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1.
This article draws on data from two recent research studies of children's language and literacy development in the context of their work in school‐based creative arts projects. Using observations of children (ages 3 to 11) and teachers at work, the article examines the ways in which the activities in such projects open up opportunities for children to talk with each other and with adults by generating a ‘workshop’ atmosphere. Children's authentic and wide‐ranging talk in creative arts projects encompasses personal, social, imaginary and real‐world themes which, we argue, is rare in other curriculum contexts. As schools are encouraged to develop ‘creative partnerships’ with artists and arts organisations, the article highlights the role of the teacher in observing and promoting these experiences as occasions for children's language development.  相似文献   

2.
This article focuses on a carnival in the curriculum project designed to revitalise the arts in the experience of students in Higher Education preparing to become primary school teachers. It argues the relevance of a combined arts or trans‐disciplinary artform in the remit of a visual arts education journal and explores carnival as a complex, inclusive, multifaceted and multidimensional cultural practice with deep historical and social roots. It locates carnival within theory and the debate about the arts in schools in the UK from the early 1980s. Drawing on the analysis of interviews with students and teachers in carnival project schools, issues and themes such as student involvement, creativity, artists in schools, and cross‐curricular learning are explored, concluding that carnival in the curriculum provides an opportunity for agency within the regulated official curriculum.  相似文献   

3.
This article traces the ‘cultural turn’ in UK educational policy through an analysis of the Creative Partnerships policy (New Labour's ‘flagship programme in the cultural education field’) and a consideration of an arts project funded under this initiative in one primary school. It argues that current educational policy foregrounds the economic importance of cultural activity and its contribution to the social inclusion agenda. However, ‘creativity’ is seen as being located outside mainstream school structures, in projects rather than in the National Curriculum, and in artists rather than in teachers. The emphasis is on enjoyment and inclusion rather than cultural or social critique, or significant curriculum change. The transformative potential of involvement in the arts is marginalised in favour of a relatively weak form of social inclusion.  相似文献   

4.
This article reports findings from an ethnographic study of the arts curriculum and pedagogy in a British primary school. The policy context for the study is the school's involvement in promoting creative partnerships between teachers and artists. The pedagogies of three different artist‐led projects are analysed, using a Bernsteinian framework, and are characterised in relation to notions of ‘competence’ and ‘performance’ pedagogies. These characterisations are then used to consider the impact of the artists' pedagogies on teachers in the school, and the extent to which the different pedagogies promote inclusion. Broad conclusions are drawn about the relative difficulty of adopting competence pedagogies in the current educational culture of British schools; more specific conclusions are drawn about the importance of time, text, discourse and interpretation in arts pedagogies.  相似文献   

5.
This article describes the CREST (Creative Resources Enriching Student Talents) program's creative arts model for gifted elementary school students. Using Type I, II, and III activities adapted from Renzulli's enrichment triad model, courses in the visual and performing arts using community resources and artists are scheduled to broaden and enhance each child's creativity. The process encompasses both the gifted and talented students for whom art studies are a growth experience. Identification, goals, planning, curriculum design, and management are explained, and evidence of successful Type III projects are documented.  相似文献   

6.
While there is a growing body of scholarship on the creative industries and on the career trajectories of graduates from creative industries programmes, there has to date only been a limited amount of research that examines in detail, the careers of fine arts graduates. Fine art is arguably the least ‘vocational’ of creative disciplines, in that there are relatively few employers that seek to employ fine artists as fine artists. If fine arts graduates are not employed in their chosen field – that is, in the ‘Creative Trident’ terminology, in a core creative occupation – how do their careers parallel or differ from those of other creative graduates? Do they find employment as ‘embedded creatives’, using or applying their experience and practice in sectors beyond the core creative industries, or as ‘support workers’, enabling and facilitating the creative work of others? Do they experience portfolio careers? And how do their artistic training and attitudes to creativity affect their working relationships and experiences? This article draws on rich qualitative data about the experiences of a small group of graduates (including the author) who all graduated from the same course at the same institution in the UK in 1994, to provide some insights into the career paths and trajectories of a sample of fine arts graduates.  相似文献   

