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1.
Steve Herne Celia Burgess‐Macey Maggie Rogers 《The International Journal of Art & Design Education》2008,27(3):264-278
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
2.
Recent research indicates that the taught curriculum in art and design secondary school education pays scant attention to meaning‐making in visual art. This article explores possibilities for teaching interpretation through a report on an action‐research project based on Tate Modern's Summer Institute for Teachers. In doing so it argues for the value and necessity of interpretation as a taught skill. 相似文献
3.
Claire Penketh 《The International Journal of Art & Design Education》2007,26(2):144-154
This article examines the demands that pupils with dyspraxia may face when engaging with the secondary art and design curriculum in a mainstream secondary school. It explores the possibility that there is an exclusive approach to art and design, prioritising a formalist approach to the teaching of specific skills and mastery of techniques, and considers the implications that this may have for such pupils. Specific attention is paid to the role of observational drawing and the demands that this may make for pupils with dyspraxia. The article will explore existing guidance offered for subject‐based practitioners and aims to contextualise this within the current debates on art and design education and the recollections of individual experiences of art and design. It will outline the hypothesis that pupils with dyspraxia may be one group of pupils amongst many for whom their art and design experience does not offer an inclusive experience, and it seeks to question the existence of a hierarchy of practice and its subsequent relevance. 相似文献
4.
Stephanie A. Clemons 《The International Journal of Art & Design Education》2006,25(3):275-285
Interior design, as a field of study, is a rapidly growing area of interest — particularly for teenagers in the United States. Part of this interest stems from the proliferation of design‐related reality shows available through television media. Some art educators and curriculum specialists in the nation perceive the study of interior spaces as a ‘practical application’ of the arts. This article discusses an experiential design problem, originally used in higher education interior design studio courses that was modified and shared with students in third grade to address national academic standards. Later, this same project was modified for use with high school students in the educator's community and with international design students in South Korea. Lastly, the project was presented in a workshop to art education students at a higher education institution. The project was modified to address (1) the age group level and (2) a topic relevant to the audience. Goals of the design project were: (1) to explore creative problem‐solving, (2) to explore the application of design elements and principles, and (3) to increase student understanding of spatial relationships within an interior environment. Findings indicate that the project supported several visual art standards, including perception and community. This project may be of interest to current and future art educators and others interested in the potential of interior design content supporting art education. 相似文献
5.
Jenny Hallam Helen Lee Mani Das Gupta 《The International Journal of Art & Design Education》2007,26(2):206-214
This article presents an analysis of the way art is conceptualised in the British primary school curriculum and provides an historical framework that maps an evolution of ideas that have shaped the way art is presented in the modern day primary curriculum. In order to achieve this a Foucauldian style genealogical analysis is utilised to trace the discourses (systems of meaning) surrounding the nature of children's artistic development and how these discourses are used in the present day British primary curriculum to construe art in different ways. The analysis in this article is threefold. It explores the presentation of art in the curriculum as (1) an expressive subject, (2) a skills based subject, (3) a subject which focuses on art history and art appreciation. Second, the teaching positions associated with each approach are identified as follows (a) the facilitator, (b) the expert and (c) the philosopher; as well as the issues teachers face when adopting these positions. Third, attention is given to how these theoretical principles might be linked to practice. In so doing this article contributes to the debate surrounding the value of art in the primary curriculum and the way in which the curriculum serves to shape teaching practice. 相似文献
6.
The pandemic nature of the Covid-19 virus and the infectious potential that this virus has for the global population demands a radical response. This article focuses on school education within the context of Covid-19 and asks a fundamental curriculum question around what knowledge is most worthwhile for school education in response to this disease. Schools within South Africa have been closed for an extended period and, within the guidelines for dealing with this infectious disease, social distancing has become a key component in determining how and when schools should reopen. This uncertainty has led to speculations, suggestions, proposals and tentative plans for a school recovery plan to save the integrity of the academic year. The article reviews some of the suggestions, proposals, and plans, which illuminate a technical concern of curriculum coverage rather than a curriculum concern of what learning should be pursued post the lockdown period. It also argues that, going forward, a review of the purpose of school is needed. If learning is the bedrock for determining a school curriculum, it should of necessity be relevant and responsive to the issues and challenges of the country within a global world.
