Guerilla Functionary # 3: Neecia Majolly

(This is the third in a series on Guerilla Functionaries - independent artists who are actively involved in arts education )

Bangalore has had one very lovely quality in the past; an ability to sustain such polar opposites as the City and the Cantonment. The City of my grandmother's home, New Modern Hotel, National College, the avarekkai santhe, Victoria Hopital and MTR. The Cantonment where I attended convent school, sang in the choir, went to Church Bazaars, first heard Pink Floyd and danced the nights away.

"In music, counterpoint is the relationship between two or more voices that are independent in contour and rhythm and are harmonically interdependent. The term originates from the Latin punctus contra punctum meaning "point against point". - Wikipedia

Counterpoint: Carnatic music teachers in Bangalore South and North. Piano teachers and choir masters in Bangalore East.

Today CARP speaks to Neecia Majolly, a wonderful pianist, singer and music teacher, who has just launched the Majolly Music Trust whose mission it is to raise the bar for western music education in Bangalore and beyond.

Neecia Majolly

1. Why did you, as a musician and singer, begin teaching young students? What was the original impetus?

Well, I’ve always been interested in teaching from the start. Though I am a performer first, I felt it was important to teach music (through the piano and voice, which are my specialties), with as few flaws as possible, so that students are assured of a good music education with a healthy and committed approach to music, without developing bad (and sometimes debilitating) habits. When I say a good music education, it means not just exam-oriented with just those three pieces for the entire year (many students have given up because of this), but a wider repertoire of great composers, with theory to complement, ear training, and sight reading/singing to develop the student into a MUSICIAN. Here again, these other components are not to be dealt with last minute just because the exam syllabus requires it, but should be incorporated in some way each lesson, with focus on different aspects of music. I’ve learnt a lot being a teacher, and still, there is something to learn every single day with my students. It’s a fantastic profession if you LOVE teaching music, and you can earn a living out of it! By the way, this June will be 25 years of my teaching music!

2. What are the burning issues in music education in Bangalore today? What are the challenges you face?

I think parents need to be better informed when sending their children for music lessons. It would be advisable if they can check credentials of the teacher/institution first. I’m sorry to say there are a lot of poorly informed musicians out there who spoil students, and it’s a nightmare to start from scratch! Also, a lot of students need to have a more committed approach to music lessons, practicing what they need to practice, have the right attitude towards this wonderful art… don’t get me wrong… not everyone is going to turn out star performers…. But at whatever level they are, or aim to reach, I think they need to give 100%. If the teacher gives 100% in a class, why not the student?

Fortunately today, there are more music stores with good instruments; a fair number of music books (not enough – and the ones that need to be ordered from abroad ARE expensive), and the internet. NOBODY has an excuse now that they can’t listen to this or that…..And this tussle between the piano and the keyboard. A lot of people seem to think these mean the same things! I think students have to realize that no matter what genre they choose to lean to, it’s always advisable to get a solid grounding in technique, musicianship, muscular development, etc. with classical training FIRST.

Another challenge I think, is to get away from the notion that Bollywood music is the be all and end all. Unfortunately, this genre seems to choke genuine creativity, musicians, and those involved directly or indirectly to music. Music lovers, students, etc.  need to have a better appreciation for music aesthetics in order to enjoy more refined genres!

3. Why do you think young students want to learn music? What compels parents to bring them to you? Do they want to study music further and become performers? Or teachers?

Well, in most cases it’s because the parents want them to. Some parents, though, recognize that there is some measure of musical talent in their children, and think it wise that it be guided in the right direction. Some parents might just send their children because their neighbour’s children are also taking music lessons! Very few actually send their children because they realize that arts is a VERY important part of a child’s development; to develop both spheres of the brain, and make the child a much more sensitive and whole human being. 

I am happy to say that over the past few years, they have been more number of students who are actually very serious about studying music to a concert level, and have gone abroad to pursue their further studies in music (there is no conservatoire of music in India for western music), and some students have gone on to being excellent teachers as well.

