively through visualimagery. The drawing by an Americanstudent was entitled, "Vampire States ofAmerica (V.S.A): 50 bloody states in onecountry." This drawing presented astriped flag and an open gate to hell in theupper left corner. A strange-looking figurewith an eagle head was standing in front ofthe flag. Clearly, this student was creatinga satiric commentary. By using satiricalform, this student created a profoundcriticism of a heartless government leadingthe country to hell.

Drawing by an American student

BEST COPY AVAILABLE

Two satiricaldrawings byTaiwanesestudents wereapproached froma differentperspective. Theyattackedhumanity. One ofthem was of a pig,standing on twofeet, dragging arope tied aroundthe neck of ahuman being,clawing the floor.This picturerevealed the spiritof Buddhism thatemphasizesre-incarnation ofsouls, cause-and-effect, and mercyfor all. If one isbrutal andmerciless to otherpeople or animals,

he or she is accumulating bad karma.Therefore, as the picture showed, he or shewill be treated as badly in the nextincarnation.

The other satirical drawing was acritique of the uncivilized character ofTaiwanese drivers. As stated in the image,"Animals obey traffic rules." Theimplication was that Taiwanese arebarbarian because, while even animalsfollow the rules, a lot of Taiwanese do not.This student did not simply describe theproblem, but expressed his comment andopinion about the cause of the problem.Humanitarian Concerns

Among drawings collected for thepresent study, I found only two thatexpressed humanitarian concerns, andthey both were made by Taiwanese sixthgraders. One was about an aviationdisaster, in which an airplane, wascrashing to pieces and passengers werecalling "help." The other drawing wasabout human suffering, panic, andhelplessness in harsh days, and wasentitled, "Those days of no sun." In thisimage, people were crying and otherslooked frightened and sad. Thebackground was shaded in dark-greytones, creating a somber, depressing effect.

A drawing by a Taiwanese student

INSEA NEWS Vol. 5, No. 1, 1998 5

Page 8: Reproductions supplied by EDRS are the best that can be ...all submissions, whenever possible. * * * * * * * * * * * * * * * * * * * * * It is difficult to construct each issue when

InEEM NEWSThis drawing certainly did not portray.areal event, but it overflowed with ahumanitarian spirit and feelings ofAt the top, the student wrote: "In thosedays of no sun, everyone lives in darkness.How painful it is! Who can help them?"sympathy.Descriptions of Social Life

Many Taiwanese children based theirfantasy drawings on daily family life andfamily relationships. One of thesedrawings was especially interesting. Itshowed a young boy, playing Nintendowhile his older brother was doing hishomework. In the upper corner, mother iscooking, and in the bottom corner, hisfather was entering the house. Thefollowing dialogue was included: (Elderbother): "Brother, stop playing Nintendo,Father is back," and (Mother): "Hurry, turn

off your Nintendo, put them away." Fromthis dialogue, we can see this family wasorganized as a patriarchy with a sternfather who disciplines children and anaffectionate mother who always tries tokeep the children from punishment. It alsoportrays a family value that studying isalways better and more worthwhile thanplaying games. This student described anordinary event in his daily life, andshowed the roles of each family member,family values, and resulting tension.Youth Culture

Fantasy drawings showed that whenaway from school, children enjoyeddifferent entertainment and game activitiesthan those played on school playgrounds.Numerous Taiwanese children presentedscenes of playing video games in gamerooms. Some depicted themselves singing

with friends at KTV recreation centers.Karaoke TV is similar to MTV, butprogrammed especially for an audience tosing with the music. Two drawingspresented scenes of rock and roll concerts,with singers under a spotlight, performingand dancing, full of excitement, while theaudience members were shouting andcheering. These were just like rock-and-roll concerts seen on television. These fewexamples, while they highlighted certainaspects of Taiwanese youth entertainmentinterests and habits, certainly could notrepresent the totality of Taiwanese youthculture.

American children's drawingspresented another set of stories. UnlikeTaiwanese children, who flocked togetherinside KTV recreation centers, Americanchildren preferred to show outdoor

6 INSEA NEWS Vol. 5, No. 1, 1998 Images contributed by author

Page 9: Reproductions supplied by EDRS are the best that can be ...all submissions, whenever possible. * * * * * * * * * * * * * * * * * * * * * It is difficult to construct each issue when

InEEM NEWSactivities. Many drawings includedimages of young people on skate-boardsand roller-blades. One drawing was abouta skate shop, and included a sign, "Stan'sSkate Shop. We have over 5 millioncomplete boards, All Decks $22.95." Whilethis message might be an exaggeration, itconveyed the reality of skating'spopularity among young people.Although Rock-and-Roll originated inAmerica, it was found only in Taiwanesechildren's drawings and seemed to befavored by Taiwanese youth. NoAmerican children represented anythingrelated to Rock-and-Roll.

