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1.
This is a case study of a one‐year arts educational project ‘I – from dreams to reality’ in which artists worked at school with teachers and learning at the school was planned through arts‐based, co‐operative teamwork during one extra school year of 10th grade students in Finnish basic education. The theme of the year was ‘I’, and so the project was designed to highlight everyone's own way of thinking and expressing art. The research task was to determine whether long‐term holistic arts pedagogy and artist co‐operation at school have any significant connection to students’ self‐efficacy and social skills. Data has been collected through students’ self‐evaluations before and after the school year. Altogether 40 students from 10th grade participated in this case study. Half of the pupils participated in an arts educational project called ‘I – from dreams to reality’ and half formed the control group. Artists worked with the test group weekly during a period of one school year (altogether nine months). Students’ self‐evaluations concerning their self‐efficacy and social behaviour were collected by e‐questionnaire. The measures used were Likert‐based evaluation scores of pupils’ self‐assessment of their self‐efficacy and social behaviour in everyday situations at school. According to the results, artist–teacher co‐operation and learning through the arts can be worthwhile experiences to develop students’ self‐efficacy and social skills.  相似文献   

2.
The goal of the action research project on visual culture is to contribute to the dialogue on the exploratory ecology vs commodity culture of the elementary school classroom. Exploratory culture, unlike commodity culture, applauds open-ended thinking, inchoate imaginings, and critical thinking with its attachment to divergent paths to resolving problems. This educational action research project moves to effect change, so as to a) understand visual culture as an educational component of teaching and learning, and b) awaken the need for the inclusion of research on visual culture in student teacher preparation. Visual culture can best be understood when preservice teachers are immersed in the classroom. The visual landscape of the walls, light, air, hallways, seating arrangements, posters, rugs, room dividers, windows, entrances and exits of the classroom and school building can all be seen as a third teacher. The action research focuses on core classroom experiences revealed through six student teachers weekly reflections, post observation discussions, and interdisciplinary arts-infused lesson planning and facilitation. Engaging in lesson planning and implementation has shown to broaden student teachers’ understanding of meaning-making through the visual, the essence of visual culture. The student teachers described the dynamic synergy between language and visual arts teaching and learning, personalization of technology that can extend learning, and the role of imagination in the movable landscape of the classroom.  相似文献   

3.
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   

4.
Projection‐based augmented reality and virtual reality are used in a visual arts‐based educational project in contemporary art museums from an a/r/tographic perspective. The project ‘Art for Learning Art’ (in Spanish, Arte para aprender arte), at the Museo CajaGRANADA in Granada (Spain) has been developed in collaboration with the University of Granada since 2013. We have employed creative, educational and research methodologies inspired by exhibited works in art museums to encourage visual feedback of visitors participating in collaborative installations. Two such experiences also were produced at the Tate Liverpool Gallery and Museum in March 2018; utilising the methodology of mediation through projection‐based augmented reality and virtual reality, which introduces facets of visual and physical experience that alter the whole experience for the museum's public. By putting on virtual reality headsets, and playing with physical movements, we generate images and change the projections in the museum using projection‐based augmented reality to disrupt the way the public typically moves in the museum. The purpose of the developed interrelations with artworks in the Museo CajaGRANADA and the Tate Liverpool Gallery and Museum was to create collaborative digital images by playing with select artworks exhibited in the museums’ collections. We use this kind of mediation in art museums to develop a visual understanding to provoke learning about art through art creation in a contemporary way. The results are extraordinary as images; they are collaborative artworks, which connect visually with the artworks in the exhibition.  相似文献   

5.
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   

6.
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   

7.
This article presents the second segment of a qualitative study on the integration of traditional arts in tertiary level art and design education in the Philippines. It is focused on the experience of artist‐teachers as participants in an in‐service teacher training programme that aimed to prepare the teachers for the trial integration of traditional Filipino arts in art and design courses. Taking the view of the participants, journals written by the artist‐teachers were sourced for their reflections about their encounter with traditional Filipino artists during field visits. This phase of the study takes the form of action research as it involves the participants in gathering data that could inform the methods and content of the learning of traditional Filipino arts in the schools of art and design. The findings reveal that artist‐teachers acknowledge the traditional artist as a valuable source of traditional knowledge and expertise. They also recognise their own essential role in the transmission of learning between the traditional artists and the students. The prerequisites of the course take the artist‐teachers beyond teaching in the classroom and extend their tasks to research.  相似文献   

8.
Research in visual arts education is often focused on philosophical issues or broad concerns related to approaches to curriculum. In focusing on the everyday work of teaching, this article addresses a gap in the literature to report on collaborative research exploring the experiences of secondary visual arts teachers in regional New South Wales, Australia. Drawing on qualitative data gathered through a process of educational connoisseurship and educational criticism, discussion focuses on visual arts teaching as a particular professional practice that is complex, intricate, emergent and adaptive. In drawing on themes emerging from the research, examples of unplanned aspects of teachers’ work that disrupt linear logics about teaching practice are examined. The article concludes by raising issues for further consideration and research.  相似文献   

9.
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10.
High-impact educational practices are increasingly being recognized as powerful teaching strategies that can positively impact both student and faculty experiences in the classroom. Student persistence in college is correlated to campus integration, and one way this can be successfully facilitated is through student–faculty research partnerships. This paper documents the process of one faculty research team integrating four undergraduate students into an ongoing research project, for which students received course credit. There were many benefits of this collaboration to both student and faculty participants, but there were also many opportunities to better streamline the project and to potentially create an institutional template for replication of this process so that other faculty members can learn from this experience and more easily successfully integrate students into their own research.  相似文献   

