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Bódvalenke, and every summer we do a dramă câmp for 15 kids, most of them returning customers în a poor North-Eastern town called Ózd. For four years now în a row we make a big donation gathering event for Christmas for a very poor region of the country. Our work hâș been made possible șo far mainly by the Open Society Foundation, but we also have hâd other resources. It is not voluntary work, even though part of our annual work
Clovnii () [Corola-website/Science/295693_a_297022]
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top of him! Generally, the children do not want uș to leave after the show and they ask uș to come back the next day. They sometimes send uș poems and beautiful drawings. Tamás is obviously a potențial role model for the young men we encounter. We experience the same în the dramă câmp every summer. Our boys (now 13-14 years) have a strong need to talk to someone who is like them, is from where they are, and comes back
Clovnii () [Corola-website/Science/295693_a_297022]
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All they want is to get famous and to get rich. On the level of reality they are clueless. Knowledge and learning have lost their value. Teachers unanimously complain about the education system and the lack of money. No money for cultural programs, no money for sports, no money for even the ink or the paper în the printer. And they are exhausted and overwhelmed. (My personal impression is that more and more kids fall ouț of this current system, more
Clovnii () [Corola-website/Science/295693_a_297022]
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get famous and to get rich. On the level of reality they are clueless. Knowledge and learning have lost their value. Teachers unanimously complain about the education system and the lack of money. No money for cultural programs, no money for sports, no money for even the ink or the paper în the printer. And they are exhausted and overwhelmed. (My personal impression is that more and more kids fall ouț of this current system, more and more kids finish school
Clovnii () [Corola-website/Science/295693_a_297022]
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get rich. On the level of reality they are clueless. Knowledge and learning have lost their value. Teachers unanimously complain about the education system and the lack of money. No money for cultural programs, no money for sports, no money for even the ink or the paper în the printer. And they are exhausted and overwhelmed. (My personal impression is that more and more kids fall ouț of this current system, more and more kids finish school without really learning to
Clovnii () [Corola-website/Science/295693_a_297022]
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personal impression is that more and more kids fall ouț of this current system, more and more kids finish school without really learning to read and the system can offer almost nothing to those who do not fit în immediately for whatever reason. I must say, though, that the so-called IPR schools (Integrated Pedagogical System) are a great exception to this. IPR schools are without question the best functioning schools în Hungary. Another thing that we see în the villages and
Clovnii () [Corola-website/Science/295693_a_297022]
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that we see în the villages and small towns is in-your-face, straight ouț poverty. What this means is: children often going hungry, often not having any room or possibility at home to focus on school work, often lacking basic clothing for regularly going to school, poor immune system and frequent diseases, lack of daily routine în parents’ lives, lack of stability, lack of self-esteem, lack of encouragement - not always, of course, but too often, unfortunately. Children, therefore, may easily grow up
Clovnii () [Corola-website/Science/295693_a_297022]
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în parents’ lives, lack of stability, lack of self-esteem, lack of encouragement - not always, of course, but too often, unfortunately. Children, therefore, may easily grow up în an environment that lacks any positive stimulus. It means they are very grateful for whatever mental, emoțional, human or creative stimuli and attention they get. And this is our chance: to make them experience their own inner creative abilities, their own strong points, their inner and innate talent. With dramă pedagogy, social theater, child
Clovnii () [Corola-website/Science/295693_a_297022]
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professionalize and when exactly do you stop being an artist and remain a citizen, ăn activist, a teacher? How do we adapt these questions to the complex contexts în which we live and work? How do we overcome our admiration for the intellectual beauty of ideas and confront a reality which is often far more intricate, blurry and disappointing? We studied to become artists. Art was the context în which we met and started working together 12 years ago. We hâd
Câteva fragmente despre artă politică, educaţie şi eşec () [Corola-website/Science/295697_a_297026]
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the curriculum, should encourage students to cultivate their aesthetic sensitivity în an intercultural context and develop the creativity they will subsequently use în their different career paths aș adults. It is a subject which is vague enough to allow space for the subversion of the neoliberal rhetoric of “interculturalism” and “creativity” and for topics such aș the intrinsic injustice of capitalism (topics approached using art aș both an instrument and a pretext). It is also a subject which enables modes of
Câteva fragmente despre artă politică, educaţie şi eşec () [Corola-website/Science/295697_a_297026]
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intercultural context and develop the creativity they will subsequently use în their different career paths aș adults. It is a subject which is vague enough to allow space for the subversion of the neoliberal rhetoric of “interculturalism” and “creativity” and for topics such aș the intrinsic injustice of capitalism (topics approached using art aș both an instrument and a pretext). It is also a subject which enables modes of work which are non-hierarchical, rely on dialogue, emphasize the process and not
Câteva fragmente despre artă politică, educaţie şi eşec () [Corola-website/Science/295697_a_297026]
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by translations after 1990. Publishing houses refuse to take a chance on Romanian authors, although there are writers with realist approaches interested în this field. There is a heap of criticism levelled at the phrase “literatura pentru copii” </b>(“literature for children” - the translation of “children’s literature” into Romanian, trans. note). <b><i>Could we use it în such a way, given the fact that books meant for children are actually projections of childhood made by grown-ups?</i></b> They
„Literatura pentru copii este un act profund subversiv” () [Corola-website/Science/295700_a_297029]
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heap of criticism levelled at the phrase “literatura pentru copii” </b>(“literature for children” - the translation of “children’s literature” into Romanian, trans. note). <b><i>Could we use it în such a way, given the fact that books meant for children are actually projections of childhood made by grown-ups?</i></b> They are, indeed, projections made by grown-ups, because they are the ones writing them most of the time. For small children, it’s the grown-ups who make the selection
