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1.
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   

2.
The recent explosion in ICT means computers are marketed as an essential element of modern education. Governments have spent heavily on ICT but evidence of the effectiveness of this investment is contradictory; teacher attitude is cited as both a barrier to and a facilitator of its implementation. Initially used to simplify course administration, ICT now has the potential to fundamentally change practices; recognising the opportunities ICT offers as a bridge between classrooms and the relevant world beyond, teachers access online resources such as museum collections and practitioners. No consensus exists within art and design education as to the role of ICT or even its validity in the arts; using the computer as a tool for fine art may mean different teaching skills are required and different learning approaches are enabled. This article reviews international research on the adoption of ICT in schools and colleges, specifically looks at examples of good practice in art and design education and reviews trends in technology to determine the benefits and limitations for future practice.  相似文献   

3.
What are possible overlaps between arts practice and school pedagogy? How is teacher subjectivity and pedagogy affected when teachers engage with arts practice, in particular, theatre practices? We draw on research conducted into the Learning Performance Network (LPN), a project that involved school teachers working with the Royal Shakespeare Company and the University of Warwick. The aim of the commissioned research was to look at the effects on teacher development, focusing on the active rehearsal room pedagogic techniques and ensemble methods of exploring Shakespearean text and performance. The practices of working as an ensemble through rehearsal room pedagogy were central to the LPN. Our interest is in looking for possible shifts in teachers’ subjectivity, their self-perception. What affordances, limitations, accommodations and tensions are experienced by the teachers in transposing work from the rehearsal room to the classroom? We draw on a range of cultural theories that provide complementary perspectives on aspects of subjectivity; these include Vygotskian approaches to the psychology of art and acting. Raymond Williams’s work on the ‘dramatized society’ and Jacques Rancière’s work on spectatorship and pedagogy. Data in the form of excerpts from field notes, taken in an introductory workshop where teachers worked with theatre practitioners, and from transcribed interviews with participants in the project are used to provide evidence of shifts in perspective, self-perception and pedagogic practice.  相似文献   

4.
The arts are under threat in English schools. But some schools and teachers work against the trend. To understand how they continue to offer rich arts experiences to students, we bring Bourdieusian thinking to arts teacher practices that were common across the 30 secondary schools we studied for three years. In addition to a flexible approach to the curriculum which encouraged independence, intellectual challenge and risk-taking, teachers also engaged in arts brokerage – embodiment of arts engagement, ensuring students regularly visit cultural events/institutions, using local cultural resources, organising visits from artists/cultural organisations, enabling students to exhibit and perform for wider audiences, connecting students with arts workplaces and enhancing community arts participation. We approach this as a logic of practice associated with arts broker dis/positions drawn from teachers simultaneously occupying two chiasmatic fields – art and education.  相似文献   

5.
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   

6.
Education increasingly operates in neoliberal terms; privatisation, marketisation and competition have become key drivers for schools in England. This article explores the findings from an ethnography that points to how arts education practices are being used to ‘art‐wash’ schools resulting in parents with the requisite economic, social and cultural capitals ensuring that their children benefit the most from a creative education. Whilst most of the narratives on artwashing have so far focused on arts institutions and global capital, this article questions how some of the specific processes of gentrification may be extended to the current education system in England and ask if schools and arts organisations may increasingly be ‘art‐washing education’.  相似文献   

7.
通识教育是发源于欧洲的一种高等教育思想。英国高校的通识教育在其发展历程中逐步完善,最终形成了以崇尚人文主义传统的教育理念、专业教育通识化的课程设置、师生交互式的个性化教学实践形式为一体的通识教育样式。聚焦于当前我国高等教育的发展现状,通识教育已成为全面提升大学生综合素养不可或缺的一个重要选择。英国高校通识教育对我国的启示是,构建符合我国优秀文化传统的通识教育理念;建立专业教育与通识教育相融合的课程体系;提升高校教师通识教育能力;实行智力训练和能力培养的教育方法。  相似文献   

8.
This paper reports on an ongoing research programme designed to investigate the opportunities for, and barriers to, pre-service teachers’ growth as practitioners of developmentally appropriate practice for children aged 5–11. The analysis is framed by a Vygotskian cultural–historical perspective and points to personal, cultural and structural factors as potential constraints immanent in the various configurations produced by the pre-service teacher–environment interface. The paper concludes by confirming Vygotsky’s contention that development possibilities lie immanent in the contradictions produced by these specific configurations of constraints and affordances. Potential implications for teacher education programmes are also discussed, including the possibilities for facilitating the growth of critical teacher-researcher identities in what is currently a contested education landscape.  相似文献   

