Tuesday, December 21, 2010

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.

Sunday, December 12, 2010

Brain Development & Arts Education: Vivek Benegal

If ever you need to make a case for arts education, look no further. Dr.Vivek Benegal from NIMHANS, Bangalore made a terrific presentation on the brain "on art" this weekend at the IFA/Goethe Institut conference at the beautiful NGMA campus. Oh boy, do artists drink from the fountain of youth! I wish I could write down everything he so cogently said, but perhaps these slides will give you an idea. For further information, do look him up and write to him.


Also, I was so happy to be a Bangalorean. 
IFA http://www.indiaifa.org/
NIMHANS http://www.nimhans.kar.nic.in/
NGMA http://ngmaindia.gov.in/ngma_bangaluru.asp









































Monday, December 6, 2010

Arts-Education Conference in Bangalore

I'm presenting a paper at this conference and will be facilitating a break out session. Plenty of other rock stars will be presenting, including T.M.Krishna, Prakash Belawadi, Maya Rao etc, so totally worth attending. All participation details are below. Read on...

India Foundation for the Arts (IFA) is pleased to announce the 2nd edition of the Arts Education Conference to happen in December this year. IFA will be hosting this event in collaboration with the Goethe-Institut/Max Mueller Bhavan Bangalore (GI/MMB). The two day conference will take place at the National Gallery of Modern Art, Manikyavelu Mansion, 49 Palace Road, Bengaluru 560 052 on the 10th and 11th of December.

The collaboration of the two institutes stemmed from shared values like the importance of arts and culture in society as well as for the individual. IFA has an established network of Institutions that engage with Arts Education like Ananya GML Cultural Academy, Attakkalari Center for Movement Arts, Gombe Mané etc. The Goethe-Institut/Max Mueller Bhavan also has extensive know-how in the fields of theatre, music, dance and fine arts.

The Conference in 2009 had speakers and delegates discussing classroom education as well as the philosophical and conceptual frameworks of Arts Education. It articulated the role of arts in early childhood education. It also brought together teachers, theorists, policy makers, artists, students and resource persons to deliberate on the subject of Arts Education in India. 

The 2010 GI/MMB-IFA Conference will recognize and celebrate synergies with worldwide thinking about Arts Education priorities. By Arts Education we mean kindling a connection to the arts for the teacher, both as an 'individual' and as an 'educator', through exposure to music, movement, theatre, visual arts and puppetry. 

This year’s edition aims at enumerating links between the fields of art, culture, development and education. It will remain faithful to the momentum of Kali-Kalisu, which derives from Arts Education initiatives at grassroots levels in school contexts. It will equally hope to catalyse conversations with broader Indian and international Arts Education activist communities that are engaged in the continual dialogue of global and local realities, ideas, theories and practices.


It gives us immense pleasure to invite you to participate in the conference. Please find attached the request for participation which includes the conference background note and programme. Pre-registration is absolutely necessary. The form is enclosed. Forms are also available at www.indiaifa.org. You may fill out an e-form and send it to: sumitra@indiaifa.org. We will confirm your participation as soon as we hear from you. Registrations at the venue will have to pay a fee of Rs. 1200/- and Rs. 600/- for Students (with ID proof).

Best regards,   
Sumitra Sunder,
Conference Manager



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Saturday, December 4, 2010

Common Resources: Knowledge Management

Ha! Just as I was thinking about IT for Change, I receive a mail from Guru about an interesting and important workshop for anyone interested in common resources, the open source and other guerilla means of combating the problems of proprietary software. A must attend for all public institutions. Visit www.Public-Software.in for application form and details on how the planned workshop can help your organization best use ICTs. Read on...

As "Public Institutions" (NGOs, CBOs, community media organisations, academic institutions, Government departments) we work for promoting the public welfare. An important part of our work is to develop, protect, promote and rejuvenate 'common resources' that are required for all – water, food, education, health, transport etc. As the 'digital society' becomes more and more widespread through greater adoption of ICTs in society, it becomes important for us to protect and promote the 'digital commons' – the space where digital resources required by all, are created by all, for the free sharing and use of all.


However, most of us use software (an important digital resource that actually structures the digital society) that is forbidden to be shared and whose creation  / modification is monopoly of a single vendor. Proprietary software applications are owned by the vendor and we are only a user/ consumer; with no right to share, no right to study, no right to modify and distribute these resources. Such proprietisation of essential digital resources, is harmful since it prevents our 'freedom to share and freedom to participate in its creation/customisation'. Such proprietisation is thus an obstacle to universal access to basic software* resources, required by all, to participate in the digital society and is antithetical to the principles of collaboration/sharing and equity, dear to the NGO/GO sectors.



In addition, the scarce resources of NGOs and other publicly funded institutions are used for procuring expensive software licenses (or pirated software is used). Fortunately, a huge 'community' of public-interest individuals and organisations have developed 'publicly owned' software tools that can be freely shared as well as studied, modified and distributed without restrictions. Such software that is publicly owned supports free sharing for universal access, as well as local participation in its design, development and customisation and can be termed 'public software*' in contrast to 'private' ('proprietary') software. 