„Literatura pentru copii este un act profund subversiv” () [Corola-website/Science/295700_a_297029]
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în such a way, given the fact that books meant for children are actually projections of childhood made by grown-ups?</i></b> They are, indeed, projections made by grown-ups, because they are the ones writing them most of the time. For small children, it’s the grown-ups who make the selection, albeit with all the best intentions în mind. After the children have access to the books recommended by the grown-ups, they end up searching for themselves and talking to each
„Literatura pentru copii este un act profund subversiv” () [Corola-website/Science/295700_a_297029]
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them most of the time. For small children, it’s the grown-ups who make the selection, albeit with all the best intentions în mind. After the children have access to the books recommended by the grown-ups, they end up searching for themselves and talking to each other. If it’s worded properly by saying “literature for children”, I don’ț really know. It’s the middle road. I’d like it if it were called “literature with children.” When I was
„Literatura pentru copii este un act profund subversiv” () [Corola-website/Science/295700_a_297029]
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selection, albeit with all the best intentions în mind. After the children have access to the books recommended by the grown-ups, they end up searching for themselves and talking to each other. If it’s worded properly by saying “literature for children”, I don’ț really know. It’s the middle road. I’d like it if it were called “literature with children.” When I was little, I used to love reading books whose main heroes were children. When I was
„Literatura pentru copii este un act profund subversiv” () [Corola-website/Science/295700_a_297029]
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It’s proof that the censors were very sensitive to this allegedly overlooked area. They read the book and they saw în Arpagic a real person with a real name. The censors assesed that the episode when Arpagic goes ouț for a walk and traffic grinds to a halt actually meant Ana Blandiana was comparing Ceaușescu to a cât gone berserk. After this episode, Ana Blandiana was banned from publishing and went under house arrest. This is how subversive children’s
„Literatura pentru copii este un act profund subversiv” () [Corola-website/Science/295700_a_297029]
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meant Ana Blandiana was comparing Ceaușescu to a cât gone berserk. After this episode, Ana Blandiana was banned from publishing and went under house arrest. This is how subversive children’s literature can be. Affecting their innocence when you write for children is probably a good vehicle for subversive messaging. What do you mean when you say "affecting their innocence?"</b> When you write for children or with children, you cannot adopt an incriminating stance, you can’ț point any fingers
„Literatura pentru copii este un act profund subversiv” () [Corola-website/Science/295700_a_297029]
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a cât gone berserk. After this episode, Ana Blandiana was banned from publishing and went under house arrest. This is how subversive children’s literature can be. Affecting their innocence when you write for children is probably a good vehicle for subversive messaging. What do you mean when you say "affecting their innocence?"</b> When you write for children or with children, you cannot adopt an incriminating stance, you can’ț point any fingers. There’s this great subversive episode în
„Literatura pentru copii este un act profund subversiv” () [Corola-website/Science/295700_a_297029]
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arrest. This is how subversive children’s literature can be. Affecting their innocence when you write for children is probably a good vehicle for subversive messaging. What do you mean when you say "affecting their innocence?"</b> When you write for children or with children, you cannot adopt an incriminating stance, you can’ț point any fingers. There’s this great subversive episode în another famous story, The Emperor’s New Clothes, by Andersen. Everyone is cheering for the naked emperor
„Literatura pentru copii este un act profund subversiv” () [Corola-website/Science/295700_a_297029]
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When you write for children or with children, you cannot adopt an incriminating stance, you can’ț point any fingers. There’s this great subversive episode în another famous story, The Emperor’s New Clothes, by Andersen. Everyone is cheering for the naked emperor and praising his attire, until a child musters up the courage to shout “the emperor is naked!” It’s an extraordinary moment. Everyone keeps silent and nobody dares take the boy’s side. Only the father steps
„Literatura pentru copii este un act profund subversiv” () [Corola-website/Science/295700_a_297029]
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at eleven schools, most of them on the outskirts of Cluj or în nearby villages. It’s very difficult to work în such schools because I’m constantly looking to innovate my methods and students tend not to pay attention for more than a couple of minutes. Therefore, I have to keep the teaching to a minimum of several simple phrases. Their unfocused participation maleș their works look like sketches, but that doesn’ț bother me (it does bother the principals
Școala de artă activistă () [Corola-website/Science/295701_a_297030]
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you believe to be the role (or/and goal) of art în the education of children and teenagers?</b> Initially, I thought the goal was to pump enough knowledge to eliminate the illiteracy surrounding visual arts. Artists cannot blame society for its lack of understanding if they don’ț get involved în education. Faced with the capitalist context în which such knowledge is useless, I aimed to develop the student’s creative abilities. Visual education is especially suitable for such a
Școala de artă activistă () [Corola-website/Science/295701_a_297030]
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blame society for its lack of understanding if they don’ț get involved în education. Faced with the capitalist context în which such knowledge is useless, I aimed to develop the student’s creative abilities. Visual education is especially suitable for such a goal, since it hâș more permeable rules than other subjects. The increasing hardships brought on by Romanian capitalism made me attempt to awaken the political conscience through various jocular ways that would get pupils to relate to certain
Școala de artă activistă () [Corola-website/Science/295701_a_297030]
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their age. At the same time, there seems to be a general apathy - we know everything’s a mess, but nothing can be done about it. În this context, to what extent can art and artistic education function aș stimuli for rebellion and action among teenagers?</b> When I was teaching high-school, I met very few socially aware students. Most of them were more interested în the latest cell phones or socializing with classmates. During my first year of teaching, when
Școala de artă activistă () [Corola-website/Science/295701_a_297030]