Artistic and cultural expression are valuable resources for stimulating creativity and broadening the learners' ability to perceive and express. On a social level cultural activities and products are a mirror of our values and norms, our social diversity, our heritage and visions for the future. Recognizing this role of arts and culture for our lives, UNESCO seeks with the Seoul Agenda to develop a holistic conceptual frame for arts education. It has two main elements.
- 1 learning through the arts/culture
- 2 learning in the arts/culture
- 3 Quality Criteria for Arts Education
- 4 Creativity
- 5 Drama and Play
- 6 Active and Critical Media Competence
- 7 Articles, Checklists and Methods
- 8 References
learning through the arts/culture
Utilizing artistic expressions and cultural resources and practises, contemporary and traditional, as a competency learning tool under an inter-disciplinary perspective.
learning in the arts/culture
Stressing the value of cultural perspectives, multi and inter-cultural, and culturally-sensitive languages through learning processes, as a tool for promoting the idea of cultural diversity.
Quality Criteria for Arts Education
The starting point is a creative learner, being able to initiate new things and to shape processes and works. Arts Education is supporting learners then with the tools and skills offered through arts and cultural work. The German Federal Association for Cultural Youth Education  developed basic quality standards rooted in the idea of competency centered facilitation.
Arts and cultural expression as a starting point and frame
Works, processes and methods are instruments for autodidactical learning resulting from aesthetic perception and experience. Perception and creative activity are put into dialogue. They are enriched by reflection. A diversity of forms and styles allows learners to broaden their repertoire for expressing and ideating.
Existing strengths and talents of learners are in the centre. The main focus is set on the activation of individual potentials by strengthening the strengths and talents. Topics and subjects are through the learners perceived as interesting and inspiring. There is a connection of the subjects to the social reality of learners. The decisions on the way an educational process takes and what kind of instruments it uses are a result of a participatory negotiation. The individual ways of (youth)cultural expression are appreciated.
- More: Resource Orientation
Learners are perceived as experts on their educational process and co-create it, including the choice of topics, questions and ways of work. They are not enforced to participate. The processes stimulate learners to take a stand, to discuss their positions in dialogue and learn to involve in group decisionmaking. Learners experience self efficacy and are perceiving their ability to create works in a successful way.
- More: Empowerment
Personal Competency Development
A mix of emotional, cognitive and social learning and a variety of methods and opportunities for expression is involved.
- More: Method Mix
Diversity and Inclusion
Individuality and social diversity are appreciated. The learning process makes use of multiperspectivity. Diverse needs are respected and the learning space is shaped according to these needs of individual learners.
- More: Diversity: Definition
These criteria show that artistic processes are, even if they are collaborative, not necessarily suitable for art education. The idea of artistic mastery and leadership sometimes conflicts with the ideal of empowerment as a tendencially open process. A strong result or product orientation can conflict with needs orientation. The role of a curator, instructor, artistic advisisor, director or dirigent needs to be completed through the pedagogical attitude of a facilitator. The process design of educational arts projects needs to include space for group experience and reflection, for individual learning curves and for cooperative learning.
Creativity is an ability that helps us process the wealth of information that our minds collect and forge connections between different pieces of information in order to find a solution to a problem in a new way, or to come to a new understanding of the problem itself. It is a fundamental aspect of creation, a proactive and future-directed process involving intellectual, material and social resources.
Creative Facilitation at Competendo:
More background information and methods for stimulating creativity and designing creative learning processes: Unleashing Creativity
Drama and Play
Theatre reflects the reality and shows us different points of views and interpretations of life. At the same time, theatre is always reflection for the actors as well as for the audience, no matter if played in a official theatre, on the street or in a classroom. The audience recognizes themselves in the magical space that is shown on stage. By changing the perspective, actors can recognize stereotypical behaviours easier and thus find alternative ways of acting in problematic situations. This way theatre can help to clarify situations in a playful manner.
In addition to that the playful and unconscious way of dealing with the foreign language helps to overcome inhibitions to speak or to present oneself during the seminar. Acting and laughing together creates an atmosphere of trust. Finally, fun and a good feeling for the group are important things for every seminar.
In order to be able to use the different ways of expression which the theatre offers, the participants have to make their body able to express itself and therefore they have to know their body very well. Only at this stage different forms of theatre can be used and the participants can leave step by step the audience and become actors themselves. This is the only way how participants cab become subjects instead of objects and develop from witness of a happening to protagonists. This development from spectator to actor happens in different phases. The introduction to theatre is therefore exercise and experiment with the own Body.
Active and Critical Media Competence
Under the conditions of modern media environments the ability to sucessfully navigate and create information and also to give shape to it is becoming a more and more relevant for any learner. Inline with progressing developments of the digital transformation especially our assumptions about media and definitions of media competence needed to be constantly applied. Media and Information Literacy is becoming an indispensable element of holistic learning - as part of arts education, digital learning or empowerment for active citizenship. Evidence shows especially the crucial role of civil society and non-formal learning (among others European Audiovisual Observatory, 2016  for facilitating media and information competence. Inline with the second law of UNESCO's five MIL laws it must be seen as an active competence and important ingridient of empowerment: "Every citizen is a creator of information/knowledge and has a message. They must be empowered to access new information/knowledge and to express themselves".
