Partizipation und Inklusion durch Kunst und kulturelle Bildung für alle

Das Projekt „INARTdis – artistic education for all“, an dem sich sechs Bildungseinrichtungen aus Österreich, Deutschland, Nordmazedonien, Portugal und Spanien beteiligten, setzte sich zum Ziel, einen Beitrag zur Verwirklichung der inklusiven kulturellen Partizipation zu leisten und dabei Räume zu öffnen und zu gestalten. Die forschungsleitenden Fragestellungen des Projektes lauteten: Was verstehen Lehrpersonen, Stakeholder und Expert*innen in eigener Sache unter einer umfassenden inklusiven kulturellen Bildung? Wie kann diese von und durch alle Beteiligten umgesetzt bzw. gelebt werden? Um diese Fragen multiperspektivisch zu beantworten, erfolgten bei Pädagog*innen aus dem (außer)schulischen Bereich und verantwortlichen Personen aus dem Kunst- und kulturvermittelnden Bereich Erhebungen in Form von Online-Fragebögen (n =113), Expert*innen-Interviews (n=17), drei Fokusgruppen-Interviews (n = 21) und zwei Fokusgruppengespräche (n =11) im Anschluss von Museumsbesuchen von Menschen mit und ohne Behinderungen (n=46). Basierend auf den aus der qualitativen Studie gewonnenen Erkenntnissen wurden Trainingskurse entwickelt, durchgeführt und evaluiert. (DIPF/Orig.

Collaboration between schools and museums for inclusive cultural education: Findings from the INARTdis-project

The increasing heterogeneity in our communities is a reality and a foundational element of modern societies. This article deals with different aspects of political, social and cultural participation, processes of integration and inclusion. The aim of inclusion of all marginalized groups, among others integrating migrant communities, has to be a process of involving all sides - the local communities with publicly funded cultural institutions, the marginalized groups like migrant communities and the educational institutions in the local area. Therefore, the local community and schools have to be willing to make efforts in addressing interests and needs of all people, especially migrants or persons with disabilities. This paper presents the findings of the data collection in the project INARTdis in the countries Austria, Spain, North Macedonia and Portugal. Firstly, educators from the school and extracurricular sector as well as people from the fields of culture were asked to answer the question: What is inclusive arts education and how can this be promoted through cooperation? The analysis of inclusive access to cultural institutions and arts education was conducted in 2021 using a mixed-method design. Secondly, during museum visits, results on the learners' perspectives were collected. The aim was to find out what makes it easier for visitors to access the museum? The results show that, although the institutions and their professionals assume the principles of inclusion, their implementation is complex, either due to a lack of resources or due to the organizational structure of the arts institutions. All professionals consider that arts education promotes inclusive spaces as it allows for the participation and free expression of its participants. Likewise, they consider that accessibility is not really implemented and that the implementation of activities in arts institutions should favor the participation of users. In conclusion, there is a need to train professionals in inclusive arts education, to encourage collaboration between professionals and to implement inclusive strategies to promote participation and social inclusion.This article is part of the European project 621441-EPP-1-2020-1-ES-EPPKA3-IPI-SOC-IN awarded by the EACEA

Self-perception of competences for professionals in the development of inclusive arts projects

