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1.
Curriculum and pedagogy in undergraduate fine art can promote an approach to learning creativity that is more about being an artist than knowing about art. Lecturers can provide a road map for developing particular dispositions, in relation to student ideas and perceptions, to foster personalised creativity. This requires that lecturers have an ability to harness the range of learning approaches and interests that students bring to their studio learning environments. One way of doing this is to construct learning activities in ways that engage students' multiple intelligences so they may acquire deeper understandings of their own creative processes. Fostering this kind of creative think tank is artistry of an educational kind. In this article we explore such a creative think tank by examining a particular lecturer's pedagogical approach. We discuss how and why this lecturer designs activities in a way that draws on multiple intelligences to stimulate learning and foster creativity. Using narratives, we analyse this particular curriculum through the lens of multiple intelligence theory and explore how the pedagogical approach develops the whole person. We found that by attending to relationships and focusing on a plurality of intellect this particular curriculum and pedagogy promotes transformative learning in students studying fine art. 相似文献
2.
田立晓 《漯河职业技术学院学报》2006,5(2):60-62
高校美术教育是素质教育的重要组成部分,是艺术专业的一门必修课。当前我国高校美术教育存在的问题如何解决,怎样运用想象教学去培养学生的创造性思维能力,并营造培养创造性思维能力的环境,为我国培养一批又一批高素质、有创新意识和创造能力、社会急需的美术实用人才显得尤为突出和重要。 相似文献
3.
Free De Backer Koen Lombaerts Tom De Mette Tine Buffel Willem Elias 《The International Journal of Art & Design Education》2012,31(1):53-66
Despite a more prominent role of arts education in the school curriculum, artistic creativity does not occur to a great extent in primary school practice. More opportunities for teachers to strengthen their know‐how in the field of artistic creativity can therefore be considered important. Arts education projects focus on pupils' development of creativity by means of introducing artists with their divergent working methods into primary schools. Beside fostering pupils' creative openness and skills, arts education organisations aim to transfer artistic enthusiasm to teachers in each project. Collaboration with artists can encourage teachers' artistic creative work. New working methods, techniques or ways of experimenting are more likely to be adopted in daily teaching practice when the project duration consists of several years. However, most projects are short‐lived and the means for a long‐term project policy are limited. Consequently, results in the area of sustainable outcomes concerning artistic creative work with teachers are limited. To create a long‐term view, the availability of financial resources is an important condition in order to realise a mentality change towards artistic creativity in education. Finally, continuing debate with several participants about making artistic creative work sustainable remains necessary. 相似文献
4.
普通高中多样化办学有利于满足不同学生的需要,推动学校的特色建设,为国家培养创新型人才。南京市宁海中学在课程基地的建设中,以“为了每一个学生的发展”为核心理念,创新课程设置,改善办学条件,改革评价机制,努力构建挖潜学生美术特长的综合性教学平台,注重学生的全面发展。 相似文献
5.
School is an excellent place to foster young learners’ creative thinking skills. However, the emphasis on creativity varies among schools. In two studies the putative influence of school education on the development of students’ creativity was examined by means of a retrospective approach. We investigated whether two influential factors within school education (1) school type (i.e., traditional vs. alternative vs. religious) and (2) perceived teaching style (i.e., independence, judgment, flexibility, integration) associate with students’ creativity at university entrance level. The difference was examined at the primary and secondary school level, respectively. Study 1a found that students who attended alternative schools at the secondary school level performed better on divergent thinking tasks as compared to students who attended traditional or religious schools. Relationship between students’ creative performance and the perceived teaching styles were inconclusive. Finally, teaching styles in alternative schools during secondary education were perceived as high in independence and flexibility. Study 1b replicated the finding that university students who attended alternative schools during secondary education have an advantage in divergent thinking. Taken together, our results highlight the positive influence of alternative school education on students’ creative performance at the university entrance level. 相似文献
6.
