FOREWORD: CHIEF EXECUTIVE OFFICER OF THE NEPAD AGENCY

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3 FOREWORD: CHIEF EXECUTIVE OFFICER OF THE NEPAD AGENCY NEPAD Regional Conference on Arts Education in Africa: SADC ~ 1 ~

4 FOREWORD: DEPUTY MINISTER OF ARTS & CULTURE, RSA NEPAD Regional Conference on Arts Education in Africa: SADC ~ 2 ~

5 NEPAD Regional Conference on Arts Education in Africa: SADC A NEPAD REGIONAL CONFERENCE Southern African Development Community (SADC) ARTS EDUCATION Theme: Towards Policies and Practices A CONCEPT NOTE PURPOSE The purpose of this document is to highlight the importance of arts education, with particular attention to the African continent. BACKGROUND There is widespread recognition of Africa s potential as an increasing force in global economic, political and cultural affairs. Similarly, there is widespread recognition that key to unlocking this potential, is education, capacity building, and developing Africa s human resources. The convergence of the Millennium Development Goals (MDG) deadline, the Second African Decade for Education, the international focus on the cultural dimension of development and the impetus of the 2010 World Conference on Arts Education provide a unique opportunity for Africans to devise and implement appropriate policies, strategies and concrete actions to respond to the needs and opportunities of the 21 st Century. In 2006 UNESCO hosted the first World Conference on Arts Education in Lisbon which produced the UNESCO Road Map for Arts Education, a document that provided strategic guidance for promoting qualitative development and growth of arts education. The Road Map emphasises the following primary aims of arts education: 1. Develop human capabilities 2. Improve the quality of education 3. Promote the expression of cultural diversity 4. The development of materials to support teachers in their teaching From the above international cultural policy instruments to which many African countries subscribe, as well as the African policies and plans created by Africans themselves under the auspices of the African Union, the need for arts education is clear. AIM Arts education is perceived as a universal human right for all learners including those often excluded from main stream education. Articles 22, 26 and 27 of the Universal Declaration of Human Rights encapsulate this right. Furthermore, research has indicated beyond a shadow of doubt that education in and through the arts stimulates cognitive development, increases respect and appreciation for cultural diversity, cultivates in each individual a sense of creativity, initiative, fertile imagination, a capacity for critical reflection and the potential to play a role in a wider social cohesion project. OBJECTIVES a) Convergence of the need for arts education Whether the approach is for education to enhance the human rights of children and adults, for education to promote cultural identity, awareness and diversity, for education to develop critical, innovative and creative skills applicable in a range of areas, or for education to contribute to the creative industries as means for economic development, the need for arts education to be integrated into, and given greater prominence within African education systems designed to prepare citizens for effective participation in the 21 st Century, is clear. b) Convergence of time frameworks 2015 marks the deadline for the achievement of the Millennium Development Goals that have particular resonance for Africans is also the end of the Second African Decade for Education. Furthermore, ~ 3 ~

6 NEPAD Regional Conference on Arts Education in Africa: SADC with the first having been held in 2006 and the second in 2010, it is likely that the Third World Conference on Arts Education will be held in the near future. Given the goals of the Second African Decade for Education, there is a unique opportunity for Africa to devise and implement policy recommendations for arts education as an integral component of education systems that respond to the needs of Africa in the 21 st Century. c) Towards African arts education policies While the aim of the conference is to support the development of African arts education policies, it is recognised that Africa is not homogenous, but rather that there are differences in economic wealth, infrastructure, human capacity, political will and culture between different regions, countries within regions and even within countries themselves. OUTCOMES 1. To ensure that African countries, regions and the continent as a whole have comprehensive arts education policies and plans in place by the time of the Third World Conference on Arts Education, if not before. 2. Arts Education policies and plans to be developed that speak to, and are appropriate to the varying conditions of the continent, while nevertheless seeking to address the imperatives of human rights, innovative skills, cultural identity and diversity as well as the creative economy and development. 3. The development of generic and adaptable frameworks for arts education in Africa. 4. The development of materials to support teachers in their teaching. The above document references and draws on the following documents and processes: Universal Declaration of Human Rights Millennium Development Goals Second African Decade for Education Charter for African Cultural Renaissance AU Charter for African Cultural Renaissance, 2006 SADC Protocol on Culture, Information and Sport, 2001, endorsed in 2006 (AU) African Youth Charter UNESCO Convention on the protection and promotion of the diversity of cultural expression UNESCO Conference on arts education in Africa in 2001 First World Conference on Arts Education, Lisbon, Portugal in March 2006 Second World Conference on Arts Education, Seoul, 28 May 2010 DAC White Paper on Arts, Culture and Heritage (1996) CAPS National Curriculum Statement National Youth Policy The National Skills Development Framework: CATHSSETA and the National Skills Fund Skills Development Act 37 of 2008 by Department of Labour Audit report of Community Arts Centres Arts Education in Africa: Toward Policies and Practices, project framing document ( ) ~ 4 ~

