DANSATELIERS
'S-GRAVENDIJKWAL 58-B
ROTTERDAM
THE NETHERLANDS


DAILY PROGRAMME
Master of Education in Arts:
Graduation Presentation 2016


THURSDAY 7 JULY
17:00 — 22:00 OPENING Master of Education in Arts: Graduation Presentation 2016*
19:30 — 19:45 DEMONSTRATION Erica Volpini
20:00 GAME Juan Beladrich & Mariana Fernandes

FRIDAY 8 JULY
14:00 — 19:00 OPEN HOURS GRADUATION PRESENTATION*
15:00 — 16:00 Aspects cards readings Karin Arink
17:00 — 17:15 DEMONSTRATION Erica Volpini

SATURDAY 9 JULY
14:00 — 19:00 OPEN HOURS GRADUATION PRESENTATION*
14:00 — 17:00 Round-Table # 3 Mascha van Zijverden (closed workshop)

SUNDAY 10 JULY
13:00 — 14:30 PICNIC (for faculty, family and friends)
14:00 — 19:00 OPEN HOURS GRADUATION PRESENTATION*
15:00 — 16:00 Aspects cards readings Karin Arink
15:00 — 16:30 GRADUATION Ceremony
(for faculty, family and friends)

*Graduation projects which contain a participatory element and will take place throughout the opening hours of the Graduation Presentation include Juan Beladrich & Mariana Fernandes's card game, Karin Arink's Aspects Cards reading, Clare Breen's audio piece, Sita de Kam's questions and Katinka van der Laan's visual communication exercise.

ABOUT
THE MASTER OF EDUCATION IN ARTS PROGRAMME


The Master of Education in Arts explicitly connects theory and practice, focusing on contemporary issues, which span different practices and discourses (education, pedagogy, art, design, cultural theory, digital didactics, philosophy, museum education and 'community arts'). Students are encouraged to reflect upon their position and teaching methodologies within different, interdisciplinary contexts, and are offered a close insight in recent developments in art education, contemporary art and design.

How can educators help to define the role of art and design in society? Which pedagogical methodologies are appropriate for specific audiences and contexts? How do developments such as 'the educational turn in art' influence gallery education? Can art education help children grow up to become self-confident and emancipated adults? How does art and design education adapt itself to a changing society and educational environment?

These are but a few of the questions that are at the core of the Piet Zwart Institute's Master of Education in Arts. The course is mainly based on a modular structure of seminars led by a dedicated group of art educators, artists, designers and theorists. Through a uniquely tailored curriculum combining collective learning with individual tutorials, practice-based research and theoretical enquiry, the course is built around the concept of the critically reflective practitioner. Every student graduates with a research and education project, presented publicly at the end of the second year.

The curriculum is designed for teachers who operate within an institutional framework (secondary and higher education), but also opens up to creative practitioners with a profound interested in education, pedagogy. Depending on a student's interest and educational qualifications, the programme prepares graduates to engage with formal educational structures as well as informal learning environments.

http://www.pzwart.nl/master-education-in-arts/


COLOPHON

Piet Zwart Institute: Master Education in Arts
Willem de Kooning Academy, Rotterdam University

DEPARTMENT
Ingrid Commandeur, course director
Master Education in Arts

Vanessa Tuitel, coordinator

PRESENTATION TEAM
Clare Butcher, curator
Eloise Sweetman, co-curator, production manager
Nikola Knežević, scenographer
Mirte van Duppen, graphic designer
Geert van Mil, installation and technical assistance
Jason Hendrik Hansma, technical installation
Doran Schmaal, catering
Leslie Jogi, proofreader
Johan Cuperus, Dansateliers

STAFF AND TUTORS
Kate Brehme
Clare Butcher
Elizabeth Graham
Marike Hoekstra
Elisabeth Klement
Frans-Willem Korsten
Michelle Kasprzak
Renee Turner
Sjoerd Westbroek

EXTERNAL CRITICS
Gijs Bakker, Chloé Briggs, Florian Cramer, Johnny Golding, Emiel Heijnen, Thera Jonker, Charl Landvreugd, Valerie van Leersum, Janice McNab, Margit Schuster, John Set, Oscar Tomico Plasencia and Daphne da Ponte.

