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1.
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   

2.
This contribution is derived from an address presented to the NSEAD Annual Conference (1999)‘Towards a New Arts Education’ in association with Bretton Hall, a specialist institution for the arts and education, to mark the 50th anniversary of its Foundation in September 1949. [1] An analysis of the role of art and design education is set in the context of an arts related curriculum and the case for an interdependent, teachable and accessible programme is outlined. Proposals for the maintenance and development of a future for arts education is tested against certain key questions and a theory of ‘good teaching’ in the arts  相似文献   

3.
A primary function of schooling is to impart moral discipline, and art education distills this role to its core imperative of mandated pleasure, summarised by Jacques Lacan as the ‘will to enjoy’. This manifests in the insistence that, despite producing similar outcomes, students come to recognise themselves as unique and creative. In the twentieth century, art education in the USA has developed methods for extracting supposedly intimate personal expressions from young people, albeit without demanding the technical versatility, historical knowledge and critical reflection required of mature artists – the exception to this, despite its many flaws, being so‐called Discipline‐Based Art Education, or DBAE. In this article, I begin with reflections on the untapped potential of DBAE to relate to contemporary art practices. My ideas on moral instruction are expanded upon in the second section, when I undertake a ‘backwards’ history of British and American art education, in which the ideal of art class as a site of intrinsic and authentic meaning‐making is challenged by the functional requirements of education. My last section takes up a critique of critical pedagogy, in which I use the example of a project my high school students did about Michael Jackson to challenge ways in which trauma and pleasure are seen by critical pedagogues as features of experience that conflict fatally with the educational ends of individualist autonomy.  相似文献   

4.
The National Arts Education Archive (NAEA) is housed and maintained by the Yorkshire Sculpture Park (YSP), and managed by YSP coordinators and educators with a well‐established volunteer programme. This year, 2017, as part of the celebrations of the YSP's 40th anniversary, the Archive will hold its own exhibition entitled Treasures Revealed: a collection of items selected by people who have been involved in the Archive, whether as donors, volunteers, researchers, artists, trustees or steering group members. In parallel with the exhibition, this article aims to give voice to a selection of individuals and groups associated with the Archive, discussing their interests and experiences of it, and their thoughts on its value and importance as a repository of arts education materials, ideals and practices. Our primary motivations were to consider these different voices in relation to the purpose, direction and relevance of the NAEA today. These exchanges raise fundamental questions and debates about what art education is and what it might become, and how these historical collections, and creative engagements with it, might help to shape our contemporary thinking.  相似文献   

5.
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   

6.
Visual Art educators are keenly aware of the significant contribution art can make to the growth and development of young children as it provides unique opportunities for personal expression and creativity. However, while it is acknowledged that art contributes to the development of the whole child, the link between thought and practice is often tenuous. Hence the question needs to be asked, what do student teachers really think about art and art education. This longitudinal study aimed at an exploration of student teachers prior experiences, existing knowledge, beliefs, attitudes, perceptions and interest in the visual arts. One hundred and ten B.Ed. (Primary) students enrolled in two compulsory Visual Arts Education units of study were surveyed in March 1999 and then in October 2001 to ascertain how they interpreted the term visual arts; how this related to visual arts education (if, in fact it did); where they would position visual arts amongst the other five key learning areas of the primary curriculum; and ultimately how they felt about the prospect of teaching visual arts in a primary school context. The findings of the research revealed a number of significant differences between the initial data (March 1999) and the final data (October 2001).  相似文献   

7.
The central objective of Dewey's Democracy and Education is to explain ‘what is needed to live a meaningful life and how can education contribute?’ While most acquainted with Dewey's educational philosophy know that ‘experience’ plays a central role, the role of ‘situations’ may be less familiar or understood. This essay explains why ‘situation’ is inseparable from ‘experience’ and deeply important to Democracy and Education’s educational methods and rationales. First, a prefatory section explores how experience is invoked and involved in pedagogical practice, especially experience insofar as it is (a) experimental, (b) direct, and (c) social‐moral in character. The second and main section on situations follows. After a brief introduction to Dewey's special philosophical use of ‘situation’, I examine how situations are implicated in (a) student interest and motivation; (b) ‘aims’ and ‘criteria’ in problem‐solving; and (c) moral education (habits, values, and judgements). What should become abundantly clear from these examinations is that there could be no such thing as meaningful education, as Dewey understood it, without educators’ conscious, intentional, and imaginative deployment of experience and situations.  相似文献   

8.
山东城乡艺术教育在发展中,注重东西部之间、城乡之间的均衡发展,以课程改革为突破口,创新教学模式,探索贴近学生实际的教学内容,在校园文化建设、弘扬民族民间优秀传统文化等方面都取得一定的成绩。同时,山东省艺术教育的不均衡现象仍然突出,农村艺术教育落后面貌亟待改观,艺术教育领域有待拓展,学校艺术教育重实践、轻理论的现象还未解决。要改变现状,不仅需要全社会形成合力,更需要教育部门改变管理方式,创新考试制度,利用当前深化改革的有利时机,实现山东艺术教育的均衡和健康发展。  相似文献   