7 NEPAD Regional Conference on Arts Education in Africa: SADC CONFÉRENCE RÉGIONALE DU NEPAD Communauté de développement de l Afrique australe (SADC) ÉDUCATION ARTISTIQUE Thème: «Vers des politiques et des pratiques» NOTE CONCEPTUELLE BUT Le présent document vise à mettre l'accent sur l'importance de l'éducation artistique, avec une attention particulière au continent africain. CONTEXTE Il y a une reconnaissance générale du potentiel de l'afrique comme une force croissante dans les activités économiques, politiques et culturelles à l'échelle mondiale. De la même façon, on reconnaît de façon générale que les moyens pour libérer ce potentiel sont l'éducation, le renforcement des capacités et le développement des ressources humaines en Afrique. La convergence de l'échéance des objectifs du Millénaire pour le développement (OMD), de la deuxième Décennie de l'éducation pour l'afrique, l'importance attachée au niveau international à la dimension culturelle du développement et l'impulsion de la Conférence mondiale de 2010 sur l'éducation artistique offrent une occasion unique aux Africains pour concevoir et mettre en œuvre des politiques et stratégies appropriées ainsi que des actions concrètes pour répondre aux besoins et aux opportunités du XXI ème siècle. En 2006, l'unesco a organisé à Lisbonne, la première Conférence mondiale sur l'éducation artistique. Cette Conférence a élaboré la Feuille de route de l'unesco sur l'éducation artistique, un document qui fournissait l'orientation stratégique pour la promotion du développement qualitatif de l'éducation artistique. Cette Feuille de route met l'accent sur les principaux objectifs suivants de l'éducation artistique: a. Développer les capacités humaines; b. Améliorer la qualité de l'enseignement; c. Promouvoir la diversité culturelle; d. Mettre au point des outils didactiques et pédagogiques pour soutenir les professeurs dans leurs enseignements; Au regard des instruments internationaux de politique culturelle ci-dessus auxquels de nombreux pays africains ont souscrit, ainsi que des politiques et plans africains créés par les Africains eux-mêmes sous les auspices de de l'union africaine, la nécessité de l'éducation artistique est évidente. BUT L'éducation artistique est perçue comme un droit universel pour tous les apprenants, y compris ceux qui sont souvent exclus de l'enseignement général. Les article 22, 26 et 27 de la Déclaration universelle des droits de l homme affirment ce droit. En outre, des recherches ont indiqué sans l'ombre d'un doute que l'éducation dans et par les arts stimule le développement cognitif, augmente le respect et la reconnaissance de la diversité culturelle, cultive en chaque individu le sens de la créativité, l'initiative, l'imagination fertile, la capacité de la réflexion critique et le potentiel de jouer un rôle dans un projet de cohésion sociale plus vaste. OBJECTIFS a. Convergence de la nécessité de l'éducation artistique Que l'objectif de l'éducation soit de renforcer les droits des enfants et des adultes, de promouvoir l'identité culturelle, la sensibilisation et la diversité, de développer les compétences critiques, novatrices et créatrices applicables dans un éventail de domaines, ou qu'il soit de participer aux industries créatives en tant que moyen de développement économique, il est nécessaire d'intégrer l'éducation artistique et lui accorder davantage d'importance dans les systèmes éducatifs africains afin de préparer les citoyens à une participation effective au XXI ème siècle. ~ 5 ~

8 NEPAD Regional Conference on Arts Education in Africa: SADC b. Convergence des échéances 2015 marque l'échéance pour la réalisation des objectifs du Millénaire pour le développement qui ont une importance particulière pour les Africains. Cette année marque également la fin de la deuxième Décennie de l'éducation pour l'afrique. En outre, la première conférence ayant eu lieu en 2006 et la seconde en 2010, il est probable que la troisième Conférence mondiale sur l'éducation artistique se tienne dans un avenir proche. Compte tenu des objectifs de la deuxième Décennie de l'éducation pour l'afrique, l'occasion est tout à fait unique pour l'afrique de concevoir et à mettre en œuvre des recommandations stratégiques pour l'éducation artistique comme faisant partie intégrante des systèmes éducatifs qui répondent aux besoins de l'afrique au XXI ème siècle. c. Vers des politiques africaines d'éducation artistique Bien que l'objectif de la Conférence soit de soutenir l'élaboration de politiques africaines d'éducation artistique, il est reconnu que l'afrique n'est pas homogène, mais qu'il y a plutôt des différences au niveau de la santé économique, des infrastructures, des ressources humaines, de la volonté politique et de la culture entre les différentes régions, les pays au sein des régions et même dans les pays eux-mêmes. RÉSULTATS 1. S'assurer que les pays africains, les régions africaines et le continent africain dans son ensemble, disposent de politiques et de plans globaux d'éducation artistique au moment de l'organisation de la troisième Conférence sur l'éducation artistique, voire même avant. 2. Les politiques et plans de l'éducation artistique devant être élaborés doivent traiter des différentes situations du continent et y être adaptées, tout en cherchant néanmoins à faire face aux impératifs des droits humains, des compétences novatrices, de l'identité et de la diversité culturelle ainsi que de l'économie et du développement créatifs. 3. L'élaboration de cadres généraux et adaptables pour l'éducation artistique en Afrique. 4. La mise au point d'outils didactiques et pédagogiques pour soutenir les professeurs dans leurs enseignements. Le document ci-dessous fait référence et s'appuie sur les documents et les processus suivants: La Déclaration universelle des droits de l'homme Les objectifs du Millénaire pour le développement La deuxième Décennie de l'éducation pour l'afrique La Charte de la renaissance culturelle africaine La Charte de la renaissance culturelle africaine de l'ua, de 2006 Le Protocole de la SADC sur la culture, l'information et les sports, de 2001, entériné en 2006 La Charte africaine de la Jeunesse (UA) La Convention de l'unesco sur la protection et la promotion de la diversité des expressions culturelles La Conférence de l'unesco sur l'éducation artistique en Afrique, (2001) La première Conférence mondiale sur l'éducation artistique, à Lisbonne (Portugal), en mars 2006 La deuxième Conférence mondiale sur l'éducation artistique, à Séoul, le 28 mai 2010 Le livre blanc du ministère des Arts, de la Culture et du Patrimoine (1996) La Déclaration du Programme national du CAPS ( ) La Politique nationale en faveur de la jeunesse ( ) Le Cadre national pour le développement des compétences: Le CATHSSETA et la Loi N 0 37 de 2008, du ministère du Travail, portant Fonds national pour le développement des compétences Le rapport de vérification des centres des arts communautaires L'éducation artistique en Afrique- Vers des politiques et des pratiques, le document-cadre du projet ( ) ~ 6 ~