A geração de espaços de participação torna-se um elemento chave para o desenvolvimento de processos de inclusão social de pessoas com deficiência. As experiências com a arte são ambientes em que as pessoas interagem com os seus pares, são aceites e reconhecidas, promovendo processos de identidade e pertença à comunidade. No entanto, são necessários profissionais bem treinados que sejam capazes de criar contextos artísticos verdadeiramente inclusivos onde não haja espaço para a marginalização. O objectivo do artigo é identificar as competências auto-percebidas dos profissionais das artes e instituições sócio-educativas para desenvolver projectos artísticos inclusivos; e determinar as suas necessidades de formação a fim de as implementar. Utilizando uma metodologia mista, e através de um questionário, entrevista e grupo focal, 388 profissionais das artes e instituições sócio-educativas de cinco países europeus participaram no estudo. Os resultados mostram que, embora os profissionais se sintam competentes para desenvolver projectos artísticos inclusivos, necessitam de formação que lhes permita aprofundar a sua compreensão do que se entende por projectos artísticos inclusivos, bem como metodologias inclusivas em que nenhuma pessoa se sinta excluída. Para os profissionais, a criação de ambientes de colaboração torna-se um elemento de sucesso para a sua implementação.Abstract The generation of spaces for participation becomes a key element for the development of social inclusion processes in people with disabilities. Experiences with art are environments in which people interact with their peers, are accepted and recognized, promoting processes of identity and belonging to the community. However, it requires well-trained professionals who are able to create truly inclusive artistic contexts where there is no room for marginalization. The objective of the article is to identify the self-perception of competencies to develop inclusive artistic projects by professionals of artistic and socio-educational institutions; and to determine their training needs to implement them. By means of a mixed methodology, and through a questionnaire, interview and focus group, 388 professionals of artistic and socio-educational institutions from five European countries participated in the study. The results show that, although the professionals feel competent to develop inclusive artistic projects, they require training that allows them to deepen their understanding of what is meant by inclusive artistic projects, as well as inclusive methodologies in which no person feels excluded. For professionals, creating collaborative environments becomes an element of success for their implementation.Resumen La generación de espacios de participación se convierte en un elemento clave para el desarrollo de procesos de inclusión social en personas con discapacidad. Las experiencias con el arte son entornos en los que las personas interactúan con sus iguales, son aceptados y reconocidos, promoviendo procesos de identidad y pertenencia a la comunidad. No obstante, se requieren de profesionales bien formados que sean capaces de crear contextos artísticos verdaderamente inclusivos donde no haya espacio para la marginación. El objetivo del artículo es identificar la autopercepción de competencias para desarrollar proyectos artísticos inclusivos por parte de los profesionales de las instituciones artísticas y socio-educativas; y determinar sus necesidades formativas para implementarlos. Mediante una metodología mixta, y a través de un cuestionario, entrevista y grupo de discusión, 388 profesionales de instituciones artísticas y socioeducativas procedentes de cinco países europeos participan en el estudio. Los resultados muestran que, aunque los profesionales se sienten competentes para desarrollar proyectos artísticos inclusivos, requieren de una formación que les permita profundizar en lo que se entiende por proyectos artísticos inclusivos, así como de metodologías inclusivas en las que ninguna persona se sienta excluida. Para los profesionales crear entornos colaborativos se torna en un elemento de éxito para su implementación.Résumé La création d'espaces de participation devient un élément clé pour le développement des processus d'inclusion sociale des personnes handicapées. Les expériences artistiques sont des environnements dans lesquels les personnes interagissent avec leurs pairs, sont acceptées et reconnues, ce qui favorise les processus d'identité et d'appartenance à la communauté. Cependant, il faut des professionnels bien formés, capables de créer des contextes artistiques véritablement inclusifs où la marginalisation n'a pas sa place. L'objectif de cet article est d'identifier les compétences auto-perçues des professionnels des institutions artistiques et socio-éducatives pour développer des projets artistiques inclusifs ; et de déterminer leurs besoins en formation pour les mettre en œuvre. En utilisant une méthodologie mixte, et par le biais d'un questionnaire, d'un entretien et d'un groupe de discussion, 388 professionnels d'institutions artistiques et socio-éducatives de cinq pays européens ont participé à l'étude. Les résultats montrent que, bien que les professionnels se sentent compétents pour développer des projets artistiques inclusifs, ils ont besoin d'une formation qui leur permette d'approfondir leur compréhension de ce que l'on entend par projets artistiques inclusifs, ainsi que des méthodologies inclusives dans lesquelles personne ne se sent exclu. Pour les professionnels, la création d'environnements collaboratifs devient un élément de réussite pour leur mise en œuvre.info:eu-repo/semantics/publishedVersio

Identification of self-perception competences for professionals in the development of inclusive arts projects

