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1.
The purpose of this article is to describe how the Department of Art Education at the University of Lapland in Finland has developed winter art as a method of environmental and community‐based art education. I will focus on the Snow Show Winter Art Education Project, a training project funded by the European Union and the State Provincial Office of Lapland. The general aim of the project was to increase the know‐how of winter art in Northern Finland. This goal was put into practice through workshops on snow construction, documentation of winter art, winter‐oriented media production, and snow and ice sculpting; through continuing education seminars, workshops, and school projects for teachers; and through public lectures and seminars on winter and winter art. In this article, I describe the challenges that winter offers to community and environment‐based art education in the North. Further, I introduce the methods of implementation and the outcomes of winter art exercises carried out by several schools in Lapland in cooperation with and inspired by the Snow Show Winter Art Education Project.  相似文献   

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3.
This paper reports findings of a pilot study that examined the pedagogical potential of Second Life (SL), a popular three‐dimensional multi‐user virtual environment (3‐D MUVE) developed by the Linden Lab. The study is part of a 1‐year research and development project titled ‘Modelling of Secondlife Environments’ ( http://www.le.ac.uk/moose ) funded by the UK Joint Information Systems Committee. The research question addressed in this paper is: how can learning activities that facilitate social presence and foster socialisation among distance learners for collaborative learning be developed in SL, a 3‐D MUVE? The study was carried out at the University of Leicester (UoL) within an undergraduate module on Archaeological Theory, where two tutors and four students took part in four learning activities designed to take place in SL within the UoL Media Zoo island. The learning activities and training in SL were based on Salmon's five‐stage model of online learning. Students’ engagement in SL was studied through interviews, observations and records of chat logs. The data analysis offers four key findings in relation to the nature and pattern of in‐world ‘socialisation’ and its impact on real‐world network building; the pattern of in‐world ‘socialisation’ stage in Salmon's 5‐stage model; perspectives on students’ progress in‐world through the first stage of the model—‘access and motivation’—and perspectives on their entry into, and progress through, the second stage of the model—‘socialisation’—and the role of identity presented through avatars in the process of socialisation. The paper offers implications for research and practice in the light of these findings.  相似文献   

4.
The article discusses a dialogical peer inquiry process as a practice of co-constructing knowledge in graduate coursework. The process, formerly structured as an exam, was developed by Dr. Vera John-Steiner more than 30 years ago and has been implemented in adapted forms by her students in their teaching. The dialogical peer inquiry process involves collaborating creatively with peers in the co-construction of knowledge. The article discusses the underpinnings of the process and uses voices of students in a graduate art education course to illuminate the process and its meanings for students.  相似文献   

5.
This article is an interdisciplinary reflective response to an intensive studio learning and teaching experience involving artists, academics and postgraduate students. The authors of this article teach, research and practise in coding, digital design, dance, and virtual and live performance. As lecturers and students we reflect upon and propose future approaches to art practice in tertiary education informed by live performance, performance capture and studio‐based responses to digital and virtual platforms. We reflect on an innovative contribution to the field of research–teaching nexus as informed by digital and virtual data capture identifying the key element of immediacy in live performance and choreographic improvisation with systems. We reflect on practice‐based inquiry via the Choreographic Coding Lab (CCL) model – a dialogical negotiation between capture technology and interdisciplinary artists in industry and academia. How can we encourage potential studio inquiry as an adapted model in tertiary learning and teaching? Our interdisciplinary voices, presented as authors’ reflections, provide suggestions for future studio‐based, active learning contexts.  相似文献   

6.
This article explores how art and design education can contribute to the imperative of climate change and help societies adapt to living more sustainably. Drawing on methods from arts‐based research and qualitative case study, it reports on an investigation into what can be learned from creating environmental art installations with preservice teachers (those training to be K‐12 teachers), as part of an environmental art education programme in a leading Canadian university. Findings support that preservice teachers experienced behavioural and attitudinal shifts towards sustainability after engaging in the processes of creating environmental art; involvement in the programme also provided opportunities for building community, engaging multiple domains of learning, modelling sustainable art‐making practices and prompting environmental activism. The results of this study inform a developing pedagogy for environmental art education in higher education settings.  相似文献   

7.
This study addresses the limitations and potential for the development of an adult environmental education program in two protected areas in Brazil. The investigation was based on critical communicative methodology and involved 25 people variously related to puma conservation and environmental education. We found that the staff of protected areas had difficulties interacting with the local community. The main cited obstacle was the lack of infrastructure and staff, but partnerships with scientists and other institutions might help to overcome this limitation. As we identified a great diversity of potential audience, a dialogical process would be necessary to collectively identify community demands and seek solutions. Moreover, an adult environmental education program must consider the characteristics of adulthood and should promote diverse types of activities. In conclusion, we suggest that dialogical learning and critical communicative methodology can contribute to the development of the adult environmental education.  相似文献   