GRADUATES 2013-2016
(NOT PART OF THE PRESENTATION)

Victor Elberse
Simone van Groenestijn

MORE INFORMATION
www.pzwart.nl/master-education-in-arts
E-mail: pzwart-info@hr.nl
Telephone +31 (0)10 794 4716

GRADUATION PRESENTATION 2016
Dansateliers
July 7 — July 10
's-Gravendijkwal 58-B
3014 EE Rotterdam

WITH SPECIAL THANKS TO:
Jeroen Chabot, chairman of the Willem de Kooning Academy Rotterdam University
Renee Turner, former director of the Piet Zwart Institute

Mapping AUTONOOM Voices

The definition of what art — and of what an artist — is, has become more and more discursive and circular. Myths of 'the artist' obscure what contemporary artistic practices possibly can be. The discussion of the legitimacy of art education forms lead by artists, theorists and art educators worldwide is only multiplying. So how do we — art educators in higher education BA Fine Arts — teach art?

In order to zoom in on the ways of articulating within art school education, I have conducted a qualitative data analysis of notes made by art students and tutors at the art department at the Willem de Kooning Academy (WdKA). Here, art students follow a BFA major called 'Autonoom' — which differs from Fine Art — and graduate together with students of all design departments in mixed-discipline 'Practices' of their choice, often the self-directed 'Autonomous Practices'.

The thesis, Mapping AUTONOOM Voices, traces different fields arising from the data analysis. It concludes that art school seems to be a place where, starting from 'not-knowing', both 'new perspectives' and 'self-development' can be realized. But the 'close-reading' of the voices of students also unveils clashing paradigms active within art school education, and urges for awareness of differences in artistic creeds inside — and between — art schools.

The educational project, Aspects cards, uses 'card reading' as a means to uncover more affective aspects of artistic practices. Based on my thesis research and artistic practice, I created Aspects cards using my signature imagery: physical shapes, protruding and entering, that show ideas about influence. The Aspects card readings create moments for being apart together in 'Not-Knowing': a temporary space for intuitive reactions. As the readings continue, an affective inventory grows: data for later research.

www.dekko.nl

External critic: John Seth, 4D Pathway Course Leader in the BA Fine Art — and member of three research groups at Central Saint Martins (CSM) London.


Based on the many voices mapped during the research period, Karin presents a Venn diagram in which insights, keywords and relationships converge. Together with this, visitors are invited to engage in an occasional reading of Aspects Cards during the time of the Graduation Presentation.

Group Critique
— Facilitating an alternative framework

With my research I am proposing an alternative space for art education at the Willem de Kooning Academy. Using Group Critiques as method, I experimented with creating a space where art education can change its focus from a more traditional object-based approach, to placing the focal point on the students themselves in order to empower them. This way the students will gain the necessary tools to learn and grow in their own way.

What I am proposing is a framework in which the positions of the teacher and the student change into becoming peers as Group Critique participants. The Group Critiques in this case don't necessarily revolve around art-making specifically, although within the context of an art academy this is constantly implied, but instead I am trying to show the importance of focusing art education on the maker rather than on the work. The aim of this shift in positions is to use Group Critiques as an alternative space to empower all participants into becoming peers.

This establishes a situation of trust where communication, openness, vulnerability and respect are some of the main characteristics. This is a space where failure, as described by J. Halberstam, is encouraged; ignorance, as seen by Jacques Rancière, is the position to adopt in order to keep on learning and growing; and at the same time it works as a support structure, as depicted by Céline Condorelli, for all participants.

External critic: Charl Landvreugd (Artist and researcher)


A series of cards bearing keywords pertaining to the Masters Education in Arts programme on one side and forbidden associated phrases on the other, provide the starting points of a game designed by Juan and Mariana for the Graduation Presentation. Replete with buzzers and timers, the game asks players to reflect on the possibilities and limitations of language, as well as the vocabulary necessary to make ourselves understood within a given context.

