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1.
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
2.
Katie Burke 《British Educational Research Journal》2019,45(5):961-978
Home education, or home schooling, is a rapidly growing global educational phenomenon. Given the emphasis that educators, policy makers and researchers have placed upon the arts as an important element in a holistic education, the ways in which the growing home education community are facilitating arts learning warrants consideration. Facilitating quality arts learning has been found to be extremely challenging, especially for generalist classroom teachers who may not possess background learning across the range of arts subjects represented in most arts curricula. Revelations from this study on Australian home educating parents identifies a similar dilemma with the facilitation of arts learning in home contexts, and a significant proportion of the home educating participants acknowledged little to no educational or artistic training. In this project, an online survey was conducted to develop insights into the ways Australian home educators (n = 193) approach arts education, the challenges associated with facilitating arts learning and the strategies they employ in light of these challenges. The research highlights that, while home education is pedagogically unique and distinct from traditional classroom education, the challenges participants expressed regarding teaching in the arts aligned closely with those expressed by classroom teachers in wider research; however, the uniqueness of home education contexts means that support structures for classroom teachers are less helpful for home educators. Implications arising from the research are thus beneficial in understanding the nature of support that might be tailored for arts learning in home education. 相似文献
3.
The purpose of this article is to share ideas from 5x5x5=creativity, a research initiative established in Bath (UK) in 2000, with the aim of developing and embedding a creative and reflective pedagogy in schools and early years settings. 5x5x5=creativity research, in partnership with schools, educators, artists, creative professionals, mentors and cultural centres, aims to raise the aspirations and improve the life chances of children and young people as creative learners. In our research we want to develop creative reflective practice and influence systemic educational change. This research defends the special role of the arts in developing a more flexible concept of education through curiosity and creativity, together with the capacity for the arts for allows ‘possibility thinking’ through a creative and critical pedagogy. In this article we analyse the impact of the artists’ involvement on the development of a creative, reflective pedagogy in schools. As both artists and educators we believe it is necessary to challenge current orthodoxies and establish creative and critical thinking at the heart of learning for both children and adults. 相似文献
4.
Vivienne Reiss Emily Pringle 《The International Journal of Art & Design Education》2003,22(2):215-221
Socially engaged, participatory and educational arts activities have been recognised by artists as a legitimate area of creative practice for a considerable time. Current policy initiatives around social inclusion and life long learning demonstrate that this government has a keen interest in the transformative nature of creativity and participation in arts activity. This paper explores the significance of the, Arts Council's Artists in Sites for Learning Scheme and a related piece of research within the context of recent cultural agendas and governmental policy initiatives. The research examined the ‘forms of engagement’ that occur between artists, participants and others and concludes that the role the artist inhabits within this form of creative practice is multifaceted and highly sophisticated. This paper also raises key issues concerning the ‘value’ and critical assessment of this form of practice and the need for appropriate support for (and evaluation of) it in the future. 相似文献
5.
This paper offers part of the findings of a qualitative, interpretive Ph.D. study, which used a case study approach to explore and illustrate the conceptions of and approaches to creativity of three expert specialist dance teachers working with late primary age children. The specialists had extensive expertise as dance educators in different educational settings together with experience as dance artists. One way of framing their conceptions and practice was in terms of the pedagogical puzzles or dilemmas that they encountered. This paper focuses on the dilemma of ‘balancing personal/collective voice and craft/compositional knowledge’ when teaching for creativity. The findings articulate the foundations of embodied knowing (intrinsic to aesthetic understanding) and the processes fundamental to their teaching for creativity. This is followed by details of the key pedagogical spectra which emerged when responding to the dilemma: prioritisation of creative source—inside out or outside in; degrees of proximity and intervention—distanced reactivity or close proactivity; and spectrum of task structures—purposeful play to tight apprenticeship; and their use in action by the teachers in their different situations. The paper relates these findings to two current questions within education: that of the relationship between knowledge and creativity, and the ways in which adults/experts might engage in teaching for creativity. The paper concludes that this research supports calls for a re-evaluation of aesthetic understanding's role in creativity, grounded in embodiment, within dance pedagogy, which might also be fruitfully heeded within wider educational contexts. It also provides the findings as ‘images of possible’ approaches to inter-relating knowledge and creativity both within dance, and other disciplines, and argues for the use of dilemmas and their solutions as one way of acknowledging complexity and encouraging reflective practice in teaching for creativity, both within teacher training and continuing professional development. Finally, the paper highlights the unique perspective of a group of hybrid education professionals at the arts/education interface, and suggests future areas of research which might develop from this investigation of their practice. 相似文献
6.
Charlotte Carey 《Journal of Education & Work》2015,28(4):407-421
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.
美术教育的目的在于审美能力的提升、艺术鉴赏能力的提高、动手能力的增强,最重要的是创造力的培养.在美术教育中,打破陈旧的教学模式,借鉴外国美术教育经验,建立培养学生创造力的教学体系,突出对学生创造力的培养,是一项具有战略意义的教育改革使命. 相似文献
8.
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
9.
ABSTRACT The humanist and critical principles of educational gerontology attribute different goals to education in later life. Self-Actualization is the goal of humanist educational gerontology, while empowerment, emancipation, and social change are the goals of critical educational gerontology. Liberal arts education is dominant in later-life learning. Both the humanist and the critical philosophies of learning in older age claim that this type of education is not empowering. Empowerment is a contested concept that has been defined through a set of constructs ranging from psychological capacities to attitudes and behaviors. In terms of capital, empowerment translates into gains in identity and social capital, operationalized in the variables agency and social and civic participation, respectively. The present study investigated the empowering potential of liberal arts courses using the BeLL survey data of 7,338 adult learners. Through a series of ANOVAs and a regression model, we found that age, gender, educational attainment, the number of courses, and changes in agency are significantly associated with changes in social and civic participation. We concluded that liberal arts education does empower adult learners, especially older adults, women, and individuals with lower educational attainment. Given that goal-related claims in the principles of educational gerontology have been empirically challenged, we recommend a new statement of principles that takes into account the latest developments in the field, as well as learners’ agential capacities and the structural inequalities they face. 相似文献
10.