American children's passion for sports,such as football, basketball, and baseball, isan outgrowth of adult culture. What wasfavored by adults often turned out to bechildren's role models. I found twodrawings about a famous basketball team,the Chicago Bulls, and one studentportrayed Michael Jordan playing. Therewas another drawing of the grand "SuperBowl" event. Because children associatedthese themes with a fantasy world, I thinkit must be a dream for them to be able toplay as well as Michael Jordan or to playfootball in the Super Bowl competition.Conclusion

As demonstrated in the above, thecontent of children's drawings revealstheir social experiences and values, whichare contextualized by social reality. Notonly is the subject-matter a perceivedsocial problem imbedded in the society,but the visual symbols or metaphors usedare also socio-culturally textured. Theseimages and themes were all based onchildren's daily, familiar experiencesacquired through thousands of contactswith people and their environments. Astrong relationship is linked fromchildren's graphic expression to theirsocio-cultural experiences. This findingexplains that drawing behavior is notsimply a mechanical act of image making,but a process of interaction betweenchildrens' minds and the storehouses oftheir past experiences. Children's visualimagination does not spring from a void,but is rooted firmly in the real world.

The above discussion also illuminates afact that children were very sensitive totheir socio-cultural environment andanxious to express social concerns in their

drawings. Although children might notplan ahead for their drawings to expresssocial responsibility or humanitarianconcerns in the manner of adult artists,their drawings become valuable resourcesfor understanding relationships betweenchildren and society.

ReferencesClark, G. (1989). Clark's Drawing

Abilities Test. Bloomington, IN. A.R.T.S.Publishing Co.

Gamradt, J., & Staples, C. (1994). Myschool and me: Children's drawings inpostmodern education research andevaluation. Visual Arts Research 20 (1),36-49.

Feldman, E.B. (1967). Art as image andidea. Englewood Cliffs, NJ: Prentice-Hall.

Images from girls' elementary school, United Arab Emerites

9INSEA NEWS Vol. 5, No. 1, 1998 7

Page 10: Reproductions supplied by EDRS are the best that can be ...all submissions, whenever possible. * * * * * * * * * * * * * * * * * * * * * It is difficult to construct each issue when

InEEE NEWSRELATIONSHIPS BETWEEN COMPETENCIES AND CREATIVITY IN THE TRAINING OF PROFESSIONAL ARTISTSAyrton Dutra CorreaProfessor of Art Education, UFSM/UNICAMP, Brazil

It is the responsibility of every educatorto investigate his or her own educationalpractices to find viable alternatives forimproving teaching and learning. Thisresearch emerged from my concern forimproving the quality of teaching. Studyof the theory of multiple intelligences ofGardner, and of the dialectic psychology ofVygotsky called attention to making abasic conceptual framework for teachingthe visual arts.

Concerning methodology, I took intoconsideration: (a) development ofintellectual competencies in learning aboutthe visual arts, (b) treatment of creativityin courses for professional artists, (c)teaching students' visual experiences andaccomplishments, (d) development ofhuman cognition and its relationship toworks of art, and (e) knowledge ofinterpersonal and intrapersonal humanemotions and their relationships with artproduction. With these concerns in mind,I opted for a qualitive approach, with adialectic tendency, that (according toTaylor and Bogdan (1956)), refers toinvestigations that produce descriptivedata, using peoples' own words and theirobservable conduct.Visual Arts and Intellectual Competencies

Gardner and his collabortaors (1987a,1987b) believe that different intellectualcompetencies are present in daily life,acting in integrated ways. Humansymbolic systems that permeate these,however, are responsible for distinctiveaspects of each. Symbols can transmitemotional states with interpretations. Anabstract painting can transmit a complexsymbology. This expressive functiondenotes a range of connotative symbolsthat can include, among others, sadness,rage, melanchology, or victory. Gardnerbelieves humans are capable of creatingsymbolic entities to transmit meanings andthat others are capable of understanding,interpreting, recognizing, criticizing, ortransforming them.

