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Emerging: the impact of the Artist Teacher Scheme MA on students’ pedagogical and artistic practices
The United Kingdom Artist Teacher Scheme (ATS) commissioned a study of the artistic and pedagogical practices of students on a recently established Artist Teacher Scheme MA (ATS MA). The aims of this study were to: investigate the motives and objectives teachers/educators have for undertaking this ATS MA programme, the impact the programme had on their artistic and pedagogical practices and their pupils’ learning; and make recommendations for future development of ATS MA programmes. Through the analysis of questionnaires it was found that the ATS MA’s strength lies in the development of communities of practice and peer support, artist teachers’ renewed confidence in their extended artistic and pedagogical practices, the professional development of artist teachers, and significant development of the art and design curriculum. 相似文献
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James Hall 《The International Journal of Art & Design Education》2010,29(2):103-110
The article explores the concept of the artist teacher, drawing upon an overview of relevant literature and two related pieces of research: the first investigated practices within the Artist Teacher Scheme (ATS); the second sought to understand the perceptions of practice‐based coursework in an MA Art Education programme at Roehampton University in London. Commonalities and differences between the perceptions and understandings of artist teachers (including masters' students), their tutors and gallery educators were explored. The data for each piece of research were collected through unstructured, open‐ended interviews. A significant reflexive and autobiographical dimension for the research was motivated by my own identity as an artist teacher, and by the exploration of reflective practice as a potential framework for realising and sustaining an artist teacher identity and practice. The research concluded that connections between art practice and teaching are complex, diverse, difficult to articulate, challenging to implement and do not easily lend themselves to simple impact measurement. The ATS operates in a context that includes languages, cultures and identities from frameworks in education and art that can be both complementary and oppositional. Artist teachers need to develop skills of negotiation through which they can articulate and continuously reappraise their art practice and, at an appropriate stage, use that practice to inform their teaching. 相似文献
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Terry Parker 《The International Journal of Art & Design Education》2009,28(3):279-286
This article discusses the personal experience of reading an Artist‐Teacher MA, both as a way of engaging with a course of study aimed specifically at art teachers and also as an attempt to explore and possibly reconcile the pedagogic issues related to the area of critical and contextual studies that had arisen within my own practice. Critical and contextual studies has grown to become an essential component of art education in schools, yet there would appear to be limited pedagogic approaches amongst art teachers or enthusiasm for alternative curriculum models other than those inferred from exemplar material provided by examination boards for assessment purposes. As a consequence of engaging with the Artist‐Teacher MA, I confronted my pedagogic practice and reconsidered my personal position within the continuum of the role of teacher and that of artist. In turn this has led me to consider the notion of the pupil‐artist and and to question the implications of this for my continuing classroom practice. 相似文献
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Teacher effectiveness research now informs the rationale of much Australian education policy aimed at redressing student under‐achievement. The approach draws a ‘straight line’ between teacher practice and student outcomes, ‘controlling’ for and ultimately dismissive of other possible influences. The paper calls into question this conception of teaching–learning relations, particularly the extent to which teaching practice can be reasonably quantified and improvements in students' academic achievement can be solely attributed to and/or sole responsibility placed on the pedagogic strategies employed by teachers. Drawing on the theoretical resources of Foucault and Bourdieu, the paper argues further that teacher effectiveness research is flawed in both means and ends. It concludes that in its ranking of student and teacher performance, such research actually works against the purposes of education; specifically, authentic teaching and learning. 相似文献
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Chris Beighton 《International journal of qualitative studies in education》2013,26(10):1293-1308
This article examines the Deleuzian concept of ‘assemblage’ in educational research in the context of Teacher Education (TE) for the ‘continuing education’ or ‘Lifelong Learning’ sector. Drawing on Deleuze’s creative approach to analysis, it draws a portrait of practice which identifies problems and successes in specific cases of TE with wider applicability. I argue that the concept of assemblage recognises developmental practices in distinctive ways and that it challenges the centripetal views implied by other models’ elision of more specific types of convergence, each of which is analysed. This is followed by suggestions which could help provide scope for creativity in research and practice in TE, if a set of challenges can be met. I argue that a situated and dynamic epistemological model is offered by assemblage theory which recognises not just the spatial but also the temporal and political complexities of actual practice. 相似文献