Usha Aron

 J.W.Johnson

 4. How skilled are the pool of local western music teachers?

I think Bangalore is one of the better cities for experienced and knowledgeable music teachers compared to other parts of India. Even music examiners who come here have remarked that they have been very impressed with our high standards! Then again, for every one good teacher, you will have 20 ‘roadside’ ones!

5. According to you, what is the greatest benefit or benefits of a musical education?

As I mentioned earlier, a human being cannot be made whole with only one aspect of education. Yes, the sciences are important but they only develop only so much of the brain. The arts, whether it be music, dance, painting, etc. explores the more etheric, aesthetic, refined, fanciful, creative, and even compassionate side of a personality, and creates a wonderful balance in that person. The government really should make music compulsory in schools!

 Tanisha Herbert

6. What do you foresee for your work in the future? Which direction will it take? How will you sustain it?

I am happy to announce that I have set up ‘The Majolly Music Trust’ that is committed to the highest standards of music performance and teaching. A good performer need not necessarily be a good teacher, and there are many, many different dimensions to teaching than meets the eye. Of course we aim to take good music to more people through concerts, master classes, workshops, competitions, etc. I am a performer myself, and have been able to communicate good music to my audience; similarly, my students have been shaped by my teaching. We will, of course, need the good will of music lovers and well wishers, to create concerts of high standards. We hope to have a beautiful building of our own, with a wonderful acoustically engineered auditorium, teaching and practice rooms, music labs and studios… the list goes on! Perhaps even an orchestra! I’m VERY excited that I have, and can contribute in some small way to raise the standard of Western music in this country. We soldier on!

 

Madrigals, Etc

The only Middle Ages and Renaissance music choir in  India

Here are some links to Neecia's work:
http://www.youtube.com/watch?v=4yPlCIGsAqY
http://www.youtube.com/watch?v=gH_5XaBioWE
http://www.youtube.com/watch?v=Sgih6e4XZBE

Guerilla Functionary # 2: Jagriti Theatre

(This is the second in a series on Guerilla Functionaries - independent artists who are actively involved in arts education )


Arundhati and Jagdish Raja recently inaugurated their very own theatre space - Jagriti in Whitefield. The logo for Jagriti evokes an arising, an awakening and was a gift to the theatre by Ray + Keshavan.

The enormity of this moment, the birth of Jagriti, can only be understood by other independent theatre artists who live and work in India. We don't have an Arts Council or a National Endowment for the Arts backing us. The state doesn't care very much about English speaking artists. We have a handful of people or organizations we can turn to as patrons. So we pretty much do everything possible to earn a living while continuing with this world of theatre. And in this scenario, a husband and wife team dreamed a huge and romantic dream, to have their own theatre, and today the dream is realized!

Jagu and Runa have been acting, directing, teaching and producing plays in a prolific fashion for what seems to be forever in the Bangalore arts scene. My first experience with them was when I played Agnes in John Pielmeier's Agnes of God. And then Toni Simmons in Abe Burrow's Cactus Flower. And then...and then...and then. 

When I sent them a mail saying how wonderful Jagriti is, Jagu replied "It is ours, and that includes you". Simple and so true. If this is to be a community supported theatre we have to support it with the entirety of our hearts and souls. We have to contribute through new works, festivals, workshops, sponsorship, voluntarism and things. Yes, things! Arundhati Nag told me that when she was building Rangashankara she was grateful for tiles and bathroom fittings. It's not easy, this task of building and running a theatre. And yet it gives so much to the community. So contribute the community must, and the best contribution of all is as an audience; by attending shows, buying tickets, supporting live performance and thus, such fantastic dreams as Jagriti.


An interview with Arundhati Raja on the creation of Jagriti:

1. Could you tell us about the genesis of Jagriti? When did the dream begin?

Having a space to perform has always been an aspiration from the start of ART (the resident theatre company of JAGRITI) in 1982. It took shape when we began the Joint Development in 2002/2003 of the 3-acre farm that had been our home since 1973.