Vygotsky (1982, 1987, 1991), and others,noted that the brain is in constantinteraction with a social environment andtransforms its operation mechanisms alongthe history of human development. Thus,Isaia (1993) pointed out that multipleintelligencies are equivalent to a potentialfor knowing how. Intelligences also arethe domain of a group of abilities todiscover connections to other subjects andestablish bases for acquisition of new

knowledge. This group of visual artsabilities can be considered the capacity to:(a) recreate aspects of visual experiences,(b) notice forms from different angles, (c)recognize parts of the same object, (d)transform one object into another, (e)evoke mental imagination with transfersand displacements, and (f) relate objects ina composition.Spatial Intelligence

Spatial intelligence refers to abilities wepossess, as plastic artists, to notice a formand relate it in space. This ability also actson the world, linking observations ofobjects and their location in space. Themedullary operations of spatialintelligence are the ability to notice a formand manipulate it. Isaia (1988) says theseabilities come from capacities to (a)recognize aspects of the same object, (b)transform a new object, (c) evoke mentalimagery, and (d) recreate visualinformation graphically.Kinesthetic Competence

Kinesthetic intelligence occurs in thecapacity to work knowingly with objects.This type of intellectual ability demandstechnical efficiency, sharpens sensililityand perception, and controls the

8 INSEA NEWS Vol. 5, No. 1, 1998

Page 11: Reproductions supplied by EDRS are the best that can be ...all submissions, whenever possible. * * * * * * * * * * * * * * * * * * * * * It is difficult to construct each issue when

InE0a NEWSmusculature of the arm and hand. Themedullary operations studied by Gardner(1987a) are control over one's own corporalmovements and ability to handle objects.Personal Intelligences

Personal intelligences involve the senseof 'me,' because this knowledge of inter...and intra... ramifications is essential.Gardner pointed out that neither of theseintelligences can be developed seperately.Thus, a balance between our own internalfeelings and other peoples' passionsprovides the true sense of 'me.'Creativity

Creativity is an exclusive manifestationof human nature. Vygotsky (1982) remindsus that everyday life is full of opportunitiesto create and that everything beyond theroutine originates in peoples' capacity tocreate. Concerning involvement withartistic manifestations, Camaro claimed thatart may be good for nothing, but that mancannot live without it. Thus, it follows thatpeople act and react creatively in theireveryday lives. Vygotsky (1982) claims thatall creation contains in itself a socialcoefficient and presents four basic forms:(a) linking fantasy with reality, (b) productsoriginatng in fantasy with complexphenomena of reality, (c) emotionalinterlacing, and (d) presentation ofsomething totally innovative, unrelated to

real objects. Similarly, Sukomliski (1978)claims that people only reach theirfullness when they create, becausecreativity is a superior mental activity.Conclusion

Regarding visual experience of space-object relations, they are made possible byteachers. The social-cultural theory ofVygotsky and symbolic-cultural theory ofGardner alert us to the relevance of acultural focus, because it is withincultures that it is possible to find symbolsappropriate for artworks. In an attemptto transcend these ideas, I will elaborate aproposal for changes in the teaching ofart.

Considering the arguments presentedabove, I believe it is opportune to suggestthat a cultural focus should receive moredetailed treatment in art programs. Myproposal for study of a social-cultural-symbolic world would support theauthors cited above, who are significantbecause they emphasize the relativeaspects of social domains in which artistslive.

Our post-industrial society is typicallyinvolved with information theory arisingfrom computer science and the arts.Social contrasts are also evident in theviews of post-modernity. Signs are aconstant in the lives pf people, appelaing

to our visual perception and its variedrange of elaborations. Thus, mass cultureadvances in quick steps we hardly notice.

Gardner's and Vygotsky's vision clearlyshow the symbolic-cultural relationshipswe are involved in. It is in cultures thatsymbols, including artistic ones, are found.Mental images become highly significantbecause an individual captures inherentsymbolic aspects of the arts. Theproperties of artistic symbols is theimpelling force to the expressiveness andplurality of meanings. Today, thecontemporary world is linked toinformation theory. Our contexts aredominated by information andcommunication technoscience. We readsigns as representing a word, number.image, or gesture. This way we live in aworld super recreated by signs!Analogical images work throughtechnology.Considering that electronic images nowdominate space, students should considerthem as a new modality in the plastic arts,experiencing structures of unexpectedworlds. The dialectic between theseelements allows triangulation of the social-cultural-synmbolic world.

INSEA NEWS Vol. 5, No. 1, 1998 9

BEST COPY AVAILABLE

Page 12: Reproductions supplied by EDRS are the best that can be ...all submissions, whenever possible. * * * * * * * * * * * * * * * * * * * * * It is difficult to construct each issue when

InEE-1 NEWSReferences

Arnheim, R. (1979). Visual Thinking.Berkeley: University of California Press.

Cassirer, E. (1991). AnthropoligiaFilosofica. Sao Paulo: Mestre Jou.

Fusari, M. , & Ferraz, M. H. (1992). Artena educacao escolar. Sao Paulo: Cortez.

Feldman, E. (1992) _Varieties of visualexperience. New York: Abrams.

Gardner, H. (1987a). Estruturas de lamente: la theoria de las intelligenciasmultiples. Mecico: Fonda de CulturaEconomica.

Gardner, H. (1987b). Arte, mente, ecerebro. Buenos Aires: Paidos.

