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1.
‘What is art for?’ This provocative question was the motto of the 31st Annual Convention of the National Art Education Association (NAEA) held in Atlanta, Georgia, 1991. As a visiting scholar for a semester at Harvard Project Zero, I had rich opportunities to study art education programmes in higher education and public schools all over the United States. As a consequence, I felt complelled to reformulate the NAEA question, and ask ‘What is art education for?’ This essay argues for the importance of understanding and meaning-making in art education. It starts with a review of some common rationales for the teaching of art that stress both the alleged ability of the arts to promote ‘good’– i.e. creative, harmonious, and civilised – characters and the instrumental value of the arts as a means of communication. These rationales are then evaluated within the context of Nelson Goodman's philosophy, which emphasises the primary role of curiosity in the arts. The following two sections discuss the rationales, contributions and limitations of two art programmes that are currently being carried out in the United States: Arts PROPEL and Discipline-Based Art Education (DBAE). Arts PROPEL has introduced long-term, open-ended projects that integrate production (making) with perception (learning to ‘read’ art works and observe the world closely) and reflection (thinking about one's work and the works of others). The DBAE curricula are sequentially organised and integrate content from the disciplines of art creation, art criticism (learning what to look for and how to interpret), art history (studying contexts and alternatives of taste and style), and aesthetics (building a personal philosophy of art). In the final section, Arts PROPEL and DBAE are compared. In the context of previous rationales for the teaching of art, the similarity in aims of these programmes stand out as more important than the differences in approach. Neither do these programmes overstate the humanising power of art, nor do they focus on visual literacy per se. Instead, both programmes emphasise the role of reflection, interpretation, and understanding in art. Productive and analytic art activities are used as important vehicles in making sense of the world and of ourselves. It is concluded that Arts PROPEL and DBAE offer promising and supplementary approaches to promote curiosity and to teach art for the sake of understanding.  相似文献   

2.
This contribution is derived from an address presented to the NSEAD Annual Conference (1999)‘Towards a New Arts Education’ in association with Bretton Hall, a specialist institution for the arts and education, to mark the 50th anniversary of its Foundation in September 1949. [1] An analysis of the role of art and design education is set in the context of an arts related curriculum and the case for an interdependent, teachable and accessible programme is outlined. Proposals for the maintenance and development of a future for arts education is tested against certain key questions and a theory of ‘good teaching’ in the arts  相似文献   

3.
In this review I will assess the validity of Denis Dutton's provocative argument for Darwinian aesthetics. In The Art Instinct Dutton draws on the insights of Darwin and the evolutionary psychologists Geoffrey Miller and Steven Pinker to analyse art as the product of evolution. Pinker asserts on the dust cover that ‘this book marks out the future of the humanities – connecting aesthetics and criticism to an understanding of human nature from the cognitive and biological sciences' and that ‘Dutton has made a bold and original contribution to this exciting new field’. Miller's opinion of The Art Instinct is noticeable by its absence. In his review of The Art Instinct, arts academic Richard Hickman concludes: ‘for educators, if we accept that young people have an “art instinct”, then it is incumbent upon us to ensure that this instinct is nurtured and developed’. I agree. My aim is to critically assess Dutton's contribution and speculate about how it might inform future directions in educational research.  相似文献   

4.
Arts integration research has focused on documenting how the teaching of specific art forms can be integrated with ‘core’ academic subject matters (e.g. science, mathematics and literacy). However, the question of how the teaching of multiple art forms themselves can be integrated in schools remains to be explored by educational researchers. This paper draws on data collected at a secondary school in Singapore. The case study analyses how three art teachers, using the idea of ‘space’ as organizing theme, implemented a module of instruction that connected concepts and processes from a variety of art forms (including dance, music, drama and visual arts). We present evidence from curriculum materials, lesson plans, student–teacher classroom interactions and students’ productions. Students were able to reflect upon the importance of space within the arts, analyse the points of convergence and divergence among several art forms, experiment with space and create their own interdisciplinary performances. Our ultimate aim is to provide insights that might inspire art teachers in designing instructional units focused on ‘big ideas’. We suggest that allowing more curricular freedom and providing teachers with adequate structures for interdisciplinary collaboration are key to achieving meaningful levels of integration.  相似文献   