8.
This article introduces an international and interdisciplinary summer school, ‘Living in the Landscape’ (LiLa) in 2018. LiLa's practices focused on creating dialogue among art education, anthropology and nature science and developing culturally sustainable methods for investigating cultural heritage in the Komi Republic of Russia. The article's research interest is how dialogue and cultural heritage appear in the artistic processes, artworks and final exhibition of the summer school. These are examined through art‐based action research in order to develop international, multidisciplinary and culturally sustainable art education. The four‐field model utilised in the research highlights the multidimensional role of dialogue in both individual and collaborative artistic endeavours.  相似文献   

9.
Over ten years research into photography and education has been undertaken at Birmingham Institute of Art and Design in collaboration with the Arts Council of England, West Midlands Arts, and local community photography agencies. A range of case studies were undertaken to explore how young people used photography, particularly in self‐empowerment. These ranged from students in Further Education challenging concepts of visual stereotypes of disability, young lesbian, gay and bisexual people constructing their own website, and individuals and groups creating and modifying their own images in a shopping centre. A democratic action research methodology was developed to enable the young people to establish their own agenda and generate standards for evaluating their work. A particular feature of the later research was a self‐reflective journal that was shared between the researcher and everyone engaged in the project. This resource has considerable potential in photography and elsewhere in art and design education.  相似文献   

10.
This article describes a collaborative action research conducted by a lecturer and several primary school art teachers, who between 2001 and 2006 created the Visual Arts Education Web (‘iii web’) in Hong Kong. The creation of the ‘iii web’ was accomplished through research that employed questionnaires, focus group discussions and individual interviews. Teachers' perceptions of using websites in teaching were examined, art education websites from Hong Kong, Taiwan, Mainland China and the USA were compared, in order to create a website that could meet the needs of Hong Kong primary school art teachers. Inquiry‐based learning is one of the important teaching approaches that were introduced during the Hong Kong Education Reform in 2003. An example of using the ‘iii web’ to teach public art is described to illustrate how the teacher and students used inquiry‐based learning in art education.  相似文献   

11.
This a/r/tographic inquiry delves into questions about participatory art museum practice, specifically seeking to understand the nature of invitations to participate. Utilising drawings, writing and mapping of embodied participation, questions of how individuals are invited to participate in various locations and how these invitations inform the work of art museums that engage in participatory practice are considered. Conditions for participation, including familiarity, personalisation, enthusiasm, playfulness, narrative, uniqueness, sociability and listening, as well as anti‐invitations that contradict moves toward participation, are discussed in relation to examples from the study and scholarly writing. The purpose of this article is twofold: first, to share research about participatory practice in various locations and its implications for art museums, and second, to explore the potential of arts‐based research methodologies, particularly a/r/tography, for art museum education research.  相似文献   

12.
This article explores what it means for teachers to engage in and evaluate students’ character education, by examining the connections between action research and Aristotelian virtue ethics. These connections are explored in two ways. Firstly, the article examines what perspective action research has on how moral education, understood in an Aristotelian way, can be implemented and evaluated. While character education may be hot in educational theory, academic advances have not always reached teachers, heads of school, policy-makers and politicians. Secondly, a specifically Aristotelian approach to action research is explored that may help teachers to understand how action research about character education in schools can best be conducted. After a comparison of the three major action research paradigms, ‘Aristotelian action research’ is described as a kind of dialogical enquiry that contributes to the growth of teachers’ practical wisdom, which, in turn, has an effect on children’s character development. The article ends with suggestions as to how research about character education could be improved if we shift our attention from making character programmes more ‘effective’ to extending and refining teachers’ own practical wisdom and virtue.  相似文献   

13.
This article describes the foundations, development and some of the findings from a research project about how the use of ‘the gaze’, as a key idea from critical art history, might affect the understanding of art by art educators. It shows how the use of this key idea involved not just the disruption of a modernist model of art interpretation (based on the author and the oeuvre), but also mediated the discursive production of the subjectivity of the interpreters as readers/writers of the work. The research was based in the interpretation of a specific artwork by Manet, A Bar at the Folies‐Bergère.  相似文献   

14.
What are the main purposes of drawing in the secondary art and design curriculum? What are Scottish art teachers' views on the role and function of drawing? How is drawing taught in Scottish schools? These three broad questions formed the basis of the research reported in this article. The small‐scale study, carried out between June 2002 and June 2004 will, the authors hope, be of interest to art educators seeking to explore the teaching of drawing as a key component of art and design education. In this article, we report on the background to the study, the place of drawing in Scottish art education, the methodology used, discuss some of the respondents' comments and conclude with some reflections and thoughts for future study.  相似文献   

