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1.
A tool for self assessment in secondary art education was developed and tested. The tool includes rubrics for assessing production and reception activities in art education and consists of visual and text rubrics. The criteria in the rubrics are based on the Common European Framework of Reference for Visual Literacy which was developed by The European Network of Visual Literacy (ENViL). The way teachers and students use the rubrics, whether they consider them helpful and to what extent students’ self‐assessments are in line with teacher assessments was studied. It was concluded that teachers work with the rubrics intensively and both students and teachers appreciate its visual form. However, it was found that the agreement between teachers and students about the students’ scores was moderate and needed to improve. The results show that it is untrue that students, or boys in particular, overestimate their own performance in art education. The current study contributes to the development of feasible and valid assessment criteria and instruments in secondary art education.  相似文献   

2.
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   

3.
Traditionally, the learning of arts in the Estonian primary school has meant completion of practical assignments given by the teacher. The new national curriculum for basic school adopted in 2010 sets out new requirements for art education where the emphasis, in addition to practical assignments, is on discussion and understanding of art. The teacher must introduce pupils to both art history and contemporary art. As a result, primary teachers would likely serve their pupils more effectively if they reconsidered their current understandings of art education and update their teaching correspondingly. The action research method seeks to answer the following question: how should one change the art education process in primary school so that in addition to practical activities pupils would have opportunities to talk about and understand contemporary art? The article discusses a framework for modernising art education in primary school. Research shows that primary school learners are open to innovation and thus discussion of contemporary art can become a natural part of primary school art classes. The balance between creating and responding is a key to planning the art education processes today.  相似文献   

4.
: This study explores pre-service teachers’ knowledge of visual arts education and their ability to undertake creative processes. It is a study conducted with 88 primary school student teachers from a university in southern Spain. The participants were required to produce an artistic piece in which they were asked to reflect their thoughts on visual art education. The resulting pieces served as a tool for inquiry which enabled us to evaluate their theoretical and practical knowledge after performing an analysis of their form and content. After analysing the data, we concluded that future teachers are aware that arts education develops many types of skills, although they are only partially able to carry out a satisfactory artistic creation process. Therefore, it is essential to reinforce the training of pre-service teachers in the domain of artistic processes. Questioning pre-service teachers directly, and doing so through artistic creation, has allowed us to ascertain their level of knowledge of the visual arts.  相似文献   

5.
根据中小学艺术教育课程特点,为达到提升教师实施艺术教育课程能力和促进其专业发展,对国内外艺术教育元素重组建构,从不同角度创生出多种艺术教师培训模式。体现继续教育培训模式不断创生构建的灵活性、丰富性、有效性。  相似文献   

6.
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   

7.
The history of art and design education in Botswana has evolved in a unique way and reflects its British colonial history and post‐independence development. It has involved constant exchange and dialogue with other countries through the employment of teachers, teacher trainers and university lecturers from a variety of European, Asian and other African countries. This dialogue has continued as locally trained art teachers pursue their degrees overseas and return with new ideas and influences. At the same time, the development of local crafts for a global market and the inter‐cultural exchange in the visual arts outside the formal education system are thriving with the help of various organisations and the museum and gallery sector. This article will look more closely at the country context, the history and development of art education and the interrelationships that have evolved over the last two decades. It will show how students engage with the challenge of integrating their African heritage and changing traditions with their development as teachers and artists. It will also consider how closer links between the formal and informal art sectors might be mutually beneficial and demonstrate the potential for art and design to play a role in the social, economic and cultural development of the country.  相似文献   

