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1.
Teachers in arts education frequently struggle with their professional identity. When asked, arts teachers often answer that they believe that their main responsibility is education at the expense of understanding themselves as artists. The Mexican‐American artist and teacher Jorge Lucero questions whether an occupation as teacher necessarily impedes a creative practice. The finding that both progressive pedagogy and conceptual art share certain characteristics forms the basis for his concept of ‘teacher as conceptual artist’. In short, Lucero proposes that a teacher’s practice, in and beyond the classroom, simultaneously can be his or her creative practice. This qualitative intervention study explored whether or not the concept of teacher as conceptual artist holds the possibility to narrow down the gap between teacher and artist identities. The intervention consisted of a three‐day project led by Lucero in which nine arts teacher students were familiarised with modes of operation as a conceptual artist. In the three following months, these students implemented lessons in primary and secondary education based on those modes. Prior to the project, ‘elicitation‐interviews’ were used to explore how students perceived their professional identity and at the end of project semi‐structured interviews were conducted. The findings suggest that through the modes of operation as a conceptual artist, students who mainly identified as an artist were able to integrate a teacher identity in their artist identity, but the modes of operation also gave students who withheld their artist identity from the classroom an opportunity to live their artist identity in the classroom.  相似文献   

2.
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   

3.
A collaborative postcard project completed by 22 students as part of a drawing course conducted at a university in Hong Kong is introduced. The project entailed inviting students into an art practice in which the author was herself engaged as a practitioner as well as a researcher. After introducing the educational context in which the project took place, the author provides an account – informed by ‘participant‐observer’ feedback from students – of how the project unfolded and was experienced. In the second section of the article the creative and pedagogic efficacy of the project is considered with reference to the experience‐centred and dialogic principles expressed in the educational philosophies of John Dewey, Simone Weil, Hannah Arendt and Paulo Freire. The third section draws on insights from scholars working in a range of disciplines – cultural history, anthropology, sociology and psychology – to argue that a particular set of organisational and collaborative dynamics catalysed students’ levels of engagement, creativity and motivation. The article argues that the collaborative postcard project is an example of an experience‐centred and practice‐based pedagogy that is founded on dialogue, mutual generosity and experimental play, and engenders in students the ‘quality of mental process’ that is, for John Dewey, ‘the measure of educative growth’.  相似文献   

4.
Research methods courses typically require students to conceptualize, describe, and present their research ideas in writing. In this article, the author describes her exploration in using arts‐based techniques for teaching research to support the development of students’ self‐study research projects. The pedagogical approach emerged from the author’s sociocultural theoretical perspective in using symbols and dialogue as mediating tools. Three arts‐based research projects were utilized to assist doctoral students in articulating research interests, framing research proposals, and reflecting on their development as researchers. Data included students’ implementation and assessment of projects; the instructor’s teaching logs; and students’ course evaluations. The projects served to illuminate the subtleties of research interests, self‐understanding and understanding of other’s research, and learning about self‐study by practicing it. Research methods instructors are prompted to consider what happens when students are asked to demonstrate their understanding of research using the arts and when they study the ‘so what’ of using them.  相似文献   

5.
Many images of the ‘artist’ or ‘designer’ pervade the media and popular consciousness. Contemporary images of the artist and creativity that focus solely on the individual offer a very narrow depiction of the varying ways creativity occurs for artists and designers. These images do not capture the variety of creative processes and myriad ways artists and designers work. Young creatives in particular are choosing to work with a social approach to creativity. An example of this approach is the world of blogging, a form of social media where young creatives have a very active voice. This article explores how creative bloggers, that is, artists, designers and makers who blog about their practice, use a social approach to foster creativity with a sense of community, environmental and ethical awareness, a value framework that is in opposition to the market‐driven notion of liberal individualism. Is there a way to include participation in the broader art and design blogging world as part of art and design education? What can we learn from such a social approach to learning in higher education art and design programmes? This article explores these questions and shares findings of an ethnographic approach to an analysis of art and design blogs. In doing so it argues for a socially‐wise approach to creativity in art and design education as a means of promoting values other than those usually connected to the market.  相似文献   