9 NEPAD Regional Conference on Arts Education in Africa: SADC CONFERÊNCIA DA NEPAD Comunidade para o Desenvolvimento da África Austral (SADC) EDUCAÇÃO ARTÍSTICA Tema: Rumo a Políticas e Práticas NOTA DE CONCEITO OBJECTIVO O presente documento visa salientar a importância da educação artística, com especial atenção dedicada ao continente africano. CONTEXTO O potencial de África é amplamente reconhecido como uma força cada vez mais crescente no panorama económico, político e cultural mundial. Também se reconhece que o seu aproveitamento depende da educação, reforço de capacidades e desenvolvimento dos recursos humanos do continente. A convergência do prazo dos ODM (Objectivos de Desenvolvimento do Milénio), da Segunda Década Africana sobre a Educação, foco internacional sobre a dimensão cultural do desenvolvimento e o ímpeto da Conferência Mundial sobre o Ensino das Artes proporcionam aos africanos uma oportunidade ímpar para conceber e implementar políticas, estratégias apropriadas e acções concretas que respondam às necessidades e oportunidades do século XXI. Em 2006 a UNESCO acolheu a primeira Conferência Mundial sobre Educação Artística em Lisboa, que produziu o Roteiro da UNESCO para a Educação Artística, um documento que forneceu a orientação estratégica para a promoção do desenvolvimento e crescimento qualitativos da educação artística. O Roteiro potencia os seguintes objectivos primários sobre a educação artística. 1. Desenvolver as capacidades humanas 2. Melhorar a qualidade da educação 3. Promover a expressão de diversidade cultural 4. Criação de materiais de apoio didáctico para professores A necessidade de educação artística torna-se evidente à luz dos instrumentos de política internacional acima mencionados, assim como das políticas e planos africanos criados pelos próprios africanos sob os auspícios da União Africana. FINALIDADE A educação artística é reconhecida como um direito universal humano extensivo a todos os formandos incluindo os que são frequentemente excluídos do ensino regular. Os Artigos 22, 26 e 27 da Declaração Universal dos Direitos Humanos englobam esse mesmo direito. Além disso, a investigação revelou sem qualquer sombra de dúvida que o ensino pelas artes estimula o desenvolvimento cognitivo, aumenta o respeito e apreciação pela diversidade cultural, cultiva em cada pessoa um sentido de criatividade, iniciativa, imaginação fértil, capacidade de reflexão crítica, assim como o potencial para um desempenho num projecto social de maior coesão. OBJECTIVOS a. Convergência sobre a necessidade de educação artística A necessidade de integrar a educação artística e de lhe atribuir um maior destaque nos sistemas de ensino africanos concebidos para preparar os cidadãos para uma participação eficaz no século XXI tornase evidente quer numa perspectiva do ensino que potencie os direitos humanos das crianças e dos adultos, para que a educação promova a identidade cultural, sensibilização e diversidade para fomentar competências críticas, inovadoras e criativas em diversas áreas, quer para um ensino que contribua para as indústrias criativas como veículo para o desenvolvimento económico. b. Convergência de quadros temporais O prazo de 2015 marca o termo para a realização dos Objectivos de Desenvolvimento do Milénio com particular ressonância para os africanos. O ano de 2015 assinala também o final da Segunda Década ~ 7 ~

10 NEPAD Regional Conference on Arts Education in Africa: SADC Africana sobre a Educação. Além disso, tendo a Primeira Década se realizada em 2006 e a Segunda em 2010, é provável que a Terceira Conferência Mundial sobre a Educação Artística se realize num futuro próximo. Atendendo aos objectivos da Segunda Década Africana, há uma oportunidade singular para a África elaborar e implementar recomendações sobre políticas para a educação artística, como uma componente integral dos sistemas de ensino que correspondam às necessidades de África no século XXI. c. Rumo a políticas africanas sobre a educação artísticas Apesar do objective desta conferência visar o apoio ao desenvolvimento de políticas sobre a educação artística Africana, reconhece-se que a África não é homogénea, existindo antes diferenças na riqueza económica, capacidade humana e vontade política e na cultura entre as diferentes regiões, diferentes países entre regiões e até nos próprios países. RESULTADOS a. Assegurar que os países, regiões e o continente africanos no seu todo possuam políticas e planos abrangentes sobre a educação artística na altura, se não mesmo antes, da realização da Terceira Conferência Mundial sobre a Educação Artística. b. Políticas e planos sobre a Educação Artística a serem criados e que abordem, e sejam apropriados às variáveis condições no continente, procurando ao mesmo tempo abordar os imperativos dos direitos humanos, competências inovadoras, identidade e diversidade cultural, assim como a economia e desenvolvimento criativos. c. Criação de quadros genéricos e adaptáveis para a educação artística em África. d. Criação de materiais didácticos de apoio aos professores. O documento em apreço referencia e estabelece os seguintes documentos e processos: Declaração Universal dos Direitos Humanos Objectivos de Desenvolvimento do Milénio Segunda Década Africana sobre a Educação Carta para a Renascença Cultural Africana Carta da União Africana para a Renascença Cultural de África, 2006 Protocolo da SADC sobre a Cultura, Informação e Desporto, 2001 subscrito em 2006 (AU) Carta da Juventude Africana (UA) Convenção da UNESCO sobre a protecção e promoção da diversidade da expressão cultural Conferência da UNESCO sobre a educação artística em África, em 2001 Primeira Conferência Mundial sobre a Educação Artística, Lisboa, Portugal, em Março de 2006 Segunda Conferência Mundial sobre a Educação Artística, Seul, 28 de Maio de 2010 Livro Branco MAC sobre a Arte, Cultura e Património (1996) Declaração CAPS sobre o Currículo Nacional Política Nacional sobre a Juventude Quadro Nacional de Desenvolvimento de Competências: CATHSSETA e a Lei Sobre o Fundo Nacional de Desenvolvimento de Competências, no. 37 de 2008 do Ministério do Trabalho Relatório de Auditoria dos Centros Comunitários de Artes A Educação Artística em África: Rumo a Políticas e Práticas, documento de enquadramento ( ) ~ 8 ~