8.
Recent government reform of initial teacher education has increased teachers’ responsibility for training students in schools, bringing about some fundamental changes in the professional relationship between the schools, higher education institutions (HEIs), teachers and students. This paper reports on primary undergraduate student teachers’ and their class teachers’ perceptions of school-based training to teach art. Class teachers were interviewed about their preparedness to train students and questionnaires and interviews were used to gauge students’ views of the effectiveness of university-based courses and the support given to them by teachers. The findings indicate that teachers were able to support students in matters of classroom management and resources but that they were mostly unable to assist them in developing subject knowledge and understanding of art teaching and learning. This raises concerns about teachers’ subject knowledge and their confidence in training students. Our findings suggest that there is significant room for improvement in the partnership arrangements between schools and HEIs in order to better support students’ teaching of art.  相似文献   

9.
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   

10.
This study draws on student engagement factors to examine the relationship between students’ non-school-based arts experiences on their intrinsic motivation and self-efficacy to participate in visual arts responding tasks. Visual arts responding in the curriculum includes learning about artists and artworks, decoding art and making critical judgements, and is important in building twenty-first century learning skills such as critical thinking and communication. A total of 266 Year 10 to 12 students from 18 schools in Western Australia (WA) participated in the quantitative research, which explored outside-school arts engagement as well as cognitive and psychological engagement factors in their current year of secondary schooling. The findings showed that while being an art consumer appears to impact on intrinsic motivation and self-efficacy, producing art as a hobby outside of school does not appear to do so. The research raised questions about links between practice and theory, and how to promote students’ engagement in responding.  相似文献   

11.
Many English primary teachers find the notion of assessing children's work in art difficult. This paper reports on work carried out with non‐art‐specialist primary teachers’ and student teachers’ use of a three‐point assessment model and related tasks, which supported teachers and students to engage critically with children's development, or lack of it, in observational drawing. This enabled teachers and students to develop appropriate planning and differentiated strategies for children's work in art. Equally important is that in engaging with these assessment tasks they were able to develop aspects of the critical language needed for teaching and learning in art.  相似文献   

12.
It would be a rare thing to visit an early years setting or classroom in Australia that does not display examples of young children’s artworks. This practice serves to give schools a particular ‘look’, but is no guarantee of quality art education. The Australian National Review of Visual Arts Education (, 2009) has called for changes to visual art education in schools. The planned new National Curriculum includes the arts (music, dance, drama, media and visual arts) as 1 of the 5 learning areas. Research shows that it is the classroom teacher that makes the difference, and teacher education has a large part to play in reforms to art education. This paper provides an account of one foundation unit of study (Unit 1) for first year university students enrolled in a 4-year Bachelor degree program who are preparing to teach in the early years (0–8 years). To prepare pre-service teachers to meet the needs of children in the twenty-first century, Unit 1 blends old and new ways of seeing art, child and pedagogy. Claims for the effectiveness of this model are supported with evidence-based research, conducted over the 6 years of iterations and ongoing development of Unit 1.  相似文献   

13.
This article explores how art and design education can contribute to the imperative of climate change and help societies adapt to living more sustainably. Drawing on methods from arts‐based research and qualitative case study, it reports on an investigation into what can be learned from creating environmental art installations with preservice teachers (those training to be K‐12 teachers), as part of an environmental art education programme in a leading Canadian university. Findings support that preservice teachers experienced behavioural and attitudinal shifts towards sustainability after engaging in the processes of creating environmental art; involvement in the programme also provided opportunities for building community, engaging multiple domains of learning, modelling sustainable art‐making practices and prompting environmental activism. The results of this study inform a developing pedagogy for environmental art education in higher education settings.  相似文献   

14.
This article deals with the forms and contents of self‐initiated art works: the kind of learning that takes place in the production of self‐initiated art works as well as the relationships with school art. We interviewed 52 Dutch students (aged between 10 and 14) from different schools of primary and secondary education, and their art teachers. The students showed examples of their home art as well as their school art. Based on interviews and the works presented, four main categories of self‐initiated art works can be distinguished: applied art, popular culture, personal experience and traditional art. Learning outside school is partly incidental and informal (learning by doing, copying), but involves intentional learning as well. Students are aware of the differences in style, materials and themes between their spontaneous, self‐initiated art work and the work they are required to make in school. Moving the domain of self‐initiated art into schools may jeopardise it, but art teachers should neither ignore nor dismiss it. They should be aware of children's self‐initiated visual culture and relate to it in their lessons.  相似文献   