6.
A critical pedagogy of place and the critical place(s) of pedagogy   总被引：2，自引：2，他引：0  
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7.
In this article, taking three selected works by the Danish artist Julie Nord as my point of departure, I will analyse and discuss the role of art in educational theory and practice. In this analysis and discussion I present two concepts, ‘resistance’ and ‘undecidability’, which are rooted in the theories of Dutch professor of education and director of research Gert Biesta and the French philosopher Jacques Derrida, respectively. The two concepts are used to analyse the three works of art and then come to grips with the empirical part of the study. The empirical part explores how a Danish fifth‐grade class (ages 11–12) interacts with works of art characterised by these very things, resistance and undecidability. The point the article makes is that it is not always what is easy and unambiguous that offers the best conditions for learning and gives school pupils a desire to learn. Rather it is often what is full of resistance and is difficult to decipher and understand.  相似文献   

8.
Emotions and reflexivity in feminised education action research   总被引：1，自引：1，他引：0  
The paper addresses contemporary relations between emotions, gender and feminist action research. Starting from analysis of the increasing emotionalisation of everyday life, it explores the quasi‐feminist—or what the author calls ‘feminised’—forms of incitement to reflexive confession that are increasingly gaining favour within professional and higher educational contexts and draws on literatures and sets of debates that inform education action research, including: childhood and governmentality; feminist research; and international development critiques. The author proposes that reflexivity as an educational and research practice has come to stand in for, and thereby limits, the contemporary focus on ‘participation’ to reduce its radical collaborative and action agenda and instead incite researchers to work on ourselves, and only on ourselves. The paper warns against underestimating the speed and flexibility by which neo‐liberalism absorbs and co‐opts creative strategies—such as reflexivity—for its subversion, and returns them to old‐style individualism.  相似文献   

9.
Abstract

There are various programmes currently advocated for ways in which children might encounter philosophy as an explicit part of their education. An analysis of these reveals the ways in which they are predicated on views of what constitutes philosophy. In the sense in which they are inquiry based, purport to encourage the pursuit of puzzlement and contribute towards creating democratic citizens, these programmes either implicitly rest on the work of John Dewey or explicitly use his work as the main warrant for their approach. This article explores what might count as educational in the practice of children ‘doing’ philosophy, by reconsidering Dewey’s notion of ‘experience’. The educational desire to generate inquiry, thought and democracy is not lost, but a view that philosophy takes its impetus from wonder is introduced to help re-evaluate what might count as educational experience in a Deweyan sense.  相似文献   

10.
This paper is based on a multidimensional study employing a heuristic methodology termed ‘creative narrative’ that combines arts‐based methods with narrative inquiry. Six female teachers’ narratives of identity are explored through artistic, visual images to illuminate if and how they story ‘unconscious’. The creative narratives, illuminated through a multi‐layered extract from one creative narrative, illustrate various ways in which the participants imputed meaning and power to tacit and non‐conscious influences which were emotionally potent but previously hidden from themselves and others and that continued to affect their professional identities. The paper argues that such unconscious or non‐conscious dimensions to teachers’ lives are crucial to the experience and exercise of professional identity and yet are largely absent from our understandings and outside the capture of narrative inquiry as it is presently conceptualized. Narrative inquiry should strive to extend its theoretical boundaries and incorporate non‐verbal arts‐based research methods in order to go beyond the limits of language and capture the meaning of lived experience in more holistic ways.  相似文献   

11.
This article explores an aspect of Karl Marx’s concept, praxis. Praxis is meaningful work, through which we fulfil ourselves by fulfilling others. The discussion draws on the author’s work with postgraduate student teachers, where both students and author were researching their own practice. Reflecting Marx’s conception of praxis as subjective fulfilment in the objective world, this activity was intended to trouble and complicate the categories ‘subjective’ and ‘objective’, whilst enabling students to become both more autonomous and other-oriented. The intention behind this article is to develop the theoretical vocabulary of praxis available to educational researchers and practitioners. Some ideas from Lacanian psychoanalysis are introduced, followed by extensive discussion of Slavoj ?i?ek’s concepts, ‘act’ and ‘event’. The key argument is that in a nascent educative praxis, ‘subjective’ and ‘objective’ perspectives can be understood not as fixed points of reference, but as dual orientations on a flow of signification. These ideas are developed alongside detailed examination of two university-based research sessions with student teachers. With reference to session activities, a rationale is provided for an emerging educative praxis, in which students explore creative tensions between ‘subjective’ and ‘objective’ perspectives on school-based practice.  相似文献   