2. What were the challenges along the way and how did you work through them?

Actually our one and only challenge has been the developer who has been unprofessional and has delayed the project for nearly seven years. On the other hand, working with the architect, the lighting and sound designers and contractors has been a good collaborative process. 

3. How do you visualize Jagriti's place in a local and national arts scenario?

We see it as a space for good performance, for the nurturing of new and innovative work, for the encouragement of the local community to involve themselves in the arts.We would like to become the "most wanted" destination for companies!

4. What role does arts education play in Jagriti?

A major role - workshops and training in the performing arts and communication skills with the offer of a TRINITY College London assessment and certificate; an outreach programme is planned. But we would like to encourage schools to visit the theatre to experience a professional space to encourage management to incorporate arts education more formally into their curriculum.

5. How can the Bangalore community play a part in Jagriti's future?

 In so many ways - as performers, trainers, speakers, lecturers, house hosts, volunteers.  And importantly as audience for all the programmes.

6. What is the canvas of events one can hope to experience at Jagriti over the next year?

Our focus is theatre but we are open to all the performing arts. We are looking at programming say a month or two weeks with various themes eg Young People in June (ICSE/CBSE schools are just back after summer and International schools have yet to go on summer hols) , Music & Dance, India Month in August. a family "blockbuster in Dec.

http://www.jagrititheatre.com/

Guerilla Functionary # 1: Tarantismo Dance Company

(This is the first in a series on Guerilla Functionaries - independent artists who are actively involved in arts education )


This morning I received the following email from Sahana Ramprasad, a lovely young student at Inventure Academy, Bangalore, who has attended Summer Theatre Camp at Infinite Souls:

dear kirtana ma'am ,

i had enjoyed the theatre camp last year and am looking forward to the next one .

i have acted in a big production in my school. It was called Muse-ical magic ,and i was playing one of the main roles. 

well, after that i have got even more interested in drama and a lot of my friends at school are interested to come for the camp this year.

so if you could please send the information about any future camps happening it would be great !!! :) :)

missing you alot 

and i wish you and cookie sir a very happy and prosperous new year ahead!!! :) :)

Here is the back story...

I recently blogged about the Annual Day malaise in Bangalore schools. In my experience, well, annual day events usually make me want to swallow my tongue and rip my eyes out because the process is so anti-child and the content so imitative, that I figured they're all bad. Then, at the IFA/Goethe Institut Arts Education conference in December 2010, Annual Day Plays (ADPs) were the subject of heated discussion amongst those more learned than myself. Dr.Pawan Sudhir of the NCERT brought it up in her presentation and all the arts educators (and even school teachers) present complained that most schools continue to doggedly stick to this "spectacle" approach despite the NCERT Curriculum Guidelines and the Seoul Agenda clearly asking that schools desist from this form of "culture-ficating" because it does nothing for the emotional or intellectual well being of the child. (Oh, sure, any child will eventually have a good time baying Hakuna Matata in a lion costume, but then equally, any child will declare Cheetos and Sour Punk to be perfectly logical breakfast food. So "fun" cannot be used to make the case for ADPs, it's weak.) But despite the writing on the wall, administrators find it simpler to rustle together a flashy ADP by any means possible rather than embark on a deep process, as the single point agenda is usually to "raise the prestige of the school". Parents rarely complain because they are stressed to begin with and are quite happy to accept any evidence of expression from their children. So who will raise the bar?

Then, out of the blue....

My nephew Kai, who studies at Inventure Academy, comes home one recent evening absolutely spellbound by Muse-ical Magic, a play that the Inventure had put up. And it wasn't just him, it was my entire family. Apparently the students had been involved in all creative decisions and in every production detail from music to ticket design. The process was facilitated by Arati Punwani-Sunawala, director of Tarantismo Creative Dance Company. The dramaturg to the project was Ram Ganesh Kamatham. 

Unbelievable, such a departure from the norm! A couple days ago (this is a true story) one Theatre Lab student who is a sutradhar in yet another local annual day play told me that her teachers said she wasn't to move her arms an inch and that she was to make no eye contact with the audience but instead must keep her eyes on the sound console! I'm not making this up! And this is typical of the top-down approach to performance in most schools. 