7.
5×5×5 ? Creativity in the Early Years has involved five early years' settings, five artists and five cultural centres working in partnership to support young children (3–6 years) in their exploration, communication and expression of creative ideas. This year‐long research project has been inspired by the approach to education and the creative arts in early years' settings in Reggio Emilia, Northern Italy. The three aims have been evaluated; they were: to demonstrate ways in which creativity and innovation can be fostered in and with young children; to influence early years' educational practice by establishing creativity as an essential foundation of early learning; and to share findings as widely as possible, creating a legacy for the future. This article examines the collaborative processes between artists, educators and cultural centres as they worked with young children using a creative and reflective cycle. The underpinning principles and the role of professional development have been essential to the success of the project. Findings show that careful observations and documentation of children's words will provide insight into their ideas and understandings. As adults it is our role to facilitate and support children's depth of learning. By respecting children and taking time to make observations and connections with the children's thinking, we can refine our own efforts in supporting their learning more effectively.  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 documents the collaborative research and development of an apprenticeship model of learning for the arts. It focuses on teachers working in partnership with artists and other creative practitioners. The model is rooted in theories of social learning and cognitive apprenticeship. It was developed and tested through collaborative research, some of it action research. The aim was to explore and test the model for appropriateness and for its impact on the learning of all participants (children, teachers, creative practitioners). The model was found to be useful as a guide to the organisation of children's learning in the arts. Moreover, using the model had a positive effect on the inclusion of children on the margins into wider school learning. The model was also useful in facilitating the professional development of the adults concerned: teachers, artists and others.  相似文献   

10.
现代教育要全面推进中学生的素质教育,最为首要的是创造性思维能力的培养。美术教学过程正是认知转化为能力的最直接方式,它能给予学生更广阔的自由空间,和培养创造性观念的基础。然而现在的学生大多有表达美的愿望,没有表达美的方式和途径,这些都与审美素养水平紧密相关。审美的素养是美术创造力的源泉,也是艺术创新型人才创新能量的蓄积地,关系着美术专业人才的艺术生命,也关系着社会全民素养的水平。从高校美术生源现状,重新认识中学阶段美术素养教育的重要性有利于美术教育目标的统一与连贯。  相似文献   

11.
The paper presents a research perspective on a Secondary school‐based project,, Art on the Net, which explored the interaction between practising artists, students and teachers using digital technologies in the visual and performance arts in school settings. The study illustrated the role that art education plays not only in providing an authentic context for the use of digital technologies, but also in offering insights into conceptualising the nature of ICT capability. The analysis for this paper highlights key themes arising for participants engaged in such intervention projects and illustrates the interaction between professional knowledge and pedagogy in Art and ICT.  相似文献   

12.
The paper explores an important area of arts activity which falls between concepts of education and therapy. It examines the consequence of the increasing professionalisation of the arts in institutions which took place between 1950 and 1980, showing how it led to all arts activities in institutional settings being classified as therapy, training or rehabilitation. It charts the changes in attitude which have taken place over the past fifteen years and demonstrates that whilst freedom to become involved in creative activity should be seen as a basic human right, such engagement may, as a by-product, offer benefits of a therapeutic, educational, social, recreational and commercial nature. Important and innovatory work is being carried out by artists working on creative projects with people in institutions and effective techniques are being developed by them in order to draw adults, with no previous experience of this kind of activity, into arts education.  相似文献   

13.
The paper seeks to unpick and examine a number of related claims for the role of the arts or, more specifically, the creative arts, in educational research. It considers and evaluates ways in which artistic creativity might itself be thought of as either based on research or itself a form of inquiry which might claim to be research. Such claims are entirely plausible, though they perhaps force artistic creativity into a particular mould that not all artists would appreciate. Artistic work may also constitute data conveying information about a particular setting or the events from which they were produced, signs and symbols for the observer or researcher to interpret. The claim that art might be used to represent educational practice, policy or experience receives the fullest treatment, and this requires consideration of both the general claim (which runs counter to the ambitions of many artists, choreographers and musicians) and more particular claims for, for example research-based narrative fiction, which is treated somewhat sceptically.  相似文献   

14.
实施素质教育是提高民族整体水准的奠基工程，是培养学生美术技能和创造力的重要途径。为了适当现代化审美文化和创造力发展的新形势，培养有创造能力的美术人才，美术教育必须适应素质教育的需要，体现其本质与内涵。  相似文献   

15.
This paper describes the development and use of the Creative Learning Assessment (CLA) as a means of evidencing, supporting and promoting children's creative learning in arts‐based contexts. The research team at the Centre for Literacy in Primary Education (CLPE) worked with a group of teachers in inner‐city Lambeth primary schools to develop an assessment system to record the impact of a creative curriculum on children's achievement and to enable schools to justify a broad‐based provision. The Assessing Learning and Communication in Creative Learning Contexts project, funded by CfBT Education Trust (CfBT), aimed to offer teachers a view of creative learning development and a framework for teacher assessment. It set out to provide a close focus on the learner and a valuable source of information for curriculum planning. This article discusses the effect of working with the CLA on children's learning and on teachers' practice through a case study of one project school, and the implications for schools and classrooms from the perspectives of the researcher and the teacher.  相似文献   