相似文献7.
现阶段我国高等职业教育体系还没有形成职业化的自身特色,艺术设计还一直沿用着高等学校的教育模式。"型录设计"是一个包括文字设计、图形设计、版式设计等诸多设计种类为一体的综合性设计课程。以"型录设计"课程为例谈谈以就业为导向的高职视觉传达设计专业课程建设,希望能够对高职专业课程实践教学有所帮助,同时也能够有助于"型录设计"课程在实践环节上的教学。 相似文献
8.
John Beck 《Cambridge Journal of Education》1996,26(2):171-198
The article begins with a brief discussion of the recent invitation by the Chief Executive of the School Curriculum and Assessment Authority to engage in debate about the role of the National Curriculum in promoting national identity. It argues the need for a more systematic analysis than has so far been provided, of the inter‐relationships within Conservative curriculum discourse between five elements: nation, culture, identity, social cohesion and curriculum. The second main section examines writing within this tradition on the themes of nation and nationalism and social integration, drawing particularly on the work of Ernest Gellner. The final section focusses on questions of culture, ‘high’ culture and cultural diversity, illustrating the long‐standing character of the critique of economic individualism within Conservative writing (broadly conceived), before critically reviewing certain aspects of contemporary neo‐conservative discourse on British culture and the curriculum. 相似文献
9.
In 2015 the (UK) National Society for Education in Art and Design (NSEAD) conducted their biggest and most comprehensive survey to date with art and design educators. Some 1,191 teachers and lecturers employed in early years to further education settings across England and Wales responded to the survey, which aimed to capture how government policy since 2010 has affected art and design education. Four key areas were examined: curriculum provision; value given to the subject within the school community; professional development opportunities; and well‐being and workload. The results are troubling, indicating a systemic marginalisation of art and design across all sectors, evident in a reduction in choice, provision and curriculum time, and evidence of falling standards in student attainment at primary to secondary transfer. We supported the NSEAD with constructing the survey and writing the report and in this article we utilise the Survey Report to fuel a broader discussion about our concerns regarding the demise of art and design education. Value is identified as an essential theme and we posit that our subject, largely due to neoliberalist policy, is currently perceived as a ‘bimbo’: attractive, but unintelligent and frivolous. In this article we pay particular attention to the value of art and design education from a political perspective, challenging narrow government agendas. 相似文献
10.
在初中阶段美术学科早已被列入必修课程中,同时在新课程标准中也明确指出:美术课程的开展不仅可促进提高学生创新思维及良好品格的形成,还能有利于学生审美素养、文化素养等能力的提升。因此,在初中阶段的美术教学过程中,教师应注重对学生探索学习兴趣的培养。本文笔者将对初中生美术学习兴趣的培养等具体策略进行深入分析与探索。 相似文献
11.
Jennifer Blunden 《The International Journal of Art & Design Education》2019,38(4):916-926
What role does writing play in secondary art & design education? In the context of current debates on access and participation in the visual arts, the nature of art discourse and the value of creative subjects within the curriculum, what impact do the existing requirements have on students, teachers and the broader arena of the visual arts? This article presents the findings‐to‐date of an ongoing pilot study which set out to explore these questions. Drawing on interviews with teachers and exam board representatives, and a review of student texts and exam board documents and resources, the study found that even though writing is only a minor part of what is an essentially practice‐based subject, it was a source of significant concern and confusion. A marked disconnect was revealed between intent and practice, which in turn highlighted a series of underlying values and beliefs that seemed to further drive this disconnect. The study calls for a wider discussion of the way writing is framed, used, supported and assessed in the art & design classroom, and the need to ensure that any pedagogy and resources developed align with the values as well as curriculum of art & design. It also previews how strategies created in the context of developing more inclusive and flexible writing skills among curators and other art museum professionals may offer a useful model. The study is part of a larger investigation into the discourse/s of the visual arts, with a focus on issues of access and participation. 相似文献
12.