Inventure Academy, on the other hand, seems to have taken a child-centric approach and in doing so is in tune with progressive global policies on arts education. Perhaps keeping one's ear to the ground, and really listening to the children and prioritizing their needs is all that is required. 

Below are two interviews with Arati and Ram that offer an insight into the successes and challenges of working in this "deep process" fashion.

Interview with Arati Punwani-Sunawala

Director - Tarantismo Creative Dance Company

Q 1: The way this play was developed is clearly new. How much were you involved with the process? Did you meet the children? Have discussions with them?

  

Arati: Inventure Academy approached us to direct a high school musical with 250 children! The children were aged 10-16, an age group that will commit only if they are convinced.We decided immediately that the most effective way to get the children to engage was to provide them with a sense of ownership. The ideas would come from the children, the outline of the story from us and the script would be written by Ram Ganesh Kamatham, a writer with sharp wit and quirky insight.

We first met the children in September 2010 in large groups. We put them through a series of theatre games and exercises and then worked with them on concept development. Each child was asked to submit a sheet of paper with 3 things that they would like the production to be about, one distinct memory from the past 5 years and one thing they wished to change about the world. We insisted on the submissions being anonymous and therefore we hoped that they would be honest. After spending a sleepless night sifting through the submissions, we found a few recurrent themes, thoughts and ideas. We sent the list across to Ram and then began the casting process.

Q 2: How much did the school and faculty engage with the creative process?

  

Arati: What makes Muse-ical Magic unique from other projects is Inventure Academy was open to not solely approaching the production as a spectacle but as an opportunity to expose the children to the various elements involved in putting together a production. For us as performing art educators, this was a huge step forward! Ever so often emphasis is put only on product and almost none on process. We created different departments and the children were given the opportunity to choose their area of interest. Before the Dussera vacation began, every child had joined either the design, dance, music, multimedia or acting department.

Q 3: So how did you get the children to commit, how did you draw them into the process? 

Arati: The members of Tarantismo brainstormed for hours and hours to find a way to use the ideas provided by the children to create a story that was cool, current and entertaining; but it also needed substance! Finally the ideas we chose to focus on were - 'a Disney character', 'the day my life changed', 'Greek Gods', 'football', rags to riches' and last but certainly not the least - 'Magic'! We researched various famous individuals that had life altering moments and finally decided upon one historical character - King Ashoka; a football star - Pele; and local software heroes - Sudha & Narayan Murthy. We researched each of these characters thoroughly, put together interviews, anecdotes and incidents from their lives. For a Sutradhar, we chose the 9 Greek Muses of the Arts and a lamp-less Aladdin became our Hero. We sent the information and outline off to Ram and presto! He gave us a script that the we, the children and the school all loved instantly!

School re-opened at the end of October and all the departments kicked in to high gear. The show was staged on campus on the 17th & 18th of December 2010. The tickets, posters, brochures, costumes and props were all designed by the children. The student band and choir provided live music while the dancers covered the stage with energy and enthusiasm.  The video clips were sourced, edited and projected onstage by the tech savvy whizz kids in the multimedia department. Sets and props were brought on and off stage by the trusty backstage bunch. The senior students handled decor, ushering and even compered the evening! And of course the script was brought to life by the extremely talented actors.

Q 4: Any last thoughts?

Arati: If this production started out as a blank canvas, the painting that went up on stage was plotted, painted and perfected by each child bringing their own special colour to it. And to make sure not a single stroke was out of place, they were ably and patiently guided by their extremely talented teachers. But what's an artist without a patron? The management of the school painstakingly provided time, space and the required resources to ensure that this painting will have a special place on the wall and we hope in the audience's hearts!

Art, any art is an instinctive form of expression. Children are bursting with creativity, all they require is opportunity. We truly hope that schools begin to provide these opportunities.

********************

Interview with Ram Ganesh Kamatham

Playwright and Theatre Director

Q 1: That an ADP would involve a dramaturg! A new idea....What was your engagement with the project?

