After having a good night sleep after the Vilnius conference, I still feel lucky that I had the opportunity to attend this meeting. What a nice enthousiastic people, what an inspiring discussions, what a drive to improve art education...

But the day after, I also have a lot of questions. These questions are not ment as criticism to the congress, but (for me) as a starting point to further discussion.

  • Do artists need courses / workshops to improve their work at schools?
  • What is the influence of the space in which a workshop is given on the effect of the workshop?
  • Is Icenet a community for artists who work in education or for policy-makers / intermediates / organizers of art education? Can it be both?
  • The personality, the body language, the way someone talk is important for the effect of a workshop. If the website of Icenet exchanges workshop ideas, do they take this in account?
  • Art education should be based on the specific circumstances of a country (history of the country, policy of the gouvernement etc) and on the circumstances of the local situation (policy of a school, practical situation, population of school etc). In what way does Icenet take this in account?
  • If one of the aims of Icenet is to influence national and international policy, how do we avoid that it will be a weak compromise between all our national conceptions? (compare EU)
  • Are we searching for the similarity in motivation / approach / passion between Shakespeare and Rembrandt? Or for instance between a practitioner in the UK and me? If we find that similarity, what do we do with it?

Victor

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