11 NEPAD Regional Conference on Arts Education in Africa: SADC PROGRAMME 08:00 09:00 DAILY Registration and Music Performances DAY ONE: WEDNESDAY 11 MARCH 2015 PROGRAMME DIRECTOR: MONICA NEWTON DEPARTMENT OF ARTS AND CULTURE, DEPUTY DIRECTOR-GENERAL SESSION TOPIC TYPE TIME CONTENT WELCOME AND Plenary 09:00 INTRODUCTIONS 09:20 1 OPENING SESSION Plenary 09:20 10:20 Welcome and Introductions: Prof Mzobz Mboya, NEPAD Advisor: Education: Training: Youth Programme Director : Setting the agenda for the next three days Opening: Dr Ibrahim Assane Mayaki, NEPAD CEO Keynote Address: Deputy Minister Rejoice Mabudafhasi, Department of Arts and Culture, South Africa Remarks: Honourable Minister David Ngcamphalala, Sports, Culture and Youth Affairs, Swaziland Remarks: Ms Angela Martins, Head of Culture Division, Department of Social Affairs, African Union Commission Remarks: Ms Prudence Ngwenya, Senior Policy Officer, Department of Human Resources Science and Technology, African Union Commission 2.1 The State of Arts Education and Advocacy positions already in place locally, regionally, continentally and internationally, including policies and legal environments 10:20 11:00 TEA 11:00 11:30 Plenary 11:30-12:00 12:00-13:15 Regional Presentation: Patrick Mudekereza (Director of Picha Art Centre)(DRC) Setting the agenda at conceptual level including issues and challenges Keynote Address: Prof. Rubén Gaztambide- Fernández (Arts in Education at the Ontario Institute for Studies in Education of the University of Toronto) (Puerto Rico) SADC Presentations Developing an understanding of positions that inform a SADC regional advocacy position LUNCH 13:15 14:15 Plenary 14:15-14: The State of Arts Education and Advocacy positions already in place locally, regionally, continentally and internationally, including policies and legal environments 14:45-16:00 TEA 16:00 16:15 3 What has been covered, what still needs to be addressed and Where do we want to get to by end of Day 3? Breakaways & Plenary 16:15-17:30 INVITATION Prof. Stephen Chifunyise (Zimbabwe) Establishing the state of policy in the region SADC Presentations Developing an understanding of positions that inform a SADC regional advocacy position Discussions and Presentations: Regional Three different break-away groups followed by consolidation of discussions You are cordially invited to the NEPAD Regional Conference on Arts Education in Africa Cocktail Function Wednesday 11 March - 17:30 for 18:00 Turbine Hall, Newtown (Conference Venue) ~ 9 ~

12 DAY TWO: THURSDAY 12 MARCH 2015 PROGRAMME DIRECTOR: YVETTE HARDIE ASSITEJ SOUTH AFRICA, CEO / ASSITEJ INTERNATIONAL, PRESIDENT # TOPIC TYPE TIME CONTENT/PURPOSE 4 RECAPPING AND MAPPING Plenary 09:00-09:15 Programme Director: Recapping of Day 1, Mapping Day INDIGENOUS ARTS PRACTICE Supporting and maintaining indigenous arts practice (both traditional and contemporary) Plenary 09:15-09: INDIGENOUS ARTS PRACTICE Supporting and maintaining indigenous arts practice (both traditional and contemporary) 6 CASE STUDIES Formal, non-formal, informal practices; Holistic and inclusive education, Teacher development, Artists in Schools, CSI, Infrastructure, NGOs 09:45-10:15 TEA 10:15-10:45 Plenary 10:45-11:45 Plenary 11:45-12:15 12:15-12:45 LUNCH 12:45-13:45 7 CASE STUDIES: REGIONAL TEA Break - aways 13:45 15:15 15:15 15:45 8 CONSOLIDATION Plenary 15:45 17:00 ~ 10 ~ Keynote Address: Ms Emma Wolukau- Wanambwa (Uganda): Histories of arts education: Decolonising the visual Keynote Address: Prof. Lupwishi Mbuyamba (Mozambique): Indigenous Arts Practices Session Chairperson: Prof. Ndwamato Mugovhani (Tshwane University of Technology, South Africa) Establishing the present status of indigenous arts practice Lalu Mokuku (Shakexperience, South Africa) Elton Sibanda (Nhimbe Organisation, Zimbabwe) The Voice of Youth in the Arts Ms Nise Malange (BAT Centre, South Africa) The Voice of Women in the Arts Presentations and Discussions: Regional Programme Director Consolidation of session discussions DAY THREE: FRIDAY 13 MARCH PROGRAMME DIRECTORS: ROSEMARY MANGOPE NATIONAL ARTS COUNCIL OF SOUTH AFRICA, CEO / YVETTE HARDIE # TOPIC TYPE TIME CONTENT/PURPOSE 9 RECAPPING AND MAPPING Plenary 09:00- Recapping Days 1 and 2: Yvette Hardie Mapping 09:15 Day 3: Rosemary Mangope 10 PRESENTATION Plenary 09:15-09:45 11 RESOURCING ARTS EDUCATION Plenary 09:45-10:45 TEA 10:45-11:15 12 ESTABLISHING ADVOCACY GENERIC FRAMEWORKS Task Teams Breakaway session s 11:15-12:45 LUNCH 12:45-13:45 13 PLANNING Future Conferences on Arts Education Plenary 13:45-15:00 CLOSING SESSION Plenary 15:00 15:30 Prof Mzobz Mboya NEPAD: Advisor: Education: Training: Youth - Presentation: Outcomes of AU Ministers of Culture meeting: Ethiopia, October 2014 Panelists from the public and private sector Facilitators: Yvette Hardie and Joseph Gaylard Feedback from SADC delegates and recording of key points working towards a generic framework document NEPAD: Prof Mzobz Mboya Discussions / Task Team to address this process post- conference Closing Address: DAC International Relations

