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1.
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   

2.
Over the past twenty‐five years as an art teacher I have sought answers to three questions: 1. In what ways and to what extent can drawing practice explore both conscious and unconscious thought processes? 2. In what ways can the participant individuate his or her experience through the practice of drawing? 3. In what ways can drawing form a dialogue between personal philosophy and experience? Refering to my own experience and pedagogy I define some of the historical, pschological and philosophical contexts for my perception of drawing, including comments from my students, in the process making no special distinction between child and adult art. I have studied the evolution of pupil’s drawing practices and particularly those of my own children, as they assert their own perceptions and responses to experience, conceptualising feelings both sensuous and emotional through telling stories and defining realities. Throughout history the will to draw has persisted, its function differing and changing through time and cultural contexts. Beuys commented that everyone can be an artist, if they want to be; can anyone really afford not to draw?  相似文献   

3.
Addressing changes in conditions for practitioners that can be related to education policy in England and Wales since 2010, this article presents issues faced by teachers of art and design and their responses in practice. The current insistence on transparency in education emerges through policy that audits performativity, in a limiting skills bank. Practitioners in art and design are particularly affected by what I term ‘the transparency‐exclusion paradox’, as they battle to maintain the subject area and are ‘othered’ by the English Baccalaureate and Progress 8. I will discuss an emergent ‘ethos of ambiguity’ among artist‐teachers and contemporary artists, with a theoretical basis informed by Beauvoir and Foucault. Empirical data from research participants will be evidenced, to explore strategies of response in inclusive social practice. This article adds to literature that considers the effects of policy in implementation and it contributes to research on creative expressions of ambiguity in the arts.  相似文献   

4.
In this article, I make a response to Lewin’s insightful and judicious contribution to the Gearon–Jackson debate. I address the central and important arguments made by Lewin in relation to three aspects of my theoretical orientations on religion in education: (1) what Lewin rightly identifies as my ‘propositional’ interpretation of religion; (2) the politicisation of religion as secularisation; and (3) the securitisation of religion in education as a ‘securitisation of the sacred’. I argue some theoretical framing for this is necessary and that an engagement with the (propositional) realities more helpful than their denial, and that precisely because religion is propositional it can be so used or directed to political and security purposes. In sum, to ensure there is no sense of equivocation in my response I greatly welcome Levin’s intervention, but defend my propositional interpretation of religion and defend too my conceptualisation of the politicisation and securitisation of religion in education. Prompted by Jackson’s critique and Lewin’s subsequent intervention, this response is offered then as a bridge to facilitate further theorisation of the politicisation and securitisation of religion in education as an aspect of secularisation.  相似文献   

5.
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6.
Three years ago I started work on the exhibition Get it off your chest, a multimedia project exploring the personal and social role of the breast within British culture. The project would involve over one hundred people as contributors, engaging with ongoing debates within academic, media and informal contexts as to what constitutes and impacts upon constructions of the female image within our society, particularly in relation to the breast as a primary signifier. The working practices evolved in creating Get it off your chest were instrumental in generating a synergy in my own creative activities, enabling some measure of unification to occur within the strands of my art–making and art educational roles. This synergistic approach, which I term ‘creative community working’ will be discussed in this paper alongside the epistemological focus of the exhibition, its inception and its consequent structure, presentation and wider educational role. I will focus throughout on exploring the development of creative community working contexts: the impulse to integrate what sometimes seem like rogue elements of the professional and creative identity is one shared by many members of the art educational community and I hope that this paper will generate feedback and discussion on the diverse ways in which colleagues generate synergy in their own working lives.  相似文献   

7.
This paper investigates how the narratives Special Educational Needs Co-ordinators (SENCOs) tell can be framed as social, discursive practices and performances of identity by analysing accounts offered in focus groups and life history interviews. I explore how the narratives deployed demonstrate an engagement with a rhetoric about who works in inclusive education. I argue that this rhetoric informs the materialisation of what Butler terms an ‘intelligible identity’ (1993, 2004), one which might be identified as a SENCO identity because it is gendered as feminine and caring. However, I explore how some of these narratives simultaneously negotiate and refigure rhetorical constructions of intelligible identities by invoking a child-centred warrior persona to alternatively iterate belonging to the special educational needs community. Thus my analysis considers the potential for personal narratives to decouple gender from a rhetoric of caring and identifies potential alternatives for claiming a SENCO identity.  相似文献   