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16.
This article is based on a project that explored the practices of art and design beginning teachers (BTs) working with learners in a post‐age‐16 context. The aim of the project was to: explore contemporary art and design practices; explore the concept of artist teacher learner researcher; enable beginning teachers to collaborate with post‐age‐16 pupils and develop new approaches and strategies to art and design pedagogy. Through practices that blurred learner‐teacher identities a dialectical pedagogy emerged and a collaborative community of practice developed, all enabled through a renegotiation and reconceptualising of places of learning. The beginning teachers also started to construct their artist teacher identities, understand what it means to practise as an artist teacher in the classroom, understand the impact of these practices on teaching and learning and develop new learning and teaching methods. This project demonstrates the possibilities of these practices for contemporary art and design pedagogy and also how these practices can endure and be sustainable for this community of beginning teachers in the current cultural, social and political contexts of education.  相似文献   

17.
Despite the numerous benefits art has for children, research suggests that there is a lull in the development of expression in children's drawings during the primary school years and that many children give up on art between the ages of 10 and 12. Research investigating this phenomenon has taken an educational focus and aimed to identify potential shortcomings in the primary education system which could impact negatively on children's artistic development and interest in art. This article builds on previous educational research by exploring children's perceptions of the art education they receive. In this small exploratory study semi‐structured interviews were conducted with six children in each of the Key Stages of English compulsory education: Key Stage 1 (5–6 year olds); Key Stage 2 (7–8 year olds); Key Stage 3 (11–12 year olds) and Key Stage 4 (14–15 year olds). A qualitative thematic analysis is used to explore children's experiences of art in the classroom, the kinds of support they receive in art lessons and how art lessons can be improved. It is hoped that the exploration of children's experiences of art in the classroom will enable movement towards an engaging and relevant approach to art education.  相似文献   

18.
This aim of this research was to investigate art teacher education in Taiwan and England to gain insights into two art education systems with a view to improving art teacher education in Taiwan. To achieve this aim, a cross‐cultural study using a multi‐method approach was adopted and data was collected over three years of full‐time study in England and four academic years of reflection on teaching in art teacher education in Taiwan. This research revealed how complex and hazardous it is to state categorically what the similarities and differences really are between two art teacher education systems, especially in a subject as ill‐defined as art. Nonetheless, this study did produce some important differences in the two art teacher education systems in aspects of (1) government regulations and institutional provision, (2) theoretical underpinning, (3) art curriculum policy and delivery, and (4) cultural differences affecting art teachers' attitudes and values.  相似文献   

19.
This research project examines how using the visual arts can develop medical insight, as part of a pilot programme for two groups of medical students. It was a UK study; a collaboration between Liverpool and Glynd? University's and Tate Liverpool's learning team. Tate Liverpool is the home of the National Collection of Modern Arts in the North of England and one of the largest galleries of modern and contemporary art outside London. The project adapted Tate Liverpool's Opening Doors course in devising and piloting a single day programme that engaged students in exploring perception, communication, emotion and narrative. Opening Doors introduces participants to modern and contemporary art and empowers them to work in new ways with groups and individuals. The exercises used as part of the programme allowed us to observe what connections and interpretations were made, and to discuss with the participants what influenced student choice and decision making in relation to specific works of art. This article will focus on the use of gallery education to highlight examples of contemporary culture to develop links between art and medicine, alongside the development of transferable skills. The study is of professional interest because it is using a cross‐disciplinary approach, broadening the disciplines involved in teaching medical skills; and could form a model for further cross‐curricular and cross‐discipline work.  相似文献   

20.
This article will demonstrate that practice‐led photographic research offers an example of dialogical encounter. Through recourse to an outline of my own practice and the experience of completing a practice‐led doctoral thesis, the article will account for photographic practice and interdisciplinary research in terms of dialogism. This will demonstrate that visual research is a productive nexus: it does not simply concern itself with the products of creative practice, but is a generative space itself. The article will also discuss interdisciplinarity from a personal perspective on practice‐led research, which, over time, has developed into an interdisciplinary mode of working. The radical notion of the dialogical self will be considered with specific reference to interdisciplinarity and practice‐led research. The dialogical encounter will also be considered in relation to transformative learning encounters and what is at play in learning through practice, an encounter which places its protagonists at risk. However, far from being a negative state of affairs, this interstitial space in which the researcher/learner/teacher is lost and found is in fact a highly productive place in which to be.  相似文献   

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