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Andrew J. Schiera 《International journal of qualitative studies in education》2019,32(7):929-946
Stemming from a problem of practice in the author’s justice-oriented social foundations course, this article investigates the relationship between pre-service teachers learning critical conceptual tools about justice and equity, and the ‘problem of enactment’ of leveraging that learning in their practice. Drawing on a theoretical framework linking Social Justice Teacher Education (SJTE) and Practice-based teacher education (PBTE), this study employed practitioner research methodologies and critical qualitative research methods to explore how pre-service teachers themselves negotiated the intersection of justice and practice. Three inductive findings emerged: they conceptualized professional visions oriented toward the ‘bigger picture’; the complexities of teaching complicated living these visions in practice; and their status as novice practitioners mediated their readiness to integrate justice and practice. The article concludes with a discussion of lessons learned for connecting justice and practice in social foundations specifically, and possibilities for convergence between SJTE and PBTE more broadly. 相似文献
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《International Journal of Research & Method in Education》2013,36(2):161-174
Narrative analysis offers a powerful and accessible means of understanding the ways in which individuals experience learning across a range of educational sites. Drawing on a recent study that explored ‘dyspraxic’ pupils' experiences of drawing from observation, this paper offers an insight into the potential that narrative analysis has for enhancing our understanding of the ways in which individuals experience complex contexts for learning, where the fields of art education, ‘special’ education and inclusion intersect. I argue here that a narrative approach can enhance our understanding of pupils' experiences of learning by a capacity to resist the compartmentalization of experience. The ‘natural’ drive to use narrative as an interpretive procedure for explaining departures from the ‘norm’ is also discussed, with the concepts of ‘breach and exception’ offering a useful frame for exploring the spaces between centres of practice in art education and the potentially ‘de-centred’ ‘dyspraxic’ learner. 相似文献
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Miranda Matthews 《The International Journal of Art & Design Education》2019,38(4):853-866
Addressing changes in conditions for practitioners that can be related to education policy in England and Wales since 2010, this article presents issues faced by teachers of art and design and their responses in practice. The current insistence on transparency in education emerges through policy that audits performativity, in a limiting skills bank. Practitioners in art and design are particularly affected by what I term ‘the transparency‐exclusion paradox’, as they battle to maintain the subject area and are ‘othered’ by the English Baccalaureate and Progress 8. I will discuss an emergent ‘ethos of ambiguity’ among artist‐teachers and contemporary artists, with a theoretical basis informed by Beauvoir and Foucault. Empirical data from research participants will be evidenced, to explore strategies of response in inclusive social practice. This article adds to literature that considers the effects of policy in implementation and it contributes to research on creative expressions of ambiguity in the arts. 相似文献
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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
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Maria Xanthoudaki 《Cambridge Journal of Education》1998,28(2):181-195
Drawing on observations of classroom art practice and visits to one museum and two galleries and on interviews with teachers and museum and gallery educators, this article examines the interactive relationship between school art education and museum and gallery visits. It studies: the ways primary teachers use such visits for art teaching purposes; and the reasons for the existing limitations in incorporating museum or gallery visits into school art education despite the wide acknowledgement of their educational value. The findings suggest the presence of two models of educational programmes which appear to influence differently the ‘three‐part unit’ of preliminary work, visit to the institution and follow‐up activities in the classroom. 相似文献
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Michelle Fava 《The International Journal of Art & Design Education》2020,39(2):319-332