Isaia, S.M. A. (1993). Repercussao dossentimentos e das cognicoes no fazerpedagogico de professores 3 e 4 Graus.Tese de Douctorado. Porto Alegre:Faculdade de Educacao. UFRGS

Sukomliski, V. (1987). PensamentoPedagogico Lisboa: Liv. Horizon.

Taylor & Bogdan. (1986). Introduccion alos metodos cualitativos de investigacion.Buenos Aires: Paidos.

Vygotsky, L. (1982). La imaginacion yarte en la infancia. Madrid: Akal.

Vygotsky, L. (1987). Pensamento eLinguagem, Sao Paulo: Martins Fontes.

Vygotsky, L. (1991). A formacao socialda mente Sao Paulo: Martins Fontes.

ASSESSMENT OF STUDIO WORK: AN INTERNATIONAL COMPARISONAndrea Karparti, Hungary, andDiederick Schonau, The Netherlands

In 1993, a three year cooperation wasstarted between the Hungarian and Dutchgovernments to develop nationwide finalexaminations in Hungary. Cooperatingagencies were CITO, the Dutch NationalInstitute for Educational Measurement,and NIPE, the Hungarian NationalInstitute for Public Education. In thebeginning, this project involved itembanks for biology, mathematics, andEnglish. Thanks to the 1981 InSEA WorldCongress in Rotterdam, Andrea Karpartilearned about plans for an internationalproject and requested inclusion of thevisual arts, which were accepted.

At the Rotterdam Congress, PeterHermans gave a presentation on Dutchnationwide final examinations in thevisual arts. These exams, introduced in1972, were used in lower levels insecondary schools. In 1978, a new projectincluded studio work that stressedstudents' responsibility to develop anindependent approach to visual problemsand tasks. In such tasks, processes ofinventing, experimenting, and inclusion orrejection of possible solutions to visualproblems was essential.

Introduction of these examinations wassupported by compulsory, nationwidefinal examinations in the visual arts.Students were requested to take one of six

assignments and to work on this task for 28periods. Their efforts result in a collectionof studies, experiments, and final products.These are assessed by general criteria basedon teachers' aims at preuniversity levels,Assessments are done by local teachers andanother art teacher involved with the finalexaminations.

The Dutch examination, however, didnot fit the Hungarian situation. From the1930s to 1989, Hungary had a tradition ofcentral final examinations with detaileddescriptions of what, how, and why artshould be taught. Although documentsemphasized the importance of visualcommunications, official requirenentsoutlined realistic representation of formsand space. Drawing was the majormedium, with a few painting exercises.Crafts and design were represented in artappreciation. In 1989, with inauguration ofa new government, the central curriculumwas abolished and work on a NationalCore Curriculum was initiated. When anew version was passed in 1993, teacherswere still trying to cope with this situation.The new core curriculum outlined three artrelated subjects: visual communications(computer art, video, photography, andmultimedia), environmental culture (withcrafts and design), and traditional drawing(with a fine arts focus).

In secondary schools, nothing seemed to

10 1LNIJtik INC,VV V01. 5, INO. 1, 1YY25

BEST COPY AVAILABLE

12

11.1

,6:S14k5)

Page 13: Reproductions supplied by EDRS are the best that can be ...all submissions, whenever possible. * * * * * * * * * * * * * * * * * * * * * It is difficult to construct each issue when

InE0a NEWSchange. Students drew and sometimespainted, mostly nature studies andgeometric patterns. Art teachers' centralobjectives were to prepare students forfinal examinations and competitiveentrance exams at art colleges. Thesedictated realistic representation of humanfigures and natural and geometric objects.

For the visual arts, experience in theNetherlands was the starting point forinnovations in Hungary. Theseinnovations applied to how centralexaminations were organized and thepurposes and content of art education.Even more important was the way theywere introduced in schools. Althoughsome central stage management wasinevitable, the main characteristic was thatschools could opt for a period ofexperimentation. An experimentalprogram was formulated by a nationalcommittee of art teachers and schoolswere asked to work by their guidelenes.Meetings were organized betweenteachers and the committee to adjust boththe examination program and expectationsof teachers. Problems were discussed andsolutions were proposed and introduced.

In 1993, a questionaire was sent to allschools in Hungary in which teacherswere asked if they were interested in anew curriculum and examination. Allresponses included commentary about thecurriculum and expressed a wish toparticipate in the modernization program

and new examination. Most Hungarianteachers were pleased with the tasks, butdid not wish to change their curricula orexaminations! As most colleges haveentrance requirements, and most teachershad to sit for their examinations, theyconsidered these tasks justified bytradition.

