Lode Vermeersch (VUB & HIVA-Kuleuven ) & Ankelien Kindekens (VUB) And Katrien Van Iseghem

1. This document contains all threepresentations of Belgium LodeVermeersch (VUB & HIVA-Kuleuven) & Ankelien Kindekens (VUB)And Katrien Van Iseghem

2. Belgium (Flemish Community)CIDREE conference'Arts and Culture Education contents and outcomes' Utrecht, 17-18 September 2013 – CIDREE Conference Lode Vermeersch (VUB & HIVA-Kuleuven) & Ankelien Kindekens (VUB)

3. Presentation 1. Context: Belgium > Flemish Community (Flanders) 2. Useddefinitions 3. The intended curriculumon a central level (Flanders) 4. The implemented curriculum at school level 5. The teachers and teacher training 6. Quantityandquality 7. ‘Culture in the mirror’ research project 8. Effects and impact

4. 1. Context

6. 3 policy levels responsiblefor person-related issues likeculturalmattersandeducation 1country

7. Tertiary Secondary Primary Pre-primary

8. Schools & pupils

9. Educationalnetworks (1) The constitutional freedom of education • Education can be organized by • authoritiessuch as the communities, provinces and municipalities • private persons (private persons, private associations or non-profit organizations) • Schools are organized by different organizing bodies, on the basis of their legal status. so-called educational networks (“onderwijsnetten” “koepels”)

10. Educationalnetworks (2) • Flemish Community Education education of the Flemish Community organized by Community Education (GO!) 2. Subsidized private education mainly comprises private subsidized Catholic education, but also: Protestant education, Jewish education, nondenominational education, independent alternative schools 3. Subsidized public education organized by cities, municipalities and provinces, intermunicipal companies Distribution of school populationaccros the educationalnetworks

11. 2. Definitions

12. Arts and culturaleducation: keyelements

13. 3. Intended curriculum

14. Who is responsible? Lowersecondary

15. Core curriculum: compulsoryeducation • Development goals:act as a directive for pre-primary and special education which the government considers as minimum goals of knowledge, insight, skills and attitudes desirable for a certain pupil population. They are classified within structurally embedded fields such as “the expressive arts” • Attainment targets: act as a directive for primary and secondary education which the government considers as minimum goals of knowledge, insight, skills and attitudes necessary and achievable for a certain pupil population. The targets have been developed for the end of primary school and for each stage and education level in secondary education. • Cross-curricularattainment targets: have been developed for secondary education and act as a directive which the government considers being minimum goals of knowledge, insight, skills and attitudes desirable for a certain pupil population (effort commitment)

16. Core curriculum: pre-primary and primaryeducation

17. Core curriculum: primary and secondaryeducation Lowersecondary

18. Core curriculum: secondaryeducation (1) Lower secondary education (1st and 2nd year) • Attainment targets: - Visual arts: perception, design, articulation - Music: perception, making music - plus: attitudes! • Cross-curricular attainment targets Upper secondary education • No attainment targets • Cross-curricular attainment targets

19. Core curriculum: secondaryeducation (2) Cross-curricularattainment targets! Where are art & culture?

20. Core curriculum: secondaryeducation (3)

21. Core curriculum: secondaryeducation (4) • (Cross-curricular) attainment targets in secondary education: • Decision by the Flemish parliament • + 20 years old, often debated, renewed • Two weaknesses: • - (cross-curricular) attainment targets = no real learning line (sequential & coherent) • - upper secondary: no real compulsory subjects on arts and culture, some compulsory subjects do touch on a arts and cultural education • -

22. 4. Implemented curriculum

23. Arts, cultural and youthorganizations Publishers, internet, … Teaching and learningmethods School meetings Making arts and culturaleducation Checkedby the minister of education! Guidelinesbyeducationalnetworks + Inspectorate + teachers’ training + participation + personalinterests of the teacher Development goals and attainment targets Made by the Parliament

24. 5. The teachers

25. Teacher training (1) • Teachers active in (pre-)primary and secondary education must have successfully completed a teacher training course • The Flemish government has described what is expected of teaching staff in secondary education: • Occupational profile • List of basic competencies Teacher is a content expert Teacher is a cultural participant … (10 roles in total)

26. Teacher training (2) • Teacher training institutionsalso offers: • Apprenticeships • Excursions (to musea, etc.) • Postgraduatecourses • … + furthereducation for teachers at the initiative of schools oreducationalnetworks

27. Teacher card • Every school year, the Ministry of Education and Training provides a personal teacher card to all teachers in Flanders. It offers teachers free admission or a discountto museums, exhibitions, events and the like, and discounts on books, teaching material, software and hardware. • The government distributes the teacher • cards because it helps teachers • to fulfill their educational mission.