A modern approach to media pedagogy should focus on the wide range of lifelong learners and no longer focus primarily on young people.In addition, we can learn from modern media education more than from other fields of education, to recognize our participants not only as users, but as prod-users, producers and users of content in one person. Learning but also competent. Reflecting and actively experimenting at the same time.
Five laws of media and Information Literacy
Information, communication, libraries, media, technology, the Internet as well as other forms of information providers are for use in critical civic engagement and sustainable development. They are equal in stature and none is more relevant than the other or should be ever treated as such.
Every citizen is a creator of information/knowledge and has a message. They must be empowered to access new information/knowledge and to express themselves. MIL is for all – women and men equally – and a nexus of human rights.
Information, knowledge, and messages are not always value neutral, or always independent of biases. Any conceptualization, use and application of MIL should make this truth transparent and understandable to all citizens.
Every citizen wants to know and understand new information, knowledge and messages as well as to communicate, even if she/he is not aware, admits or expresses that he/she does. Her/his rights must however never be compromised.
Media and information literacy is not acquired at once. It is a lived and dynamic experience and process. It is complete when it includes knowledge, skills and attitudes, when it covers access, evaluation/assessment, use, production and communication of information, media and technology content.
Source: Five Laws of MIL
Articles, Checklists and Methods
Expressing in a holistic way
Beyond Zero and One: Culture of the Internet, Network Culture
Images of Digitalisation
Fake News, Disinformation, Malinformation
Fake through AI
Our Digital Voices: New Ways to Communicate
Sharing – a cultural shift
Social media: a human need
Storytelling and Stereotypes
Visual Literacy: How to Think and Act with Images
Culture of datafication
Freedom of expression
Stop reading the news
SPACE_r. The instruction of using city
The Next Rembrandt - Is AI Intelligent or Not
You and the algorithm
Checklist: Different aspects of information disorder
Checklist: Real vs. generated photos
Visual facilitation Cookbook
Estonian UNESCO Youth Association's, Biedrība Piepildīto sapņu istaba's and cooperativa braccianti's cookbook on visual facilitation and graphical recording.
Creative Writing Cookbook
Estonian UNESCO Youth Association's, Biedrība Piepildīto sapņu istaba's and cooperativa braccianti's cookbook on creative writing.
A short and inspiring practice bookpublished by Leargas, Irish National Agency of Erasmus+, in cooperation with SALTO Training and Cooperation.
Building connections, drawing inspirations & exploring opportunities as individuals & groups.
Resources: Digital & Media Competence
Digital Citizenship Education Handbook
by Council of Europe. Being online. Well-being online. Rights online
Learning the Digital
DigComp 2.2: The Digital Competence Framework for Citizens
2022 edition of the EU framework
Digital Competence of Educators
What has digital competency to do with you as a teacher or educator?
DigComp 2.1 Self Assessment Tool
Digital Citizenship Education - Trainers' Pack
The concept of DCE applied in education and learning, published by Council of Europe
DigComp into Action
A guide on how to make use of the DigComp framework
DIGIT Manifesto and guidelines for adult educators
Boost Competences for responsible online identity
Digital competence toolbox for youth work
Verke's toolbox includes criteria for digital competences, a self-assessment tool and also an online test.
Human vs AI Test
Can We Tell the Difference Anymore? By K. Rajnerowicz
Maker activities in youth work
A reader about maker culture and youth work by Verke
Handbook Educational Robotics
From the eMedia Project: Media Literacy and Digital Citizenship for All.
from the project DOIT - Entrepreneurial skills for young social innovators in an open digital world
Makerspaces for Education and Training
Exploring future implications for Europe, by JRC
Tech for Good
Possibilities and limits of using digital instruments in international development projects of NGOs
Your Data Mirror
Learn about the mechanisms of data collection and the impact this practice on society. By Interactive Media Foundation.
Handbook Media Literacy
From the eMedia Project: Media Literacy and Digital Citizenship for All.
EU vs. Disinfo
The EU portal on disinformation
Open your eyes
Handbook: How to identify and tackle online disinformation?
Open your eyes
Database: Fake news
STEPS -Survival Toolkit for EDC in Post-factual Societies
Texts, studies and methods from the project STEPS Download
12 good practices that will inspire you collected through Evens Foundation
Inspiring ways to involve parents in digital education collected through Evens Foundation
How to think and act with images?
Working with movies
- UNESCO: Seoul Agenda: Goals for the Development of Arts Education
- Bundesvereinigung Kulturelle Jugendbildung: Arbeitspapier „Aufwachsen mit Kunst, Kultur und Spiel. Qualitätsmerkmale für die Kulturelle Bildung
- European Audiovisual Observatory, 2016. Mapping of media literacy practices and actions in EU-28. Strasbourg 2016.
- Grizzle, A. & Singh, J. (2016). Five Laws of Media and Information Literacy as Harbingers of Human Rights. A Legacy of Ranganathan’s Five Laws of Library Science. In: Singh, J.; Kerr, P.; Hamburger, E. (2016). Media and information literacy: reinforcing human rights, countering radicalization and extremism. The MILID yearbook, UNESCO, Paris.