9.
This paper summarises the findings of the research and development project, ‘Supporting Primary Art’ which was established at the Centre for the Study of the Arts in Primary Education at the Rolle Faculty of Education of the University of Plymouth in October 1992 with support and funding from the Calouste Gulbenkian and Paul Hamlyn Foundations. It is the intention of the project to investigate the response of teachers in primary schools to the introduction of the national curriculum in art and, on the basis of the understandings gained, to develop and evaluate appropriate forms of in-service training and support materials to address those difficulties and concerns identified by teachers in meeting the overall requirements of the Statutory Orders for Art. The project has in mind the significant advantage to the development of art and design education in our schools that is presented by the introduction of the national curriculum in art and the opportunities here to reinforce and extend the richness and quality of the teaching of art to a wider cohort of schools. We hope that this report will help LEAs and those involved in the initial, postgraduate and in-service training of teachers in their work in preparing students and supporting teachers to understand, teach and deliver the national curriculum in art.  相似文献   

10.
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   

11.
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   

12.
In September 1999, the Glasgow School of Art ‘Artists and Designers in Education’ programme was accepted as an important component of the GOALS project, an ACCESS initiative funded by the Scottish Higher Education Funding Council including students in schools as project leaders, tutors and mentors. This stable and long-term funding validates and ensures the future of an experimental key skills programme which has been carefully nurtured in Glasgow School of Art for the past ten years, often in the face of scepticism, voiced by those for whom higher education and especially higher art and design education is ‘only about engaging with, becoming expert in and in due course advancing the discipline itself’. [1]This paper suggests that key skills enhancement through supported and evaluated residencies in education is of demonstrable value to most emergent artists and designers regardless of their subsequent career trajectories.  相似文献   

13.
艺术教育是学校实施美育的基本途径,是素质教育不可或缺的内容。本文通过与纽约州2006—2007学年学校年度艺术教育的对比,对国内外艺术教育课程实施的情况和特点进行比较分析。为我国中小学艺术教育和课程教学带来一些思考。  相似文献   

14.
《国家中长期教育改革与发展规划纲要》明确指出要大力发展职业教育,以满足大规模的人力资源开发和技能型人才需求。2014年1月10日,教育部以教体艺[2014]1号印发《关于推进学校艺术教育发展的若干意见》,从国家层面大力倡导加强职业院校艺术教育,并且从艺术教育形式、课程内容开设、教学资源开发及制度保障等方面指出了职业院校艺术教育改革的方向和出路。广东某职业院校秉持"至土至洋"的办学特色,结合本校实际,积极探索高职院校艺术教育实践模式,并取得初步成果。  相似文献   

15.
湘西苗族服饰艺术绚丽多彩,承载着丰富的文化内涵。在当代,民族民间艺术在学校美术教学体系中的重要作用已经成为共识。美术教育或者素质教育不能脱离本土、本民族的独特文化情景。湘西中学美术教学应采取有效措施,因地制宜地利用民族文化资源,把湘西中学美术教学与苗族服饰艺术有机地整合起来,以此强调本土文化对创新性思维教学的作用,实现素质教育及中学美术教育的健康发展。  相似文献   

16.
The visual arts can be an important and rich domain of learning for young children. In PreK education, The Task Force on Children’s Learning and the Arts: Birth to Age Eight (Young children and the arts: Making creative connections, Washington, DC: Arts Education Partnership, 1998) recommends that art experiences for young children include activities designed to introduce children to works of art that are high quality and developmentally appropriate in both content and presentation. This paper documents the teaching strategies utilized by a master art teacher at the Denver Art Museum to engage preschool-age students in art viewing experiences which were part of a museum-based art program. This research provides support for integrating rich, meaningful art viewing experiences as a regular part of young children’s arts experiences while offering early childhood educators teaching strategies for early art viewing experiences.
Angela EckhoffEmail:
  相似文献   

17.
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   

18.
从美国艺术教育研究的三个项目,管窥美国艺术教育三个不同领域的研究:哈佛大学“零点项目”中的一项成果“艺术教育并不必然提高学生的综合学习能力与成绩”,强调重视艺术教育本身不可替代的价值;“艺术教育与辍学率”,揭示出艺术教育能够“延缓孩子辍学时间和延长在校学习时间”的事实,间接证明了艺术教育对在校学习的积极影响;“教学艺术家”的研究,从艺术家从教的各个环节入手,系统地探索、总结这一师资角色的发展和社会作用.  相似文献   

19.
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   

20.
美国艺术开启大脑项目通过整合艺术教育与学科教学提高学生学习成绩的教育策略及经验,为艺术教育对大脑开发的重要作用和价值提供了有力的说明。艺术教育不仅可以促进大脑认知系统方面的发展,而且有利于大脑的平衡发展,帮助大脑处于最佳的学习环境中。  相似文献   

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