Breadfellows' Chats

"At the point of encounter, there are neither utter ignoramuses nor perfect sages; there are only people who are attempting, together, to learn more than they now know."
— Paulo Freire

My thesis and education project develop and use a methodology for bringing an artist's practice to the centre of a gallery based education programme. With conversation at the core, my methodology focuses on artists' practices in order to extend that practice at the point of exhibition through co-constructive workshops with the public.

The project is in two parts. The first part engaged artists in Breadfellows' Chats. Using clay we made physical objects together called companions. These companions are vessels to be used to share a meal — a fondue pot, or a bowl with two straws and two spaces for two spoons. They hold within them the promise of a second meeting to fulfil their practical function. These companions are produced during the focused intimacy of a conversation about practice. They are ambiguous, transitional objects. They are functional yet also embody a didactic potential. The Breadfellows' Chats, facilitate the second part of the project, which is to develop a co-constructive workshop between the artist and the public at the point of exhibition that is resonant with the artist's practice and does not condescend to the public. To test this approach I lead a workshop in response to Anni Puolakka and Jenna Sutela's installation Attention Spa at TENT (Platform for contemporary art Rotterdam). In this workshop, children were invited to come to TENT for a private tour of the exhibition and to talk about the artworks on display. We used clay to make some artworks together with the children that became part of the exhibition.

My process recalibrates the development of a gallery based educational project. It does not resolve itself; it embodies potential and acknowledges that exhibition-making is often just a moment of intervention at a point in a practice. I propose that an education project could be open-ended. Facilitating dialogue and production between the artist and the public could redirect the trajectory of a work at the point of exhibition.

www.clarebreen.net

External critic: Janice McNab (Artist, Head of Masters in Artistic Research, KABK, The Hague)


Bringing together her research on alternative approaches to the gallery as a site of education and co-construction of meaning, Clare offers visitors to the Graduation Presentation an audio tour through the space. In addition, the ceramics created during her Breadfellows' Chats are ready for collective use in the kitchen.

The possibilities of integrating queer pedagogy in fine art curricula

This master thesis explores the possibilities of integrating queer pedagogy in the first year of a fine art curriculum, specifically the impact it can have on informing the students' social and artistic identities. I address fine art mostly from a perspective that focuses on the students' self-development at an intellectual level, reflecting in its turn on their personal and artistic growth and maturity. Furthermore, I explore modes through which education can facilitate frameworks for individuals to build their intellect and personality by informed choices and not through presumed parameters that constrain individuals to non-negotiable positions.

Here, queer pedagogy is concerned with the weight mainstream education has on the students' identity formation; it questions how knowledge is taught through western canons, it strives for social inclusion without the imposition of norms or names, and it aims at the empowerment of the students' agency. Having these principles as the core, I structured my research around the following question: how to design a combination of critical theory and contemporary art that confronts students with their identities?

The practical side of my research suggests a set of lessons — workshop(s) — to activate queer pedagogy as a method of content delivering, moderating a discussion and including exercises that help reach the content itself. I tested three lessons — workshop(s) — which showed that students gain verbal skills to better articulate what their work entails and to position themselves within their own social context. They also generate new forms of coexistence through and thanks to their mutual sharing and this suggests a combination of critical theory and contemporary art that help students in forming their social and artistic identities.

Building on what queer pedagogy can be, this research aims at integrating and exploring ontological differences that amplify notions of respect and compassion within a class. It also leaves room for further research to explore long term effects that can work towards creating a more respectful environment within educational art institutions.