8.
Art educators continuously struggle to understand what multiculturalism ‘looks like’ in the art classroom. This has resulted in multicultural art education becoming superficial, in which art teachers guide students through art projects like creating African masks, Native American dream catchers, Aboriginal totems, and sand paintings, all without communicating the context of the art. This type of multiculturalism essentializes cultures, and builds Western, myopic narratives about groups of people, specifically about their ‘Art’. Critical multiculturalism is a power-focused upgrade of multiculturalism that calls for a critique of power and demands recognition that racism and other discriminations are enmeshed in the fabric of our social order. Teaching through a critical multiculturalism framework helps teachers dismantle Western, normalized narratives and produce counter-hegemonic curriculum that contextualizes culture and reveals its fluidity. In this article, the author shares a teacher action research study in which she describes what critical multiculturalism looks like in her art education classroom. The study focuses on ‘being’ a critically multicultural educator versus ‘doing’ critical multiculturalism. Such a position counters the idea that critical multiculturalism is a thing to complete, but instead is an ongoing process that rests on specific ways of thinking and considering the classroom, curriculum, and students.  相似文献   

9.
In this paper I discuss my reasons for choosing educational action research in my enquiry into the process of writing, redrafting, learning and autonomy in the examination years (Eames, 1987). I look first of all at my own interests as a teacher‐researcher, and then explore my reasons for rejecting the ‘dominant research paradigms, which seemed to me inappropriate for what I was trying to do. I explain what I understand by action research, and examine objections to it, as well as considering its strengths.  相似文献   

10.
This article discusses practitioner research that focused on student resistance to teaching about the apartheid past and issues of ‘race’ in a first year English studies course at a predominantly Afrikaans and ‘white’ university in South Africa. The study aimed to explore the way in which students and the teacher engaged with a form of critical pedagogy moment–by–moment in the classroom. In this article, I turn the analytical spotlight onto myself, analysing the way in which my own multiple and sometimes contradictory identity positions as an educator play themselves out. In particular, I explore the tensions between my preferred ‘democratic’ teaching style, and my moral or ethical views. I argue that this tension creates a dilemma for teaching within critical pedagogy, which is not easily resolved. I also reflect on the experience of researching my own teaching practice, and attempt to understand how my research insights were developed, linking this to the distinction between reflective practice and action research.  相似文献   

11.
This article raises the recurrent question whether non-indigenous researchers should attempt to research with/in Indigenous communities. If research is indeed a metaphor of colonization, then we have two choices: we have to learn to conduct research in ways that meet the needs of Indigenous communities and are non-exploitative, culturally appropriate and inclusive, or we need to relinquish our roles as researchers within Indigenous contexts and make way for Indigenous researchers. Both of these alternatives are complex. Hence in this article I trace my learning journey; a journey that has culminated in the realization that it is not my place to conduct research within Indigenous contexts, but that I can use ‘what I know’ – rather than imagining that I know about Indigenous epistemologies or Indigenous experiences under colonialism – to work as an ally with Indigenous researchers. Coming as I do, from a position of relative power, I can also contribute in some small way to the project of decolonizing methodologies by speaking ‘to my own mob’.  相似文献   

12.
Nick Peim has recently revisited the work of Walter Benjamin; specifically his famous essay on art and mechanical reproduction. In this reply, I too draw upon the inspiration of Benjamin to extend the argument to the question of experience and what might count as knowledge, both in a philosophical sense and also in terms of the curriculum. To exemplify my argument I draw upon the topics of prostitution, gambling and the urban. They were all central to Benjamin's unfinished work ‘The Arcades Project’.  相似文献   

13.
Developing holistic practice through reflection,action and theorising   总被引：1，自引：1，他引：0  
This article outlines how I, as a primary teacher engaging with a self-study action research process, have come to a deeper understanding of my practice. It explains how I have also come to an understanding of why I work in the way I do; of how this understanding influences my work, and the significance of this new understanding. My work as a teacher frequently includes doing collaborative digital projects with my class. As I engaged in research on my practice, I initially experienced difficulties problematising this work. I struggled to achieve clarity not only with engaging in critical thinking but also with articulating my educational values. I found Mellor’s idea about ‘the struggle’ helpful as he explains how ‘the struggle’ is at the heart of the research process. My new understanding around these collaborative projects emerged in terms of holistic practice; clarifying my ontological values and learning to think critically. I am now generating an educational theory from my practice as I see my work as a process for developing spiritual and holistic approaches to learning and teaching. I conclude by outlining what I perceive to be the significance of my work and its potential implications for education.  相似文献   

