35,594 matches
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which reflected political topics influenced by the media, aș you can see în the exhibition Lecția că vernisaj (The Lesson aș a Gallery Opening) from the school gym and în other drawings from 2009 posted online. There you can see, for instance, how the media reflected on the energy issue between Europe and Russia at that time. Those drawings hâd a significant impact on me and were a major influence în my teaching approach. For about four years I’ve been
Școala de artă activistă () [Corola-website/Science/295701_a_297030]
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posted online. There you can see, for instance, how the media reflected on the energy issue between Europe and Russia at that time. Those drawings hâd a significant impact on me and were a major influence în my teaching approach. For about four years I’ve been teaching grades 5 to 8. I took advantage of students’ lack of respect for teachers and their subsequent freedom of expression and introduced them to topics that might remove them from the tradițional sphere
Școala de artă activistă () [Corola-website/Science/295701_a_297030]
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at that time. Those drawings hâd a significant impact on me and were a major influence în my teaching approach. For about four years I’ve been teaching grades 5 to 8. I took advantage of students’ lack of respect for teachers and their subsequent freedom of expression and introduced them to topics that might remove them from the tradițional sphere they hâd been used to (painting Easter eggs, Christmas etc.). These new topics functioned aș creative and reflective exercises în
Școala de artă activistă () [Corola-website/Science/295701_a_297030]
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b>Genetically Modified Organisms, Self-management, May 1<sup>st</sup>, Monuments, The Participatory Budget în Schools, Save Roșia Montană, Animal Freedom, CCTV Cameras în Schools, A Day în the Life of the President </b>etc. This is where the idea for <b>The School of Activist Painting </b>în Cluj originated; aș an awakening of both artistic and activist consciences, by creating banners behind the scenes at the protests în 2012. The intention was an ironic opposition to the school of
Școala de artă activistă () [Corola-website/Science/295701_a_297030]
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ironic opposition to the school of bourgeois painting în Cluj, tucked away în workshops, galleries and museums at that time, but it was neutralized and turned into an extension of the latter. During the<b> Activist School </b>I aimed for the development of critical thinking, using the social tensions which ignited protests în other countries aș well. I proposed a mimicking of the protester; the students’ drawings would be protest placards. Their creativity, at a conceptual level, is amazing, due
Școala de artă activistă () [Corola-website/Science/295701_a_297030]
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fears or a lack of confidence în their work stemming from their exposure to tradițional models. They threw them în the trash can and I hâd to pick them up from there. [caption id="attachment 1037" align="aligncenter" width="186"] Monument for Annoying Teachers[/caption]
Școala de artă activistă () [Corola-website/Science/295701_a_297030]
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Artă și gentrificarea.[:en][caption id="attachment 1192" align="aligncenter" width="290"]</a> Mike Alewitz & co. An Injury to One Is an Injury to All, Los Angeles, 1991.[/caption] The theme of issue 4 of G.A.P. is Art with/for Excluded Groups and it is comprised of a series of articles, interviews and theoretical texts which analyze the ways în which excluded/marginal communities, groups and individuals take part and are (re)presented în various artistic forms în the public
Arta categoriilor excluse () [Corola-website/Science/295714_a_297043]
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documentary art - în România, aș well aș în the Republic of Moldova, Hungary, the UȘ, Kenya, Uganda - which address issues confronting ignored social groups. Such socio-political acts trigger a process of translation from “the center” towards “the margins”, from art for a middle-class, “refined”, “tasteful” audience (usually treated aș mere passive consumers) towards that “invisible” audience which is usually denied access to, and involvement în, the artistic process. We attempt to track the changes which take place within certain artistic projects
Arta categoriilor excluse () [Corola-website/Science/295714_a_297043]
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attempt to highlight the political aspects of the impact of several global issues at a local level: documenting and transmitting, through artistic means, the life stories and perspectives of people în economically and ideologically marginalized communities; creating a discussion platform for the understanding of the common ground on which both the struggle for gender equality and the class struggle take place; problematizing the limits of active art în the context of the withdrawal of public institutions from rural areas; debating the
Arta categoriilor excluse () [Corola-website/Science/295714_a_297043]
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issues at a local level: documenting and transmitting, through artistic means, the life stories and perspectives of people în economically and ideologically marginalized communities; creating a discussion platform for the understanding of the common ground on which both the struggle for gender equality and the class struggle take place; problematizing the limits of active art în the context of the withdrawal of public institutions from rural areas; debating the role of art în the discussion on domestic violence; the lack of
Arta categoriilor excluse () [Corola-website/Science/295714_a_297043]
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equality and the class struggle take place; problematizing the limits of active art în the context of the withdrawal of public institutions from rural areas; debating the role of art în the discussion on domestic violence; the lack of exposure for community theater and the issues of its expansion into other social groups aș a form of education.
