Learning

Visual Literacy

The project focuses on the possibility of introducing art education in schools in a way that allows it to be perceived as part and parcel of learning, comprehension and communication for all, instead of merely being an exclusive hobby for the talented few.

Our life is dominated by imagery. We are constantly bombarded by visuals, television, the internet, advertisement, printed matter … etc., and we, most of the time, are helpless recipients and consumers. Yet we’re all aware that the visual experience is a primary form of cognition since childhood, and it is by far the most direct and closest to reality. It’s not surprising that we always seek an image, a picture as proof for something, someone, or some happening, over written descriptions and accounts. Our imagination, our dreams, our subconscious are all about thinking in pictures and imagery. The great minds, the prophets … are portrayed as visionaries.
Yet visual literacy lacks the set structure, syntax, verb and grammar that verbal literacy has developed, justifying why the education system favors the latter over the former, which allows educators a more simpler approach to gauging “right from wrong” and dealing with the grading system. Many-a-time, students are provided with visual aids – pictures, audio-visual presentations, films – yet these aids reinforce the students’ passive experience as consumers of images and visual presentations. Visual material being produced and used for educational purposes are presented with few criteria, if any, for evaluation and understanding the effects they produce. “The consumer of most of the educational media production would not, to make the verbal literacy analogy, recognize or know what was a misspelling, an incorrectly phrased sentence, a badly organized theme.” 
If we are not able to see, understand and create a picture, we are at great loss in this age, for we are, not only, not in control of our image in the world, but, more importantly, will never be able to catch up with the fast-moving progress and development sweeping the world.
Being able to speak a language is vastly different from achieving literacy through reading and writing. In 1935, Moholy-Nagy, the brilliant Bauhaus master said: “the illiterate of the future will be ignorant of pen and camera alike”.

Andreas Schleicher, who is widely regarded as one of the world’s leading educational thinkers, told a House of Commons inquiry: “I would say, in the fourth industrial revolution, arts may become more important than maths.”
“We talk about ‘soft skills’ often as social and emotional skills, and hard skills as about science and maths, but it might be the opposite,” he said, suggesting that science and maths may become ‘softer’ in future when the need for them decreases due to technology, and the ‘hard skills’ will be “your curiosity, your leadership, your persistence and your resilience” .

 

  • Mapping Jerusalem – Jack Persekian
  • Scientific Concepts, artistic perspective – Lour Oukal
  • Jerusalem’s History through the eyes of Children – Hamada Maddah
  • A Fragment of the Ecosystem – Benjamin Boyadgian

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Workshops

From the early photography workshops to the present day, Al Ma’mal’s workshop programme has provided spaces, both physical and metaphysical, for children and young adults to realise some of their creative and imaginative potential, giving them tools, both social and educational, to help negotiate their lives. The workshops have introduced them to the idea of ‘contemporary art’ without being proscriptive about what that is. They have opened up channels of communication of a different kind, and instilled confidence through an exploration of the power of creativity to process and see differently, in an environment of group interactivity, co-operation and tolerance. As an investment in the means and tools to deal with the future, and to manage, understand and contribute to its potential, the need for such a programme does not go away, and has not; it continues to be as crucial as it ever was.

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Talks

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