12.
Education as a liberating and democratic process remains an aim and belief in discourses within the field and beyond. The arts also have a tradition in which ‘artistic freedom’ is valued even if what constitutes artistic freedom is contested. In this article an educational discourse in which dialogue is considered a means to personal and collective liberation through education is highlighted and related to ‘artistic freedom’ and the dual roles of artist and teacher, in which learners and teachers are encouraged to contribute to and change culture as well as study and absorb it. Conceptualisations of the artist teacher and professional development and practices associated with these are considered to open up creative possibilities for art teachers without undermining other positive aspects of identity as a teacher and practitioner.  相似文献   

13.
This article explores the possibilities of the diorama medium as a method to investigate educational realities and ideals. Contemporary artistic examples of dioramas deconstruct traditional associations of the diorama as a form of explanatory storytelling and critically contest the problematic reproduction of existing hierarchies, which seem to occur when dioramas are used in museums and schools. In contemporary dioramas, the gaze of the spectator is instead invited to engage and contribute to multiple interpretations of spatial creations. The article explains how dioramas have been employed in a doctoral research project on artist teachers and democratic pedagogy and how making dioramas as a research method in arts‐based educational research has been adopted to engage in a dialogue with visitors to a contemporary gallery to collaboratively investigate the spatiality of democratic learning spaces.  相似文献   

14.
Drawing on research that sought to explore the characteristics of ‘Possibility Thinking’ as central to creativity in young children's learning, this paper considers question‐posing and question‐responding as the driving features of ‘Possibility Thinking’ (PT). This qualitative study employed micro‐event analysis of peer and pupil–teacher interaction. Events were sampled from two early years settings in England, one a Reception classroom (4‐ to 5‐year olds) and the other a Year 2 classroom (6‐ to 7‐year olds). This article arises out of the second stage of an ongoing research programme (2004–2007) involving the children and practitioners in these settings. This phase considers the dimensions of question‐posing and the categories of question‐responding and their interrelationship within PT. Three dimensions of questioning were identified as characteristic of PT. These included: (i) question framing, reflecting the purpose inherent within questions for adults and children (including leading, service and follow‐through questions); (ii) question degree: manifestation of the degree of possibility inherent in children's questions (including possibility narrow, possibility moderate, possibility broad); (iii) question modality, manifestation of the modality inherent in children's questions (including verbal and non‐verbal forms). The fine‐grained data analysis offers insight into how children engage in PT to meet specific needs in responding to creative tasks and activities and reveals the crucial role that question‐posing and question‐responding play in creative learning. It also provides more detail about the nature of young children's thinking, made visible through question‐posing and responding in engaging playful contexts.  相似文献   

15.
ABSTRACT

In this paper, the author discusses the interrelationship between creativity, children’s experiences of the natural world and pastoral education. Based on a research design developed whilst undertaking a professional doctorate in education (EdD), and grounded in a theoretical framework of children’s rights, the author explores the creative uncertainties of collaboratively researching children’s educational experiences with nature. The paper considers the ways in which the research design supports a pastoral care agenda, whilst encouraging the emergence of ‘creative artefacts’, alongside the extent to which the focus of the research, encounters with the natural world, might be deemed pastorally minded in its own right. The children who have participated in the research then draw the paper to a close, sharing what their involvement in the project has meant to them. Images and excerpts of children’s own creative reflections are offered as illustration of the powerful confluence of the Creative and the Pastoral.  相似文献   

16.
Assessment for learning? Thinking outside the (black) box   总被引：1，自引：0，他引：1  
This article draws on a survey of 83 teachers, to explore the concepts of ‘assessment for learning’, ‘assessment’ and ‘learning’. ‘Assessment for learning’ is categorized as meaning: monitoring pupils' performance against targets or objectives; using assessment to inform next steps in teaching and learning; teachers giving feedback for improvement; (teachers) learning about children's learning; children taking some control of their own learning and assessment; and turning assessment into a learning event. Conceptions of assessment include assessment‐as‐measurement and assessment‐as‐inquiry. These conceptions are related to two conceptions of learning: learning‐as‐attaining‐objectives and learning‐as‐the‐construction‐of‐knowledge. The conceptions of assessment‐as‐measurement and learning‐as‐attaining‐objectives are dominant in English educational policy today. The article suggests that these conceptions need to be challenged and expanded, since conceptions held by those who have power in education determine what sort of assessment and learning happen in the classroom, and therefore the quality of the student's learning processes and products.  相似文献   