5.
Art education is often praised for its engaging programmes and inclusive pedagogies, with many initiatives created with the intention of widening access for those who are deemed to be lacking. This article investigates one such programme – the young people’s Arts Award, which is a nationally recognised qualification for young people aged 11–25. I call upon a range of pedagogies in order to critique the Arts Award within the context of informal and alternative education settings in the United Kingdom. Drawing on a 12‐month ethnographic study, the research was conducted across five diverse programmes which included youth work projects and alternative provision. I present two cases – ‘learning to be an artist’ and ‘learning to behave’ – which demonstrate a hierarchy of pedagogy in the application of this programme across these particular contexts. Artists’ Signature Pedagogies are used as an analytical framework to explore the affordances of working with artists through the programme. Further, I engage with the Pedagogy of Poverty to demonstrate that young people who were classified as ‘dis‐engaged’ were more likely to receive lower quality programmes, low‐level work and over‐regulated teaching. I argue that despite changes to the ways that young people access art education, there continues to be unequal opportunities. This finding is significant for not only creative practitioners and youth arts workers, but also arts education policy makers and programmers.  相似文献   

6.
In this paper I show how pupils become visible as pedagogic subjects in the art curriculum. With reference to the work of Foucault and Lacan I theorise how pupils’ subjectivities, or identities, are formed within discursive practices which constitute the art curriculum. A critical reading of practice is presented as it is conceived in the English National Curriculum for Art orders and the School Curriculum and Assessment Authority’s document, Exemplification of Standards, in order to show how pupils’ abilities are constructed and regulated. I argue that these documents are underpinned by an inadequate understanding of practice and assessment, which fails to acknowledge the difference and legitimacy of pupils’ semiotic/representational strategies. I proceed to offer some thoughts for reconceptualising the art curriculum by employing the term ‘difference’. My purpose is to highlight the need to develop a curriculum which offers a more inclusive space for practice, a space which is not driven by normative assessment frameworks, but which celebrates difference in practice and vigorous enquiry.  相似文献   

7.
This preface introduces the themes of this special edition: the contribution that lesbian and gay individuals make to the development of the discipline. These include a non‐heteronormative perspective, and an emphasis on irony within parody. Second, this preface considers the experience of LGBT students and teachers dealing with sexuality within the school curriculum. Third, the current approach to civil rights within the school is considered especially in the context of homophobia, bullying and physical danger. Finally, areas of specifc curriculum advance are noted particularly within art history, media education and teacher education. Irving Berlin's witty little song ‘Anything you can do’ [ 1 ] epitomises the taken‐for‐granted assumption that relationships between people are always adversarial and that personal achievement always involves outperforming the opponent. The song title in full runs ‘Anything you can do I can do better, I can do anything better than you.’ The second stanza underlines the theme ‘I'm superior, you're inferior, I'm the big attraction you're the small.’ The rest of the song develops the theme but it constantly expands a tongue‐in‐cheek ironic infection. The lyrics serve to subtly undermine the master narrative by showing the ridiculousness of empty boastfulness. I suggest that there is a strong analogy between this adversarial parody and that between ‘heteronormative’ culture [ 2 ] and its disdain for gay perspectives and experience [ 3 ]. One of the major propositions in this collection is that lesbian, gay, bisexual and trangender (‘LGBT’ throughout this volume) people bring great benefits to all in our efforts to explore and develop an increasingly inclusive art and design agenda [ 4 ]. My argument in this introduction has four interrelated themes. First, I outline what I think are the legitimate claims that LGBT people can make for their contribution to the development of the discipline. It is important to start here because, as will be come clear, there are several significant issues that LGBT teachers and students have to face in education. These issues should not distract us from the positive impact we have made throughout the art and design curriculum. The second theme is one that I take from Andrew Sullivan's title Virtually Normal [ 5 ]. The ambiguity built into his oxymoronic title is worth exploration. The LGBT experience of growing up has particular paradoxical features that are singular and significant. I consider some of these features for their salience to the general argument. The third theme that is particularly pertinent internationally is what is termed a civil rights agenda. Many educators are using this concept as a basic building block in the construction of an equality programme into which LGBT fits as a significant beneficiary. It is in this context that the issue of bullying is considered. Undeniably, bullying is a major issue confronting probably every young LGBT person on a regular basis. But I, and other authors in the collection, argue that relying solely on this equal rights approach has some major drawbacks in the promotion of an LGBT agenda. The fourth theme, which is developed by the authors of the papers throughout this volume, is that a specifc LGBT art and design curriculum can be developed away from a civil rights approach. This curriculum can provide what we all lack currently, material that reflects and expands the learning of LGBT students, provides opportunities for Continuing Professional Development for LGBT and LGBT‐friendly staff, and thus enriches the whole art and design curriculum by embracing new ideas from within and outside the discipline. At the moment there is a gaping empty space in the art and design curriculum that badly needs flling. I conclude this introduction by considering such innovation in relation to Swift and Steers' Manifesto for Art in Schools which still seems to me an excellent benchmark against which to measure change and progress [ 6 ].  相似文献   

