Third Party Funds Group - Sub project
Acronym: ComeArts
Start date : 01.07.2023
End date : 28.02.2026
At the core is the promotion of diversity-sensitive, digitalization- and digitality-related (d3) competencies for (prospective) subject-specific teachers (LK), as well as the identification of conditions for successful implementation of such promotional measures into continuing education practice. Central to this are the conception and availability of training modules that incorporate digitalization, digitality, and approaches to aesthetic education, with special consideration for diversity and participation. Teachers are thus to be empowered to optimize the teaching-learning processes of students with the support of digitalization. The training modules aim for a qualitative improvement of digitality-sensitive teaching-learning processes—also with regard to (subject-specific) school and instructional development processes.
ComeArts Youth Culture creates a training module on dynamics in (post-)digital youth culture as a condition for a clientele-sensitive inclusion of digital culture in aesthetic subjects and school practices.
ComeArts Across operates on a meta-level of the joint project for interdisciplinary networking between music, art, and youth research, among others also in the context of (extracurricular) cultural education, as well as for adaptation possibilities to other subjects and learning areas in the context of aesthetic education (Performing Arts/Dance/Movement Education/Learning Area Aesthetic Education/Media Education, etc.).
Come Arts aims at the research-based development and further development of adaptive, subject-specific, diversity-sensitive, and digitalization- and digitality-related (d3) professionalization concepts for teachers (LK) and multipliers in the fields of art and music, taking into account evidence-based criteria for effective continuing education (e.g., long-term sustainability). The project systematically aims to support d3 competencies for designing conducive, challenging teaching and learning scenarios in primary and secondary education.
The project utilizes the cross-phase cooperation and exploitation structures of the Come In consortium (https://comein.nrw/portal/); however, it places a stronger focus on development research in subject-specific local, regional, and national Community Nets (Come Nets) through an iteratively adjusted Design-Based Research (DBR) approach. All participating sub-projects (TP) each provide at least one comprehensive, adaptable, and diversity-sensitive training module for different learning scenarios and needs. At the consortium level, the results are systematically integrated in an interdisciplinary manner.
The development and promotion of d3 competencies for teachers (LK) in the subjects of art and music require both subject-specific and interdisciplinary coordination. This is aligned during regular networking meetings with the involved stakeholders, considering the objectives and current work status of the sub-projects. Different approaches, especially concerning the concept of post-digitality and the related DPACK model, are harmonized and related to participation in a "culture of digitality" as an overarching framework. Interdisciplinary networking between music, art, and youth research, among others also in the context of (extracurricular) cultural education (especially through results from the DiKuBi meta-project), creates synergistic effects and transfer possibilities between the subjects of art and music in the thematic complex of digitalization, digitality, diversity, and participation. These have been practiced by the project partners over years of cooperation in various joint projects, especially at the Cologne location with jointly developed and operated interdisciplinary degree programs for the learning area of aesthetic education and the extracurricular degree program Intermedia. This sub-project forms a significant interface for transfer, especially to the interdisciplinary transfer office Regio located at the University of Cologne, and thus a hub for the cross-subject and transdisciplinary aspects of the knowledge developed in the other three sub-projects for transfer into the LKF system, where adaptation possibilities to other subjects and learning areas in the context of aesthetic education are also negotiated. In the first half-year (Hj. 1), an internal work and communication structure is established, based on which transdisciplinary adaptation and transfer possibilities are developed, discussed, and further developed with a view to producing at least one iteratively optimized training module (Hj. 2–5).
Due to digitalization, creative and artistic fields have undergone significant changes in recent years (Eschment et al., 2020; Jörissen et al., 2023). Particularly through AI, further disruptive transformations are to be expected. These upheavals particularly affect cultural and creative practices in youth culture (Ahlers et al., 2022; Flasche & Carnap, 2021; Flasche & Jörissen, 2022; Jörissen et al., 2020, 2022). Both at the object and clientele levels, artistic school subjects are therefore challenged to further develop a) theoretical and practical learning objectives, b) didactics and methods, and c) professional knowledge and attitudes of teachers. Following the KMK (2020), quality criteria are to be developed against this background that a) ensure the connectability to the learning/understanding of students, b) ensure the depth of the content offered in addition to subject relevance, and c) make learning offers relevant and effective. Come Net Arts Youth Culture contributes survey data, evaluations, and results from five current research projects: Digitalization of Creativity in Youth Culture (DiKuJu); digital artifacts in creative learning settings among young people (MIDAKuK); success conditions of digitalization in cultural education with a view to post-digital youth culture (DIKuBi-Meta); Digital Youth Culture in Rural Areas (BiDiPeri); Digital Transformation of School-based (self-directed) Learning by Students (Council for Cultural Education, 2019). In Hj. 1, these are selectively aggregated and communicated to the other sub-projects; parallel to this, surveys are conducted in artistic instruction at schools in Hj. 1 and the corresponding evaluations are carried out in Hj. 2. In Hj. 3–4, at least one iteratively optimized training module is created. In Hj. 5, the results are finalized and published.