Ram: I was involved only at the script level. I was working pretty remotely for this particular production and rehearsal process. I shared some of my ideas, tools and methodology with Arati at the very start of the process, who then put them to work in her engagement with the students. 

Q 2: Could you tell me a little about how you extracted a script from their ideas? Or, what was the process of developing the script?

Ram: First off I chatted with Arati about how we could get a sense of the preoccupations of these kids using some games. These involved some games using memory and writing a few words about "what you want to change in the world." In fact Arati went further and got them to write about what themes they thought would make for a fun play. She managed to extract some 35 themes from the kids which she sent me. They ranged from Greek Gods to Bombay Blasts to Déjà vu to Cinderella turning evil (or a mash up twisted fairy tales). 

From this group, we also got nine things that they wanted to change in the world

1.      Poverty

2.      Pollution

3.      Politics

4.      Poaching

5.      Dirty Public Toilets

6.      Terrorism

7.      Lack of wide spread education

8.      Age limits (kick them!)

9.      Global Warming

So at this point the net was pretty wide, but I was getting an instinctive sense of what this group was thinking about and how aware they were. And they were pretty aware!

I also looked at the play texts that the students were studying which turned out to be a mix of Shakespeare, Oscar Wilde and Tom Stoppard. The Stoppard and some of the themes that the students were talking about (a mash-up) prompted me to suggest a non-linear narrative to Arati but at this stage we were not sure of what we wanted to do.

Post-October Arati came back with a really solid focused amount of material and a rough outline which got me excited enough to junk some of my own writing work in favour of this play! She also sent me a number of songs that she was interested in working with for dance pieces, so those also influenced the writing. The outline used a really interesting mix of the nine muses from Greek mythology to tell the story of Aladdin being ditched by the genie for his arrogance. The story of four role models are performed for Aladdin to bring him around. At the outline stage it was a bit didactic, so my job was really to flesh it out into a fun script that was not preachy.

So in a daze of coffee drinking in October, I wrote the text in a week. And Arati liked it. And the school management liked it. (But later on felt the need to change some of the names in the play because they were a bit worried about the satire, which is fair enough.)

As for the writing itself, I think I focused on making the mix more organic by modernising the Muses and stories. And found a way to dramatically accommodate 200 performers! And I dropped one story simply because I personally wasn't convinced enough about the story. By this time Arati was already working with the students, and she felt that many of them had training and some stage experience, so we could really take risks with the depth and range of the parts. So I did… And when I saw the show it was true! The students were amazing, great energy and superb comic timing. 

Q 3: What has your experience (if any) been with other schools thus far?

Ram: I think schools (and colleges) that commission original scripts with at least a 6 month plan are more interested in actual creative engagement because the process is that much more organic and as a result that much more intensive and rewarding. Schools that want you to come in and knock together a play in a month or two are usually just fire-fighting and it's not a happy experience for anyone. 

Q 4: What were the challenges of using this process? What do you feel were its successes? Is there anything you would do differently the next time around?

Ram: The challenge is always balancing the preoccupations of the group with your own preoccupations as an artist. If you are too present it's easy to pull the group in your own direction and influence them too heavily, and for the group that's the path to blinkers and boredom. If you try to remove your 'self' from the group you become disconnected with the group and that's the instant path to boredom for you! So it's a balancing act of being present, but at the same time self-effacing, so there is a constant play. The other challenge of course, is time - you need time!

The successes were very much on Arati's side, since I was just working my craft! The production had so many moving parts and elements, and she was on the ground juggling it all. The thing I'd do differently was to give myself more time to write - to take the script even deeper!

Q 5: Any last thoughts on the process, the script and how the children used the script?

Ram: As with any creative process, asking the right questions was far more important than looking for a 'correct answer'. So for this play, since this group was very aware - the overall question was very close to the question we were using to gauge awareness in the first place… It was something like - "How do I change the world?" - and that's a pretty big question! But you have to take on that question guns blazing!

