international art educators

[kendra Farrell]

I was just thinking about our unique web site and wondering what it is that sets us apart from other art educators? What is special to our profession here in asia? What kinds of skills do you think are necessary to make it teaching art here at any level? Please share some of your experiences and help define who we are.
Kendra

[David]

I think that one thing that I've been more interested in since becoming an international educator, is exploring the opportunity for collaboration. Its been great to do some projects that span the globe- and I love giving the students the opportunity to share ideas with others who are geographically distant, but able to work together in their creative endeavors.

[A. Waddell]

As international art educators, we often face a different set of problems when entering the classroom. For one, our students come from a number of different cultures and backgrounds, and sometimes enter the classroom with different abilities in the English language. This will sometimes beg the question of how we must teach to get our ideas and love of art across to our students...for most of us, art is always a universal language, but there are real issues of language or former classroom experiences (i.e. in China, most young students come from a rote, non-explorative way of learning that does not always translate well for a student thrown into a Western classroom--issues of confidence often arise).
What's more, as most of us I'm guessing are Westerners, we are often coming from a Western art classrooms and have learned Western art history. I notice that many teachers teach using these Western artists as the norm. Western-based practices are considered standard and teachers only occasionally throw in other arts practices (note well, the "special occasions" of doing African masks, batik, Chinese painting/calligraphy, etc.)...so then, how much more often should those things be incorporated in an international setting? Should they in fact be the norm? And in China, how often should we be teaching about the great Asian artists and calligraphers?
Special here to our profession in Asia is that we are often working with Asian populations and we might want to ask how often we should incorporate Asian arts practices into our lessons. I also think that given the relative stress placed on technical skill in Chinese art classrooms, we have to ask ourselves whether we need to place ourselves in relation to that in case our students go on to attending Chinese high schools or universities.

[kendra Farrell]

good observations... We have our upper level high school students go to Dashanzi or other chinese are galleries to do "art reviews" 5 to 6 times and that way get the student out and about in the Beijing art scene. We have invited local artists to our school... kendra

[daryl bates]

Hi A. Waddell,

I am teaching in Japan and have recently taught in Kuwait. In both locales, I am stymied by the very topic you inquire about, namely weather or not it is appropriate to use a Western art historical paradigm that is frankly familiar to us, to transfer the knowledge and skills essential to our subject. I have found great new artists and techniques in researching resources and references for my classes. Being unfamiliar with these traditions and figures however, has created a different kind of challenge. My pursuit of understanding of the traditions and artists of my students varying cultures has developed a certain lack of confidence in my lesson delivery. With Western artists, it feels quite natural to discuss, present, and question the theories and practices with some contextual landing points. With non-Eurocentric artists and art histories, I am not so sure I am leading the students toward mastery and understanding, in spite of a very stimulating inquiry collaboration with my students. I am not sure if I have a question but I thought I would share this experience in relation to being an international school art teacher in Asia.

A. Waddell said:

As international art educators, we often face a different set of problems when entering the classroom. For one, our students come from a number of different cultures and backgrounds, and sometimes enter the classroom with different abilities in the English language. This will sometimes beg the question of how we must teach to get our ideas and love of art across to our students...for most of us, art is always a universal language, but there are real issues of language or former classroom experiences (i.e. in China, most young students come from a rote, non-explorative way of learning that does not always translate well for a student thrown into a Western classroom--issues of confidence often arise).
What's more, as most of us I'm guessing are Westerners, we are often coming from a Western art classrooms and have learned Western art history. I notice that many teachers teach using these Western artists as the norm. Western-based practices are considered standard and teachers only occasionally throw in other arts practices (note well, the "special occasions" of doing African masks, batik, Chinese painting/calligraphy, etc.)...so then, how much more often should those things be incorporated in an international setting? Should they in fact be the norm? And in China, how often should we be teaching about the great Asian artists and calligraphers?
Special here to our profession in Asia is that we are often working with Asian populations and we might want to ask how often we should incorporate Asian arts practices into our lessons. I also think that given the relative stress placed on technical skill in Chinese art classrooms, we have to ask ourselves whether we need to place ourselves in relation to that in case our students go on to attending Chinese high schools or universities.