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1.
This article identifies recent, mainly Nordic, research approaches to visual arts education. A concept map was developed as a heuristic tool in order to highlight salient traits and blind spots. Contemporary research typically has its origin either in education or in the art world, with an emphasis either on art as language or on art as text. These two dimensions were used to organise the studies and to select representative exemplars in different domains. The framework helped to chart the knowledge base of, and research approaches to, visual arts education. However, the result of blending subject matter and pedagogy tended to be a ‘mixture’ of viewpoints rather than emerging domains of subject‐specific pedagogical knowledge (Lee Shulman: an ‘amalgam’).  相似文献   

2.
In this article, the theoretical framework of developmental pedagogy is presented as a tool in studying and developing children’s knowing within the arts. The domains of art focused on are music, poetry and dance/aesthetic movement. Through empirical examples from a large‐scale research project, we illustrate the tools of developmental pedagogy and show how this perspective contributes to our understanding of children’s learning of music, dance and poetry. More specifically, we will analyse: (a) the important role of the teacher in children’s learning within the arts; (b) the importance of conversing when learning the arts; (c) what constitutes the knowledge, what we refer to as ‘learning objects’, to be appropriated within the three domains of art focused on; and (d) how to conceive of progression in children’s knowing within the arts.  相似文献   

3.
ABSTRACT

Despite the growing importance of digital portfolios for justifying creative work and study opportunities, little is known about arts students’ creative appropriation of online portfolios in secondary school. In particular, there is a research gap concerning the challenges that young black women face when curating portfolios as visual arts students. This paper describes the key challenges that three such government school students negotiated when taught to creatively appropriate an online portfolio software for curating showcase visual arts e-portfolios: In formal contexts, art students’ e-portfolios are strongly shaped by assimilatory norms. Visual arts students who want to develop portfolios that follow local or global crafts and fandoms must negotiate their low status in, or complete exclusion from, the national syllabus. Students in under-resourced school and home settings may already be using other online portfolio solutions that suit their purposes better than the particular software prescribed in arts lessons. Online portfolios are public by default and young women negotiated this risk by using pseudonymous self-presentations. Each student's classroom practices were also constrained by a technology selected for its minimalist exhibition aesthetic. Students curated showcase exhibitions, but the prescribed service did not facilitate a wider exploration of contemporary digital practices.  相似文献   

4.
Abstract

This study describes early childhood teachers’ own beliefs and concepts of aesthetic experience in young children. The teachers involved in this study were directly engaged in preschools for 4 and 5 year‐olds where arts and aesthetic education are a primary consideration of their integrated curriculum. These teachers identified a variety of features of aesthetic experience in three dimensions, which develop in a dynamic, non‐linear cycle. This study suggests that early childhood teacher's awareness and knowledge of aesthetic experience is critical to support the high quality of young children's learning through the arts. It concludes with implications for both teacher education programs and early childhood teacher educators. © 2005 Published by Elsevier Inc.  相似文献   

5.
This article analyses the problem of reception and interpretation of contemporary art exhibition in the context of Besucherschule (Visitors’ School) invented by Bazon Brock: German philosopher, art historian and a follower of Theodor Adorno. He implemented this practice for the first time on documenta 4 in Kassel (1968) and organised such schools of reception until documenta 9 (1992). The aim of the Visitors’ School was to explain works of contemporary art on display to the public. Brock understood this process as ‘mediation’ in aesthetic education, arguing that dependence on theory was no less problematic for contemporary art perception than the lack of traditional art form. The main symbolic task of art – ‘claim for reality’, was demonstrated by Brock in two ideas: ‘new image‐war’ and ‘speaking image’.  相似文献   

6.
In this paper, preliminary comments are made about The Arts in the New Zealand Curriculum document questioning its framing of the arts ‘disciplines’. The notion of the ‘the arts’, which appears to take its meaning from the generic term ‘art’ that directs us to class together music, painting, visual art, dance and other diverse activities, is examined. The idea of ‘literacies’ in the arts is questioned, as well as the ideological nature of representing the arts as ‘essential skills’. Suggestions are made concerning the identity and role of educators in the arts areas of the curriculum. I then take strands within the Arts curriculum document (‘Communicating and interpreting in the arts’ and ‘The arts in context’) and scrutinize these in terms of the possibilities for a critical interpretation of pedagogy and what I believe to be our obligations as teacher educators within a pre-service programme in university setting.  相似文献   