14.
This article examines the role of spending time with others in and through artistic research and practice. I draw from my doctoral work which took me on a cross‐Canada journey visiting 125 artists in their studios. Following the studio visits, I made a series of paintings of artists’ studios, however a year later these same paintings were cut up and rearranged to create collaborative studio assemblages on the walls of the Tate Exchange Gallery in Liverpool. Drawing on the metaphor of a never‐ending‐painting to examine never‐ending pedagogies, this article examines the evolution of this project through three iterations of the studio paintings. With each iteration, I explore different ways of knowing others through making thus proposing the performative and relational qualities of artistic research. The first iteration allowed me to spend time with artists even in their absence, as I engaged with our conversations through painting their studios, thus blurring the lines between solitary and social art practices. The second iteration allowed me to give up my art to others through asking them to create collages with fragments of my studio paintings. And the third iteration allowed my work to merge with other arts‐based researchers. Through this process, I propose that making art allows for multiple conversations to emerge through spending time getting to know others through art making.  相似文献   

15.
ABSTRACT

This article is an investigation into the Reading Partners scheme at a large inner London comprehensive school in England; this research comes from a small scale study I carried out as part of my Masters of Teaching at the Institute of Education, University College London. Reading Partners is a project whereby younger and older students within the secondary school education system are paired up to read aloud together in the school library every week over the course of a school year. The purpose of my study was to explore the relationships between these readers and to further understand what is gained from such shared reading. I argue that such collaborative reading aloud provides fertile ground for students’ development and that the sessions go beyond ‘just’ reading and, in fact, make reading become a ‘social’ activity. The significance of the personal relationship these students build and all that happens ‘beyond’ reading texts together should not be underestimated.  相似文献   

16.
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   

17.
This paper introduces rhizocurrere, a curriculum autobiographical concept I created to chart my efforts to develop place-responsive outdoor environmental education. Rhizocurrere brings together rhizome, a Deleuze and Guattari concept, with currere, Pinar’s autobiographical method for curriculum inquiry. Responding to invitations from Deleuze, Guattari and Pinar, to experiment, I have adapted their ideas to create a philosophical~methodological concept that draws attention to relationships between my pedagogical and curriculum research and the contexts that have shaped my life~work. This paper outlines rhizocurrere, its parent concepts and how I have enacted my attempts to think differently about curricula and pedagogy. The central question is not ‘what is rhizocurrere?’ but rather ‘how does/could rhizocurrere work?’ and ‘what does/might rhizocurrere allow me to do?’  相似文献   

18.
In art education we need methods for studying works of art and visual culture interculturally because there are many multicultural art classes and little consensus as to how to interpret art in different cultures. In this article my central aim was to apply the intertextual method that I developed in my doctoral thesis for Western art education to explore whether the method would also work from a non‐Western point of view. My hypothesis was that it is possible to find local and global differences that arise from selected texts and study them interculturally. As postmodernism calls attention to marginal areas, I applied my method to a form of visual culture that is not well known in the European art education context, the Japanese kamishibai which can be translated as Japanese paper theatre. Based on the results, my study will propose a method for understanding visual culture and the multiple relations ‐ local and global ‐ between different cultures. Japanese paper theatre also offers an interesting potential for using visual and verbal stories in the theory and practice of art education.  相似文献   

19.
This paper explores changes to the educational policy-making arena through case study analysis of a Massachusetts law passed in 2012 that limits seniority-based job protections for public K-12 teachers. I use data from interviews with policy stakeholders, observations of public meetings, and policy artifacts to explore struggles over democratic engagement in what unfolded as a highly undemocratic policy development process. Using the policy cycle framework, I explore the ways that political pressure and political discourses shaped the policy development process through various contexts of political struggle. Ultimately, I argue that the case is indicative of what I am calling ‘neo-democratic’ decision-making, in which high-level interest group conflict leads to narrow forms of democratic engagement.  相似文献   

20.
The senior year design students and I were dismayed when my linear teaching and their habitual rote learning failed in a Middle Eastern University. The gulf between the curricular objectives and our teaching-learning methods intrigued me. I turned this into an action research project that sought to answer the questions, ‘What paradigm shift might we need to migrate from traditional rote learning to deep learning? What attitudinal change and philosophical beliefs would that call for in an instructor?’ The search for a solution metamorphosed me from a disengaged instructor into an empathizing reflecting practitioner. It led my students to active engagement in an enquiry-based learning workshop, which significantly improved their performance. This paper celebrates the journey of our collective deep learning. It explicates how I built my personal theory of teaching praxis through critical consciousness and meta reflection. This knowledge-creation process is empowering and may draw many teacher researchers towards meta-reflexive engagement with the social systems around. These change drivers can initiate institutional overhaul to effect systemic reforms.  相似文献   

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