In 1993, a seminar was organized and agroup of 22 art teachers was introduced tonew examinations. These teachersreceived copies with task descriptions,student questionairres, and assessmentcriteria. The group then visited fourschools in Budapest to get acquainted withactual practices and to begin discussions.After this first meeting, the project wasdivided into two phases. The first phaseexperimented with practical examinations.Students and teachers participated in a try-out in upper grades of secondary schools.Objective assessment of studio works wereexamined by a research project. In thesecond phase, the experiment wasextended with an art history test,consisting of translation of Dutchexamination items and construction ofHungarian items.

In 1994, more than 250 students, in allgeographical regions of Hungary, decidedto take the examinations. Sixty students ingrade 12 took the examination whilepreparing for the official examinations theyalso had to take later. Assignments for thatyear's final examination were given to

Gymnasium candidates. The results wereprocessed as a school examination. Thisgroup of art teachers formed a networkand met several times a year.

In 1994, an all day meeting withparticipating art teachers was organized inBudapest. The meeting had two purposes:to inform new participants and to discussresults of this year's practical examination.One teacher, who had visited theNetherlands, reported enthusiasticallyabout what he had seen and experienced.Then, five teachers reported about theirexperiences. An important part of thetraining was to share experiences aboutadolescents' creative processes and learnabout fostering independent thinking.

Within the project, an exchange wasorganized for Hungarian teachers to visitDutch schools. Two art teachers visitedthe Netherlands as guests of art teachers inLeiden and Voorburg. Both assisted at artlessons at their hosts' schools andwitnessed assessment of students. Groupvisits took place in 1994 and 1995, with 13teachers and an interpreter. Members ofthese groups visited different schools in sixDutch cities. The impact of these visitswas enormous and resulted in lastingcontacts between teachers in bothcountries.

Three museum visits were organizedbecause teachers wanted to extend theexperience to written examinations in arthistory. It was decided to translate that

Images by students at girls elementary school, United Arab Emerites

13

11,

Ira1-.a..41.

Natsemi

-r

INSEA NEWS Vol. 5, No. 1, 1998 11

BEST COPY AVAILABLE

Page 14: Reproductions supplied by EDRS are the best that can be ...all submissions, whenever possible. * * * * * * * * * * * * * * * * * * * * * It is difficult to construct each issue when

InEEn NEWSyear's theme, Decoration in Art. Museumvisits were a startring point to confrontteachers with relevant examples in theHungarian tradition. All visits wereguided by museum curators.

Hungarian questions were generated byart historians and art teachers in 1995/1996. The Dutch model was used byteachers on a more individual basis.Students took part in the first national artcompetition by preparing art and designportfolios. Successful students wereexempted from the firstand mostdifficultentrance examinations or gaineddirect entrance to art teacher trainingcolleges. Some students were given freeentrance to the second year of the UtrechtAcademy for the Arts.

An important aspect of the project wasa jury experiment that aimed at improvingmethods for project assessment throughdescriptive criteria. Young children's artcompetitions may not be vital, but a

national examination in the arts employsdecisions of juries as decisive forhundreds of future careers.

Participants in the final examinationswere asked to evaluate their experiences.Their responses were overwhelmingly

'positive, although highly critical ofHungarian practices. They approachedthe creative potential inherent in theDutch tasks, but found the Hungarianexamination boring. They thought art-related skills should not be assessed onrepresentational tasks. They describedfrustration and discontent with timerestrictions and the limited array ofmaterials they could employ.

Exporting a final examination isdangerous! A country's educationalsystem has many idiosyncrasies thatshould not be transposed to any othercountry. In this Hungarian-Dutch project,knowledge and experience were exported.

To export knowledge seems easy, but it isonly half the story. In order to exportknowledge successfully, both parties needto be aware of each others traditions andgoals. In regard to experience, things areeven more delicate. People have to knoweach others' opinions, limitations, andexpectations to prevent failures andmisinterpretations. In order to changeanything in an education system takes time,patience, and low expectations.

Having a good examination programand professionally developed examinationsdoes not guarantee success with teachers.Introducing a new examination programhas proved that teachers must be part of theprocess. When new ideas are transplantedinto a situation where nobody is prepared,the natural reaction are suspicion,withdrawal, or obstruction.

Our first concern was to make teachersrealize that what had been developed in theNetherlands was a possible solution in

Ltf:=i4

LLNIDL/A INZYVD Vol. D, INV. 1, 1770

14

Page 15: Reproductions supplied by EDRS are the best that can be ...all submissions, whenever possible. * * * * * * * * * * * * * * * * * * * * * It is difficult to construct each issue when

InEEM NEWSHungary. It was important to maketeachers believe they could accomplishfundamental changes in what they hadpreviously been doing. To make theprocess work, all teachers involved shouldget to know one another and and meetwith others willing to take risks. For thosereasons, all teachers involved werevisiting other schools. This made themaware they were involved in a commonprocess that would effect all of theirpractices. This formed a psychologicalbasis for teachers to say 'yes' to theexperiment and laid bases for a successfulenterprise.

