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1.
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
2.
Julia E. Morris 《The Australian Educational Researcher》2018,45(4):455-472
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
3.
漫谈"版画教育" 总被引：4，自引：0，他引：4
张晓帆 《湖州师范学院学报》2002,24(4):99-102
版画作为造型表现艺术手段，除了具备所有的绘画艺术都共有的最基本的机制和约束之外，更具有它自身独有的特殊机制和规律，其中的大部分与“教育”功能有关。日本中小教学对版画“教育”功能的重视，对我们“综合运用能力”的培养还是有一定的借鉴和启发。 相似文献
4.
Mark Selkrig 《International Journal of Lifelong Education》2013,32(5):577-589
Community-based arts projects can act as powerful learning opportunities in a variety of lifelong and life wide contexts. Many of these projects involve artists, who usually undertake a leading role to ensure that some type of transformation takes place for those involved. The impact on the leaders—in this case the artists—is difficult to identify, even if they have been involved in several community-based arts projects. In this paper I provide insights drawn from my doctoral thesis. There I explored the cumulative impact on artists who work on community-based arts projects, what transformations and learning occurred for them as a result of working on these projects, and how those experiences contributed to their identities. My study involved hermeneutic phenomenological/narrative research approaches based on in-depth semi-structured interviews with 12 visual artists. Data were analysed using a recursive and spiralling process and were subsequently presented thematically as a neonarrative. The findings discussed in this article relate to the artists’ attempts at reconciling aspects of their individual, social and cultural identities by challenging their own as well as the community’s perceptions of artists. The cumulative effect of being involved in community-based arts practice also provided the artists with ongoing identity capital in that they came to realize that they learnt about themselves by connecting with others. The findings contribute to the emerging debate that challenges the narrow view of measuring the value of community-based art projects based on instrumental and public worth, and invites exploration of the private and intrinsic impact on individuals. 相似文献
5.
Sue Cox 《The International Journal of Art & Design Education》2000,19(1):54-63
This article considers how primary teachers might introduce children to critical studies, in the light of an examination of recent developments in art theory, to show how these can inform our approach. It looks at the work of one teacher, Caron Ementon, to show how this relates to contemporary art theory. Thus, practice is contextualised within theory and vice versa. Some procedural principles are suggested which, in responding to developments in art theory, can provide an approach to critical enquiry that is educationally enriching. This approach can enable children to relate to the work of other artists in ways that are appropriate to their own level of development. It also lays the foundations for later learning, in terms of procedural knowledge both for interpreting art works, and, ultimately, for understanding that theory itself. Furthermore, the metacognitive dimension of critical enquiry, implicit both in the theory and the concomitant processes of learning described, opens up rich possibilities for developing critical thinking. 相似文献
6.
Robyn Gibson 《The International Journal of Art & Design Education》2003,22(1):111-120
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
7.
Cynthia B. Loza Allan B. De Guzman Regalado T. Jose 《The International Journal of Art & Design Education》2010,29(1):61-71
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.
Pat Thomson Christine Hall Lexi Earl Corinna Geppert 《British Journal of Sociology of Education》2019,40(2):239-253
The arts are under threat in English schools. But some schools and teachers work against the trend. To understand how they continue to offer rich arts experiences to students, we bring Bourdieusian thinking to arts teacher practices that were common across the 30 secondary schools we studied for three years. In addition to a flexible approach to the curriculum which encouraged independence, intellectual challenge and risk-taking, teachers also engaged in arts brokerage – embodiment of arts engagement, ensuring students regularly visit cultural events/institutions, using local cultural resources, organising visits from artists/cultural organisations, enabling students to exhibit and perform for wider audiences, connecting students with arts workplaces and enhancing community arts participation. We approach this as a logic of practice associated with arts broker dis/positions drawn from teachers simultaneously occupying two chiasmatic fields – art and education. 相似文献
9.
