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1.
This article identifies recent, mainly Nordic, research approaches to visual arts education. A concept map was developed as a heuristic tool in order to highlight salient traits and blind spots. Contemporary research typically has its origin either in education or in the art world, with an emphasis either on art as language or on art as text. These two dimensions were used to organise the studies and to select representative exemplars in different domains. The framework helped to chart the knowledge base of, and research approaches to, visual arts education. However, the result of blending subject matter and pedagogy tended to be a ‘mixture’ of viewpoints rather than emerging domains of subject‐specific pedagogical knowledge (Lee Shulman: an ‘amalgam’).  相似文献   

2.
ABSTRACT

Despite the growing importance of digital portfolios for justifying creative work and study opportunities, little is known about arts students’ creative appropriation of online portfolios in secondary school. In particular, there is a research gap concerning the challenges that young black women face when curating portfolios as visual arts students. This paper describes the key challenges that three such government school students negotiated when taught to creatively appropriate an online portfolio software for curating showcase visual arts e-portfolios: In formal contexts, art students’ e-portfolios are strongly shaped by assimilatory norms. Visual arts students who want to develop portfolios that follow local or global crafts and fandoms must negotiate their low status in, or complete exclusion from, the national syllabus. Students in under-resourced school and home settings may already be using other online portfolio solutions that suit their purposes better than the particular software prescribed in arts lessons. Online portfolios are public by default and young women negotiated this risk by using pseudonymous self-presentations. Each student's classroom practices were also constrained by a technology selected for its minimalist exhibition aesthetic. Students curated showcase exhibitions, but the prescribed service did not facilitate a wider exploration of contemporary digital practices.  相似文献   

3.
Abstract

This study describes early childhood teachers’ own beliefs and concepts of aesthetic experience in young children. The teachers involved in this study were directly engaged in preschools for 4 and 5 year‐olds where arts and aesthetic education are a primary consideration of their integrated curriculum. These teachers identified a variety of features of aesthetic experience in three dimensions, which develop in a dynamic, non‐linear cycle. This study suggests that early childhood teacher's awareness and knowledge of aesthetic experience is critical to support the high quality of young children's learning through the arts. It concludes with implications for both teacher education programs and early childhood teacher educators. © 2005 Published by Elsevier Inc.  相似文献   

4.
In this article, the theoretical framework of developmental pedagogy is presented as a tool in studying and developing children’s knowing within the arts. The domains of art focused on are music, poetry and dance/aesthetic movement. Through empirical examples from a large‐scale research project, we illustrate the tools of developmental pedagogy and show how this perspective contributes to our understanding of children’s learning of music, dance and poetry. More specifically, we will analyse: (a) the important role of the teacher in children’s learning within the arts; (b) the importance of conversing when learning the arts; (c) what constitutes the knowledge, what we refer to as ‘learning objects’, to be appropriated within the three domains of art focused on; and (d) how to conceive of progression in children’s knowing within the arts.  相似文献   

5.
In this paper, preliminary comments are made about The Arts in the New Zealand Curriculum document questioning its framing of the arts ‘disciplines’. The notion of the ‘the arts’, which appears to take its meaning from the generic term ‘art’ that directs us to class together music, painting, visual art, dance and other diverse activities, is examined. The idea of ‘literacies’ in the arts is questioned, as well as the ideological nature of representing the arts as ‘essential skills’. Suggestions are made concerning the identity and role of educators in the arts areas of the curriculum. I then take strands within the Arts curriculum document (‘Communicating and interpreting in the arts’ and ‘The arts in context’) and scrutinize these in terms of the possibilities for a critical interpretation of pedagogy and what I believe to be our obligations as teacher educators within a pre-service programme in university setting.  相似文献   

6.
The present article extends Basil Bernstein’s theorisation of ‘discourses’ and ‘knowledge structures’ to explore the potential of educational knowledge structures to enable or constrain cumulative learning, where students can transfer knowledge across contexts and build knowledge over time. It offers a means of overcoming dichotomies in Bernstein’s model by conceptualising knowledge in terms of legitimation codes (bases of achievement) and semantic gravity (context‐dependency of knowledge). This developed framework is used to analyse two contrasting examples of curriculum – from professional education at university and secondary school English – that aim to enable cumulative learning. Analyses of students’ work products show that both cases can constrain knowledge‐building by anchoring meaning within its context of acquisition. The basis for this potential is located in a mismatch between their aims of enabling students to learn higher‐order principles and their curricular means that focus on knowers’ dispositions rather than articulating principles of knowledge.  相似文献   

7.
Michael Young’s article ‘Overcoming the crisis in curriculum theory: a knowledge-based approach’ (JCS, 45, 2) is discussed from the starting point that the claimed crisis is constructed from a decisive solution, that is the solution determines what is a crisis. But curriculum research and curriculum theory are in need of change. Curriculum research is discussed from an international and historical perspective. The focus is on how economic changes and changes in modes of production have created demands that have been met by an increasing trust in competition between schools and nations. Curriculum construction has been globalized. Curriculum research and curriculum theory ought to problematize and analyse these changes in the conditions for curriculum construction and the politics of education. It is insight into these changes that are needed as well as a serious discussion on the meaning and direction of formation (Bildung) as a framework for research on the knowledge that has to be selected and organized for teaching.  相似文献   