惠波 《连云港职业技术学院学报》2004,17(4):63-65
当代海外中国艺术家可谓众多,艺术领域涉及架上绘画、装置、雕塑等诸多艺术门类,其地位与艺术影响力与日俱增。对赵无极、朱德群、刘国松三位艺术家的作品进行比较,可以得出,关于“中西艺术”之间的价值认定以及汲取,比照应该建立在对中西文化的深层次的研究基础之上。三位艺术家的艺术取向具有一定的相似性,但就个体而言,其艺术思想及其艺术表现仍然存在一定的差异,这种个体的思想以及表现的差异性,也为我们分析三者作品的艺术价值提供了比照的基础。 相似文献
11.
高志弘 《泰州职业技术学院学报》2010,10(2):54-56,112
色彩是艺术家们能自由运用的最强有力的艺术表现语言。科学对色彩的研究帮助了艺术家,让艺术家了解色彩,理解色彩。艺术家通过由许许多多色彩学者所构筑成的色彩理论,认识色彩,认识处理和调和色彩的法则,建立基于自我的色彩感觉、创造个性化的色彩秩序和色彩表现方法。 相似文献
12.
In this study, examining the relationships among age, culture, training in the fine arts, the technical and aesthetic properties of drawings, and realized artistic giftedness, the researchers intermixed the juvenile drawings executed by critically acclaimed artists with artworks executed by contemporary North American and Chinese North American children. When judges from the North American culture and from the Chinese North American culture, blind to this mix, assessed the drawings, assessments made by the representatives of both cultures were more alike than they were different. Only the North American judges' assessments, however, suggest that the art students' life drawings were more technically and aesthetically successful, and more creative, on the average, than the non-art students' drawings. These judges also gave the juvenilia the highest scores in technical skill and the lowest scores in creativity independent of technical skill and aesthetic success. Conclusions and implications stress the role of technical skill in the development of artistic potential. 相似文献
13.
聂琦峰 《牡丹江教育学院学报》2009,(6):12-13
在当代中国艺术界,有越来越多的艺术家在自己的作品或创作方法中引入中国因素,表现出较强烈的向中国艺术传统回归的倾向。这种现象的出现,表现出在当今中国艺术界,中国传统艺术方式和审美意识开始复苏,以及中国当代艺术开始有了一个比较明确的自我认知,以更加自信和开放的态度融入世界艺术大潮的趋势。 相似文献
14.
Art teachers and action research 总被引：2，自引：2，他引：0
Rachel Mason 《Educational Action Research》2013,21(4):563-580
The qualitative educational research literature is increasingly advocating the use of literary/artistic techniques. This article describes and evaluates educational action researches by three art teachers, and questions why they have not capitalised methodologically on their artistic expertise. Analysis of commonalities in practitioner-based research in education and practice-based research in art and design reveals significant differences in these two paradigms however. Whereas artists and educational researchers both engage in qualitative problem solving and may use the same kinds of materials and tools, they develop different kinds of hypotheses, look for different sorts of evidence and apply different quality controls. 相似文献
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16.
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
17.
美术教育实现培养创造力的目标在新形势下显得非常重要。美术教育对创新思维的培养有特殊的、不可替代的作用，被公认为是对创造力培养的最有成效的学科之一，这也是新的美术课程标准所体现的性质与价值之一。本文分析了传统教学的不足，从学生、教师、课程安排等多方面阐述了在美术教学中培养学生美术创造力的一些方法、体会。 相似文献
18.
Richard Hickman 《The International Journal of Art & Design Education》2007,26(3):314-324
This article is an account of a pilot project designed to help art & design teachers in training use their particular strengths to report on classroom observation through visual art. The project is underpinned by the notion that the arts provide a particular way of knowing and that teaching should be student‐centred. I argue that if the arts can be seen to be a particular way through which we can understand the world then they can be used as both a pedagogical tool and possibly a vehicle for collecting data and reporting research. A group of 19 student teachers of art & design were given tasks which involved reporting on their school placement experience via a visual art form rather than through a text‐based form such as writing. The resulting images were discussed in a seminar and a sub‐group of three students was purposely selected for interviews. It was found overall, the students valued the approach taken and that they gained valuable insights into their professional placements through adopting an art‐based approach to educational research. As a result, I advocate in this article a greater use of arts‐based approaches to research which explores educational experience, not only in the arts, but in all areas of teaching and learning. 相似文献
19.
Manuel Belver Ana Ulln María Acaso 《The International Journal of Art & Design Education》2005,24(1):93-99
In this article, a basic controversy for art education in Spain is analysed, and its antecedents in thought and social and artistic practices are reviewed. The controversy refers to the question whether school art education should be oriented towards the fine arts or towards the manual arts. Consequently, which should be the cultural model of reference in contemporary art education? These two controversies are considered as two dimensions whose poles have, to a certain extent, the capacity to articulate various educational trends. The values associated with each pole of each dimension are discussed: for the first dimension, creativity, originality, self‐efficacy and the value of accomplished work; for the second, increase of cultural capital and intercultural solidarity. Finally, the possibility is considered of elaborating educational models that would integrate the various mentioned educative values. The question is raised of the compatibility of these educational values, and it is pointed out that art education has the capacity to generate educational spaces of interchange and dialogue in which to combine languages and perspectives that can contribute to human development and to the mutual coexistence of social groups. 相似文献
20.
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