Learning to systematically analyze the relationship between teaching and student learning is an important but difficult skill to engender in teachers. In this study, we examine how pre-service teachers who were introduced to a framework for analyzing teaching in a video-based teacher education course drew on this tool to analyze their own practice after the conclusion of the course. We conceptualize the framework as a conceptual tool that scaffolds pre-service teachers to learn to attend to particular dimensions of teaching and learning and to analyze how their teaching influences student learning. Using the Portfolio Assessment for California Teachers-Teaching Event of 14 English language arts pre-service teachers, we conducted a qualitative analysis to examine the extent to which they applied this framework to analyze their own practice after the conclusion of the course, as well as different strategies they adopted as they analyzed their teaching practice. Findings suggest that pre-service teachers made progress in using the framework to study their teaching, but development of sub-skills for all four facets are needed to develop more productive analyses of teaching and student learning. This study has important implications for the design of teacher education that intends to support pre-service teachers in developing tools for learning to learn from their teaching practice. 相似文献
10.
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
11.
Alison Lea Shields 《The International Journal of Art & Design Education》2019,38(3):659-669
This article examines the role of spending time with others in and through artistic research and practice. I draw from my doctoral work which took me on a cross‐Canada journey visiting 125 artists in their studios. Following the studio visits, I made a series of paintings of artists’ studios, however a year later these same paintings were cut up and rearranged to create collaborative studio assemblages on the walls of the Tate Exchange Gallery in Liverpool. Drawing on the metaphor of a never‐ending‐painting to examine never‐ending pedagogies, this article examines the evolution of this project through three iterations of the studio paintings. With each iteration, I explore different ways of knowing others through making thus proposing the performative and relational qualities of artistic research. The first iteration allowed me to spend time with artists even in their absence, as I engaged with our conversations through painting their studios, thus blurring the lines between solitary and social art practices. The second iteration allowed me to give up my art to others through asking them to create collages with fragments of my studio paintings. And the third iteration allowed my work to merge with other arts‐based researchers. Through this process, I propose that making art allows for multiple conversations to emerge through spending time getting to know others through art making. 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.
This longitudinal study was aimed at increasing our understanding of how teachers learn. It was conducted within a national innovation programme in secondary education. During one year 94 teachers reported six learning experiences using digital logs. The learning experiences were content-analysed in terms of learning activities and learning outcomes. The former comprised six main categories, namely experimenting, considering own practice, getting ideas from others, experiencing friction, struggling not to revert to old ways, and avoiding learning—the first two categories being reported most frequently. Reported learning outcomes referred to changes in knowledge and beliefs, emotions, practices, and intentions for practice, with changes in knowledge and beliefs being reported most frequently and changes in teaching practices being reported rarely. Learning activities were associated significantly with all measures of learning outcomes. Type of learning environment was significantly associated with learning activities and learning outcomes. Results are discussed with respect to ways of fostering teacher learning. 相似文献
14.
中国水墨画是中华传统文化的瑰宝,经过数千年的发展,形成了自身的传统和特色,为国人所喜爱,也为世界所接受。然而,面对艺术市场化和经济全球化的浪潮,中国水墨画承受着巨大的冲击。如何应对西方绘画的挑战,弘扬民族优秀的传统文化,在继承传统的同时,借鉴西方绘画的优点,取长补短,推陈出新,是中国美术工作者面临的严峻挑战。 相似文献
15.
中国油画的百年史是一段学习与创新的历史,是数代艺术家们自觉地探索中国油画自己道路的历史。作为中国自觉探索油画民族化的著名艺术家和典型代表,吴冠中毕生致力于油画民族化和中国绘画现代化的研究与探索,他在油画中探索民族化,在水墨中寻求现代化,冲出了画种的藩篱,为当代艺术创新提供了全新的审美方向,为中国油画和传统水墨的发展开辟了新的道路,创造性地将中国艺术的精神与风貌推向了世界。 相似文献
16.