External critic: Prof Johnny Golding (Professor of Philosophy & Fine Art; Director, Centre for Fine Art Research (CFAR) — ARTS DESIGN MEDIA FACULTY — BCU, Head, radical Matter in Art & Philosophy Research Theatre of Excellence — CFAR, Programme Leader, radical Media Arts Philosophy — Arts Based Masters (ABM Programme), Birmingham School of Art)


A series of cards bearing keywords pertaining to the Masters Education in Arts programme on one side and forbidden associated phrases on the other, provide the starting points of a game designed by Juan and Mariana for the Graduation Presentation. Replete with buzzers and timers, the game asks players to reflect on the possibilities and limitations of language, as well as the vocabulary necessary to make ourselves understood within a given context.

Ana Salomé Paiva
Ana Salomé Paiva

Theatre as dialogue for
exploring student agency

Inspired by the redefinition of agency within the field of narrative based digital games, I conducted research within the context of the second year students' pedagogical and social work at a vocational college. Where do students of pedagogical and social work — who are expected in the future to be able to restore, stimulate and maintain the agentic behaviour of their clients — experience and locate their own agency as meaningful?

Through the use of Augusto Boal's Forum Theatre, which is geared towards restoring proactive behaviour of both audience and players, I created a play for which students wrote their own texts questioning oppressive discourses and structures.

Inspired by Forum Theatre and improvisational theatre, in which dialogue becomes the structuring force, an interactive dynamic and reflexive structure, operating at the intersection between the teacher's and students' own interests, experiences, thought, emotions, opinions, engagement and agentic behaviour emerged.

External critic: Thera Jonker (Head of the Expertise Centrum for Education at Utrecht School for the Arts)


Four registrations by Rick create a scenographic documentation within the space of the Graduation Presentation. Representing various phases in the process of producing a theatre piece, the visitor is invited to observe the modes and methods of Rick's research developing over time.

What do your head, hands and heart tell you?
Towards an actualization of the Waldorf art curriculum on the basis of it's primary principles

My research focuses on the renewal of the art curriculum of the so-called Waldorf education. In order to do so, I re-examined its content by studying the theory underlying Walfdorf education, the principles of artistic research, Gert Biesta's view on education and close reading the work of the founder of Waldorf education: Rudolf Steiner. For me this study had two major purposes: firstly to build further on this research by developing an education project for the Waldorf teacher training programme, providing them tangible suggestions to renew their lesson content. And secondly, to provide a new view on the traditional materials used within the Waldorf arts and craft curriculum.

I interviewed, observed and discussed these issues with tutors, students and alumni of the Waldorf teacher-training programme. I had to conclude that much content in Waldorf art education has become fixed; either by repetition and established form or by lack of background information and connection with the contemporary art world. This can be overcome if students are given opportunities to explore, discover, design and think for themselves by encouraging an investigative approach.

This in turn requires that teachers alternate between productive and receptive arts education, which will create opportunities for free thinking and making unexpected connections. In addition, assignments should be underpinned with background information by approaching art as an image of the world-today, merging science, spirituality and art and making connections between Waldorf content and present time.

External critic: Daphne Da Ponte (Expert in the field of management, art and reorganization in a Waldorf context)


Within the space of the Graduation Presentation, Sita makes the role of the hand, and with that tactility, in art education manifest through a series of photographs which visitors are able to hold and study closely. As a second part, a question is offered to each visitor, inviting them to consider that without asking questions and being curious, content and curricula have the tendency to become entrenched.

Picture this

I have taught art for twenty-one years; a period in which I witnessed the rise of the current media society. In the current digital world it has become impossible to imagine modern life without the Internet and digital tools. Nevertheless, this digital world still seems to be largely absent in the current art curriculum in secondary education.

The school in which I work is implementing the use of digital media within the curriculum and has chosen the iPad as a suitable tool. The smartphone, however, is not considered as an option. In my opinion this is a missed opportunity, as the majority of Dutch pupils in secondary education already own and use a smartphone. This age group 'shares' themselves daily on social media. They produce images that show and share their thoughts, locations, hobbies, actions, interests, activities, daily pursuits and self-portraits. 'Sharing' contributes to the way young people shape their online persona.