9.
This article proposes a study of the letters and graphics found in the city, while at the same time opening up unusual spaces linked to the cultural arena and visual geographies for the creation of learning spaces in art education, introducing urban typography for training teachers. The letters in urban spaces can help us reinterpret the patrimonial fabric of cities. With the help of typography, visual arts educators have a powerful graphic resource with which to articulate the complex communicative network of streets. We suggest walking as an aesthetic practice; strolling around the city as a very cultural means to motivate our students. We have at our disposal in our cities a genuine museum woven together with the threads of the alphabet.  相似文献   

10.
The article presents the rationale, methodology, and selected outcomes from More than a body's work, a collaborative, international, arts educational interactive research project. The project, taking place in both New York and England, explored the ways in which young people construct and ‘perform’ identity through the construction of their body and its appearance. The project's central intention was both to investigate diversity in young people's personal and cultural experience, and demonstrate their potential for creative engagement in mediating and expressing identity through a visual form. With its inclusive ethos, More than a body's work facilitated opportunities for young people who may not ordinarily have access to the arts to be partners in collaborative arts production, generating models of wider participation through innovative participatory approaches to visual art and interdisciplinary practice. The ongoing project is developmental, continuing to involve young people as participants, responding to the synthesis of local, national and international influences creatively deployed within youth culture. In considering More than a body's work's significance as a model for inclusive practice within art education, the article will discuss its strategies and its potential impact in relation to current initiatives and policies within the arts, culture and education.  相似文献   

11.
What happens to art education when the national school curriculum in Israel follows a ‘core subjects’ policy? Allocating only two hours for all five art subjects (visual arts, music, drama, dance and cinematic arts) that remain outside the core curriculum increases the social‐economic gap between children whose parents can fund their art education privately and children whose parents cannot afford this. This also has worrying consequences for art teachers (most of them women) deprived of job security.  相似文献   

12.
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   

13.
In Queensland, Australia, the school system is being reformed to be more ‘inclusive’. However, the enthusiasm for ‘inclusive education’ in Queensland seems to be waning amongst practitioners, and the ‘confusion, frustration, guilt and exhaustion’ that has emerged with teachers and support practitioners in the UK is emerging amongst support practitioners and teachers in Queensland. This paper argues that this is happening because inclusive education reforms that intend to provide an equitable education for all students regardless of cultural, physical, social/emotional and behavioural differences are being introduced, but these policies, procedures and structures continue to label, isolate and segregate students within schools in the way in which segregated special education facilities did in the past. Also, new policies and structures are being introduced without practitioners having the time and support to examine critically the underlying assumptions about disability, difference and inclusion that underpin their practices. These reforms need to be reviewed in terms of their effectiveness in achieving their ‘inclusive’ goals, i.e. in terms of the impacts that these reforms are having on the students themselves, and on the educational practitioners who support the students.  相似文献   

14.
Recent educational policy and practice have established an extended role for all subjects in addressing children and young peoples' academic and interpersonal development, with strategies facilitating key skills and wider learning across areas of Citizenship and Personal, Social and Health education providing an integrated approach to education and welfare. The significance of global development education within a holistic curriculum acknowledges the increased awareness of the interconnected nature of our relationship with each other and with the planet we share as world citizens. The arts have a strong track‐record in addressing such key issues – challenging hierarchical paradigms which reinforce prejudice and stereotyping, the arts encourage reflexive processes and critical engagement with diversity and pluralist perspectives. This article investigates curricular approaches to the global dimension within education in relation to theoretical perspectives and policies, presenting an intercultural art case study as a model of practice in engaging diverse participants in reflection on their own and others' experiences across a range of socio‐cultural contexts. Current political shifts reaffirming the centrality of the discrete disciplines over cross‐curricular practice could potentially undermine a more holistic approach to education. The article argues that policy and practice, implemented in response to changing political and philosophical ideology, must nevertheless maintain a commitment to fostering interdisciplinary values of cultural awareness. Such practice must form part of an inclusive internationalist educational vision, impacting on social cohesion.  相似文献   