Kylie Budge 《The International Journal of Art & Design Education》2016,35(2):243-258
Learning to be an artist or designer is a complex process of becoming. Much of the early phase of ‘learning to be’ occurs during the time emerging artists and designers are students in university art/design programmes, both undergraduate and postgraduate. Recent research reveals that a critical role in assisting students in their maturing identities as artists and designers is played by artist/designer‐academics teaching in university art and design programmes. By maintaining active art/design practices and drawing from these in their teaching, artist/designer‐academics model professional practice to students. Witnessing and interacting with such modelling is part of the process of students learning the shared discourses, views and practices of the art or design worlds to which they aspire to belong. The modelling of professional practice is critical to an artist or designer's ‘learning to be’ experience because it enables students to access the tacit and nuanced behaviours, languages and cultures that constitute contemporary art or design practice. This article outlines findings from a recent Australian study revealing the role of professional practice modelling in university art/design teaching. It highlights the centrality of professional practice modelling to artist/designer‐academics in their beliefs and approaches to teaching their academic disciplines. In critically exploring the research data and findings this article describes the role that modelling of practice plays and how it comprises a core part of the value that artist/designer‐academic participants contribute to the teaching of art/design education. 相似文献
17.
Pernilla Nilsson 《欧洲师范教育杂志》2009,32(3):239-258
The research reported in this paper is based on an exploration of the ways in which student teachers learn about the issues and concerns that shape their own professional learning. Shulman’s process of pedagogical reasoning and action was used as a conceptual framework to systematically elucidate different critical incidents that student teachers experienced and to then apply it as an analytic framework for developing deeper understandings of the complex task of learning to teach primary science. Primary science student teacher participants (n = 22) were stimulated to reflect upon critical incidents in order to facilitate identifying their teaching concerns and teaching needs. The results indicate that by helping student teachers to focus on critical incidents in their learning to teach, they come to question their practice more deeply and, through such reflection, gain new insights into teaching as being problematic. 相似文献
18.
Kyong-Mi Paek 《British Journal of Sociology of Education》2015,36(6):915-933
Over the past decades, many art advocates have argued for the intrinsic value of learning in the arts. Nevertheless, the arts continue to struggle to find a secure place within the school curriculum. Concerned about the arts’ impact on classroom practice, this paper aims to cast light on diverse realities constructed by art teachers as insiders in marginal contexts. This will be done by reviewing a critical cultural inquiry into art education practice in South Korea. Two interpretive analyses of individual teachers’ life stories have disclosed the practitioners’ relationships to established power dynamics between the dominant practice and a developing alternative practice network within the system. The discussion focuses on the inherent contradictions and opportunities identified within the context of Korean education. This paper provides cultural resources for conscious professional transformation of practitioners and contributes to broader discussions on the socio-educational status of art in education. 相似文献
19.
Three teachers, who held extreme preferences for the ways they learn, participated in a year‐long professional development course, designed to sensitize teachers to their own and colleagues’ individual learning differences (ILDs). The case study focuses on their extreme learning preferences and discusses the impact of these preferences on their language, beliefs and practice, both before and after the course. The teachers’ learning preferences were determined from their scores on seven learning/cognitive styles tools and understood further from field notes, interviews and pre‐/post‐test responses. The study suggests that teachers with extreme learning preferences tend to: (a) teach the way they prefer to learn; (b) overgeneralize and project their own learning needs onto students; and (c) hold initial pathognomonic (“blame the learner”) beliefs about students mismatched to them. After the course, the teachers changed their language, beliefs and practice in the direction of becoming more effective teachers, e.g., they held more interventionist beliefs (“I can intervene to help the learner”). The three teachers were strong prototypes who can provide insights about the importance of ILDs in learning, practice and professional development. 相似文献
20.
对于美术作品，展览是使其社会化的主要方式之一；对于中国画教学来说，展览提供了学生近距离学习的重要途径。特别是官方美术展览，它在高等师范院校国画教学活动中起到了很重要的作用，主要影响其教学观念和立场，直接改变学生的思维和学习方式。对于每一个从事国画教学的教师，积极有机的利用美展影响，客观评价作品，在教授学生绘画技法形成的同时，养成自我判断，促进创作形成。 相似文献