13 PROGRAMME PREMIER JOUR: MERCREDI 11 MARS 2015 DIRECTEUR DU PROGRAMME: MONICA NEWTON DIRECTRICE GÉNÉRALE ADJOINTE, DÉPARTMENT DES ARTS ET DE LA CULTURE # SUJET TYPE HEURES CONTENU INSCRIPTION 08:00 Inscription et prestations musicales 09:00 ACCUEIL ET PRÉSENTATIONS: Plénière 09:00 09:20 SÉANCE D'OUVERTURE Plénière 09:20 10:20 Accueil et présentations: Prof Mzobz Mboya, Conseiller au NEPAD: Éducation: Formation: Jeunesse Directeur du programme: Élaboration du programme des trois prochains jours Allocution d'ouverture : Dr Ibrahim Assane Mayaki, Secrétaire Exécutif du NEPAD Discours liminaire: Honorable Rejoice Mabudafhasi, Vice-ministre des Arts et de la Culture de l'afrique du Sud Allocution : Honorable David Ngcamphalala, ministre des Sports, de la Culture et de la jeunesse du Swaziland Allocution : Mme Angela Martins, Responsable de la Culture, Département des affaires sociales de la Commission de l'ua 10:20 11:00 Pause-thé 11:00 11:30 1 SÉANCE 1: PREMIÈRE PARTIE : L'état de l'éducation artistique et les positions de plaidoyer déjà en place au niveau local, régional, continental et international, y compris les politiques et l'environnement juridique Plénière 11:30 12:00 12:00-13:15 PAUSE-DÉJEUNER 13:15 14:15 1 SÉANCE 1: DEUXIÈME PARTIE : L'état de l'éducation artistique et les positions de plaidoyer déjà en place au niveau local, régional, continental et international, y compris les politiques et l'environnement juridique Plénière 14:15-14:45 14:45-16:00 PAUSE-THÉ 16:00 16:15 2 SÉANCE 2 - RÉSUMÉ: Qu'est-ce qui a été couvert? Que reste-t-il à aborder et quels sont nos objectifs d'ici la fin du troisième jour? Sessions en petits groupes et 16:15-17:30 Plénière Présentation régionale: Patrick Mudekereza (RDC) Élaboration du programme au niveau conceptuel y compris les problèmes et défis Discours liminaire: Prof. Rubén Gaztambide-Fernández (enseignant d'éducation artistique à l'institut d'études pédagogiques de l'ontario de l'université de Toronto) Porto-Rico) Présentations de la SADC: Développer une compréhension des principes qui contribuent à l'élaboration du plaidoyer régional de la SADC Prof. Stephen Chifunyise (Zimbabwe) Détermination de l'état de la politique dans la région Présentations de la SADC: Développer une compréhension des principes qui contribuent à l'élaboration du plaidoyer régional de la SADC Débats et présentations: Régional Trois différents petits groupes suivis de la synthèse des conclusions des débats ~ 11 ~

14 DEUXIÈME JOUR : JEUDI 12 MARS 2015 DIRECTEUR DU PROGRAMME: YVETTE HARDIE DIRECTRICE GÉNÉRALE, ASSITEJ SOUTH AFRICA, / PRÉSIDENT ASSITEJ INTERNATIONAL # SUJET TYPE HEURES CONTENU/BUT INSCRIPTION 8:00 Inscription et prestations musicales 9:00 RÉCAPITULATION ET SCHÉMATISATION Plénière 9:00-9:15 3 SÉANCE 3: PREMIÈRE PARTIE - PRATIQUE DES ARTS INDIGNES Soutien et conservation de la pratique des arts indigènes (traditionnels et contemporains) Plénière 9:15-9:45 09:45-10:15 Directeur du programme: Récapitulation du premier jour, synthèse du deuxième jour Discours liminaire: Mme Emma Wolukau-Wanambwa (Ouganda): Histoires de l'éducation artistique: La décolonisation des arts plastiques Discours liminaire: Prof. Lupwishi Mbuyamba (Mozambique): Les pratiques des arts indigènes PAUSE-THÉ 10:15-10:45 3 SÉANCE 3: DEUXIÈME PARTIE - LA PRATIQUE DES ARTS INDIGÈNES Soutien et conservation de la pratique des arts indigènes (traditionnels et contemporains) Plénière 10:45-11:45 4 SÉANCE 4: PREMIÈRE PARTIE : ÉTUDES DE CAS Les pratiques officielles, non officielles, informelles; l'éducation holistique et inclusive, le perfectionnement des enseignants, les artistes au sein des écoles, CSI, les infrastructures, les ONG Plénière 11:45-12:15 12:15 12:45 PAUSE-DÉJEUNER 12:45-13:45 4 SÉANCE 4: DEUXIÈME PARTIE ÉTUDES DE CAS AU NIVEAU RÉGIONAL Sessions en petits groupes 13:45 15:15 PAUSE-THÉ 15:15 15:45 SYNTHÈSE Plénière 15:45 17:00 Président de séance: Prof. Ndwamato Mugovhani (Af. du Sud) Détermination de l'état actuel de la pratique des arts indigènes Elton Sibanda (Zimbabwe) La contribution de la jeunesse aux arts Mme Nise Malange La contribution des femmes aux arts Présentations et débats au niveau régional Directeur du programme Synthèse des débats en séances TROISIÈME JOUR -VENDREDI 13 MARS DIRECTEURS DU PROGRAMME: ROSEMARY MANGOPE DIRECTRICE GÉNÉRALE DU ARTS COUNCIL OF SOUTH AFRICA (CONSEIL NATIONAL DES ARTS DE L'AFRIQUE DU SUD) / YVETTE HARDIE # SUJET TYPE HEURES CONTENU/BUT INSCRIPTION 8:00 - Inscription et prestations musicales 9:00 RÉCAPITULATION ET SCHÉMATISATION Plénière 9:00 9:15 PRÉSENTATION Plénière 9:15-9:45 6 RESSOURCES DE L'ÉDUCATION ARTISTIQUE Plénière 9:45 10:45 PAUSE-THÉ 10:45 - ~ 12 ~ Directeurs du programme: Récapitulation du premier jour et synthèse du troisième jour Prof Mzobz Mboya NEPAD: Conseiller: Éducation: Formation: Jeunesse - Présentation: Conclusions de la réunion des ministres de la Culture de l'ua: Éthiopie, octobre 2014 Experts des secteurs public et privé

15 7 MISE EN PLACE DES CADRES GÉNÉRAUX DU PLAIDOYER - Équipes spéciales Sessions en petits groupes 11:15 11:15-12:45 PAUSE-DÉJEUNER 12:45-13:45 8 PLANIFICATION des prochaines conférences sur l'éducation artistique Plénière 14:15-15:00 SÉANCE DE CLÔTURE Plénière 15:00 15:30 Facilitateurs: Yvette Hardie et Joseph Gaylard Compte rendu des délégués de la SADC et consignation des points clés contribuant à l'élaboration d'un document-cadre général NEPAD: Prof Mzobz Mboya Débats; par la suite, l'équipe spéciale aborde ce processus post-conférence Allocution de clôture: Département des Relations internationales du ministère des Arts et de la Culture ~ 13 ~