Kyong‐Mi Paek 《The International Journal of Art & Design Education》2018,37(3):507-518
Social interest in art integration for curriculum enrichment and innovation, particularly at the turn of the century, has promoted extensive institutional partnerships between cultural organisations and public schools in many countries. Stimulated by social demands for innovative educational practices, these institutional partnerships have increased the numbers of teaching artists sent to schools. These artists are expected to contribute to the development of students’ creative imaginations by providing learning opportunities beyond conventional classroom practices. However, the extent to which teaching artists are able to develop creatively within their socially expected roles remains unclear, especially considering the marginal status of the arts in formal education settings. A recent survey‐ and interview‐based study conducted by the present author in South Korea demonstrated that teaching artists in schools find the structured educational system often limits the scope of their classroom practice. This article reviews the teaching artists’ concerns and needs identified in the study context and discusses ways to support their professional development and expand the roles of institutions in improving the quality of their teaching practice. The discussion also examines historical and socio‐political factors that have influenced the persisting challenges of structural issues inherited in the Teaching Artists in Schools Program in South Korea to provide suggestions for more sustainable and instructive collaborations. 相似文献
7.
Widely thought to be something worth encouraging in young learners, creativity has popularly been associated more with music and art than with other areas of the curriculum. There have been many studies of creativity but few that focus explicitly on what counts as creative thinking in specific subject areas. The aim of the research reported here was to determine pre-service teachers’ conceptions of creativity within the curriculum for English. The study involved analyses of primary school trainee teachers’ responses to questionnaires and follow-up focus group discussion to identify their conceptions. A group of 48 trainees in the final year of an undergraduate degree in primary education leading to qualified teacher status in England completed the questionnaire. Of these, eight volunteered to participate in a follow-up focus group discussion to further explore ideas. Responses were analysed quantitatively and qualitatively. Conceptions of creativity in English were found to be limited, focused mainly on naïve views of story writing and dramatic activity. Responses indicated that they were often unable to distinguish clearly between the concept of creativity, an example of its occurrence in the classroom, and what feature of that example made it creative. Consequently, their limited constructions of creativity were confused. It is important that teachers in schools as well as those responsible for training teachers in universities are advised that trainees’ conceptions of creativity in English may be inadequate in several respects and that they may not recognise opportunities for creativity. Pre-service training programmes could well benefit from structured courses on the forms and applications of creativity. 相似文献
8.
陈立新 《广东技术师范学院学报》2006,(6):136-137
在建筑类院校开设美术课(素描、色彩)因其教学目的和课程性质有别于美术院校开设的美术基础课(素描、色彩),前者着眼于为往后的设计服务,后者显然是服务以创作和表现的需要.然而,目前大多建筑类院校在开设美术课时没有充分考虑学生的基础水平和课程学时安排等客观因素,沿用美术院校常用的传统训练模式和教学安排及要求,缺乏必要的合理性和针对性. 相似文献
9.
马更 《商丘职业技术学院学报》2010,9(4):117-118
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
10.
University participation among students from low socio-economic backgrounds in Australia is low and nationwide strategies are in place to help bridge the gap. This article presents a preliminary evaluation of a creative arts-based outreach program to raise awareness and aspiration for university study among students from low-income backgrounds. The program is part of a national Australian federally funded initiative, the Higher Education Participation and Partnerships Program. It reviews an outreach advertising program facilitated by a Brisbane university. We argue that arts education has a particular role in provoking attitudinal change, due to the self-reflective, meaning-making and expressive characteristics of arts-based disciplines. In evaluating the advertising program, the value of creativity and trust as techniques of student engagement is considered. Evaluation occurred in two outer suburban high schools in Brisbane (a State capital city), using surveys and ethnographic fieldwork. The findings support an engagement model that employs creativity and uses student facilitators (undergraduate and postgraduate) to deliver the program, to meet the program's aims. 相似文献
11.
Jane Coles 《Changing English: An International Journal of English Teaching》2017,24(4):386-398
This article offers a case study account of a garden-themed poetry writing project run by a creative writing organisation in partnership with a class of 9–10-year-old children from a London primary school. I explore the concept of creativity which framed the five-week project and analyse the different ways in which the creative practitioner worked collaboratively with the class teacher to develop children’s writing, not least by adopting an open, inclusive pedagogy. Despite the obvious successes of this project, I raise questions about the role of creative practitioners working in schools and the ways in which special projects locate creativity on the margins of the mainstream curriculum. 相似文献
12.