8.
Creativity: what might this mean for art and art educators in the creative economies of globalisation? The task of this discussion is to look at the state of creativity and its role in education, in particular art education, and to seek some understanding of the register of creativity, how it is shaped, and how legitimated in the globalised world dominated by input‐output, means‐end, economically driven thinking, expectations and demands. With the help of Heidegger some crucial questions are raised, such as: How can art maintain its creative ontological and epistemological potential in the creative economies of globalisation? Is it possible for art and the creative arts to act as a process of ‘revealing’ and ‘becoming’ and ‘throwing light’ on the world while working within the market economies of innovation and entrepreneurship where creativity has become a generalised discourse? What matters in this discussion is to find a way to argue for the sustainability of art education as a creative mode of enquiry through which self and the world may be better understood, identity might be realised as difference and being‐in‐time might be possible.  相似文献   

9.
Visual Art educators are keenly aware of the significant contribution art can make to the growth and development of young children as it provides unique opportunities for personal expression and creativity. However, while it is acknowledged that art contributes to the development of the whole child, the link between thought and practice is often tenuous. Hence the question needs to be asked, what do student teachers really think about art and art education. This longitudinal study aimed at an exploration of student teachers prior experiences, existing knowledge, beliefs, attitudes, perceptions and interest in the visual arts. One hundred and ten B.Ed. (Primary) students enrolled in two compulsory Visual Arts Education units of study were surveyed in March 1999 and then in October 2001 to ascertain how they interpreted the term visual arts; how this related to visual arts education (if, in fact it did); where they would position visual arts amongst the other five key learning areas of the primary curriculum; and ultimately how they felt about the prospect of teaching visual arts in a primary school context. The findings of the research revealed a number of significant differences between the initial data (March 1999) and the final data (October 2001).  相似文献   

10.
Meaning in the arts has been explained in terms of the ‘linguistic/cognitive’ metaphor, that is as a product of a framework of conventions, rules and symbols, of shared conceptualisations with a clearly defined ‘conceptual space’. Sense in a work of art is dependent upon this framework and only by conventionalising pupils into it will they be able to communicate meaning. The problem is that the arts take their audience beyond the framework, beyond the boundaries of sense. The question then becomes how the arts continue to have meaning, paradoxically, to continue to make sense even though they have exceeded its boundaries. The solution to this problem, it is argued, lies in the way that the arts appeal directly to our uniquely human ability to reflect on commonly experienced feelings and to consequently transcend particular frameworks of meaning. Rather than meaning being subject to frameworks within which experience and artistic intention are seen to be made possible, I argue that experience has an autonomous presence in art, a presence that enables meaning to be communicated with spontaneity and immediacy.  相似文献   

