Therefore we need to provide them with a complex and challenging context, such as the arts, in which they are forced to expand their linguistic range to be able to communicate. Language learning is more than simply learning to use vocabulary and grammar. The learner needs to be aware of the differences in culture, and the dangers of cultural misunderstandings. Bricolage: Prompts for Choice of Theme Language acquisition and training in performance and performance-making are not best achieved using transmissive teaching modes.
Learners must speak, write, perform or make something in order to develop their skills, and both disciplines require an audience or inter- locutor as context. John Harrop makes the comparison between the actor and the athlete10, not least because acting and, we would contend, mastering another language is a skill which can only be learned by doing, by practicing, by processes of testing and refining.
In both cases learners need to manage outcomes which are interactive and public. They would have to make an effort to research and understand it, whereas the Australians would have to explore and analyse their own, very involved, cultural and historical backgrounds. In order to achieve 7 Kramsch, C. Theory into Practice. Thorne, S. Mediating Technologies and Second Language Learning. In Leu, D. Handbook of Research on New Literacies pp.
Mahwah, NJ: Lawrence Erlbaum. Fossilization in Adult Second Language Acquisition. Clevedon: Multilingual Matters. Chapter 3. This would be a good starting point to lead them into a complex and layered realisation of what their own culture entailed. Whose Australia? As such, we felt it could provide a key text for both sets of students, and provoke discourse about representations of Australian history and cultural identity. Another starting point emerged when the staff involved embarked on a preparatory field trip to Lake Mungo in Central Australia, a massive inland lake which dried up some 16, years ago.
This archaeologically controversial site has unearthed the oldest known skeletons of modern humans to be found anywhere outside Africa Mungo Man and Mungo Woman which in- dicate human habitation at least 50, years ago The red earth, and the narratives of the unearthed skeletons which provoke conflicting interpretations of history, evoked a powerful potential combination of conventional representation and contested historical narrative.
There was a certain painful irony in the massive numbers of plastic water bottles lying in the red dust along the roadsides as we travelled through the drought-affected Mallee region of Western Victoria. This irony deepened as Victoria experienced its worst bushfires on record in the weeks immediately preceding the beginning of the project.
Given the complexity of the task, it was important to provide the Drama students with solid scaffolding, and a starting point which would not shift even through the vicissitudes of the devising process. This took the form of a predetermined design concept and opening moment designed to provide a conceptual and metaphorical frame - the casting out of the bodies of colonial ancestors from the hot red earth - a large sandpit in the shape of Australia bordered by a fence of empty water bottles.
Cultural Sensitivity and Diplomacy It is not possible, within the scope of this paper, to analyse all aspects or outcomes of this project, so we have elected to focus on a series of related issues which emerged in ways which were sometimes surprising. Bare Bones of History. The Sydney Morning Herald. What do you guys think? Dutch student. Online post Some of the Australian students would have liked to avoid this issue entirely, and expressed frustration at the long, complex and circular discussions which it provoked.
Few had any direct experience or knowledge of indigenous culture or history. Some were clearly discom- forted by what they interpreted as an implicit pressure to adopt a negative and critical view of their nation, particularly within a dialogue with non-Australians. My own feelings on the colonization of Australia had been altogether cheerier probably from my determined ignorance , and at this point I started to feel myself opposing ideas and ideologies being presented and adopted by the group.
Australian student. Engaging with the Australian students on such sensitive political and historical issues, provided a good opportunity for Dutch students to learn about cultural awareness and sens- itivities, which was one of the aims for the language acquisition strand of the project. One of the characteristics of Dutch communication is a certain directness, which outside Dutch culture is often interpreted as bluntness or even rudeness or insensitivity.
These concise essays on key artistic terms are written with wit and common sense by veteran art historian and critic Robert Atkins, who also provides a year-by-year timeline of world and art-world events from to the present.
Some 80 images, most in full colour, illustrate iconic works of the movements discussed, making ArtSpeak a visual as well as a textual reference. The new terms in this edition of "ArtSpeak" include not only recent movements, such as the Leipzig School and San Francisco's Mission School, but also past movements that have attained a new critical prominence, such as Japan's Mono-ha group and Brazilian Neoconcretism.