17.
The purpose of this article is to share ideas from 5x5x5=creativity, a research initiative established in Bath (UK) in 2000, with the aim of developing and embedding a creative and reflective pedagogy in schools and early years settings. 5x5x5=creativity research, in partnership with schools, educators, artists, creative professionals, mentors and cultural centres, aims to raise the aspirations and improve the life chances of children and young people as creative learners. In our research we want to develop creative reflective practice and influence systemic educational change. This research defends the special role of the arts in developing a more flexible concept of education through curiosity and creativity, together with the capacity for the arts for allows ‘possibility thinking’ through a creative and critical pedagogy. In this article we analyse the impact of the artists’ involvement on the development of a creative, reflective pedagogy in schools. As both artists and educators we believe it is necessary to challenge current orthodoxies and establish creative and critical thinking at the heart of learning for both children and adults.  相似文献   

18.
What makes it possible for artists to stay with the anxieties and uncertainties of the creative process? This aspect of an artist's development is rarely theorised or addressed despite it being an essential aspect of creative practice. It is a capacity, similar to tacit knowing, that is gradually acquired and learnt, and cultivated over time as part of the process of practising art and being an artist. The role of tacit knowledge as a key aspect of fine art education is well documented and is a learning experience that artists are familiar with. However, what tends to get focused on in discussions about tacit knowing are the practical, usually physical and technical, aspects of learning from experience to the exclusion of a range of mental or psychological capacities that are also a fundamental part of the tacit knowing process and vital to the learning necessary to be an artist. These mental capacities, which include being able to tolerate high levels of excitability, periods of nothingness, chaos, uncertainty and not‐knowing, are also, I suggest, passed between tutor and student as a form of tacit knowledge. This article draws on the experience of one artist, both as a learner and as an emergent practising artist, in developing this ability. The role played by art tutors in supporting student artists to develop a capacity to stay with the anxieties of the creative process is also explored.  相似文献   

19.
It seems uncontroversial to claim that museums are unique places of interest with the potential to inspire learners, yet what this means and how it is managed are complex questions. Museum educators’ work is currently shaped by accountability requirements typically expressed as visitor targets. Centralised teaching and learning initiatives are presented as ‘good practice’. In opposition to these factors, the action research inquiry discussed here set out to enable the participants to research and reflect upon the challenges of their individual contexts, and to develop ideas for practice that were ‘bespoke’. Deliberation on particular predicaments raised important issues, such as the relationship between schools and museums; the educational value of museums to schools; and the distinctive nature of museum pedagogy. A group of museum educators began with the question: ‘How can we support teachers in integrating learning in a museum, with the school curriculum, to help raise pupil attainment’? The paper tells the story of the project and includes reflections on the use of action research as a method of personal professional development and organisational problem-solving.  相似文献   

20.
Artmaking, when used as a form of pedagogy and approached in a socially-conscious manner, has the potential to promote agency and create a democratic learning environment for students. This study examines one such project, "The Council," created by artist Adelita Husni-Bey in collaboration with former Teen Program attendees of the Museum of Modern Art. The Council is a collection of large-scale photographs created from a series of workshops in which 13 young adults imagined themselves reshaping the museum's societal role after a major global crisis. The final photographs were exhibited in the museum's main galleries, representing a participatory, socially-engaged artwork produced from a pedagogical process. While there is a prevalence of these types of pedagogy-based artworks, contemporary art literature tends to focus mainly on the artist, disregarding the participants. Therefore, from the stance of an art educator, I examined the learning experiences of the participants as well as the pedagogical framework of the artist. The reviews from the participants were overwhelmingly positive, with many noting a significant increase in their confidence and a greater sense of agency. A liberating experience of collaboration was also stated as a common experience. These outcomes were attributed to the artist's innovative use of multimodal learning and effective facilitation grounded in Francesc Ferrer's philosophy of anarcho-collectivism and integral education, as well as critical pedagogy. This study suggests that creative methodologies can significantly enhance intrinsically motivated learning and emphasises the importance of nurturing the next generation as they envision a more equitable and just society.  相似文献   

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