When you work with students there is always a temptation to 'lower the bar' - so for example, since this group also wanted to change 'politics' I felt that an awareness of political ideologies was important. If you 'lower the bar', then you'll be running away from the fact that by wanting to create this awareness, you will first have to wrestle with and reveal your own political preoccupations and contradictions. If you 'lower the bar' - you will either over-simplify the political climate you are writing in, preach one ideology or just skittishly avoid bringing up politics altogether. By simply refusing to 'lower the bar' there are some hilariously funny sequences of political satire in what is essentially a children's play! And given that this is theatre and not a pol. science class, you've addressed the group's need by enabling the expression of this idea, and by leaving the idea open to interpretation the students discover what they want to, on their own time, should they want to.

What also really struck me about the performance was how inclusive it was. There was space for song, dance, video, music and movement of all kinds - there was room for Carnatic vocals, heavy metal, hip hop, politics, football, ancient Indian history, Greek mythology - all in the same space. Too often some aesthetic agenda is imposed on a performance (No Western influence! Serious theme!) and then you can feel the lack of conviction from the performers. I felt the performance that I saw, was a result of healthy mix of all the people involved, students and artists alike - a great mix of provocation towards independent thinking and just letting the students 'be'! And that worked like magic.

Seoul Agenda

The Seoul Agenda: Goals for the Development of Arts Education is a major outcome of UNESCO’s Second World Conference on Arts Education held in Seoul, the Republic of Korea, on 25 – 28 May 2010.

The Seoul Agenda calls upon UNESCO Member States, civil society, professional organizations and communities to recognize its governing goals, to employ the proposed strategies, and to implement the action items in a concerted effort to realize the full potential of high quality arts education to positively renew educational systems, to achieve crucial social and cultural objectives, and ultimately to benefit children, youth and life-long learners of all ages.

Against the backdrop of the Seoul Agenda, I will be running a series of interviews and other features on guerilla arts educators. Folk who fall outside of the net of government, corporate or NGO stakeholders. Fellow artists who concern themselves with children and arts-education. But first, what is the Seoul Agenda?

The Second World Conference on Arts Education

Seoul Agenda: 

Goals for the Development of Arts Education

The Seoul Agenda: Goals for the Development of Arts Education is a major outcome

of UNESCO’s Second World Conference on Arts Education held in Seoul, the

Republic of Korea, on 25 – 28 May 2010. Convened at the initiative of UNESCO, in

close partnership with the Ministry of Culture, Sports and Tourism of the Government

of the Republic of Korea, the Conference gathered more than 650 officials and

experts in arts education from 95 countries. The programme included a Ministerial

round table, keynote speeches, panel discussions, parallel workshops, regional

group discussions, an encounter with NGOs and foundations, and a special session

on Arts Education and the Rapprochement of Cultures.

Work on the Seoul Agenda began a year prior to the Conference during a meeting in

July 2009 of the International Advisory Committee (IAC) at UNESCO Headquarters,

and culminated in a presentation of the document to the participants during the

closing session of the Conference. In preparation for the Conference, the IAC

continued to refine the goals via e-mail exchanges in the months following the

meeting in 2009.

An amended version, which took into account comments and proposals received

from members of the IAC was prepared during a meeting immediately preceding the

Conference. This version of the Seoul Agenda was circulated to experts during the

Conference. Presentations and debates were monitored throughout the Conference

by the General Rapporteur and revisions were made to the document to reflect

priorities and insights offered by the Conference participants. Revisions of an

editorial nature were subsequently completed by the General Rapporteur to reflect

responses received from participants after presentation of the Seoul Agenda at the

close of the Conference.

Preamble

The Seoul Agenda: Goals for the Development of Arts Education reflects

the conviction of the IAC members and the experts participating in the

Conference that arts education has an important role to play in the

constructive transformation of educational systems that are struggling to

meet the needs of learners in a rapidly changing world characterized by

remarkable advances in technology on the one hand and intractable

social and cultural injustices on the other. Issues that concerned the IAC

included but were not limited to peace, cultural diversity and intercultural

understanding as well as the need for a creative and adaptive workforce

in the context of post industrial economies. Equally, participants agreed

that arts education can make a direct contribution to resolving the social

and cultural challenges facing the world today. Of crucial importance to

the success of arts education in meeting these challenges is the need to

achieve high standards in the conception and delivery of programmes.