7.
This paper revisits how late 20th‐century attempts to account for conceptual and other difficult art‐work by defining the concept ‘art’ have failed to offer a useful strategy for educators seeking a non‐instrumental justification for teaching the arts. It is suggested that this theoretical ground is nonetheless instructive and provides useful background in searching for a viable approach to justification. It is claimed that, though definition may fail and grand theories not coalesce, one would be wise to emulate Passmore (1954, 1990) who argues for an aesthetic approach to works of art and who proceeds like the fox, from a specific work that becomes more complex through analysis. His approach is employed in describing a performance series by the Cellist of Sarajevo, which raises further questions regarding what it means to start from a specific art‐work and how doing so exemplifies Fleming's (2006) suggestion that in justifying the arts we connect them to our ethical lives. Passmore's strategy is then extended to the aesthetic experience of reading this essay and the paper concludes with the author's personal anecdote in response to Higgins' (2008) call for genuinely aesthetic defences of aesthetic education.  相似文献   

8.
This is a case study of a one‐year arts educational project ‘I – from dreams to reality’ in which artists worked at school with teachers and learning at the school was planned through arts‐based, co‐operative teamwork during one extra school year of 10th grade students in Finnish basic education. The theme of the year was ‘I’, and so the project was designed to highlight everyone's own way of thinking and expressing art. The research task was to determine whether long‐term holistic arts pedagogy and artist co‐operation at school have any significant connection to students’ self‐efficacy and social skills. Data has been collected through students’ self‐evaluations before and after the school year. Altogether 40 students from 10th grade participated in this case study. Half of the pupils participated in an arts educational project called ‘I – from dreams to reality’ and half formed the control group. Artists worked with the test group weekly during a period of one school year (altogether nine months). Students’ self‐evaluations concerning their self‐efficacy and social behaviour were collected by e‐questionnaire. The measures used were Likert‐based evaluation scores of pupils’ self‐assessment of their self‐efficacy and social behaviour in everyday situations at school. According to the results, artist–teacher co‐operation and learning through the arts can be worthwhile experiences to develop students’ self‐efficacy and social skills.  相似文献   

9.
This article explores the correspondence between the vision of play articulated in Singapore’s national kindergarten curriculum framework and the play-related pedagogies enacted by teachers on the ground, particularly during Learning Centre Time (LCT). Influenced by neo-liberal ways of thinking, the curriculum states that purposeful play is a medium to achieve intended learning outcomes. The study is part of a longitudinal project where 108 Kindergarten 1 classrooms were videotaped during a full ‘typical day’ (3–4 h). While learning centres were set up in all classrooms, only 36 LCT episodes were identified. Certain learning centre types (literacy, arts) were more common than others (numeracy, science), and time spent by teachers in the different centres varied widely. Children were allowed limited freedom of choice while playing in learning centres, and some were even required to complete assignments. While teachers tended to adopt facilitative roles, quality of instructional support provided to children was low. We conclude that pedagogical practices during LCT in the observed classrooms do not adequately reflect the curriculum’s vision of purposeful play. This theory/practice gap might be due to curriculum expectations, teacher-related factors (beliefs, lack of preparation) and parental pressures. Implications, limitations and lines for future research are discussed.  相似文献   

10.
ABSTRACT

In time-poor and pressured teaching environments, some classroom teachers look for immediate and simple solutions to resourcing their arts teaching. Online platforms, such as Pinterest, seem to offer ready-made answers for these teachers, however, a lack of criticality can underscore the unexamined ‘advantages’ of such accessible resources. Accessibility and lack of confidence for time poor teachers are two key issues in understanding why teachers prefer online platforms for the sourcing of arts teaching resources rather than curriculum documents written for them by ‘curriculum experts’. Critically competent curriculum decisions require informed knowing about value and how the decision impacts on practice and student learning and in this way criticality and connoisseurship are important capabilities that constantly need to be strengthened in a digitally mediated world. Combined in an arts context and drawing on interviews with 16 classroom teachers, criticality and connoisseurship are two key concepts used to highlight the systemic issues of context, value and pedagogy that impact on teacher’s practice. Suggestions for increasing teachers’ criticality and connoisseurship are explored as important pathways for improving arts learning for young people.  相似文献   