28. Teacher training (3) • Evaluating the teachers and teacher training • Teachers and students in teacher training often lack artistic skills and expertise. Professionalization with regard to arts and cultural education is necessary • There is no media education expertise in teacher training courses. Most teacher training courses pay limited attention to heritage education • Further education is usually not accessible to teachers in full-time positions • Schools have little budget for further education of teaching staff.

29. 6. Quantity & Quality

30. Wat is (on)voldoende?

31. Quality • …depends on the expertise present in the school; • Teachers often lack substantial arts training • Lack of coordination and consultation between education and the cultural sector. • In later years (2nd and 3rd stage) of secondary education = lack of dedicated time for arts and cultural education • No continuous individual study programme / learning path from the start of pre-primary education to the end of secondary education • Overly rigid education structures (50-minute classes) and traditional cognitive and product-oriented evaluation systems (written exams, essays or thesis as final result) • There is hardly ever any focus on the visual language itself Curriculum issues

32. 7. Culture in the mirror

33. Theory-based research (1) • = Theory-based and policy- en pratice-orientedresearch on cultural education

34. Theory-based research (2)

35. Aim of the CIM research • Policy and practice: • Create clarity on the concept and content of cultural education • Showing the coherence between different types of cultural education • Intendend curriculum: • make policy recommendations in terms of …current development goals / attainment targets • … analyze how the (ideal) curriculum could enhance all cultural skills more (continuously): no time-based / subject-based but an integrated skill-based curriculum? • Practice (teachers): • Enhancing the teacher to be a reflective practitioner (on e.g. effectiveness of classroom practice) (+ classroom examples) • Giving insight in the development of children and adolescents in terms of cultural self-consciousness (“development trajectory”)

36. Up tonow… • Interviews and focus groups • Teachers, inspectorate, cultural organizations, teacher training institutions, … • Analysis: some preliminary results… • What is the problem? • The fragile status of cultural education / advocacy • Why cultural education? • Practice in need for theory but… • What type of theory is needed (conceptual theory, development of the child, didactics of the teacher, etc.?) • A “small T” translated in a coherent framework • Support for the idea of a curriculum for cultural education: consecutive levels / continuous attention for culture … but still some remarks

37. 8. Impact & effects

38. Little is known… • Toolittleto have effect? • Notmuch researchon effect/impact on personal level, implementationstrategies / systematic policy implementation • A lot of measures / fundingschemes have a lot of success! • Alsoout-of-school arts education attracts a biggerpopulationthan ever before

39. Thankyou!

41. CIDREE conference Utrecht -17/09/2013- Government of Flanders Ministery of Educationand Training Agency of educationalcommunication CANON Cultuurcel

42. 1. the Impact of learning Expressive Arts “Arts and culture education as an essential part of the personal and social development of all children” Policy Agenda Education 2009-2014 OESO research ‘arts for arts sake’

43. 1. the Impact of learning Expressive Arts

44. 1. the Impact of learning Expressive Arts

45. 2. How do schools in European countries choose their content for their arts and culture education INSPIRING with - good practices ‘How to grow in culture’ Minister of culture, sports, youth And media Minister of education and training Januari 2012

46. 2. How do schools in European countries choose their content for their arts and culture education • INSPIRING with: - Events

47. 2. How do schools in European countries choose their content for their arts and culture education • INSPIRING with: - websites

48. 2. How do schools in European countries choose their content for their arts and culture education • INSPIRING with: - publications

49. 3. on what basis choices of content and how to ensure quality in the curriculum • multiple theories and methods • in the curriculum of secondary schools: music and visual arts • need for a continuous cultural- education curriculum, taking into account the childs development and goals

50. 4. What could be the definition of art education, what of culture education and what of creativity?