Anne Harris 《Teaching Education》2018,29(3):234-250
Creativity in education is currently dominated by discourses pertaining to both a neo-liberalisation of arts education and a more widespread attention to the economic potential of diverse creativities. This study applies new thinking regarding creative educational advancement that is adaptive and critically reflexive to the tasks of reconciling the need for safe, ethical and empathetic learning environments and the production of adaptive and innovative twenty-first century workforces. This study of Australian secondary schools analyses perceptions, understandings and actions, and impediments to creativity in classrooms. This study asserts significant implications for the need to foster effective environmental and ecological approaches to engaging in creative practices in Australian secondary schools. It establishes a creativity index through which school leaders and teachers can routinely measure, develop and adjust their school environment’s, students’ and teachers’ creative skills and capacities, pedagogic practices and assessment of creativity across the ‘education lifespan’. 相似文献
13.
Dave Trotman 《Pastoral Care in Education》2019,37(1):73-80
In this paper, the author considers the contribution of creativity to pastoral care in education. Since its advent in English schools in the early 1970s, pastoral care has placed the affective realm and individual enrichment centre stage in both its curriculum aims and teaching approaches. These principles have, however, had much to contend with over the past 50 years; from the obtrusive effects of state intervention in schools, to the challenges confronting young people growing up in increasingly complex societies. For many teachers and practitioners, engaging young people in creative pursuits has come to be regarded as a necessary counterpoint to increasingly performative school cultures and an essential means to enabling vibrant forms of positive self-expression. The power of creative activities has received new impetus as a pastoral concern in light of two national trends. The first as creative arts provision in the curriculum in English state secondary schools declines as a consequence of Government qualification reforms, and second as an increasing number of young people are referred to Alternative Educational Provision with mental health issues. As a consequence, many pastoral educators have turned or, indeed, returned to creativity and creative practices as a primary means of supporting and enriching the lives of young people, particularly for those who now struggle in contemporary school environments. In light of these developments and drawing on research and practice in the field of creativity and pastoral care, this paper aims to cast further light on creativity in pastoral education. 相似文献
14.
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
15.
龙海霞 《内江师范学院学报》2014,(5):25-28
将张大千艺术资源引入内江小学美育课程,对弘扬传统文化和实施素质教育是一项双赢的决策.开发和利用宝贵的大千艺术资源库,应在秉承三级课程资源有效衔接、利用教师为开发主体和满足学生个性需要的课程开发理念下,通过校本研训、学社联合、活动展示、依托网络和课程建设等多条路径,使其转化为地方课程资源和校本课程资源,从而为学生的个性发展服务,促进内江地方美育课程的建设和发展. 相似文献
16.
Abstract This article is set within the context of a school‐based change initiative, where we studied a number of teachers and students in order to understand the ways in which they understood and experienced the complexities of the change process, and to add their voices to the ongoing discussions around restructuring and school‐based change. We found that although there were some commonalties between how teachers and students experienced the changes being implemented, there were also some profound differences between the curriculum as planned by teachers and the curriculum as experienced by students. For the teachers, the themes of caring for students’ lives, recasting themselves as classroom practitioners and of working as collaborative colleagues were identified; for students, the themes were those of getting used to the place, and of re‐establishing their preferred way of working in this new setting. In our discussion and analysis of these themes we look at the implications for future school‐based change initiatives, and at some of the complexities and difficulties which present themselves as schools take on increased authority and responsibility for self‐management and for the creation of improved learning environments for students and teachers. We suggest that future change efforts should give more importance to the perspectives of teachers and students, and to the interactive and programmatic exchanges of teachers and students. We suggest also that changed school structures should originate in a focus on the improvement of teaching and learning, and on the facilitation of teachers’ and students’ collaborative efforts to create a curriculum for the classroom and a learning community which is both enabling and transformative for both. 相似文献
17.
随着我国教育改革的深入和小班化教学的提出,全科型小学教师将成为教师培养的一大趋势,全科型教师的培养有助于教师专业化队伍的建设与小学教育教学质量的提升。 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.
采用自行设计的“学思维”活动课程,对39名初中生进行为期两年的思维能力训练,探讨该课程对学生创造力的影响。结果表明,实验组学生的创造性思维能力、科学创造力和语文创造力有明显的提高。 相似文献
20.
校长课程领导:角色、困境与展望 总被引：2，自引：0，他引：2
余进利 《课程.教材.教法》2004,(6)
我国基础教育课程改革实行国家、地方和学校三级课程、三级管理,让学校自主开发一部分课程。校长是校务的最高领导人,学校层课程改革进行得如何与校长密切相关。为此,教育行政部门应多为校长领导课程创造条件,校长要善于“顺势、造势、导势”,要发挥每位教师参与课程改革的积极性、主动性和创造性。 相似文献