8.
The argumentation in this paper is grounded in a critical and conceptual analysis of Ted Aoki’s phenomenology, wherein curriculum is read as phenomenological text. The problem explored emerges from Aoki’s critique of the Tyler rationale for curriculum design, implementation and evaluation as it is conceived and practised in contemporary standardized education, which is driven by the ideology of social efficiency. Aoki focuses on the way in which the scientific and technical modes of curriculum implementation preclude particular modes of Being-in-the-world because curriculum implementation, as a technical and instrumental process, reduces both educators and students to epistemological subjects, and beyond, objects of knowledge. By focusing on curriculum implementation as a form of ‘situational-praxis’ as opposed to ‘instrumental-action’, this paper concludes, it is possible to put educators and students in touch with the ontological aspects of their Being-in-the-world. Aoki’s practice of phenomenology reveals an understanding of an attuned mode of human transcendence in learning, which opens the possibility for an authentic educational experience where educators and students dwell in the midst of the curriculum’s unfolding as an ontological phenomenon.  相似文献   

9.
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   

10.
ABSTRACT

This article focuses on the identifying of ‘creative development’ as a desirable early years learning outcome by the School Curriculum and Assessment Authority (SCAA, 1997). The article begins with a rationale for the inclusion of ‘creativity’ in the curriculum of young children in a post‐modern world at the turn of the century. It then goes on to look at the way in which ‘creative development’ is characterized by SCAA as a desirable learning outcome, and to unpick some of the messages which its inclusion in the curriculum may signify. There are several challenges posed by this part of the early years curriculum, which are then explored. Finally it proposes a framework for interpreting and translating it into practice.  相似文献   

11.
ABSTRACT

In time-poor and pressured teaching environments, some classroom teachers look for immediate and simple solutions to resourcing their arts teaching. Online platforms, such as Pinterest, seem to offer ready-made answers for these teachers, however, a lack of criticality can underscore the unexamined ‘advantages’ of such accessible resources. Accessibility and lack of confidence for time poor teachers are two key issues in understanding why teachers prefer online platforms for the sourcing of arts teaching resources rather than curriculum documents written for them by ‘curriculum experts’. Critically competent curriculum decisions require informed knowing about value and how the decision impacts on practice and student learning and in this way criticality and connoisseurship are important capabilities that constantly need to be strengthened in a digitally mediated world. Combined in an arts context and drawing on interviews with 16 classroom teachers, criticality and connoisseurship are two key concepts used to highlight the systemic issues of context, value and pedagogy that impact on teacher’s practice. Suggestions for increasing teachers’ criticality and connoisseurship are explored as important pathways for improving arts learning for young people.  相似文献   

12.
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13.
This article explores the correspondence between the vision of play articulated in Singapore’s national kindergarten curriculum framework and the play-related pedagogies enacted by teachers on the ground, particularly during Learning Centre Time (LCT). Influenced by neo-liberal ways of thinking, the curriculum states that purposeful play is a medium to achieve intended learning outcomes. The study is part of a longitudinal project where 108 Kindergarten 1 classrooms were videotaped during a full ‘typical day’ (3–4 h). While learning centres were set up in all classrooms, only 36 LCT episodes were identified. Certain learning centre types (literacy, arts) were more common than others (numeracy, science), and time spent by teachers in the different centres varied widely. Children were allowed limited freedom of choice while playing in learning centres, and some were even required to complete assignments. While teachers tended to adopt facilitative roles, quality of instructional support provided to children was low. We conclude that pedagogical practices during LCT in the observed classrooms do not adequately reflect the curriculum’s vision of purposeful play. This theory/practice gap might be due to curriculum expectations, teacher-related factors (beliefs, lack of preparation) and parental pressures. Implications, limitations and lines for future research are discussed.  相似文献   

14.
This article explores ‘mobilities’ as a research framework for learning not so much in terms of what has to be done to enhance learning using mobile technologies. Instead it focuses on our embodied ways of knowing and learning by ‘being mobile’ in physical and mediated spaces. It reviews current mobility frameworks used in mobile learning research and other technology integration studies. It proposes a practice‐based mobility agenda for learning by ‘setting in motion’ not just technologies, but also bodies and spaces from a sociological perspective and a phenomenological standpoint. It seeks to understand what is being done – the re‐configurations of bodies, spaces and technologies in a mobile society that is increasingly characterised by media convergence and ubiquitous connections and communication. To move educational research, a conceptual framework that articulates body‐types in relation to technologies is discussed.  相似文献   