RESUMEN: La generación de espacios de participación se convierte en un elemento clave para el desarrollo de procesos de inclusión social en personas con discapacidad. Las experiencias con el arte son entornos en los que las personas interactúan con sus iguales, son aceptados y reconocidos, promoviendo procesos de identidad y pertenencia a la comunidad. No obstante, se requieren de profesionales bien formados que sean capaces de crear contextos artísticos verdaderamente inclusivos donde no haya espacio para la marginación. El objetivo del artículo es identificar la autopercepción de competencias para desarrollar proyectos artísticos inclusivos por parte de los profesionales de las instituciones artísticas y socio-educativas; y determinar sus necesidades formativas para implementarlos. Mediante una metodología mixta, y a través de un cuestionario, entrevista y grupo de discusión, 388 profesionales de instituciones artísticas y socioeducativas procedentes de cinco países europeos participan en el estudio. Los resultados muestran que, aunque los profesionales se sienten competentes para desarrollar proyectos artísticos inclusivos, requieren de una formación que les permita profundizar en lo que se entiende por proyectos artísticos inclusivos, así como de metodologías inclusivas en las que ninguna persona se sienta excluida. Para los profesionales crear entornos colaborativos se torna en un elemento de éxito para su implementación.ABSTRACT: The generation of spaces for participation becomes a key element for the development of social inclusion processes in people with disabilities. Experiences with art are environments in which people interact with their peers, are accepted and recognized, promoting processes of identity and belonging to the community. However, it requires well-trained professionals who are able to create truly inclusive artistic contexts where there is no room for marginalization. The objective of the article is to identify the self-perception of competencies to develop inclusive artistic projects by professionals of artistic and socio-educational institutions; and to determine their training needs to implement them. By means of a mixed methodology, and through a questionnaire, interview and focus group, 388 professionals of artistic and socio-educational institutions from five European countries participated in the study. The results show that, although the professionals feel competent to develop inclusive artistic projects, they require training that allows them to deepen their understanding of what is meant by inclusive artistic projects, as well as inclusive methodologies in which no person feels excluded. For professionals, creating collaborative environments becomes an element of success for their implementation

Guia para a construção de espaços culturais inclusivos

A criação de espaços culturais e artísticos inclusivos requer uma revisão da forma como estes são concebidos, desenhados e organizados com o objetivo de dar as boasvindas a toda a gente e garantir o acesso e participação igualitários aos serviços, atividades e conteúdos que oferecem. Desta maneira, museus, centros culturais e artísticos ou espaços de exposições contribuem para a promoção do direito a aceder e participar na vida cultural e artística, tal como expresso em várias convenções internacionais, incluindo a Declaração Universal dos Direitos Humanos.info:eu-repo/semantics/publishedVersio

Menschenrechtsbildung in der Primarstufe : Bestandaufnahme, Potentiale und Perspektiven