The most interesting notion, to me, regarding my work as an art teacher at a secondary school with pupils aged fifteen to eighteen years, is to establish a connection between the smartphone, social media and contemporary art in my classroom. Therefore I developed a new module called "Image" as part of the new CKV based on the above principles, and conducted an action-based research to evaluate new lesson plans. The theme that I choose for this new module is "Self-portraiture". In my opinion, the selfie can be considered a new genre in photography, connected to the smartphone and social media. The use of social media changes perspective on the modes of viewing, on image making and image sharing. Students are encouraged to reflect on the selfie as part of contemporary art and as a cultural phenomenon, and produce their own body of work, using their smartphone as a tool.

External critic: Emiel Heijnen (Art/media educator and researcher, senior lecturer Master Education in Arts, AHK)


During the Graduation Presentation, Katinka shows a number of examples of her own "Phonetography" together with an exercise in visual communication which invites visitors to create relationships between a series of laminated images, or complete a visual message with their own drawings.

The power of making. The physical model as a design tool for product design students

In the practice of product designers the computer has become an indispensable tool. Before the introduction of the computer, the design process was closely connected to the process of making. Since the mid-1990s, digital technology has slowly but steadily changed the field, resulting in a changing role for physical models. Many students tend to see the computer as the most important tool in all stages of the design process.

On a screen, an idea looks like a real product, and making a physical model may not seem necessary. But an image on a screen cannot answer the same questions as a physical model, which is tangible and can be placed in a real environment. A physical model provides information about spatial, material and other "embodied" properties that a computer cannot provide. A physical model generates an important bond between making and thinking, plays an important role in the test phase with the intended user and is a vital part of the iterative design process. In my theoretical research I have investigated what exactly the added value is of physical models in the design process.

I applied and created a test case for these findings in Innovationlab, a module assigned to the Product Design students at Amsterdam University of Applied Sciences. In cooperation with an organization called Refugee Company, the students were given a challenging assignment. They had to find solutions for improving the lives of refugees in emergency camps. My main objective was to explore how physical models can help students in their design process as a tool of communication between students and their clients and target audience, and also as a tool for developing a more inventive and critical attitude towards their own work.

External critic: Gijs Bakker (designer, educator, owner of GBD Studio)


For the Graduation Presentation, a workshop soundscape is brought together with a series of projected images and quotes to form a view on Annelies's research process. Here, the tinkering or thuds of hands and machinery at work provide a context for reflections on the importance of model-making in design education.

Discovering an outsider

As a graphic designer and illustrator I was asked, a few years ago, to give guest workshops in a pre-school in Italy, guiding the children to make illustrations for books. This experience highlighted some aspects of how drawing activities are conducted and perceived already in the early stage of three to six year old children, both by teachers and children. The visual language, which is seen as a fundamental expressive tool for children, is often reduced in its powers by the teacher's recommendations and ways of pointing out what is "right" or "wrong", or by the attention to the outcomes more than to the processes. Firstly, the urgency to liberate children's creativity and visual communication, and secondly, the need to empower children in ways of using their creative languages, made me go into the pre-school again, to see how a creative practitioner can "shake things up".

In my research project I investigated how an outsider — a creative practitioner, an artist, a designer — can collaborate with teachers to create more compelling and playful drawing activities. I relied on the background theories and pedagogical experiences of the Reggio Emilia approach and of the, so-called, Signature Pedagogies. The outsider figure that emerges from my project is deeply engaged with the educational context. I brought into the pre-school my own artistic signature, but this was connected to several different key aspects — from the setting of the space to the continuous dialogue with teachers and from the use of the time to the ways of communicating. In that sense the outsider, as he/she appears from my research, is capable of being inside school with a critical consciousness of the hybridity of being from the outside and of the empowerment that can be created, but also of the importance of re-positioning him/herself in working with children.

External critic: Chloé Briggs is an artist and a teacher. She is Chair of Foundation, Paris College of Art and she manages different projects concerning drawing, like
Drawing is Free.


Bringing together the bodily gesture, the image and the voice, Erica presents a reflective exercise for visitors who are invited to go through her motions as an educator and researcher. There will be two demonstrations of the exercise during the time of the Graduation Presentation.