15.
RE-PLAY: RE-ASSESSING THE EFFECTIVENESS OF AN ARTS PARTNERSHIP IN CANADIAN TEACHER EDUCATION – Elementary teachers in Canada are increasingly expected to deliver arts instruction in their classrooms, as financial exigencies have restricted the hiring of specialists. This study examines the effectiveness of an arts partnership between a Canadian university faculty of education and local-area school boards. In this partnership, university staff and specialist arts teachers together delivered the integrated arts component in teacher education. Findings indicate that specialist arts instruction, peer learning methods and theory/practice integration strengthen such training in the arts. Specialist arts teachers can enhance the instructional effectiveness of teacher-candidates by introducing current classroom teaching strategies, concrete activities, up-to-date resources and classroom management techniques. The confidence of beginning teachers to teach the arts can be promoted by observing colleagues, engaging in team learning activities, and obtaining peer feedback. The use of integrated arts theory and a focus on practical applications of concepts, coupled with reflective discussion, can also be seen to promote conceptual understanding. A further recommendation involves expanding the role of the arts in teacher education to foster cultural diversity.  相似文献   

16.
Arts integration research has focused on documenting how the teaching of specific art forms can be integrated with ‘core’ academic subject matters (e.g. science, mathematics and literacy). However, the question of how the teaching of multiple art forms themselves can be integrated in schools remains to be explored by educational researchers. This paper draws on data collected at a secondary school in Singapore. The case study analyses how three art teachers, using the idea of ‘space’ as organizing theme, implemented a module of instruction that connected concepts and processes from a variety of art forms (including dance, music, drama and visual arts). We present evidence from curriculum materials, lesson plans, student–teacher classroom interactions and students’ productions. Students were able to reflect upon the importance of space within the arts, analyse the points of convergence and divergence among several art forms, experiment with space and create their own interdisciplinary performances. Our ultimate aim is to provide insights that might inspire art teachers in designing instructional units focused on ‘big ideas’. We suggest that allowing more curricular freedom and providing teachers with adequate structures for interdisciplinary collaboration are key to achieving meaningful levels of integration.  相似文献   

17.
This paper compares provision for and the practice of craft education in England and Wales and Japan. Particular attention is given to craft within the National Curriculum subject of art in England and Wales and Japan at lower secondary level and to current perceptions of its educational value. Some of the key dilemmas faced by both English/Welsh and Japanese policymakers and practitioners are identified, together with cultural factors impacting on the status of craft and its successful implementation. We conclude by reflecting on the value of comparative studies of education to the research teams concerned.  相似文献   

18.
The pertinence and worth of arts in Quebec primary schools vary considerably from one institution and school administration to another. In this paper it is argued that well-integrated arts education would bring a large array of pedagogical benefits to students, not the least of which is the preservation and the development of aesthetic perception and creativity. Actually, teachers can rely on the syncretistic and amodal perception of the young child, a learning mode that is analogous to the aesthetic experience and fostered by art practices. The paper draws notably on Ehrenzweig and Winnicott to advocate that the school, through arts education, should preserve and make use of this precious perceptive faculty, and temper the educational bias that largely favours the logical or analytical mode of the child. It advocates for an essential developmental balance between the child’s intuitive and analytical faculties, a healthy equilibrium that arts education has the potential to instil. Children and society both have much to gain from the school’s fostering of arts education and aesthetic perception: children from their balanced development and society from future creative citizens’ contributions.  相似文献   

19.
传统教育注重智力和学科能力的发展,缺乏情感态度与价值观及人格的养成,就连艺术教育也是以技能和专业知识为目标而缺少审美、情感和人文内容。基础教育实际存在不同程度忽略甚至否认艺术教育的重大价值的倾向。近年来教育科学研究的重大发现,使人们重新认识和审视艺术教育的价值。在教育教学中渗透艺术性、融合艺术形式,特别是通过综合性的艺术教育模式,能使学生的人格、智力、人文素养等方面得到整合发展。  相似文献   

20.
In postwar Australia, rapid population growth increased the demand for teachers. The colleges at Ballarat and Bendigo were revived and expanded by the Victorian Government. At Bendigo in 1955 F. M. Courtis, Head of Art Education, acquired art works initiating a valuable and significant teaching resource at the College. The study of the Courtis Collection raised obvious questions about the role of collections in the early teaching colleges and what events or factors led to their beginnings. This case study will be situated within a broader picture of art and craft collections in institutions across three states. My discussions in this paper are framed by some of Raymond Williams' notions about country and city and the ‘contrast between country and city, as fundamental ways of life’. I hope to demonstrate the important role art and craft collections have played in visual arts education in country institutions.  相似文献   

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