Images contributed by author

CARTOONING : AN ART PROJECT IN A PUBLIC PORTUGUESE SCHOOLJoao Silva, Donas, Portugal

I teach 5th and 6th grade students. Fortheir first four years of schooling, ages sixto ten, Portugese children usually attend aprimary school taught by a single teacher.In the 5th grade, they change to anotherschool anc attend classes with tenteachers. Some children feel apprehensiveat this time, because they have to adjust toa different atmosphere.

As an art teacher, I try to show themthat artistic expression is enjoyable. Forsome, it is their first approach to art as anopen subject. Some students havedifficulties expressing themselvesspontaneously. Definitely influenced bytelevision, pupils make stereotypic imagesas a defense against the judgements ofadults, who, typically, do not understandchildren's imagery.

My objectives are to encouragespontaneous self-expression, drawingfrom observation, and introduce plasticexpression. As children start drawing onpaper, they begin using lines, spots, andcolours according to their perception andimagination.

As children are aware of theircommunication ability, they easily controla few techniques, and have learned torespect each one's expression. It is at thistime that we begin making a film, which Iam now going to describe.

Students enter the classroom when theyfirst hear the bell. They are very excitedwith their first school day and are notnervous. Everybody is familiar now andthey like art classes. The most important

thing is to prepare for the "The GreatAdventure," my personal name for themost important work of a school year.

In fact, this is a moment of curiosity. Ido not know yet what it is going to be like,because students are the ones who willdecide. With their hands in the air, they allwant to talk. Ideas come from everywhere.I notice that TV has influenced theirthinking. They want to make a film, butwhat kind of film?

I explain that our school does not haveresources for many special effects; it mustbe something much more simple. Thenthey decide that they want to film livingactors, but soon realise that these kind offilms are often broadcast on TV. It has tobe something different. After this, withbright eyes and hopping conversations,they realize animation allows themtoimagine everything they can think of.Therefore, cartoons!

All we have to do now is to choosesomething important to all of us. A fewpupils mention the exciting life of GeraldoGeraldes, a 12th century Portuguese hero,because they are learning about him inhistory classes. With support from theirhistory teachers, students write a scriptwith several episodes. The class is dividedinto different groups; each group works ona different episode. They plan thedrawings and painting of scenes for eachepisode, where actions will take place.

After this, it is time for the characters.The King in his court, a group of troublemakers, the big battles, anything that may

INSEA NEWS Vol. 5, No. 1, 1998 13

BEST COPY AVAILABLE

Page 16: Reproductions supplied by EDRS are the best that can be ...all submissions, whenever possible. * * * * * * * * * * * * * * * * * * * * * It is difficult to construct each issue when

InEEM NEWSoccur at the moment. They have to learnplanning and how it should be used.

Enough drawing and painting! Acamera is here in the classroom andeverybody wants to use it. I tell them theyshould use it carefully, because it may bebroken if it falls. It is the first time theyhave held a super 8 camera, because theylive in small, poor villages.Filming Techniques

Now it is time to use tools: it isnecessary to built a shooting table withproper lighting. We have to learn tooperate the little characters, which is donequickly. Everybody wants to play withthese characters that students see asalready alive and kicking The trick is toset the camera to film sequentially, so thatit seems as if the characters are real.

It is the moment to start photographing.Each working group shoots its ownepisode. Organisation is a necessity.Equipment must be set up and used, butthe classroom must be set and ready foreach next class. When the bell rings andclass starts, students know what to do.Each one knows his or her part in thestory.

Meanwhile, the school year is finished.Now, conclusion of the film is in theirhands; a big group of students assure methey can come to school during thesummer holidays. At last the film is doneand it will be called "Geraldo, theFearless". The film soundtrack will beelaborated next school year. Studentschose the original music, connected withthe 12th century, and they also set up thetext.Evaluation

In a silent and empty classroom, Iwonder about the possible effects of thisadventure. I recognize that the classbecame more uniform and responsible andthat students became more co-operativeand organised. They learned how tooperate machines and equipment. Whoknows whether one of them will become,in the future, a communication expert ormovie director? Besides, they learned howto evaluate their work and to evaluateother's work as well. My role was tosuggest evaluation considerations.

When grades were shown, everyonewas pleased. Some marks were good orvery good, and there were severalexcellent! It was no mistake, the bestgrades were given to students who haddone the work and the evaluation showedit. My position confirmed what had beenaccomplished. A year later, the originalsoundtrack was concluded and the filmcompleted. Many parents wanted a copy,which was a sign of the project's success.It was very good, because everyone likesadventure. I was flattered to be part of thisproject.