11.
In many early childhood classrooms, visual arts experiences occur around a communal arts table. A shared workspace allows for spontaneous conversation and exploration of the art-making process of peers and teachers. In this setting, conversation can play an important role in visual arts experiences as children explore new media, skills, and ideas. The investigation of informal conversations during visual arts experiences will serve to improve understandings of the cognitive, imaginative, social, and affective components of young children’s creative endeavors. In particular, the exploration of conversational discourse contributes to understandings of conversation as an integral component of pedagogy in early childhood arts. As an exploration of the nature of conversation as pedagogy in early arts experiences, I present a ‘telling case’ (Mitchell 1984) featuring the collaborative work between a teaching artist and two young students as they explore and create together. The findings from this research have important implications for early childhood and art education teacher educators striving to develop supportive educational practices that will assist early childhood teachers in promoting supportive visual arts practices.  相似文献   

12.
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   

13.
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14.
The paper examines aspects of the relationship between teaching and research in higher education in social science research methods, with particular reference to the subject area of Education. There are three main themes: reflections on how social science research methods should be (or are) taught; a review of current debates about the relationship between teaching and research, both in higher education and for school teachers; and finally, reporting how a group of educational practitioners (mainly school teachers) studying at Masters level experience learned about research methods. The paper is illustrated by qualitative data from a case study of student experiences of research methods teaching on a Masters degree in Education in a research-intensive UK university. It is suggested that studying the journey embarked upon by taught postgraduate students inexperienced in research is helpful in understanding how learning about research methods takes place, which in turn can assist future research methods teaching.  相似文献   

15.
在实施与开展课题研究中,教师启发学生利用身边的废弃材质进行美术创作与装点空间,培养学生审美能力的同时,提高环保意识。文章运用文献法、调查法、行动研究法等在初高中年级中进行研究实践。结果显示,课题研究促进了教师教育观念的转变,提高了教师的教科研能力。课题研究对美术课程的改革,特别是开发与有效利用学校美术课程资源,转变学生的美术学习方式起到了积极的作用。  相似文献   

16.
How can artist residencies for preservice teachers plant seeds for future classrooms? Teacher educators and a teaching artist describe a two-tiered residency in an early childhood and special education program that transformed preservice teachers' attitudes toward visual art and arts integration. Findings are based on teaching artist and instructor reflections as well as a qualitative analysis of student journal entries. Preservice teachers who had no prior art training and were resistant toward abstract painting began to enjoy it and appreciate the value of art for children's learning. They came to recognize visual art as a tool to support social development and children with special needs, understood the importance of process in children's art experiences, and considered ways to integrate art throughout the curriculum. We urge teacher educators and teaching artists to incorporate artist residencies into teacher education programs to prepare future teachers to integrate the arts into the classrooms of tomorrow.  相似文献   

17.
This article reports on recent case-study research that examined teacher- and student-level processes in nine Australian arts classrooms. The selected classrooms, based on the results of a connected longitudinal study, demonstrated strong positive links between arts participation and academic motivation, engagement and achievement. The focus here is on how teachers supported their students to conceive, shape and present imaginative work. Although different approaches were apparent in the dance, drama, film, music and visual arts classrooms, patterns were detected in the processes used to transform imaginative ideas into a creative work. The research indicated that important skills were being developed as the students encountered the ambiguity of the creative process. Furthermore, insights were gained into how work drawing on the imagination can be initiated and sustained through the highs and lows of development to become both a work of art and a learning experience that will augment future creative work.  相似文献   

18.
This article draws upon Rancière’s concepts of the ‘distribution of the sensible’ and ‘dissensus’ in order to explore some of the tensions and processes at work in a multi‐year school change project that sought to transform a school through the ‘urban arts’. Building on student interest in extracurricular Hip‐Hop and street art programming, the school tried to integrate the urban arts across the curriculum through a partnership with local arts organisations and university researchers. While there were a number of project successes, the project also faced significant resistance, which in Rancière’s terms might be inevitable since the project tried to transform the dominant ways of doing and making in the school, displacing those who no longer saw themselves reflected. We understand the tensions in light of the disruptive power of street art and Hip‐Hop culture, but also as manifestations of antiblackness in education. Using data from a three‐year critical ethnography, we share a series of narrative vignettes which unpack the role of the visual arts in challenging the distribution of the sensible at the school, and offer insight into how teachers might have been better invited in as participants in dissensus.  相似文献   

19.
This paper is based on a lecture given at the University of Oporto in Portugal to mark the opening of the Lugar Do Desenho, Oporto in 1999. It describes a method of teaching drawing from observation that was developed by the authors for first year fine art students at Coventry University and as a short refresher course for seconded art teachers. It continues to be offered as one of three options in the inaugural drawing module of the visual arts programme. Its holistic approach is designed to encourage flexibility and invention as a way of enlarging the drawing vocabulary of students. The paper describes the thinking behind the course and how it sets about fulfilling its aims of broadening students understanding of observational accuracy and equipping weaker students in particular for the difficulties they might encounter when trying to make a coherent image.  相似文献   

20.
Abstract

Examples from a team of collaborating secondary teachers—one visual arts teacher and one science teacher—highlight key aspects of this professional development project in arts integration. The article traces a regional network designed to build teacher capacity with implications for the design, effectiveness, and sustainability of professional development for secondary teachers. It describes the framework for professional development through the first two years of the project. In year one, teachers increased their understanding of arts integration; collegial collaboration; the design and use of assessments that align with standards, benchmarks, and learning goals; and how to reflect on student work. In year two, professional development activity focused on co-teaching and helping teachers to increase the rigor of student learning goals as a way to improve student learning in arts and non-arts content areas. Project outcomes and challenges to sustaining such job-embedded and networked professional learning opportunities are discussed and directions for further research are offered.  相似文献   

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