The Seoul Agenda takes these three issues as its organizing principles.

As a product of UNESCO’s Second World Conference on Arts Education,

the Seoul Agenda is intended to build on the UNESCO Road Map for

Arts Education that was a major outcome of the First World Conference

held in Lisbon, Portugal, in 2006. The Road Map offered an important

theoretical and practical framework that provided guidance for advancing

the qualitative development and growth of arts education. A central goal

of the Seoul Conference was to reassess and encourage further

implementation of the Road Map. The Seoul Agenda will serve as a

concrete plan of action that integrates the substance of the Road Map

within a structure of three broad goals, each accompanied by a number

of practical strategies and specific action items.

The Seoul Agenda calls upon UNESCO Member States, civil society,

professional organizations and communities to recognize its governing

goals, to employ the proposed strategies, and to implement the action

items in a concerted effort to realize the full potential of high quality arts

education to positively renew educational systems, to achieve crucial

social and cultural objectives, and ultimately to benefit children, youth

and life-long learners of all ages.

Goals for the Development of Arts Education
GOAL 1: Ensure that arts education is accessible as a
fundamental and sustainable component of a high quality
renewal of education
Strategies:
1.a Affirm arts education as the foundation for balanced
creative, cognitive, emotional, aesthetic and social
development of children, youth and life-long learners

Action Items
1.a (i) Enact policies and deploy resources to ensure
sustainable access to:
- comprehensive studies in all arts fields for
students at all levels of schooling as part of a
broad and holistic education,
- out of school experiences in all arts fields for a
diversity of learners in communities,
- interdisciplinary arts experiences including digital
and other emerging art forms both in school and
out of school;
1.a (ii) Enhance synergy between the different aspects
of development (creative, cognitive, emotional,
aesthetic and social);
1.a (iii) Establish high quality evaluation systems in
order to ensure the well-rounded development of
learners in arts education.
1.b Foster the constructive transformation of educational
systems and structures through arts education

Action Items
1.b (i) Apply arts as an educational model introducing
artistic and cultural dimensions in other academic
disciplines;
1.b (ii) Foster a creative culture among teachers and
school administrators through arts education;
1.b (iii) Apply arts education to introduce innovative
pedagogies and creative approaches to curricula that
will engage a diversity of learners.
1.c Establish systems of lifelong and intergenerational
learning in, about and through arts education

Action Items
1.c (i) Ensure learners from all social backgrounds have
lifelong access to arts education in a wide range of
community and institutional settings;
1.c (ii) Ensure opportunities for arts education
experiences among different age groups;
1.c (iii) Facilitate intergenerational learning in order to
safeguard knowledge of traditional arts and foster
intergenerational understanding.
1.d Build capacities for arts education leadership, advocacy
and policy development

Action Items
1.d (i) Build practitioners’ and researchers’ capacities
for arts education policy reform including participation
of marginalized populations and under-privileged groups
in arts education policy-planning processes;
1.d (ii) Enhance communications and advocacy by
reinforcing relations with the information media,
establishing an appropriate language for
communication, and utilizing information technology
and virtual networking systems to link existing national
and regional initiatives;
1.d (iii) Communicate the individual and social impact of
arts education to raise the public awareness of the
values of arts education and to encourage support for
arts education in the public and private sectors.