14 INSEA NEWS Vol. 5, No. 1, 1998 16

BEST COPY AVAILABLE

Page 17: Reproductions supplied by EDRS are the best that can be ...all submissions, whenever possible. * * * * * * * * * * * * * * * * * * * * * It is difficult to construct each issue when

InEEE NEWSANNOUNCEMENTS

American Messages for the 2!st CenturyThe International Congress ofAmericanists10-15 July, 2000, Warsaw, Poland

The history of these Congresses goesback to 1875, when the first Congressgathered in Nancy, France. The first 10Congresses were held in Europe, and thenthe Americas. Recent Congresses havebeen held in Amsterdam (1988), Stockholm(1994), and Quito (1997). These meetingsreflect interest in the Americas andAmerican problems. Scholars interested in'the American style,' are invited toparticipate.

The Congress will be held at WarsawUniversity, which has a major AmericanStudies faculty. A number of institutionsfrom central and eastern Europe willcooperate, including Bratislava, Budapest,Prague, Vienna, and Zagreb.

The official travel agent of the Congressis Mazurkas Travel. Accomodations willbe arranged in several Warsaw hotels.Polish Airlines, LOT, is the official carrierof the Congress. Address allcorrespondence to: 50 ICA, CESLA,Warsaw University. Zurawia 4, 00-503,Warszawa, Poland.E mail: [email protected]

1998 NSEAD Annual Course andConference,Women in Art and EducationDecember 1998, Birmingham, England

This conference will celebrate the workof women in all aspects of art and arteducation. Contributions will reflect thewide range of research and experiencesrelevant to teachers and researchers. Thsewill be inclusive, encouraging educators tointeract with mixed audiences.

Presentations will feature aspects of thewoman artist or art educator as rolemodels, research about gender issues in arteducation research, women's art and crafttraditions, aesthetics of a home, projectsraising the profile of women's crafttraditions in schools and colleges, andprojects specifically addressing girl'seducation in the arts.

For more information about thisimportant Conference, contact DavidJones, NSEAD, Corsham Court, Corsham,Wiltshire, SN13 OBZ,or Fax: (01249) 716138.

30th InSEA World CongressSeptember 21-26, 1998, Brisbane, Australia

This Congress will include tours,workshops, research forums, keynotespeakers, and a great many other features.Brisbane's subtropical climate andcosmopolitan lifestyle will provide avariety of delights for delegates. Anhour's drive north or south will featurebeachside resorts and, further on, theworld renowned Great Barrier Reef.

This World Congress hopes to provide avenue for extension of world cooperationin exchange of ideas and culturalcontributions, by bringing togetherspecialists, teachers, government officials,and all others directly concerned withcreative education. Arts and crafts will beused to explore approaches to educationwhich are inclusive, interactive,collaborative, and interdisciplinary.

For more information, contact WorldCongress, InSEA, P.O. Box 472, 50 AlbertStreet, Brisbane 4002, Queensland,Australia, or e-mail: stewarteusq.edu.au.You can also contact the congress homepage at: http: / /www.qut.edu.au /insea99/

USSEA Selling Back Issues of Journal ofMulticultural and Crosscultural Researchin Art Education

The USSEA is making available all backissues of its journal to interested arteducators. This journal has beenpublished for 13 years and its contents arevaluable for teaching, research, andpersonal reading. All back issues(volumes 1-13) are available at the cost of$15.00 each, plus postage. Please send allorders to: Dr. Camille M. Serre, USSEATreasurer, Murray State University,Department of Art, Murray, Kentucky42071. USA.

NAEA Makes Art Education IndexAvailable

Conducting research or doing aliterature review can be daunting foranyone. It is often difficult to know whereto start, how to organize, or how to pulltogether all the sources needed to make acompelling report. NAEA is easing thisproblem by making available, an index ofall Art Education volumes, from 1847 toDecember 1996. This index loads easilyinto your computer and you'll be ready to

BEST COPY AVAILABLE 17

glide through a search by titles, authors, ordates. You won't need any specialtechnical skills or extra equipment to usethe Art Education Index.

The NAEA Art Education Index isavailable in PC or Mac versions, and canbe ordered from NAEA for $4.00 (memberprice) or $10.00 (non member price) perdisc, plus shipping and handling. Formore information, contact National ArtEducation Association at 1916 Associationdrive, Reston, VA 20191-1590, or e-mail:http:/ /www.naea-reston.org

Call for Papers for ERIC/ARTERIC/ART is a clearinghouse for art

educatioin which reviews and abstractsarticles, and other papers, about arteducation. It is available internationally toall persons who can access it throughlibraries or schools. The staff of ERIC/ART abstracts articles from major arteducation journals, as well as occasionalpapers, such as research reports,conference presentations, curricula, andinstructional materials. Service,development, and research activities ofERIC/ART are directed to elementary andsecondary teachers, art teachers, artspecialists, curriculum specialists, studentsof art education, researchers, and othersinterested in art educatioin.

