In her publication “Essays, Articles & Lectures,” Carol Becker (2019) reflects on her participation at the World Economic Forum (WEF) in Davos. As the Dean of Columbia University School of the Arts since 2007, Becker encountered an art exhibition curated by Hilde Schwab, Chairwoman of the Schwab Foundation for Social Entrepreneurship. Schwab’s dedication stemmed from her belief in the significance of art within multifaceted discussions. Through Schwab’s initiative and similar endeavors, art gained prominence at Davos.
Becker’s leadership in nurturing creativity and establishing a youth leadership program at Columbia University, combined with my personal experiences, highlights the importance of the arts in educational settings. This resonates with my belief in interconnectedness and pedagogy, shaping my teaching to prioritize student autonomy and embrace diversity in the arts. This philosophy aligns with Barnett’s (2021) concept of an ecological university, which emphasizes engagement with various systems and forms of knowledge, fostering critical examination of knowledge’s impact on ontology and epistemology. Moreover, this journey has deepened my understanding of the ontological unity of individuals and the diverse epistemological forms of knowledge.
Artist involvement at Davos, led by photographer Platon Antoniou and The People’s Portfolio established in 2016, visually advocates for human rights.(Platon, 2013, 2016). Platon (2016) actively supports initiatives combating sexual violence against women and girls, aligning with my belief in addressing societal issues through education. This endorsement has influenced my teaching approach, emphasizing interconnectedness within arts projects. Furthermore, I integrate individuals from diverse socioeconomic statuses into my approach, leveraging eye-tracking applications within the business industry to explore societal and fashion transformations.
Recent Davos events showcased installations such as Tomás Saraceno’s Aerocenes and Mehdi Ghadyanloo’s 2019 painting “Finding Hope.” Ghadyanloo’s triptych, symbolizing freedom and a future devoid of barriers, encourages deep reflection, highlighting the continuous learning journey within art (Lindstrom, 2012). As a facilitator and specialist technician in a psychology laboratory, I explored technological experimentation in fashion using eye-tracking technology (image 1). This emphasized the critical role of technical resources in gaining insights into eye fixations on aesthetics and brands within the fashion industry (image 2).
In my role as a specialist in eye tracking, I engage in profound discussions with students, valuing their perspectives on fashion aesthetics. Their critiques provide invaluable assessments of art and emphasize the significance of insights derived from the learning journey. This approach underscores the essential nature of ongoing growth rooted in reflective conversations with students, echoing the principles of critical reflection and learning democracy advocated by Brookfield (1995).
Memorable cultural moments at Davos include the Afghan Women’s Orchestra’s performance in 2017 and the Sphinx Virtuosi Chamber Orchestra’s presentation, showcasing talented soloists from African American and Latinx communities. These instances resonate deeply with my personal ethos, emphasizing the importance of recognizing diverse voices and promoting authentic expression in the classroom. Consequently, I advocate for critical reflection on expression rights, challenging restrictive criteria hindering opportunities for engagement and professional advancement in the classroom, between sessions, and outside the classroom. WEF at Davos offers hope that business leaders will integrate artistic perspectives into global change agendas.
References
Becker, C. (2019) How art became a force at Davos. World Economic Forum. Essay, articles and lectures. Available at: https://www.weforum.org/agenda/2019/how-art-became-a-force-at-davos/ World Economic Forum (weforum.org)(Accessed 22 February 2024).
Barnett, R. (2021) Towards the Ecological University. A concept note from Ronald Barnett. Futures of Higher Education – UNESCO-IESALC. Available at: https://www.iesalc. unesco.org /eng/wp-content/uploads/2021/02/Barnett-EN.pdf (Accessed 22 February 2024).
Brookfield, S.(1995) Becoming critically reflective : A process of learning and change, in Brookfield, S. (ed.) Becoming a critically reflective teacher. San Francisco: Jossey-Bass Publishers, 79, pp. 1-296. Available at: Becoming a critically reflective teacher : Brookfield, Stephen : Free Download, Borrow, and Streaming : Internet Archive(Accessed 22February 2024).
Guido, G. (2019) Finding Hope, the triptych by artist Mehdi Ghadyanloo. Art. Available at collater.al/en/Finding Hope, the triptych by artist Mehdi Ghadyanloo (collater.al) (Accessed 22 February 2024).
Lindstrom, L.(2012) Aesthetic learning about, in ,with and through the Arts: A Curriculum Study. International Journal of Art and Design Education, 31(2), pp. 166-179. doi: 10.1111/j.1476-8070.2012.01737.x.
Platon, A (2013) Hello from Platon. The People’s Portfolio. Available at: https://www.thepeoplesportfolio.org/our-organization (Accessed 22 February 2024).
Platon, A. (2016) Sexual Violence in Congo. The People’s Portfolio. Available at: Sexual Violence in the Congo — The People’s Portfolio (thepeoplesportfolio.org) (Accessed 22 February 2024).