This chapter draws on the experimental practice of Climate Museum UK (CMUK) in supporting people’s responses to the Earth Crisis, particularly children and young people in school, family and informal settings. It describes our practice in terms of one of CMUK’s guiding principles, for being ‘possitopian’, which means expanding imaginations to multiple possibilities for regenerative and uncertain futures. We aim to empower young participants through imaginative conversations using a range of stimuli such as handling objects, heritage sites, provocations or stories, and to impart skills to engage others in conversations about climate and nature. This piece raises the following questions: What kinds of arts learning provision are radical enough to do justice to young people in the context of the Earth Crisis and their limited expectations of safe futures? How do we design arts learning experiences that are collapse-aware without shutting down creative potential? Is there an effective balance between informing learners about this complex and troubling situation and enabling generative enquiry and expressive art while being aware of the very different needs of age cohorts and individuals?

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How Can Artful Learning Help Young People in the Context of the Earth Crisis?

  • Bridget McKenzie

摘要

This chapter draws on the experimental practice of Climate Museum UK (CMUK) in supporting people’s responses to the Earth Crisis, particularly children and young people in school, family and informal settings. It describes our practice in terms of one of CMUK’s guiding principles, for being ‘possitopian’, which means expanding imaginations to multiple possibilities for regenerative and uncertain futures. We aim to empower young participants through imaginative conversations using a range of stimuli such as handling objects, heritage sites, provocations or stories, and to impart skills to engage others in conversations about climate and nature. This piece raises the following questions: What kinds of arts learning provision are radical enough to do justice to young people in the context of the Earth Crisis and their limited expectations of safe futures? How do we design arts learning experiences that are collapse-aware without shutting down creative potential? Is there an effective balance between informing learners about this complex and troubling situation and enabling generative enquiry and expressive art while being aware of the very different needs of age cohorts and individuals?