D. Butts 《Learning, Media and Technology》1988,14(1):53-63
Media education has developed rapidly to a stage of seeking recognition and space within the primary, secondary and tertiary sectors. Making room for this new interdisciplinary study presents a particular problem in the context of the overcrowded secondary school curriculum. Enthusiasts must therefore put forward a well justified case, based on a clear perception of what the study is ‘about’. The author outlines evidence, derived from three years’ research in Scottish secondary schools, of the current range of theoretical approaches, curriculum models and teaching practices. He identifies an urgent need for whole school policies, media education school coordinators and area resource centres to provide material backing; and he argues that, to make their challenge effective, media educationalists must resolve uncertainties of theory and practice through a process of debate and development work supported by research and evaluation. 相似文献
13.
随着我国艺术设计教育改革与创新的不断深入,传统的设计类课程教学模式难以满足艺术设计专业课程教学需要。在文化创意背景下,努力推进设计类课程的教学改革与实践,积极进行设计类课程探索,对多元现代性背景下设计专业学生更好地学习艺术设计专业课程以适应时代转型有着积极的作用。文章通过梳理视觉传达设计专业课程的发展历程,从构建符合地方特色的专业课程教学模式、方法以及“以赛促教、以赛促学”多个角度出发,对高校视觉传达设计专业课程教学改革与实践探索进行研究和分析。 相似文献
14.
Bick Har Lam 《The International Journal of Art & Design Education》2000,19(2):208-216
Recently, there has been considerable concern among art educators and cultural policy makers to promote art education in Hong Kong. The launch of the new curriculum of a discipline-based character in 1996 generated debate in the art education circle of Hong Kong. There were diverse opinions on the rationale for teaching art. Concern was expressed about the present constraints of art teaching related to teachers' ability and school administration poses another important issue that seems to inhibit further developments. This paper reports part of the findings of a study on art teachers' concepts of teaching. It explores the concepts of about 20 secondary art teachers in Hong Kong. Several categories of teaching are derived from interviews: aesthetic development, moral development, intellectual development, expression and therapy, and intellectual and aesthetic development. A scheme is developed which can be used to analyze teachers' concepts as education in or through art on a continuum from subject to learner centred. 相似文献
15.
Dennis Atkinson 《The International Journal of Art & Design Education》2006,25(1):16-27
This article begins with a brief summary of the findings of a recent research project that surveyed the content of the art curriculum in a selection of English secondary schools. The research findings suggest a particular construction of pedagogised subjects and objects rooted in ideas of technical ability and skill underpinned by a transmission model of teaching and learning. Drawing upon psychoanalytic and social theory reasons for passionate attachments to such curriculum identities are proposed, when in the wider world of art practice such identities were abandoned long ago. Working with the notion of the subordination of teaching to learning and the difficulties of initiating curriculum practices within increasingly complex social contexts, the article argues for learning through art to be viewed as a productive practice of meaning‐making within the life‐worlds of students. The term, ‘encounters of learning’ is employed to sketch a pedagogical quest in which an ethics of learning remains faithful to the truth of the learning event for the student. 相似文献
16.
Jane Parker 《The International Journal of Art & Design Education》2005,24(2):186-198
Creative intelligence is relevant to all aspects of the school curriculum, yet it is through art and design that pupils may come to experience the significance of creativity as a means of exploring innovative and original ideas which offer credence to the individual and affect approaches to learning. This article analyses creativity and the creative process and addresses the links between creativity and intelligence by examining the implications such factors may hold for the teacher when developing approaches to learning in art and design. It focuses in particular on the use of sketchbooks within the context of a number of Art and Design GCSE courses and explores how students have been provided with opportunities to develop creative responses to set tasks. In addition, it sets out to challenge the notion that the requirements of GCSE assessment criteria inevitably restrict creativity and lead to non‐creative formulaic practice. 相似文献
17.