15.
当前，以影视为代表的视觉图像艺术以其优越的可视性表现出对文字的压抑，传统艺术形式受到巨大的冲击和影响，图像取代语言成为目前文化的典型特征。影视艺术凭借电子技术以直观、感性的图像优势，使审美回归日常、回归感性，恢复了审美的本来，同时具有积极、消极的审美后果。  相似文献   

16.
This study draws upon interviews with fifteen secondary art teachers in Australia and England and focuses on the selection and censorship of artists and art works for student study. Given that cutting edge art must shock if it is to change artistic sensibility it would seem that the study of contemporary art must present students and teachers with many ethical dilemmas. The violent, sexually explicit, disgusting and psychologically disturbing, nature of many contemporary arts works make them potentially offensive, disturbing, provocative and confusing to young impressionable minds. While wishing to be open‐minded and to teach inclusive curricula, art teachers are also aware of their accountability in the community and their responsibility for the well being of their students. The study examines ways in which art teachers achieve postmodernist plurality in their programs yet also respectfully stay within the parameters of modernist school charters which define curriculum limits.  相似文献   

17.
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18.
Some primary school teachers may neglect reasoning about art. Models of practice can exemplify classroom teaching and, to some extent, a textbook for children can be seen as a model of practice. Can those in art serve as models of practice and help teachers foster reasoning? This study examined 19 art textbooks intended for use by Key Stage 2 children (7–11 years old) to see to what extent they might direct a teacher's attention to reasoning in art. Some gave no attention to reasoning but some were found to have the potential to do that, at least in connection with evaluating the art of others. In this respect, they might serve as models of practice. Nevertheless, the teachers most likely to benefit from such models may not recognise a good one, be proficient in using it productively, be able to develop thinking about the art of others further or extrapolate thinking to the child's own art. Consequently, knowing what counts in art education and using models of practice to good effect could be an important part of training courses.  相似文献   

19.
This paper reports on the uses of photography in some research into domestic crafts in Brazil. This research, which included fieldwork and curriculum development components, was carried out with the aim of investigating crafts five women practised in their homes in Santa Maria and celebrating them in art lessons in primary schools. Photography was used in the fieldwork part of the research to collect visual data about the women and their crafts and to develop a visual resource for use by art teachers. In the curriculum experiments it was used by school children to record aesthetic aspects of their homes. This paper reflects on and compares the different kinds of photographs taken by the researchers, the women and the children and some strengths and weaknesses of using photography as a data collection tool in art education research.  相似文献   

20.
The emergence of new media provides new tools for promoting critical thinking and creativity in an environment that encourages collaboration, co‐authoring and sharing ideas and artworks with audiences. Embedding new media in art lessons and integrating art with other disciplines not only promotes visual competence but also transversal competences necessary for the future lives of children. Despite the many benefits that this process entails, there is still no broad integration of new media in art lessons or art integration through technology in primary schools, as teachers are often oblivious of the new possibilities and means of engaging children. However, there is a need to embrace today’s dominant culture of communication if we really want to prepare children for the future. This article is about art technology integration in the primary classroom. It discusses ways of studying important real‐life issues with children and of bridging the gap between school life and daily life. It reports on two case studies with sixth grade classes (11–12 years old) that engaged in a stop motion animation project to communicate messages that were important to the children. Children shared powerful stories, anchored in real‐life contexts and developed critical thinking, communication, collaboration and creativity skills. The findings contribute to the discussions about arts integration that are grounded in empirical qualitative data. The implications of the study move beyond the art subject itself and highlight how generalist teachers can embrace interdisciplinarity and art integration, and view art as transformative pedagogy in the curriculum.  相似文献   

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