This case study investigation forms part of the Faculty of Art Educations at Charles University’s involvement with the AMASS (Acting on the Margin) project. The paper will draw upon the practical use of didactic methods from the field of service design to investigate what role the arts can play in societal challenges, and in turn to reflect on the societal impact of the arts. The aim of this investigation is to provide art educators with insight and practical resources, who would like to engage in teaching socially engaged arts projects. In a time of social disruption, virtual communication and digital divide, this study focuses on the materiality and socially-engaged aspects of a design curriculum. This paper analyses the didactic elements of a real-life design project that was initiated through a Visual Communication Design, Bachelor of Arts Degree. This design-based approach aims to inform art educators on how to turn the social power of art into critical pedagogic practices. The project in focus, is a community-based case study in South Africa, which involved co-designing garments with and for cancer patients of palliative care. The ergonomically designed garments are not the main focus, but rather the teaching and learning that led to the development of this sustainable system. Framing: Socio-Ecological Didactics, Embodied Learning, Research in Didactics Model, Social Fabric.

Theoretical background: To offer insights into the teacher - student - praxis interrelationships, the study is guided by a Research in Didactics Model, which investigates the Contextual nature; Subject matter, Method used, and the Outcome of the project.

Methodology, methods: Participatory action research, research based teaching Collecting data: journals, verbatims from participants, communication transcripts, critical reflective dialogs Analysis of primary research documents: content and thematic analysis, reflective evaluations, interpretation Research questions: How does the cultural context influence the teachers’ Embodied Learning practice? How does the student interpret and materialise the theoretical input of the teacher? Why is this local context globally relevant? Findings, outcomes: This study concludes with the concept of Social Fabric, to make connections on how symbolic texture systems can lead to new modes of collaborative knowledge production.

Fulkova, M. The Orbis Pictus we all live in: Coding the World with differently- abled visitors in the Gallery of Contemporary Art. Procedia – Social and Behavioral Sciences. Vol. 30, Elsevier, 2011. ISSN: 1877-0428. Pages 2525 – 2534. Available online 27 December 2011, www.sciencedirect.com Hickman, G. (2005) Research in Art & Design Education: Issues and Exemplars. Bristol: Intellect. Ingold, T. (2010) The Textility of Making. Cambridge Journal of Economics, vol 34, no 1, 91–102 doi:10.1093/cje/bep042. Advance Access publication 9 July 2009 Guattari. F. (2000) The Three Ecologies. Translated by Pindar.I & Sutton, P. London: The Athlone Press Papanek, V. (1984) Design For The Real World: Human Ecology and Social Change. 3rd Edition. London: Thames and Hudson. Plato. (1937) The Dialogues Of Plato. Translated by Jowett, B. New York: Random House. Patočka. J. (1998) Body, Community, Language, World. Translated by Kohák, E. Chicago, IL: Carus Publishing Company.