16 PROGRAMA 1 DIA: QUARTA-FEIRA 11 DE MARÇO DE 2015 DIRECTORA DE PROGRAMA: MONICA NEWTON DIRECTORA-GERAL ADJUNTA, MINISTÉRIO DAS ARTES E CULTURA # TÓPICO TIPO TIME CONTEÚDO REGISTO 08:00 Registo e actuações musicais 09:00 BOAS-VINDAS E APRESENTAÇÕES Plenária 09:00 09:20 Boas-Vindas e Apresentações: Prof Mzobz Mboya, Conselheiro NEPAD: Educação: Formação: Juventude Directora de Programa : Estabelecimento da Agenda de Trabalhos para os próximos 3 dias SESSÃO INAUGURAL Plenária 09:20 10:20 Abertura: Dr. Ibrahim Assane Mayaki, NEPAD CEO Discurso Principal: S.Exª Vice-Ministra das Artes e Cultura, áfrica do Sul, Rejoice Mabudafhasi Observações: S.Exª Ministro do Desporto, Cultura e Juventude da Suazilândia, David Ngcamphalala Observações: Ms Ângela Martins, Chefe do Dept da Cultura, Comissão dos Assuntos Sociais da UA 10:20 11:00 Intervalo 11:00 11:30 1 SESSÃO 1: PARTE 1 A Situação da Educação Artística e posições de Advocacia que existem a nível Plenária 11:30-12:00 local, regional, continental e 12:00- internacional, incluindo políticas 13:15 e contextos legais ALMOÇO 13:15 14:15 1 SESSÃO 1: PARTE 2 A Situação da Educação Artística e posições de Advocacia que existem a nível local, regional, continental e internacional, incluindo políticas e contextos legais Plenária 14:15-14:45 14:45-16:00 Intervalo 16:00 16:15 2 SESSÃO 2 - SÍNTESE: O que foi abrangido, o que tem ainda de ser abordado e Onde queremos chegar no fim do dia 3? Sessões paralelas & Plenária 16:15-17:30 Apresentação Regional: Patrick Mudekereza (RDC) Estabelecendo a agenda a nível conceptual incluindo questões e desafios Discurso principal: Prof. Rubén Gaztambide-Fernández (Educação Artística, Instituto Ontário sobre Estudos sobre a Educação, Universidade de Toronto) Puerto Rico Apresentações da SADC: Criando um entendimento de posições que informem sobre a posição de advocacia regional da SADC Prof. Stephen Chifunyise (Zimbabwe) Estabelecendo políticas na região Apresentações da SADC: Criando um entendimento de posições que informem sobre a posição de advocacia regional da SADC Discussões e Apresentações: Regional Três grupos em sessões paralelas seguidos de debates de consolidação 2 DIA: QUINTA-FEIRA 12 DE MARÇO DE 2015 DIRECTORA DE PROGRAMA: YVETTE HARDIE CEO, ASSITEJ SOUTH AFRICA / PRESIDENTE, ASSITEJ INTERNATIONAL # TÓPICO TIPO TIME CONTEÚDO/OBJECTIVO REGISTO 08:00 Registo e actuações musicais 09:00 RECAPITULAÇÃO E MAPEAMENTO Plenária 09:00-09:15 Directora de Programa: Recapitulação do Dia 1, Mapeamento do Dia 2 3 SESSÃO 3: PARTE 1 PRATICA DA Plenária 09:15- Discurso Principal: Ms Emma Wolukau-Wanambwa ~ 14 ~

17 ARTE INDÍGENA Apoiando e mantendo a prática das artes indígenas (tradicionais e contemporâneas) 09:45 (Uganda): Histórias sobre a educação artística: Descolonizando o visual 09:45-10:15 Intervalo 10:15-10:45 4 SESSÃO 4: PARTE 1: estudos de caso Práticas formais, não-formais e informais: educação holística e inclusive; Desenvolvimento de professores, Artistas nas Escola, CSI,Infraestruturas, ONGs Plenária 11:45-12:15 12:15-12:45 ALMOÇO 12:45-13:45 4 SESSÃO 4: PARTE 2 Paralela 13:45 ESTUDOS DE CASOS / REGIONAIS s 15:15 Intervalo 15:15 15:45 CONSOLIDAÇÃO Plenária 15:45 17:00 Discurso Principal: Prof. Lupwishi Mbuyamba (Moçambique): Práticas de Artes Indígenas A Voz da Juventude nas Artes: Elton Sibanda (Zimbabwe) Ms Nise Malange A Voz das Mulheres nas Artes Apresentações e Debates: Regional Directora de Programa Consolidação dos Debates nas Sessões 3 DIA: SEXTA-FEIRA 13 DE MARÇO DIRECTORA DE PROGRAMA: ROSEMARY MANGOPE CONSELHO NACIONAL DAS ARTES DA AFRICA DO SUL, CEO / YVETTE HARDIE # TÓPICO TIPO TIME CONTEÚDO/OBJECTIVO REGISTO 08:00- Registo e actuações musicais 09:00 RECAPITULAÇÃO E MAPEAMENTO Plenária 09:00-09:15 Directoras dos Programas: Recapitulação do Dia 1 e 2, Mapeamento do Dia 3 APRESENTAÇÃO Plenária 09:15-09:45 Prof Mzobz Mboya NEPAD: Conselheiro: Educação: Formação: Juventude - Apresentação: Resultados da reunião dos Ministros da Cultura da UA: Etiópia, Outubro de SUPRIMENTO DA EDUCAÇÃO ARTÍSTICA Plenária 09:45-10:45 Painel do sector público e provado Intervalo 10:45-11:15 7 ESTABELECENDO QUADROS GENÉRICOS DE ADVOCACIA Grupos de Trabalho Sessões paralela s 11:15-12:45 ALMOÇO 12:45-13:45 8 PLANEANDO futuras Conferências sobre a Educação Artística Plenária 13:45-15:00 SESSÃO DE ENCERRAMENTO Plenária 15:00 15:30 Moderadores: Yvette Hardie e Joseph Gaylard Feedback dos delegados da SADC e registo dos principais pontos destinados a um documento de quadro genérico NEPAD: Prof Mzobz Mboya Debates; seguem-se depois os grupos de trabalho para o processo pós-conferencia. Discurso de Encerramento: Departamento de Relações Internacionais do Ministério da Arte e Cultura ~ 15 ~