ERIC/ART would like to receivedocuments dealing with all aspects of arteducation. Documents not usuallyavailable from other sources are sought,such as conference papers, researchreports, issue papers, teaching guides,project descriptions, bibliographies, andinstructional units. All materials shouldbe submitted in English. All documentsare evaluated by the ERIC/ART staff, andother art educators, on the basis of quality,relevance, reproducability, and submissionof a reproduction release form.

For further information, contact ERIC/ART, Indiana University, 2805 East TenthStreet, Bloomington, Indiana 47408-2698,USA.

INSEA NEWS Vol. 5, No. 1, 1998 15

oa.cq4r1

Page 18: Reproductions supplied by EDRS are the best that can be ...all submissions, whenever possible. * * * * * * * * * * * * * * * * * * * * * It is difficult to construct each issue when

,

InEEM NEWS

membershipINTERNATIONAL SOCIETY FOREDUCATION THROUGH ART

PresidentKit Grauer, Canada

Vice-PresidentsJohn Steers, United Kingdom

Doug Boughton, AustraliaAndrea Karpati, Hungary

Joint Secretaries & TreasurersPeter Hermans & Diederik Schonau,

The Netherlands

World Councillors

Africa and Middle EastJima Akolo, Nigeria

Silva Braganca, MozambiqueZineb Lehmam, Morocco

AsiaAnn Cheng-Shiang Kuo, Taiwan

Norihisa Naskase, JapanChai-Woo Ro, Korea

EuropeRata Heikkinen, FinlandWieslaw Karolak, Poland

Britt-Marie Kuhlhorn, SwedenBirute Maliauskiene, LithuaniaDiederik Schonau, Netherlands

Peter Wolters, Germany

Latin AmericaLucimar Bello P. Frange, Brazil

Ivone Mendes Richter, BrazilLuis Errazuriz, Chile

North AmericaMaryl Fletcher de Jong, USA

Annie Smith, CanadaMary Stokrocki, USA

Enid Zimmerman, USA

South East Asia and PacificAlice Panares, Philippines

Phil Perry, Australia

16 INSEA NEWS Vol. 5, No. 1, 1998

Yes, renew my/our InSEA membershipPersonal member Organizational member

1 yr 25.00 (US) 0 1 yr 50.00 (US)O 2 yr 45.00 (US) 0 2 yr 90.00 (US)

3 yr 60.00 (US) 3 yr 120.00 (US)

Full-Time Student0 1 yr 15.00 (US)

InSEA welcomes any amount of financial support to sponsor memberships for arteducators all over the world who can not afford to become members of the Society

I am donating for sponsored memberships.I enclose:

Bank Cheque in U.S. dollars drawn on a North American bank located in theU.S. or Canada. Make checks payable to CITO/InSEA.Note: InSEA cannot accept cheques drawn on banks located in the Netherlands.Travelers Cheques in U.S. dollars or equivalent Dutch Guilders.Cash (U.S. dollars or equivalent Dutch Guilders; registered mail)International Postal Money Order, in Dutch Guildrers.

Charge my credit card with the equivalent of my membership fee in British Pounds:

Visa Card Card #

Expiration date

Master Card Card #

Expiration Date

Cardholder's Name

Cardholder's address

Signature

Note : Credit card payments will be processed through NSEAD, Corsham, UK

at current tourist rates.

Mailing Address (or use the address above as mailing address).

Surname First Name

Address

City Postal Code

Country

Send this formto: CITO/InSEA, PO BOX 1109, 6801 BC Arnhem, The Netherlands.

Page 19: Reproductions supplied by EDRS are the best that can be ...all submissions, whenever possible. * * * * * * * * * * * * * * * * * * * * * It is difficult to construct each issue when

Ei

Li

et ,

U.S. Department of EducationOffice of Educational Research and Improvement (OERI)

National Library of Education (NLE)

Educational Resources Information Center (ERIC)

NOTICE

Reproduction Basis

IC

This document is covered by a signed "Reproduction Release(Blanket)" form (on file within the ERIC system), encompassing allor classes of documents from its source organization and, therefore,does not require a "Specific Document" Release form.

This document is Federally-funded, or carries its own permission toreproduce, or is otherwise in the public domain and, therefore, maybe reproduced by ERIC without a signed Reproduction Release form(either "Specific Document" or "Blanket").

EFF-089 (3/2000)


Top Related