Also discussed are the growing constellation of new media and intermedia practices, the social and economic structures of the art world, and the theoretical concepts that interest artists and critics today. Particular attention is given to the key terms of contemporary Chinese art--from Rustic Realism to Political Pop--reflecting China's growing importance on the global scene.
Long established as an indispensable reference for art-world neophytes and seasoned professionals alike, "ArtSpeak" will continue to attract a broad and appreciative audience in this attractive new edition. Atkins is an authority on digital art, queer art and culture, and Chinese contemporary art. His other books include "ArtSpoke" and Censoring Culture.
This collection of essays shows how the Spanish-speaking people of this border city have created their own cultural spaces. To tell this sweeping story, the contributors use a variety of approaches. Testimonios retell individual lives, ethnographies relate the stories of communities, and historical narratives uncover what has previously been ignored or discounted.
The result is a unique portrait of a marginalized population that has played an important but neglected role in the development of a major American border city. He had always wanted to travel and see the world; however, post-war Germany is nothing like what he expected it to be. Then, one may wonder, why, for whom, and to what purpose are these texts written? The attitude of the readers who responded his challenge and commented upon this kind of language is mainly the complete rejection of IAE; some, however, admit that, in spite of their reluctance, they have to use it, to play the game.
She begins by a pseudo- rhetorical question: Have you ever read a press release — or even, say, the first line of a press release — for an art exhibition and promptly felt like you had no idea what just happened?
Have you ever read a press release and wanted to cry? Yeah, me too. Another similar reaction to IAE is that of the journalist Janet McAllister in the New Zealand Herald; she also notices the vagueness of this type of language, as well as its pseudo-intellectual aspect and its elitist character; nobody outside the gallery walls would care about this invention; the most intriguing fact about IAE is that, although it was supposed to belong to art criticism, it has almost nothing to do with criticizing or critiquing!
In a word, IAE is pseudo-intellectual. One of the most frustrating things about IAE is its tentative vagueness. He laments that as an exhibition goer, too many times the cards and brochures offered to him as well as to other visitors would leave them baffled with perplexity; the impenetrable descriptions of the art works inevitably lead to an undesired result, that of discouraging viewers from trying to engage in the arts.
Both that art and the discourse about it are intended to be impenetrable because there is nothing of substance there; great art does not need long explanations to make it meaningful. It is the fault and inability of art writers and publicists to fail to encourage good writing that IAE still persist and makes the great contemporary art unpalatable to the public.
This might be the first step toward schizophrenia. Concluding Two terms have been used for the discourse used in relationship to art. The first one, artspeak, has been understood as having both a positive or at least neutral connotation, when it refers to language put to work to speak about art throughout the Western cultural history, and a negative connotation, when it refers to that kind of language, obscure and impossible to understand, used as a tool or rather, as a weapon to defend an art lacking in content and value.
With the latter meaning, a newer term has been devised, with reference to English as lingua franca of the Internet communication and not only : International Art English IAE. Taken less and less seriously, even in derision, one can still find it whenever art is spoken about.
This type of discourse about art has been imploding for quite some time now, in spite of the previous forecasts about its fate. Although IAE artspeak has been taught in art universities for so many years, it is the mission of language teachers and of those teaching English for Art Purposes to try to put an end to it, or at least to try to bring some sense into it, for the sake of both the artists and their public and, why not, for the sake of art critics as well!
Bibliography -- In Asher, ed. New York. Tokyo: Pergamon Press Ltd. Becket, A. A user's guide to artspeak. The Guardian, rtr. Candlin, C. Lancaster: University of Lancaster.
Cretiu, A. Genre-Structured Discourse in Art Texts. Cluj-Napoca: Presa Universitara Clujeana. A Course in Basic Scientific English. Pearson Education, Harlow: Longman. Halliday, M. The Linguistic Sciences and Language Teaching. Harris, R. Need help? Artspeak Robert Atkins. Donate this book to the Internet Archive library. If you own this book, you can mail it to our address below. Borrow Listen. Want to Read. Delete Note Save Note. Download for print-disabled. Check nearby libraries Library.
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