11.
This article explores ‘mobilities’ as a research framework for learning not so much in terms of what has to be done to enhance learning using mobile technologies. Instead it focuses on our embodied ways of knowing and learning by ‘being mobile’ in physical and mediated spaces. It reviews current mobility frameworks used in mobile learning research and other technology integration studies. It proposes a practice‐based mobility agenda for learning by ‘setting in motion’ not just technologies, but also bodies and spaces from a sociological perspective and a phenomenological standpoint. It seeks to understand what is being done – the re‐configurations of bodies, spaces and technologies in a mobile society that is increasingly characterised by media convergence and ubiquitous connections and communication. To move educational research, a conceptual framework that articulates body‐types in relation to technologies is discussed.  相似文献   

12.
Understanding how the arts can enhance learning has long been discussed and debated among educators, students, parents, artists, art historians, and philosophers. Many anecdotal examples reference the value and benefits of the arts in a range of fields and learning domains. Emerging methodologies in the brain sciences have added new perspectives and research‐based approaches to better understand the role the arts might play in learning. Psychologists, cognitive scientists, and now neuroscientists are approaching this topic by exploring memory, sensory systems, and other biological measures. The interdisciplinary and potentially interdependence of these fields to work together to identify the neurological mechanisms involved in the arts may offer educators, parents, and child care providers with important information about how we learning takes place. By bringing together uncommon and divergent thinking from a wide range of disciplines, there is an opportunity to change the way we teach, parent, and serve children using the arts to help enhance learning. This issue of Mind, Brain, and Education celebrates the range of approaches that are emerging to shed light and insight in this field.  相似文献   

13.
Fostering communities of teachers as learners: disciplinary perspectives   总被引：2，自引：2，他引：0  
Education research in learning and teaching has alternated historically between periods in which subject matter disciplines were used as the organizing framework for investigation and implementation, and other periods in which the content areas nearly disappeared in favour of a quest for generic principles of instruction that could transcend disciplinary boundaries. There are few examinations of how these factors interact in the context of specific classroom‐ and pedagogy‐centred school reform. The papers that follow in this issue of JCS examine this issue through the lens of the pedagogic reform, ‘Fostering a Community of Learners’. This introduction outlines the key characteristics of this reform and describes the main issues in subsequent examinations of teachers learning to implement ‘Fostering a Community of Learners’ in science, social studies, English language arts, and mathematics.  相似文献   

14.
ABSTRACT

The ‘learning city’ contains a range of non-formal learning economies. In recent years researchers have focused on, what has been termed, the non-formal arts learning sector, to document best practices, the emergence of new literacies and/or cultural practices, and to highlight interventions that support otherwise marginalised and underserved communities. Yet, for all of this attention, the non-formal learning sector has remained an opaque object, defined by hazy boundaries, diverse programme structures, and a presence in cities that is difficult to grasp. In this paper we develop an account of the non-formal arts learning sector for socially disadvantaged youth by treating it as a ‘socio-technical assemblage’ of the learning city. We draw on data from the Youthsites research project and examine the history, priorities, and tensions in the sector between 1995 and 2015, a period when the youth arts sector has become a significant feature of urban space. We trace the emergence of the sector in three global cities, analyse a series of paradoxes linked to income and property, the labelling of youth, and organisation aims, and show how these paradoxes shape the sector’s broader relationship with the state, labour and consumer markets, and related institutions that allocate support for young people.  相似文献   

15.
In this article a comparison of students’ perceptions of laboratory classes in chemistry and biology is presented. By using the Science Laboratory Environment Inventory (SLEI), pronounced and significant differences between chemistry and biology laboratory environments were found on two of the subscales: ‘Integration’ that describes the extent to which its laboratory activities are integrated with non‐laboratory and classroom learning and ‘Open‐endedness’, a subscale that measures the extent to which the laboratory emphasises an open‐ended, divergent, and an individualised approach to experimentation. It is suggested that the SLEI can be considered as a sensitive tool to measure students’ perceptions of their learning environment in different subject matters during the laboratory work. In this study the SLEI was also used to compare students’ actual and preferred learning environments and to explore gender differences regarding this issue.  相似文献   