This research surveys changing attitudes to drawing pedagogy, in the context of digitisation, moves toward student‐centred learning in art & design higher education, and anecdotal reports of declining competence. Based on student, teacher and examiner’s experiences, it has been possible to gain insights into how drawing instruction has changed over the past generation. This article examines the attitudes, values and concerns of students and educators regarding drawing instruction. The study reveals that, in the UK, drawing skills are considered to be gradually declining, while traditional notions of skill are called into question. Drawing as a means of visual recording, representation and communication remains valued, although no longer essential as it once was; drawing to augment thought process is increasingly recognised as an integral skill which enables innovation. The latter is rarely ‘taught’ but relies on core competencies that many lecturers fear are being eroded. Increasing value is placed on drawing ‘as process’, as provision is moving towards individualised instruction requiring students to work independently. While new technologies are a factor, this article re‐frames the issue as an imbalance between creative outcomes and creative process, with a disparity between school and university levels. This article calls for a renewed emphasis on ‘drawing as process’ as preparation for university, and for further consideration of the core competencies underpinning the use of drawing as a tool of thought, and how these might be standardised. 相似文献
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Chris Owen 《The International Journal of Art & Design Education》2020,39(2):333-345
This article investigates the ways in which drawing is taught and assessed in post‐16 UK schools and colleges, with a particular focus on A Level art and design courses. Through an historical survey of the development of syllabi and assessment methods, it traces how the role of drawing in the curriculum has changed over the past sixty years. From a series of prescribed observational drawing exercises, the A level exam has evolved into a holistic exploration of each student’s creative process, and drawing is now seen mainly as an integral part of that process. The article demonstrates how the art history element of the syllabus has also been gradually integrated into practice, and thus into the drawing process itself. Questions are raised about how these changes have influenced the nature of the portfolios which students entering higher education bring to interview. In short, this article seeks to answer the question: do we now teach and assess observational drawing skills ‘through a glass darkly’, obscured by other considerations within the art educational curriculum? 相似文献
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ZHENG Xinrong WANG Chenglong DU Ping HUANG Bin SU Shangfeng 《Frontiers of Education in China》2022,17(3):325
In the past decade, the Special-Contracted Teacher Scheme has witnessed remarkable progress, but there are deficiencies including inadequate benefit guarantee for and mixed reviews on the quality of special-contracted teachers. In the context of developing the 14th Five-Year Plan (2021–2025) for education and accelerating the modernization of education, the current implementation of the Special Contracted Teacher Scheme requires to be further examined and judged, to adjust the policy in time and present policy recommendations for the supply of rural teachers during the 14th Five-Year Plan period. Therefore, several scholars were invited to contribute to gain insight into this policy from multiple perspectives. 相似文献
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David Crook 《Cambridge Journal of Education》1997,27(3):379-389
Between 1945 and 1951 the Emergency Training Scheme produced around 35,000 teachers, selected mainly on the grounds of personality rather than paper qualifications and trained in just one year. Most of these teachers subsequently found posts in primary or secondary modern schools, where many enjoyed successful careers. Without this scheme, the raising of the school leaving age to 15 and the 1944 Education Act's promise of ‘secondary education for all’ would both have been greatly delayed. Of the published accounts of the scheme, most focus upon notions of ‘challenge’ and ‘response’, without confronting the important associated issue of professional dilution. Drawing upon a range of previously unused evidence, this paper offers a revisionist view. 相似文献
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Limin Zhang 《师资教育杂志》2017,43(1):117-119
Although studies on teacher identity have proliferated in recent years, and examinations of the said topic have been conducted under various educational contexts, limited focus has been given to teacher identity in the early childhood educational context. Drawing upon data from semi-structured interviews with five early childhood teachers, this case study aims to investigate how early childhood teachers make sense of their work and the type of professional identities constructed by early childhood teachers in mainland China. The five early childhood teachers reported strong disagreements with the babysitter metaphor for their teacher identities, and they had various role identities including ‘parents’, ‘teachers’, ‘friends’, ‘dancers’, ‘artists’, and ‘engineers’. The findings also show that they recognized the significance and value of their job as early childhood teachers. This paper concludes with implications for early childhood teacher education. 相似文献
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艺术教育的社会价值和功能是现当代素质教育中普遍关注的问题。艺术家的艺术教育思想和成就是艺术教育的基石。19世纪英国艺术批评家、美学家约翰·拉斯金的艺术教育思想影响了工业革命以后的英国乃至世界,他的艺术教育理论具有独特的历史地位和价值,在强调审美教育和素质教育的今天,对于我们更好地完善和普及艺术教育具有一定的现实意义。 相似文献
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孙平 《宁波教育学院学报》2012,(1):11-13,34
根据多年的教学实验和调查研究,结合高职学前教育实际,对高职学前教育专业美术课程建设提出了从培养学生创意儿童画能力、教学能力、动手能力和环境创设能力四个方面入手进行的课程整合调整,并对四方面课程必修课和选修课设置分别提出了相应的建议。 相似文献