18 PROGRAMME DIRECTORS BIOGRAPHIES MONICA NEWTON Monica Newton was appointed Deputy Director-General: Arts and Culture Promotion and Development in February Her portfolio includes culture and creative industries development and the National Language Service. She has worked with national, provincial and local government and related government agencies since 1997, first as a full-time employee and later as a consultant in her own business. Prior to this, she was the CEO of the National Art Council, a statutory body reporting to the Department of Arts and Culture, established to support and develop the arts in South Africa. As CEO of the organisation she fulfilled the role of accounting officer and took responsibility for the corporate governance, finances and performance of the organisation. Ms Newton holds a Bachelor of Arts degree in Industrial Sociology, Bachelor of Arts Honours in Industrial Sociology, a Masters in Industrial Sociology from the University of the Witwatersrand and a certificate in Guest House Management from the University of Cape Town. YVETTE HARDIE Yvette Hardie is a theatre director, producer, and educator active in the world of theatre and performance, with a focus on children and youth. She initiated the launch of ASSITEJ SA (the national centre of the International Association of Theatre for Children and Young People) in 2007, and leads the organisation as Director. She is currently serving her second term as President of the international ASSITEJ, a network operating in close to 100 countries. In these capacities, she creates opportunities for artistic exchange, mentorship, skills development and cross-cultural collaboration across the world, while working to invigorate the South African theatrical landscape with work of the highest quality and widest accessibility. Under her leadership, ASSITEJ SA has won the bid for the 19 th ASSITEJ World Congress and Performing Arts Festival to be held in Cape Town in 2017, the first time this prestigious mega-event will be held on African soil in the 50 year history of ASSITEJ. She has written and spoken extensively on issues relating to arts for young audiences, arts education and arts for reconciliation and conflict resolution around the globe. She produced the award-winning Colonnades Theatre Lab production, Truth in Translation, seen by more than people worldwide. For her own company, FreeVoice Productions, she is currently producing national and international tours of Sindiwe Magona s Mother to Mother. As director, projects include Suzanne Lebeau s The Ogreling, which has toured South Africa, Zimbabwe, Rwanda and Cameroon, and Mike van Graan s Is it because I m Jack? She is valued for her work in Arts Education, having written national curricula and textbooks for both Dramatic and Creative Arts, and having been involved in teacher training over a period of some 15 years. Yvette also runs workshops in a variety of aspects related to theatre, including a focus on voice and speech, and is a certified teacher of the Lessac technique. She has an MA in Theatre Practice from Tshwane University of Technology. ROSEMARY MANGOPE Rosemary Mangope was appointed CEO of the National Arts Council of South Africa in 2013 following an impressive career in the arts arena. In 2009, Mangope was appointed Acting Deputy Director General at the Department of Arts and Culture and, prior to that, was founder and Chief Director of the Arts, Social Development and Youth Division of the Department. During her tenure to date, the NAC has further broadened its international remit, driving the Canadian Stage: Spotlight South Africa programme, which will see more than 40 South African artists performing and presenting a range of work in Toronto in April Ms Mangope has recently been appointed to the board of The International Federation of Arts Councils and Culture Agencies (IFACCA), the respected global network of arts councils and cultural agencies around the world. IFACCA was founded in 2001 to improve the capacity and effectiveness of government arts funding agencies and to benefit society through networking, advocacy and research. Its vision is a world in which the arts are valued in themselves and for their contribution to strengthening communities and enriching lives. ~ 16 ~

19 PATRICK MUDEKEREZA DEMOCRATIC REPUBLIC OF CONGO DIRECTOR OF PICHA ART CENTRE SPEAKERS BIOGRAPHIES AND ABSTRACTS BIOGRAPHY Patrick Mudekereza is a writer and cultural operator born in Lubumbashi in He initiated several art projects, including with the collective Vicanos Club, concomitantly studying Industrial Chemistry at the Polytechnic faculty of the University of Lubumbashi. He then worked as a director and visual arts programmer at the French Cultural Centre in Lubumbashi, and editor of the cultural magazine Nzenze. He is currently director of Picha art center and co-initiator of RencontresPicha, Biennial of Lubumbashi. He is member of ARTerial Network and sits on the board of International Biennial Association. ABSTRACT Art, as an expression of sensitivity can produce diverse mode of sharing, exchange of knowledge and empowerment. I am addressing my personal experience of learning on the job, alternative education and integrating formal institutions. I want to emphasise each time limitations and complementary of each mode. The sinuous course of the majority of players in the world of art in the DRC and the region might suggest that the format is not defined. And maybe he wins not be, in an environment where the formal framework of thinking is still facing the west (the majority of PhD are done outside the country, mainly in Belgium, the former colonial power). The role of the one who travels, and in the Lingala words "who saw Mikili" (that is to say, who has seen the world from above), is to recreate horizontality and returning to learn / unlearn with others in a difficult rereading challenge of its environment and reconnection with local dynamics and rewriting together. Art, as a process of production and dissemination is already an education process which needs to question that horizontality, perhaps more than other areas of production thought. This need to create an alternative model to education is certainly not the preserve of our region as shown by the Dutch project "School of missing studies" created by the duo Bik Van der Pol. My personal experience of "missing studies" started with the collective Vicanos Club, and continued with the art centerand Biennale Picha, where the role of organizing a mediation toward an audience is added to the creative one. I will finally talk about networking initiatives as knowledge sharing tools. The example of the project initiated with Visual Arts Network of South Africa named the PANIC (Pan African Network of Independent Contemporanity) which is a platform for critical exchange between independent art centers on the continent. This project is part of a larger network, Arts collaboratory, which brings together initiatives in Africa, South Asia and Latin America, gathered for their commitment to social innovation through artistic creation. One of its knowledge sharing project, named Schoolaboratory Arts, is a reflection on an educational model without hierarchy. ~ 17 ~