Der Unterricht in der österreichischen Volksschule soll laut dem Allgemeinem Bildungsziel die SchülerInnen zu einer Haltung heranführen, die auf Demokratie und Wahrung der Menschenrechte baut. Die Menschenrechtsbildung beinhaltet die Vermittlung von Wissen über die Menschenrechte, das Lernen durch die Menschenrechte (Einstellungen) und das Lernen für die Menschenrechte (Aufbau von Haltungen). Die hier vorliegende Dissertation liefert einen systematischen Überblick über die Umsetzung der Menschenrechtsbildung in der Volksschule in Österreich. Ebenso beinhaltet sie eine Beschreibung von Qualitätsaspekten der Umsetzung im Rahmen der Schulqualität Allgemeinbildung in Bezug auf Schulentwicklung. Es werden Spannungsfelder zur Verwirklichung der Menschenrechtsbildung identifiziert, denen sich das System Schule stellen sollte und Maßnahmen formuliert, die eine Unterstützung der Lehrkräfte in diesem Bildungsauftrag darstellen können. Im österreichischen Bildungssystem wird die Menschenrechtsbildung vorwiegend im Zusammenhang mit dem Unterrichtsprinzip Politische Bildung betrachtet, diese Arbeit stellt eine Erweiterung des Blickwinkels dar. Die Menschenrechtsbildung wird in den Kontext von pädagogischer Ethik und Werteerziehung gerückt, da die Inhalte der Menschenrechtskonvention vordefinierte Werte und Normen des Zusammenlebens darstellen. Die Ergebnisse einer quantitativen Fragebogenerhebung (n= 349) beschreiben die derzeitige Umsetzungspraxis der Menschenrechtsbildung in der Volksschule der Steiermark. Hierbei zeigen sich Verbesserungsmöglichkeiten in Umsetzungshäufigkeit und demokratischer Beteilung. Interferenzstatistische Daten weisen Unterschiede in der Umsetzung z.B. nach Dienstalter nach. Die qualitativen Daten aus ExpertInneninterviews (n= 12) ermöglichen es, eine Idealvorstellung für die Umsetzung von Menschenrechtsbildung zu beschreiben. Letztlich werden Potentiale und Perspektiven zur Verbesserung auf unterschiedlichen Ebenen des Bildungssystems formuliert.Teaching in Austrian elementary schools should, according to the general education goal, introduce pupils to an attitude based on democracy and respect for human rights. Human rights education is learning about (knowledge), through (attitudes) and for human rights (empowering pupils to enjoy human rights and to respect and uphold rights of others).Against this background, this thesis gives a systematic overview about the implementation of human rights education in Austrian elementary schools: Quality aspects of that are described in accordance to the guideline School Quality in General Education in relation to school development. Besides that, challenges in realising human rights education, which should be addressed by those responsible, are identified. To tackle these challenges, measures that can support teachers in fulfilling the objectives of human rights education are outlined. Since human rights education in Austria is predominantly considered as part of political education, this thesis also represents an extension to that perspective: Human rights education is here contextualised in pedagogical ethics and value education, as the Human Rights Convention can be understood as set of predefined values and norms of cohabitation.Results of the conducted survey (n = 349) show both how and to which extend human rights education in Styrian elementary schools is currently implemented: Interference statistics indicate differences in implementation, i.e. according to seniority. Therefore, possibilities of improvement regarding frequency and democratic participation of pupils are highlighted. The latter is also matter of qualitative interviews with experts of the Austrian educational system (n = 12), who describe ideal concepts to implement human rights education in elementary schools. In regards to these results, potentials and perspectives to improve human rights education in Austria are formulated while considering the different levels of the education system.Gigerl MonikaZusammenfassungen in Deutsch und EnglischAbweichender Titel laut Übersetzung des Verfassers/der VerfasserinKarl-Franzens-Universität Graz, Dissertation, 2019OeBB(VLID)359296

Collaboration between schools and museums for inclusive cultural education : Findings from the INARTdis-project

The increasing heterogeneity in our communities is a reality and a foundational element of modern societies. This article deals with different aspects of political, social and cultural participation, processes of integration and inclusion. The aim of inclusion of all marginalized groups, among others integrating migrant communities, has to be a process of involving all sides-the local communities with publicly funded cultural institutions, the marginalized groups like migrant communities and the educational institutions in the local area. Therefore, the local community and schools have to be willing to make efforts in addressing interests and needs of all people, especially migrants or persons with disabilities. This paper presents the findings of the data collection in the project INARTdis in the countries Austria, Spain, North Macedonia and Portugal. Firstly, educators from the school and extracurricular sector as well as people from the fields of culture were asked to answer the question: What is inclusive arts education and how can this be promoted through cooperation? The analysis of inclusive access to cultural institutions and arts education was conducted in 2021 using a mixed-method design. Secondly, during museum visits, results on the learners' perspectives were collected. The aim was to find out what makes it easier for visitors to access the museum? The results show that, although the institutions and their professionals assume the principles of inclusion, their implementation is complex, either due to a lack of resources or due to the organizational structure of the arts institutions. All professionals consider that arts education promotes inclusive spaces as it allows for the participation and free expression of its participants. Likewise, they consider that accessibility is not really implemented and that the implementation of activities in arts institutions should favor the participation of users. In conclusion, there is a need to train professionals in inclusive arts education, to encourage collaboration between professionals and to implement inclusive strategies to promote participation and social inclusion