16.
This article discusses forms of arts‐based mediation in museums that use creation as the primary tool in the learning process. We present four mediation experiences based on the arts‐based teaching methodologies promoted by the project ‘Art for Learning Art’. These experiences have been developed in four museums: the Centre Pompidou Málaga, the State Russian Museum in Málaga and the Espai d'Art Contemponeo [Center of contemporary art] in Castellón in Spain and the Modern Art Murilo Mendes Museum of Minas Gerais in Brazil. Four experiences in three cities of two countries that work in a methodology which involves participative and collaborative visitor connections with the works exhibited using arts‐based strategies. In all cases, the artistic works of the exhibitions are the conceptual basis for mediation proposals that are offered to the public in order to encourage participation. We link the aesthetic experience as the origin of the mediation process in two fundamental aspects: creation and appreciation. In the act of creative appreciation, most art education objectives are met. The actions and processes are directed by collaborative and contemporary creation strategies around two axes: museum educator‐artists in training and visitors‐artists as learners. In the four experiences that we present here, this confluence takes place. The four events have been adapted to the conditions of the place, public and art exhibitions, contributing new approaches to the model that has been promoted from the University of Granada since 2013.  相似文献   

17.
The article is based on an empirical, interview‐based research project investigating resources and barriers to creative teaching within three Danish primary and secondary schools. The analysis shows how project‐oriented teaching does seem to represent a creativity oasis for both teachers and pupils. Furthermore, the work identifies a distinction between an art‐based and a problem‐solving approach to creativity, and it is suggested that teachers help pupils to work with the various different opportunities for creative learning represented by different subjects in school. Furthermore, a dilemma is pinpointed between the demand that teachers conform to centrally defined test systems, and the challenges facing our societies in relation to bringing up pupils and students who dare to take risks, challenge the existing order and create something new.  相似文献   

18.
Art teachers are renowned for their claims that the creative properties of their senior secondary pupils' artworks occur as a result of the realisation of a creative process. Drawing on my recent ethnographic studies in senior art classrooms in Sydney, Australia, and Illinois, USA, I uncover a sociological, rather than a psychological explanation of creativity, which ironically, appears to satisfy the creative process claims of teachers. This article reveals how social tact in teacher–pupil exchanges has a function in bolstering the quality of the pupils' performances and their artworks while repressing the teacher's pedagogical role. The design and methodologies of the studies are outlined and two grounded narratives characterise cases of social tact between art teachers and pupils. A brief account is provided on the socio‐cultural framework of these studies, informed by Bourdieu's theories of the habitus, symbolic capital and misrecognition. Bourdieu's theories offer a robust conceptual apparatus which helps to explain how the sociality of classroom exchanges, with all of their ambiguities in practice, are a necessity in the realisation of creative ends.  相似文献   

19.
: This study explores pre-service teachers’ knowledge of visual arts education and their ability to undertake creative processes. It is a study conducted with 88 primary school student teachers from a university in southern Spain. The participants were required to produce an artistic piece in which they were asked to reflect their thoughts on visual art education. The resulting pieces served as a tool for inquiry which enabled us to evaluate their theoretical and practical knowledge after performing an analysis of their form and content. After analysing the data, we concluded that future teachers are aware that arts education develops many types of skills, although they are only partially able to carry out a satisfactory artistic creation process. Therefore, it is essential to reinforce the training of pre-service teachers in the domain of artistic processes. Questioning pre-service teachers directly, and doing so through artistic creation, has allowed us to ascertain their level of knowledge of the visual arts.  相似文献   

20.
The present study aimed at assessing Hong Kong young children’s gains in creativity and their teachers’ application of arts education after a one-year artists-teachers collaborative arts education project that involves various art forms (i.e. drama, visual arts and integrated). Participants included 790 young children, 217 parents and 65 teachers in seven kindergartens and nurseries. Measures included the Test for Creative Thinking–Drawing Production, Story-Telling Test (STT), the subscales of parent-rated creativity, communication and motivational characteristics, and the adapted Scale of Application of Arts in the Classroom. Among the three art forms, children in the visual arts group demonstrated highest gains in verbal creativity as evaluated by the STT. Based on parents’ report, there were significant differences in children’s communication characteristics across the three art forms. Significant differences across art forms were also found in teachers’ confidence in teaching arts to 3–4?years old and their perception of arts for arts sake. Both teachers and students take advantage of the professional and artistic input and guidance of practising artists in arts appreciation and production. Implications and limitations were discussed.  相似文献   

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