Should our public institutions then still be 'locked-into' private software? 



UN Solution Exchange - Karnataka Community and Public Software Centre, IT for Change are organising a Capacity Building Workshop for Knowledge Management and Knowledge Networking with support from UNICEF and HIVOS, on the 16 - 18December 2010 in Bengaluru, to support organisations working in the Bengaluru Division of Karnataka to adopt public software. The workshop has no participation fee. Public Software Centre can also provide support / hand-holding to organisations keen to adopt public software. Please visit www.Public-Software.in for the application form and other details.



regards,

Guru




*Basic software that is essential for the participation of all in the digital society needs to be seen as an entitlement, just as public education or public health. By supporting and producing such 'public software' that being publicly owned, is free and open; public institutions and communities promote its universal access as well as participation in its creation (both are essential principles for public institutions).We can include operating systems, text/ number/ image/ audio/ video editors, web browsers etc as 'basic software' which all individuals and organisations need to use.

Monday, November 29, 2010

Growing up Digital, Wired for Distraction

At every parent-teacher meeting we ever attended between 1996 - 2010, a huge pre-occupation was TV and the Internet. The elephant in the room those days, was sex and pornography. Have Internet, will surf porn - was the general (perhaps unfounded) anxiety of parent and teacher alike. One school went so far as as to disable Facebook and blog access from the school server. Suffice it to say that the students were expert little hackers and  found a way to access Facebook despite the block.


To provide a student response and allay adult fears, we organized a Children's Forum on the Internet & New Media at Rangashankara in 2009. Our partners, Centre for Internet & Society and IT for Change, helped to facilitate a debate among the children on New Media and then put together a presentation, using SMS, Podcasts and Youtube, to which adult care-givers - both teachers and parents - were invited. The dialogue between the children and the adults in the audience was a revelation. While the students spoke articulately about safety, technology and being savvy with Internet usage, the adults stuck to their guns about monitoring. It was pretty clear that the issue in question was the same old one - trust, or the lack, thereof. 

Now there's a new elephant in the room vis-a-vis New Media - short attention spans. Sex now seems as wholesome as pie, innit?! Read on...

                                           Growing up Digital, Wired for Distraction


Sunday, November 28, 2010

Yes, we want an education! But without the thought control!

Last week when I blogged about the way in which theatre is used in the Indian schooling system, I said that I wished students would revolt and say to hell with this (the Annual Day Play Syndrome) and devise their own new works about their lives and the world as they see it.

The same week, young students in the UK protested against the education cuts in their country. Can a youth revolution be around the corner and will India allow 53% of her population to steer her forward?

                                                                   Riot Girrrls


Tuesday, November 23, 2010

Announcing! GROOVE WORKSHOP at Infinite Souls


Learn the finer aspects of modern music and jazz from Asaf Rabi (Israel) & Konarak Reddy (India)



The Ministry of Stories

Great ideas to get kids writing & creating

Frances Booth was one of the first storytellers to try out the Ministry of Stories, which is based on Dave Eggers’s centre in San Francisco. Photograph: Yemisi Blake



A video of Ministry of Stories

Tuesday, November 16, 2010

Two Ideas



I offer you two ideas...

1.       In the Deccan Herald, dated 8th November 2010, an interview with the Pandavani artist Teejan Bai, who had just performed her  Draupadi Cheerharan at the Rangashankara Classical & Tribal Theatre Festival.
“As an artiste, my duty is to just perform and leave the rest to God.”
2.       In the New York Times, October 31st 2010, an article on a massive street art exhibit called The Underbelly Project.
“Known to its creators and participating artists as the Underbelly Project, the space, where all the show’s artworks remain, defies every norm of the gallery scene. Collectors can’t buy the art. The public can’t see it. And the only people with a chance of stumbling across it are the urban explorers who prowl the city’s hidden infrastructure or employees of the Metropolitan Transportation Authority.
That’s because the exhibition has been mounted, illegally, in a long-abandoned subway station. The dank, cavernous hall feels a lot farther than it actually is from the bright white rooms of Chelsea’s gallery district. Which is more or less the point: This is an art exhibition that goes to extremes to avoid being part of the art world, and even the world in general.

I’m making this personal.

I’m using these two very interesting ideas to refract events and phenomena in my world. To me, the flagrant corruption of the sort we are seeing today points to a complete departure of values and absence of morality. I use both words carefully, not having much faith in either family or traditional values and fearful of morality being part of the chastity/virginity gang, who I mistrust even more than family values. I refer instead to something that is perhaps overarching and fundamental to our existence on this planet - practiced values such as civility, honesty, dignity, cooperation and solidarity with the marginalized or under privileged. Values that would make it unbearable to illegally accumulate anything. Inconceivable that you could dip into public funds, take from war widows, optimize personal gain over community growth and so on.

Assuming there is something of worth in these values one would imagine they would be part of every child’s education, right?  So what are we doing to facilitate this education of the heart?