11.
This article presents the first segment of a qualitative study that explores the feasibility of integrating traditional arts in Philippine art and design education. The views of educators on traditional arts were sought to provide an impetus for the study and a springboard for discussion regarding the relevance of traditional Filipino arts in a predominantly Westernised educational system. The educators’ views and opinions on the central question, ‘Why and how should the study of traditional Filipino arts be integrated in the art and design programme?’ will be used to guide a trial integration of the learning of traditional arts in tertiary art and design classes. They will form part of the multiple perspectives that will be gathered from various sectors throughout the course of research. This phenomenological study, on the whole, seeks to uncover the potentials of traditional arts as a rich resource for learning, particularly for students of art and design.  相似文献   

12.
Many countries, including Australia, China, the United States, the United Kingdom and New Zealand, have included art subjects in their core curriculum. Using the theory of governmentality as a critical lens to investigate the intricate power–knowledge system in relation to curriculum, arts and pedagogy, this paper makes a comparative document analysis of two contemporary arts curricula for children aged 5–6 years—the Beijing Kindergarten Happiness and Development Curriculum in the arts learning area (upper class in kindergarten), and the Australian Curriculum: The Arts (Foundation level). Curriculum is best understood as a multi-faceted phenomenon and this paper draws from research which categorized curriculum into three phases: the intended (or planned) curriculum, the enacted (or implemented) curriculum and the experienced (the learner experience) curriculum. By focusing on the first phase: the intended curriculum, this paper compares the documents that comprise the planned curriculum from two very different contexts, and thus makes a contribution to cross-cultural understanding of early childhood arts curriculum in ways that may lead to social change.  相似文献   

13.
This paper focuses on how wise humanising creativity (WHC) is manifested within early years interdisciplinary arts education. It draws on Arts Council-funded participatory research by Devon Carousel Project and University of Exeter’s Graduate School of Education. It is grounded in previous AHRC-funded research, which conceptualised WHC in the face of educational creativity/performativity tensions. WHC articulates the dialogic embodied inter-relationship of creativity and identity – creators are ‘making and being made’; they are ‘becoming’. The research used a qualitative methodology to create open-ended spaces of dialogue or ‘Living Dialogic Spaces’ framed by an ecological model to situate the team’s different positionings. Data collection included traditional qualitative techniques and arts-based techniques. Data analysis involved inductive/deductive conversations between existing theory and emergent themes. Analysis indicated that ‘making and being made’, and other key WHC features were manifested. We conclude by suggesting that WHC can help develop understanding of how creative arts practice supports the breadth of young children’s development, and the role of the creativity-identity dialogue within that, as well as indicating what the practice and research has to offer beyond the Early Years.  相似文献   

14.
The arts are often seen as peripheral to the ‘real business’ of school and schooling. While this has been the case for some time now, the increasing pressures of high-stakes testing and ever-more draconian public funding schemes (particularly in the wake of 9/11) have created something of a ‘perfect storm’ for those working in the arts. Arts proponents today live and operate within a culture of scarcity, having to justify their increasingly marginalized vocations while competing for continually shrinking resources. The result is an often deep-bodied sense of vulnerability, one which saturates the social field (both micro and macro) of arts education in ways not often publicly acknowledged. In this article, I explore this notion of ‘vulnerability’ as a framework for understanding qualitative data which emerged from a three-year arts and education project I conducted in a large, northeast city in the USA beginning in 2003. In so doing, I look to open up a broader discussion about the oft-ignored intersection(s) between the material and aesthetic in arts and education – a discussion which is sober about the future of such work in times of economic scarcity and conservative retrenchment.  相似文献   