Making the most of difference

When I started the Master Education in Arts, I had two strong convictions. The first was that Study Career Coaching (SCC) is a form of education and teaching. The second is that, generally speaking, education is a positive force for society and for the individual. The process of the Master's Degree has been a prolonged period of critical reflection on my own practice. It made me realize that, as with everything else in life, not all that glitters is gold when it comes to SCC or education in general. But I discovered inspiring writers like Bell Hooks, Gert Biesta and Jacques Rancière, who have helped me to hold on to my conviction that SCC does and can make a real and positive difference.

The goal of my thesis is to seek out elements of critical education theories that can be introduced in SCC in such a way as to further the positive aspects of the SCC programme while tuning down the negative ones. A pivotal point in my reasoning has been the fact that SCC is defined as a student driven course and therefore provokes the emergence of various kinds of student-educator relationships.

In my educational project with twelve 4th year graphic design students, six elements were singled out to be introduced: critical awareness, intellectual equality, subjectification, engaged teaching, hierarchies of knowledge and the physicality of education. The education project was an interesting experiment for all involved, and an important first step towards a new approach to SCC. My research has strengthened me to think that SCC is and can be much more than just Study Career Coaching. SCC is teaching just as much as coaching, and it is uniquely placed to address subjectification. It can do this by making the most out of the differences the students bring with them, the difference their art education makes to all of them in different ways and the different lives and careers to which they aspire.

External critic: Valerie van Leersum is an artist based in Amsterdam, who, amongst other projects, has been working on "The Archive of the Inbetween" since 2012.


For the Graduation Presentation Bien has invited the students who participated in her research to produce a series of posters based on their collective findings. Ranging from the importance of talking and eating together, to the effect of context on a learning process, the posters reflect the dynamics of a student-led approach to education.

Rianne Kosterman
Eveline Schram

RECRAFTING CRAFT
A synergy of crafts within fashion design education at art schools in the Netherlands

Various crucial aspects have grown more important in today's fashion industry. What are clothes made of? How, where and by whom are they produced? And how can they be disposed? These questions pertain to the design and making of textiles and clothes, as well as to the position and role of crafts in the overall production process. The research project on Recrafting Craft concentrates on the interactions between fashion and advanced fashion education. Where these two worlds intersect, various ongoing changes in the notions of crafts and craftsmanship arise.

The main objective of this research project is to re-tailor the meaning of craft as an essential vehicle for fashion education. As such this project is based on the vision that experimenting with new materials, sustainable textiles and digital production is necessary to create innovative designs and new business models. The argument presented proposes an answer to the question: how can traditional and future crafts be merged and create synergy in fashion workshops and fashion curricula at art schools in the Netherlands, in order to give fashion students new professional perspectives to adapt to changes within the global fashion industry?

Key to this is an analysis of a broken fashion system and a close examination of fashion design workshops as an exemplary educational model. Attention is also paid to a special education project, organized together with Waag Society, aimed at closing the gap between education and industry. Starting from notions and ideas developed by sociologist Richard Sennett, trend forecaster Lidewij Edelkoort, fashion professor José Teunissen, and various experts and students in a newly formulated stakeholders' network, this research develops a framework for open-ended exploration and collective discussion of the issues involved. Special attention is given to practices at the Royal Academy of Art (The Hague) and Central Saint Martins (London). Regarding students as agents for change, Recrafting Craft argues for a synergy of crafts within fashion workshops of the future, while also presenting a set of prospective scenarios.

External Critic: Dr. Oscar Tomico (Eindhoven University of Technology, assistant professor of Designing Quality in Interaction Research Group)


The future of crafts within Fashion Design Education at Art Schools in the Netherlands remains in discussion throughout the Graduation Presentation. During Round-Table # 3 fashion students will contribute to the concept development for the fashion workshop of tomorrow based on the prospective scenarios for fashion education by architect and researcher Dirk Osinga (do|ob). The project is produced in collaboration with Waag Society with photography by Jimena Gauna for Waag Society.