Arta categoriilor excluse () [Corola-website/Science/295714_a_297043]
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every child, who thus became the social creator of a world he/she hâd to be allowed to experience; without being judged, without having their tiniest of mistakes scrutinized, without having their opinions minimized, without being asked to “play nice” for the amusement of those around. The child is not a small, playful entertainer who does a balancing act on the high-wire of adult demands în order to satisfy the competitive ego of the latter. The child is not a game
Respect pentru copilărie () [Corola-website/Science/295708_a_297037]
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the amusement of those around. The child is not a small, playful entertainer who does a balancing act on the high-wire of adult demands în order to satisfy the competitive ego of the latter. The child is not a game for grown-ups. Janusz Korczak restructured the orphanage system în Poland at the turn of the 20th century and constantly militated for a pedagogy of respect for children’s rights, a pedagogy of partnership în creation which was meant to find a
Respect pentru copilărie () [Corola-website/Science/295708_a_297037]
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high-wire of adult demands în order to satisfy the competitive ego of the latter. The child is not a game for grown-ups. Janusz Korczak restructured the orphanage system în Poland at the turn of the 20th century and constantly militated for a pedagogy of respect for children’s rights, a pedagogy of partnership în creation which was meant to find a common ground for participation wherein both teacher and student could develop together în the spirit of emoțional freedom, of a
Respect pentru copilărie () [Corola-website/Science/295708_a_297037]
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order to satisfy the competitive ego of the latter. The child is not a game for grown-ups. Janusz Korczak restructured the orphanage system în Poland at the turn of the 20th century and constantly militated for a pedagogy of respect for children’s rights, a pedagogy of partnership în creation which was meant to find a common ground for participation wherein both teacher and student could develop together în the spirit of emoțional freedom, of a lucid exchange of needs and
Respect pentru copilărie () [Corola-website/Science/295708_a_297037]
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Korczak restructured the orphanage system în Poland at the turn of the 20th century and constantly militated for a pedagogy of respect for children’s rights, a pedagogy of partnership în creation which was meant to find a common ground for participation wherein both teacher and student could develop together în the spirit of emoțional freedom, of a lucid exchange of needs and ideas and of the deșire to represent him/herself. According to Korczak, nothing estranges the child more than
Respect pentru copilărie () [Corola-website/Science/295708_a_297037]
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deșire to represent him/herself. According to Korczak, nothing estranges the child more than the feeling he/she hâș to be something they are not, that they have to adapt to a world în which they mostly do not count for anything, that they have to become meek, trained, stiff. That every single day they have to postpone the joy of inventing new territories of anarchy. [caption id="attachment 1070" align="aligncenter" width="300"] Korczak and the children în the 1920s. Source
Respect pentru copilărie () [Corola-website/Science/295708_a_297037]
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children în the 1920s. Source: en.wikipedia.org[/caption] Against a Pedagogy of Prohibition Janusz Korczak (the pseudonym of Henryk Goldszmit) was a pediatrician, pedagogue, teacher, author of children’s books and social activist. În 1912, he established an orphanage for Jewish children which was run on several political principles of self-government. The children formed a micro-society which functioned according to rules they themselves puț into practice, thus constructing a political model for a democratic participatory community. În 1919, Korczak set
Respect pentru copilărie () [Corola-website/Science/295708_a_297037]
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social activist. În 1912, he established an orphanage for Jewish children which was run on several political principles of self-government. The children formed a micro-society which functioned according to rules they themselves puț into practice, thus constructing a political model for a democratic participatory community. În 1919, Korczak set up “Our House” for the Polish children of Pruszkow - a common space for reflection and action, regulated by the interventions of the children- pedagogues. During 1926-1939, Korczak published Mały Przegląd (The Little
Respect pentru copilărie () [Corola-website/Science/295708_a_297037]
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was run on several political principles of self-government. The children formed a micro-society which functioned according to rules they themselves puț into practice, thus constructing a political model for a democratic participatory community. În 1919, Korczak set up “Our House” for the Polish children of Pruszkow - a common space for reflection and action, regulated by the interventions of the children- pedagogues. During 1926-1939, Korczak published Mały Przegląd (The Little Review), which hosted materials written by children, documenting their everyday life, the
Respect pentru copilărie () [Corola-website/Science/295708_a_297037]
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children formed a micro-society which functioned according to rules they themselves puț into practice, thus constructing a political model for a democratic participatory community. În 1919, Korczak set up “Our House” for the Polish children of Pruszkow - a common space for reflection and action, regulated by the interventions of the children- pedagogues. During 1926-1939, Korczak published Mały Przegląd (The Little Review), which hosted materials written by children, documenting their everyday life, the transformations of the education system they hâd proposed and
Respect pentru copilărie () [Corola-website/Science/295708_a_297037]
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with them, refusing an American passport. His march to the death trains alongside the 200 children represents a manifesto of solidarity and collective resistance against the denial of the right to life and of the right to a decent childhood, for which Korczak struggled his whole life. [caption id="attachment 1071" align="aligncenter" width="300"] „Janusz Korczak and the children ”, memorial at Yad Vashem. Source: en.wikipedia.org[/caption] [...] The Child-Pedagogue To Korczak, the child was the pedagogue who taught himself and
Respect pentru copilărie () [Corola-website/Science/295708_a_297037]
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is no such thing aș ‘children’, there are only humans - with a completely different scale of values, a different set of experiences, different impulses and another level of emotions. And remember we have no idea who they are.” Korczak militated for a team education în which the educator and the educated create a flexible community together, a community based on trust and on everyone’s right to be who they are and stând up for themselves. He was against a prohibitive
Respect pentru copilărie () [Corola-website/Science/295708_a_297037]
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idea who they are.” Korczak militated for a team education în which the educator and the educated create a flexible community together, a community based on trust and on everyone’s right to be who they are and stând up for themselves. He was against a prohibitive, passive pedagogy, which turned the child into a storage unit for information which hâd little to do with his own life: “It is not through despotic rule, imposed rigor or distrustful control, but by
Respect pentru copilărie () [Corola-website/Science/295708_a_297037]
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create a flexible community together, a community based on trust and on everyone’s right to be who they are and stând up for themselves. He was against a prohibitive, passive pedagogy, which turned the child into a storage unit for information which hâd little to do with his own life: “It is not through despotic rule, imposed rigor or distrustful control, but by means of tactful understanding, belief în experience, cooperation and cohabitation.” All these principles are the bedrock of
Respect pentru copilărie () [Corola-website/Science/295708_a_297037]