15.
Understanding how the arts can enhance learning has long been discussed and debated among educators, students, parents, artists, art historians, and philosophers. Many anecdotal examples reference the value and benefits of the arts in a range of fields and learning domains. Emerging methodologies in the brain sciences have added new perspectives and research‐based approaches to better understand the role the arts might play in learning. Psychologists, cognitive scientists, and now neuroscientists are approaching this topic by exploring memory, sensory systems, and other biological measures. The interdisciplinary and potentially interdependence of these fields to work together to identify the neurological mechanisms involved in the arts may offer educators, parents, and child care providers with important information about how we learning takes place. By bringing together uncommon and divergent thinking from a wide range of disciplines, there is an opportunity to change the way we teach, parent, and serve children using the arts to help enhance learning. This issue of Mind, Brain, and Education celebrates the range of approaches that are emerging to shed light and insight in this field.  相似文献   

16.
Fostering communities of teachers as learners: disciplinary perspectives   总被引：2，自引：2，他引：0  
Education research in learning and teaching has alternated historically between periods in which subject matter disciplines were used as the organizing framework for investigation and implementation, and other periods in which the content areas nearly disappeared in favour of a quest for generic principles of instruction that could transcend disciplinary boundaries. There are few examinations of how these factors interact in the context of specific classroom‐ and pedagogy‐centred school reform. The papers that follow in this issue of JCS examine this issue through the lens of the pedagogic reform, ‘Fostering a Community of Learners’. This introduction outlines the key characteristics of this reform and describes the main issues in subsequent examinations of teachers learning to implement ‘Fostering a Community of Learners’ in science, social studies, English language arts, and mathematics.  相似文献   

17.
In this article a comparison of students’ perceptions of laboratory classes in chemistry and biology is presented. By using the Science Laboratory Environment Inventory (SLEI), pronounced and significant differences between chemistry and biology laboratory environments were found on two of the subscales: ‘Integration’ that describes the extent to which its laboratory activities are integrated with non‐laboratory and classroom learning and ‘Open‐endedness’, a subscale that measures the extent to which the laboratory emphasises an open‐ended, divergent, and an individualised approach to experimentation. It is suggested that the SLEI can be considered as a sensitive tool to measure students’ perceptions of their learning environment in different subject matters during the laboratory work. In this study the SLEI was also used to compare students’ actual and preferred learning environments and to explore gender differences regarding this issue.  相似文献   

18.
ABSTRACT

The ‘learning city’ contains a range of non-formal learning economies. In recent years researchers have focused on, what has been termed, the non-formal arts learning sector, to document best practices, the emergence of new literacies and/or cultural practices, and to highlight interventions that support otherwise marginalised and underserved communities. Yet, for all of this attention, the non-formal learning sector has remained an opaque object, defined by hazy boundaries, diverse programme structures, and a presence in cities that is difficult to grasp. In this paper we develop an account of the non-formal arts learning sector for socially disadvantaged youth by treating it as a ‘socio-technical assemblage’ of the learning city. We draw on data from the Youthsites research project and examine the history, priorities, and tensions in the sector between 1995 and 2015, a period when the youth arts sector has become a significant feature of urban space. We trace the emergence of the sector in three global cities, analyse a series of paradoxes linked to income and property, the labelling of youth, and organisation aims, and show how these paradoxes shape the sector’s broader relationship with the state, labour and consumer markets, and related institutions that allocate support for young people.  相似文献   

19.
Previous studies indicate that ideas related to special education could influence the way arts education is performed and motivated in schools. Further investigation is therefore required in order to raise awareness of how perspectives on inclusion can serve as a starting point for arts education, and vice versa. This article takes it starting point in an ethnographic double case study of arts education practices. Data were collected during the school year 2013/2014 in two Scandinavian schools (for pupils aged 6–13) with an articulated commitment to the arts. The methods used for data collection were observation and interviews. The material was analysed from a phenomenological point of view, and the analysis showed a predominantly holistic view of inclusion in the two schools. Five dimensions of inclusion were identified through the analysis: providing arts education for all, being connected to something larger, allowing access to different forms of expression and communication, establishing preconditions for holistic inclusion, and developing special arts education. The results indicate that these schools have made considerable progress in developing an inclusive arts learning environment. Results also suggest that a holistic inclusive view of education encourages a functional and vivid arts education for ‘all’, both inside and outside the classroom.  相似文献   

20.
Abstract

There seems to be some confusion in the literature regarding what a collection of evidence about teaching should be called. In some instances it is referred to as a ‘profile’ (see for example, Gibbs, 1989), in others a ‘dossier’ (see for example Shore et al, 1986) or portfolio. For simplicity I use the term ‘portfolio’ to describe a collection of data on teaching. A summary of this information can then be used in conjunction with a curriculum vitae and is termed a ‘teaching profile’. This paper will examine some of the current writing on teaching portfolios, and the use of teaching portfolios at the Queensland University of Technology (QUT), Australia. While they are recognized as invaluable dossiers of professional information per se, the author promotes their use, more particularly, as powerful tools for personal, professional development.  相似文献   

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