DAVE ALLEN 《The International Journal of Art & Design Education》1994,13(2):133-143
The statutory Order for art in the national curriculum identifies visual literacy as an essential aim of contemporary art education. In the Order visual literacy is located in the second attainment target. This paper suggests that, since the concept of literacy embraces reading and writing, the term visual literacy might be more usefully employed as an overarching concept embracing both attainment targets. This suggestion draws upon some of the extensive work carried out into literacy within the discipline of English. Further, the paper suggests that the ambition of the Order for art must be weighed against the dominant practices of art and design education and asks whether a curriculum which centres on painting and drawing can realistically be considered to be providing an adequate education for visual literacy in the 1990s. 相似文献
18.
The benefits of drawing for children are wide‐ranging but are likely to be mediated by the art curriculum and other governmental guidance to teachers relevant to drawing/art. Furthermore, such statutory regulations vary between cultures, and therefore curricula represent an important influence on the cultural differences found in children's drawings. Previous articles on the teaching of drawing in Chinese schools have commented upon the emphasis placed on children copying from adult drawing models. However, a new art curriculum was implemented in Chinese infant schools (3–6‐year‐olds) in 2002, still in operation today, which instead places an emphasis on the children's enjoyment of drawing through making creative and expressive pictures from their imagination. This article describes the key objectives stated in the Chinese art curricula for infant schools. We also present an interview with a Chinese infant school teacher in which she provided in detail how the curriculum is typically applied to the teaching of drawing. The interview also provided some background context to why the curriculum was changed and to its delivery. The article comments on the pedagogical practices adopted, and comparisons are made with Western art education and, in particular, to the teaching of drawing/art in England for the same age group. Finally, we consider what implications the Chinese approach has for the ‘non‐interventionist’ approach to young children's drawing/art that is frequently found in Western art education. 相似文献
19.
DAVID HOLT 《The International Journal of Art & Design Education》1995,14(3):249-257
This paper considers the practice of generalist teaching in primary schools, but with specific regard to the teaching of art. It argues that, despite recent criticism of such methods, there is very little reason to suppose that primary schools will move to a pattern of wholesale specialist delivery of the curriculum within the foreseeable future. As a result, it suggests that the phenomenon of generalist art teaching is likely to remain a widespread aspect of primary education, and that art educators would therefore do well to consider whether the approach might not have something positive to offer the teaching of the subject. Accordingly, the paper provides an account of three significant advantages which it believes this method of teaching can offer to the teaching of art within the primary school. These are set against a range of evidence which both identifies the problematical nature of much past practice, but which also demonstrates the possibility of achieving quality in generalist art teaching. Finally, the relationship between previous problems in this area and the structure of teacher education is explored, and it is suggested that recent new requirements for such courses may offer the prospect of liberating the potential that has been identified. 相似文献
20.
Marie Fulkova Teresa M. Tipton 《The International Journal of Art & Design Education》2008,27(1):27-42
Contemporary art requires that art and cultural educators reposition encounters with artefacts, images and performances into a context for new discourses. Whereas digital media and other aspects of visual popular culture predominate the frames of reference of school‐age children, their context (codes) of reference, in large part, do not contain those used by art and cultural education professionals. Most art professionals (con)textualise their interpretations from a more formalistic tradition, unlike school‐age children, whose use of iconographic elements from their experiential subcultures, are projected into the content of their visual encounters. In order to find relevancy for today's art education, interrelationships between the codes of the participant and visual experiences must be built upon the development of new strategies between viewers, artefacts and experts. This article presents the background and use of dialogic strategies for new discourse from the‘Open Dialogue Club’programme between the Department of Art Education at Charles University and the Galerie Rudolfinum, a contemporary art space, in Prague, Czech Republic. 相似文献