15.
This article examines the political economic theories that informed the development of the first publicly funded art school in Britain, by the Select Committee on Arts and Manufactures of 1835/6. It begins by assessing these origins in the context of some recent experiments in art school pedagogy. It then responds to the challenge offered by Mervyn Romans in iJADE, Vol. 23, No. 3 (2004) to the argument that economic necessity was the motive for the establishment of publicly funded art education in Britain. I argue that in this instance, economic necessity should be defined according to the terms of political economic theories that offered ‘scientific’ reasons for the economic benefits of political change. I analyse this political economic discourse with reference to the examination of Martin Archer Shee, then President of the Royal Academy of Arts, at the Select Committee on Arts and Manufactures in 1836. I conclude by suggesting that the establishment of the first publicly funded art school in Britain in 1837, as it was distinguished from the Royal Academy of Arts, can be understood as part of a political economic experiment that was realised only when Henry Cole took charge of the School of Design as ‘The Department of Practical Art’ in 1852. This experiment depended on risking the models of professionalism in art that existed at that time, in order to advance new combinations of politics, economics and public pedagogy under capital, in ways that are no longer readily recognisable.  相似文献   

16.
Drawing on pre-service teachers’ curriculum, the promises and pitfalls of three orientations to arts integration—making, analyzing, and balancing—are described. While few pre-service teachers create balanced curriculum where students make and analyze art, even fewer implement such lessons as student teachers. By contrast, most pre-service teachers initially approach arts integration by asking students to make or analyze art. Such patterns imply teacher educators need to identify fieldwork placements supporting arts integration, frame pre-service teachers’ initial arts integration as steps to be nurtured by continuing professional development, and prepare teachers committed to the arts to resist narrow definitions of learning in a climate of standardization.  相似文献   

17.
The visual arts can be an important and rich domain of learning for young children. In PreK education, The Task Force on Children’s Learning and the Arts: Birth to Age Eight (Young children and the arts: Making creative connections, Washington, DC: Arts Education Partnership, 1998) recommends that art experiences for young children include activities designed to introduce children to works of art that are high quality and developmentally appropriate in both content and presentation. This paper documents the teaching strategies utilized by a master art teacher at the Denver Art Museum to engage preschool-age students in art viewing experiences which were part of a museum-based art program. This research provides support for integrating rich, meaningful art viewing experiences as a regular part of young children’s arts experiences while offering early childhood educators teaching strategies for early art viewing experiences.
Angela EckhoffEmail:
  相似文献   

18.
台湾地区现行学制内的戏剧教学是依《艺术教育法》（1997）,在《国民教育阶段九年一贯课程总纲纲要》（1998）、《国民教育阶段九年一贯课程纲要》（2003）中,正式纳入于国民教育“艺术与人文”学习领域之内;高级中学（含高职）则设于《普通高级中学艺术生活科课程纲要》（2008）“艺术生活”科内的“表演艺术”类课程中。这些法令确立了戏剧课程为新增的一门通识艺术教育。依表演艺术教学的法令规章与学理内涵的探讨可知,这种表演艺术的核心是在“表演学”（Acting）的学习。其教学以创作性戏剧、教育戏剧、教育剧场、儿童剧场、青少年剧场等方式实施,以避免表演艺术成为专业职业的训练导向之教学。在实施方面,建议对学校排课、师资、辅导员职责与奖励制度、课程系统化以及培养表演艺术高级人方面做考虑。  相似文献   

19.
随着美术新课程改革的不断推进,美术教师成为美术校本课程开发与构建的中坚力量,美术校本课程的开发需要美术教育工作者长期、不断的探索、研究。如何开发富有地方特色的美术校本课程,延伸美术课堂教学成为美术教师亟需研究的课题。文章以四川省夹江年画这一民间传统艺术为例,对美术校本课程的开发进行探讨。  相似文献   

20.
The number of university undergraduate courses in the area of interactive media is increasing. Many of these courses are based in the schools of art and design that have traditionally valued and focused on developing the aesthetic and artistic design skills of their students. However, because of the rapid changes in new technology the relation between the technology and design has become complex. This poses new challenges for the educators in this field. The main challenge is defining the role of programming in the curriculum and the relationship between ‘coding’ skills and ‘design’ skills. The article examines different conceptual models of programming and suggests that the concept of programming as artistic and creative practice and ‘programming as design’ would be more suitable for the art and design curriculum.  相似文献   

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