16.
Abstract

This paper investigates what it may mean to re-imagine learning through aesthetic experience with reference to John Dewey’s Art as Experience (1934). The discussion asks what learning might look like when aesthetic experience takes centre stage in the learning process. It investigates what Dewey meant by art as experience and aesthetic experience. Working with Dewey as a philosopher of reconstruction of experience, the discussion examines responses to poetic writings and communication in learning situations. In seeking to discover what poetic writing (as art) does within the experience of a reader and writer it considers three specific learning situations. Firstly there is an examination of a five-year old child’s experience of shared communication through the story of Horton the Elephant. Secondly there is an account of the responses of an 11-year-old child to poetry in a 1950s classroom setting, and later reconstructions of those experiences by the child as adult. Thirdly, the paper extends to intensive writing with 12 to 13-year-old children. The focus is on the process of learning via acts of expression as aesthetic experiences. Through art as experience the child develops perceptions that recover a coherence and continuity of aesthetic experience in art as in everyday life.  相似文献   

17.
This article draws upon Rancière’s concepts of the ‘distribution of the sensible’ and ‘dissensus’ in order to explore some of the tensions and processes at work in a multi‐year school change project that sought to transform a school through the ‘urban arts’. Building on student interest in extracurricular Hip‐Hop and street art programming, the school tried to integrate the urban arts across the curriculum through a partnership with local arts organisations and university researchers. While there were a number of project successes, the project also faced significant resistance, which in Rancière’s terms might be inevitable since the project tried to transform the dominant ways of doing and making in the school, displacing those who no longer saw themselves reflected. We understand the tensions in light of the disruptive power of street art and Hip‐Hop culture, but also as manifestations of antiblackness in education. Using data from a three‐year critical ethnography, we share a series of narrative vignettes which unpack the role of the visual arts in challenging the distribution of the sensible at the school, and offer insight into how teachers might have been better invited in as participants in dissensus.  相似文献   

18.
Previous studies indicate that ideas related to special education could influence the way arts education is performed and motivated in schools. Further investigation is therefore required in order to raise awareness of how perspectives on inclusion can serve as a starting point for arts education, and vice versa. This article takes it starting point in an ethnographic double case study of arts education practices. Data were collected during the school year 2013/2014 in two Scandinavian schools (for pupils aged 6–13) with an articulated commitment to the arts. The methods used for data collection were observation and interviews. The material was analysed from a phenomenological point of view, and the analysis showed a predominantly holistic view of inclusion in the two schools. Five dimensions of inclusion were identified through the analysis: providing arts education for all, being connected to something larger, allowing access to different forms of expression and communication, establishing preconditions for holistic inclusion, and developing special arts education. The results indicate that these schools have made considerable progress in developing an inclusive arts learning environment. Results also suggest that a holistic inclusive view of education encourages a functional and vivid arts education for ‘all’, both inside and outside the classroom.  相似文献   

19.
This study examines the key concepts of elements‐and‐principles art instruction, as defined in the publications by Vorkurs (preliminary course) instructors at the Bauhaus. Elements‐and‐principles instruction was for decades central to formalist art training, and continues to play a role, albeit limited, today. Preceding accounts of the elements‐and‐principles have not considered contextual matters worthy of attention, specifically, two other instructional frameworks. One is perceptual drawing that dominated in Western art culture before the inception of the elements‐and‐principles approach. The second is the instructional model Paul Klee proposed in his well‐known but under‐examined instructional publication of 1925, Pedagogical Sketchbook. With regard to the latter, scholars have failed to undertake detailed analysis that would explain Klee's instructional model and, in particular, its central (and idiosyncratic) concept of ‘trichotomy’. Trichotomy is a structure rather than a formal element, providing visual equivalents for extra‐visual events. The peculiarity of trichotomy and related concepts in Pedagogical Sketchbook has kept the publication a faint presence in elements‐and‐principles instruction and in related scholarly inquiry. With a more precise presentation of Klee's pedagogical focus, this study distinguishes heretofore overlooked dissimilarities between the Pedagogical Sketchbook model and elements‐and‐principles approach, and enables recognition of affinities between Klee's model and current conversations about embodiment pedagogies in visual arts education.  相似文献   

20.
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   

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