As a theatre artist, I often interact with local schools. Sometimes in order to facilitate a workshop, sometimes to judge an event, often to teach a class, screen a film or do a lec-dem. And then the ball drops. About three times a year I get invitations to direct an “Annual Day Play/Founder’s Day Play”. The inverted commas are because its part of a contagious Bangalore disease called the Annual Day Syndrome. While a whole year can pass uneventfully, without so much as a nod to the NCERT National Curriculum Framework*, everyone gets into a lather about the Annual Day Play. Two months prior to the big day, scripts and cast are cobbled together, parents (or these days, corporate sponsors) dish out generously for grand costumes, auditoria, lights, PA system and the children are routinely yelled at so that they learn their lines and are par for the course. The latter basically involves not speaking out of turn and doing what the adult in charge thinks is the “right” thing vis-à-vis performance.

Why am I lamenting a clearly bourgeois approach to art that endorses the “sitting room” culture? Oh, please! Because of the dangerous stuff embedded within that makes it less harmless exercise in bad taste and more cultural pruning and indoctrination.
Consider what the process and the end result teach a child:
-          It is all about the exterior; how GOOD the product looks is the mark of its success
-          Performance is everything, so never mind how undemocratic the process might be
-          Art is…don’t be daft, let’s not bring art into this

What do these credos bring to mind? Capitalism? Advertising? Military training?
Huh. Strangely, the school would call it theatre.

It’s a crying shame. Theatre, more than any other art form, offers students the possibility to see life in a microcosm and to play with its many options. To have fun, experiment, seek their voice and fail again and again and again.

I stress the word “fail” because about a year ago, parent told me a story. Her 13 year old son, quite out of the blue, stepped in front of a moving train and killed himself. She never saw it coming. His note mentioned doing badly in a Math paper and a girl who had rejected him. His mother looked at me and said “The problem was he had never known failure.”

Yet we, the adults in charge, continually dismantle the huge learning potential inherent in theatre (and other arts) in order to put on a “show”. Sanjay Iyer (program director of the Kali-Kalisu program for arts education) puts this down to the administration’s overwhelming desire to “increase the prestige of the school” at the expense of the child’s growth. In short, we are dissing what is natural, organic and joy-inducing in favour of an elaborate sham that eventually will not bode well for the child. We are teaching them double speak and to believe in a narrow notion of success that is dictated by external indicators such as wealth accumulation, fame and the affirmation of others. And this child will grow into an adult whose immutable values include pretension, lies and covert activity, basically anything to come off looking good.  Net-Net: An adult who is terrified of failure.

At the Rangashankara Symposium on Theatre Pedagogy for Children (2009), I mentioned in my paper that if we have to extract four core values from theatre, they would be TRUST, PLAY, IMPROVISATION & INSPIRATION. Those would be the exact four values that go missing from the average school experience, where children are encouraged to compete, mistrust adults, stay within the box, intellectually dumb down and eventually have their every natural instinct socialized into submission and subsequent extinction. 

Extrapolate the Annual Day Syndrome to the national scenario. How many students wish to study the humanities these days? Have you ever met someone who wanted to study philosophy or ethics or even literature? Why would they when they are taught that education is for the sole purpose of becoming a cog in the Market Wheel and the Market apparently favours material productivity over a wealth of ideas. All fair enough, except for the huge fallout in those aforementioned fundamentals – civility, honesty, dignity et al.

So when Teejan Bai says she just performs and leaves the rest to God, let us pay close heed. And when a group of street artists decide to curate a show for themselves alone, fantastic works painted onto damp walls that will fetch no money and that will inevitably decay in a short time, let us stop and ask why.

I seriously wish that our students would revolt and say to hell with this crap. Let us make plays about our lives and what concerns and interest us. If it involves death and disappointment and drugs, so be it. If we love Eminem, PS 3 and Rajnikanth, help us locate this love in a larger cultural context. If English is our second language, endorse multi-lingual theatre. But we’ll be damned if we do another Broadway/Westend rip off or Bollywood extravaganza. So shut up and listen to what we have to say. You might well learn something. We are 53% of this country’s population. Best we learn to articulate our own deepest feelings, fears and vulnerabilities rather than continue to mimic someone else’s voice and assemble feeble imitative theatre. Democracy needs our informed voices and opinions, right? Right?

* The present NCF proposes five guiding principles for curriculum development:

(i) connecting knowledge to life outside the school; (ii) ensuring that learning shifts away
from rote methods; (iii) enriching the curriculum so that it goes beyond textbooks;
(iv) making examinations more flexible and integrating them with classroom life; and
(v) nurturing an overriding identity informed by caring concerns within the democratic
polity of the country.

Also, that:

Art as a subject at all stages is recommended, covering all four major spheres, i.e.
music, dance, visual arts and theatre. The emphasis should be on interactive approaches, not
instruction, because the goal of art education is to promote aesthetic and personal
awareness and the ability to express oneself in different forms. The importance of India’s
heritage crafts, both in terms of their economic and aesthetic values, should be recognised
as being relevant to school education.