20 RUBÉN A. GAZTAMBIDE-FERNÁNDEZ PUERTO RICO Arts in Education at the Ontario Institute for Studies in Education of the University of Toronto BIOGRAPHY Professor Rubén A. Gaztambide-Fernández is a cultural sociologist and a curriculum theorist with a particular focus on schools, processes of identification, and symbolic boundaries. He obtained his doctorate in education from Harvard University s Graduate School of Education in 2006, and is currently an Associate Professor at the Ontario Institute for Studies in Education of the University of Toronto. Gaztambide-Fernández s articles have been published in education journals like the Harvard Educational Review, The Review of Education, Pedagogy, and Cultural Studies, and the Review of Educational Research, and he is Editor-in-Chief of the journal Curriculum Inquiry. His book, The Best of the Best: Becoming Elite at an American Boarding School, published by Harvard University Press in 2009, is based on a two-year ethnographic study of the lives of students at an elite boarding school in the United States and examines how students internalize elite status and justify their privilege. He is also co-editor with Adam Howard of Educating Elites: Class Privilege and Educational Advantage, published by Rowman & Littlefield in His current research focuses on the experiences of students attending specialized arts program in public high schools in cities across Canada and the United States. He is also the Youth Solidarities Across Boundaries, a participatory action research project with Latin@ immigrants and Indigenous youth in the city of Toronto. His theoretical work focuses on the relationship between creativity, decolonization, and solidarity. He is particularly interested in the pedagogical and creative possibilities that arise from the social and cultural dynamics of urban centers. His is currently working on two book projects a co-edited collection titled The Arts as White Property, and an authored book titled Decolonizing Solidarity: Power, Difference, Pedagogy. ABSTRACT In this talk Gaztambide-Fernández will argue that the central problem of extant arguments for the arts in education lies in the implicit and uncritical embrace of what he has called the rhetoric of effects. After illustrating and explaining this rhetoric, he will lay out three central problems that the embrace of this rhetoric produces: the problem of proof; the problem of equivocation; and the problem of (neo)colonization through economization. He will propose an alternative rhetoric of cultural production as a way to envision more robust and politically assertive approaches to the arts in education, re-envisioned through the concept of cultural production. A move toward this way of understanding practices and processes of symbolic creativity is critical for imagining new roadmaps and new futures for communities particularly communities and groups that experience political marginalization and economic exploitation. STEPHEN CHIFUNYISE ZIMBABWE Zimbabwe Academy of Arts Education for Development BIOGRAPHY Professor Stephen Chifunyise is former Secretary for Education Sport and Culture in the Government of Zimbabwe ( ) and the Principal of the Zimbabwe Academy of Arts Education for Development. He is a performing arts educator, storyteller and playwright who has published three volumes of plays and two collections of stories. Since 1973, he has written 65 plays which have all been performed by different theatre companies in Zambia and Zimbabwe. In the last nine years, he has facilitated workshops on the implementation of the UNESCO 2003 Convention on the Safeguarding of the Intangible Cultural Heritage and the 2005 Convention on the Protection and Promotion of the Diversity of Cultural Expressions in Botswana, Lesotho, Malawi, Namibia, Zambia and Zimbabwe. He is a holder of Bachelor of Arts in Education (University of Zambia) and Master of Arts in Theatre Arts (University of California at Los Angeles). And currently chairs the Zimbabwe ~ 18 ~

21 Writers Union, The Zimbabwe National Intangible Cultural Heritage Committee and the Specialized Standing Committee on Culture of the Zimbabwe National Commission for UNESCO. ABSTRACT This paper addresses the challenges present in developing viable school-based arts education programmes in the countries of Southern Africa where I have, in the last nine years, facilitated workshops on the implementation of the UNESCO 2003 Convention on the Safeguarding of Intangible Cultural Heritage (Botswana, Lesotho, Malawi, Namibia, Zambia and Malawi).These challenges seem to stem from the absence of clear arts education policies and systems of harmonizing /mobilizing the available human and material resources for designing, developing and implementing viable arts education despite the generally accepted importance of arts education. There seems to be a reluctance on the part of many SADC countries to articulate comprehensive national arts education policies. This might be identified as one of the most prominent features of the state of arts education in these countries-something that might be common in most African countries. EMMA WOLUKAU-WANAMBWA UGANDA Nnaggenda International Academy of Art & Design, Namulanda, Uganda Institute for Art Education, Zurich University of the Arts, Swaziland BIOGRAPHY Emma Wolukau-Wanambwa is an artist and researcher. She studied Literature at Cambridge University and Art at the Slade School of Fine Art, University College London. She was a Fine Art Researcher at the Jan van Eyck Academy and is currently a researcher and doctoral candidate at the Institute for Art Education at the University of the Arts in Zurich. She has recently been appointed Director of Research at the Nagenda International Academy of Art & Design in Namulanda, Uganda. Emma s artistic work encompasses installation, sound, video, photography, printmaking, writing and drawing. Recent and upcoming exhibitions include: Feedback: Art, Africa and the Eighties (Hood Museum of Art, Dartmouth, US), Uganda in Black and White (Contemporary Image Collective, Cairo, EG), Artificial Facts (Kunsthaus Dresden, Dresden, DE), Giving Contours to Shadows (Savvy Contemporary/Neuer Berliner Kunstverein, Berlin, DE). Emma is currently researching the impact of colonialism on ways of thinking, seeing and remembering. Her work in this area explores processes of subject formation, the role of representational practices, and art education s colonial hangovers. Aspects of this research are being developed under the aegis of Another Roadmap ( - an international network of scholars and educators working to develop just and nuanced alternatives to the UNESCO Roadmap for Art Education. ABSTRACT How to keep the children s work really African : Art Education as Subject Formation in colonial East Africa This paper offers a critical re-evaluation of the educational and aesthetic theories of Margaret Trowell ( ) who founded the Makerere School of Art in the Uganda Protectorate in the 1930s. Trowell s was first professional art school in Anglophone East Africa to be based on the European model, and until comparatively recently, was one of a mere handful of institutions on the continent where an indigenous African could undergo formal training in fine art. Analysis of Trowell s arguments for introducing the visual arts into the indigenous curriculum and of accounts of her teaching practice reveal that, despite her extensive and sophisticated knowledge of the cultures of East Africa, and despite her emancipatory intentions, the vision that underpinned her approach to visual art education was of the extension of colonial governmentality into the aesthetic realm. ~ 19 ~