GOAL 2: Assure that arts education activities and
programmes are of a high quality in conception and delivery

Strategies:
2.a Develop agreed high standards for arts education that
are responsive to local needs, infrastructure and cultural
contexts

Action Items
2.a (i) Establish high standards for the delivery of arts
education programmes in school and the community;
2.a (ii) Institute formally recognized qualifications
for teachers and community facilitators of arts education;
2.a (iii) Provide necessary and appropriate facilities and
resources for arts education.
2.b Ensure that sustainable training in arts education is
available to educators, artists and communities

Action Items
2.b (i) Offer necessary skills and knowledge for
teachers (general and arts) and artists working in
education through sustainable professional learning
mechanisms;
2.b (ii) Integrate artistic principles and practices within
pre-service teacher education and the professional
development of practising teachers;
2.b (iii) Ensure the implementation of arts education
training through the development of quality monitoring
procedures such as supervision and mentoring.
2.c Stimulate exchange between research and practice in
arts education

Action Items
2.c (i) Support arts education theory and research
globally and link theory, research and practice;
2.c (ii) Encourage cooperation in developing arts
education research and distribute research as well as
exemplary arts education practices through international
structures such as clearing houses and observatories;
2.c (iii) Consolidate high quality evidence of the impact
of arts education and assure its equitable distribution.
2.d Facilitate collaboration between educators and artists in
schools and in out-of-school programmes

Action Items
2.d (i) Encourage schools to initiate partnerships
between artists and teachers in delivering curricula;
2.d (ii) Encourage community organizations to cooperate
with teachers in providing arts education programmes in
a variety of different learning environments;
2.d (iii) Elaborate cultural projects within various
learning environments actively involving parents, family
members and community members.
2.e Initiate arts education partnerships among stakeholders
and sectors

Action Items
2.e (i) Build partnerships within and beyond governments
to strengthen the role of arts education in society,
especially across educational, cultural, social, health,
industrial and communication sectors;
2.e (ii) Coordinate the efforts of governments, civil
society organizations, higher education institutions and
professional associations to strengthen arts education
principles, policies and practices;
2.e (iii) Engage private sector entities including
foundations and philanthropic agencies as partners in
the development of arts education programmes.

GOAL 3: Apply arts education principles and practices to
contribute to resolving the social and cultural challenges
facing today’s world

Strategies:
3.a Apply arts education to enhance the creative and
innovative capacity of society

Action Items
3.a (i) Apply arts education throughout schools and
communities to foster the creative and innovative
capacity of individuals and to cultivate a new generation
of creative citizens;
3.a (ii) Apply arts education to promote creative and
innovative practices in favor of the holistic social,
cultural and economic development of societies;
3.a (iii) Employ emerging innovations in communication
technology as a source of critical and creative thinking.
3.b Recognize and develop the social and cultural well-being
dimensions of arts education

Action Items
3.b (i) Encourage recognition of the social and cultural
well-being dimensions of arts education including:
- the value of a full range of traditional and
contemporary arts experiences,
- the therapeutic and health dimensions of arts
education,
- the potential of arts education to develop and
conserve identity and heritage as well as to
promote diversity and dialogue among cultures,
- the restorative dimensions of arts education in
post-conflict and post-disaster situations;
3.b (ii) Introduce knowledge about social and cultural
well-being in training programmes for arts education
professionals;
3.b (iii) Apply arts education as a motivating process to
enhance learner engagement and reduce education
dropout levels.
3.c Support and enhance the role of arts education in the
promotion of social responsibility, social cohesion,
cultural diversity and intercultural dialogue

Action Items
3.c (i) Give priority to recognition of the learner-specific
context and encourage educational practices adapted
to the local relevancy of the learners including
minorities and migrants;
3.c (ii) Foster and enhance knowledge and understanding
of diverse cultural and artistic expressions;
3.c (iii) Introduce intercultural dialogue skills, pedagogy,
equipment and teaching materials in support of training
programmes in arts education.
3.d Foster the capacity to respond to major global
challenges, from peace to sustainability through arts
education

Action Items
3.d (i) Focus arts education activities on a wide range
of contemporary society and culture issues such as the
environment, global migration, sustainable
development;
3.d (ii) Expand multi-cultural dimensions in the practice
of arts education and increase intercultural mobility of
students and teachers to foster global citizenship;
3.d (iii) Apply arts education to foster democracy and
peace in communities and to support reconstruction in
post-conflict societies.