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1.
Janet Mansfield 《Education 3-13》2013,41(2):155-166
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
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Frances Howard 《The International Journal of Art & Design Education》2020,39(3):672-685
Art education is often praised for its engaging programmes and inclusive pedagogies, with many initiatives created with the intention of widening access for those who are deemed to be lacking. This article investigates one such programme – the young people’s Arts Award, which is a nationally recognised qualification for young people aged 11–25. I call upon a range of pedagogies in order to critique the Arts Award within the context of informal and alternative education settings in the United Kingdom. Drawing on a 12‐month ethnographic study, the research was conducted across five diverse programmes which included youth work projects and alternative provision. I present two cases – ‘learning to be an artist’ and ‘learning to behave’ – which demonstrate a hierarchy of pedagogy in the application of this programme across these particular contexts. Artists’ Signature Pedagogies are used as an analytical framework to explore the affordances of working with artists through the programme. Further, I engage with the Pedagogy of Poverty to demonstrate that young people who were classified as ‘dis‐engaged’ were more likely to receive lower quality programmes, low‐level work and over‐regulated teaching. I argue that despite changes to the ways that young people access art education, there continues to be unequal opportunities. This finding is significant for not only creative practitioners and youth arts workers, but also arts education policy makers and programmers. 相似文献
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Yvonne Robinson Anna Paraskevopoulou Sumi Hollingworth 《British Educational Research Journal》2019,45(6):1203-1219
Creativity has become the new watchword in UK academic and policy circles. Within this context, policy discussions about the arts and their impact emphasise economic benefits over educational value, drawing clear distinctions between quantifiable or ‘hard’ measures of impact and those described as ‘soft’, less tangible and lacking a strong evidence base. Departing from the binary logics often underpinning notions of arts impacts, this article is novel in exploring the entwined relationship between impacts seen as ‘hard’ and ‘soft’. We draw on research examining the links between arts education and young people's future trajectories and use the concept of ‘active citizenship’ to show how informal, softer skills fostered through creative learning are an important part of citizenship-making for some young people. Participants’ accounts show how improvements in soft skills can give young people opportunities for agency, which shape progression pathways leading to measurable change. This finding is directly relevant in the context of evaluations of arts impacts in the UK and abroad, and should encourage further examination of the impact of creative learning on transfer of skills as well as policy developments in this area. 相似文献
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Jacqui Gabb 《Sex education》2013,13(1):19-34
Sexuality is something that children experience from an early age. It may be a cause of individual concern and anxiety, but is seldom, if ever, deconstructed at any stage of a child's education. Institutionalized fear and misunderstandings of Section 28 (1988) have effectively removed discussion of sexuality, homosexual or otherwise, from the English school curriculum. This structural silence on sexuality is all too frequently repeated at home. In this article I interrogate how children from lesbian parent households ‘learn’ about sexuality, looking at the effects of their parents' (homo)sexual orientation on their ‘sexuality education’. I consider how sex education is taught in schools; what children traditionally ‘learn’ about sexuality. I then look at whether sexuality education is any different for children from lesbian parent families; whether these children have greater sexuality knowledge, and, if so, how this has been ‘learnt’. I suggest that it may be the ambient presence of sexuality—as both a topic of conversation and mothers' unspoken sexual identity—that means lesbian parent families offer a distinctive form of sexuality education. This article draws on empirical research on sexuality and lesbian parent families with lesbian parent families who lived in the Yorkshire region, UK. 相似文献
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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
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《Educational Philosophy and Theory》2013,45(4):336-350
Creativity: what might this mean for art and art educators in the creative economies of globalisation? The task of this discussion is to look at the state of creativity and its role in education, in particular art education, and to seek some understanding of the register of creativity, how it is shaped, and how legitimated in the globalised world dominated by input‐output, means‐end, economically driven thinking, expectations and demands. With the help of Heidegger some crucial questions are raised, such as: How can art maintain its creative ontological and epistemological potential in the creative economies of globalisation? Is it possible for art and the creative arts to act as a process of ‘revealing’ and ‘becoming’ and ‘throwing light’ on the world while working within the market economies of innovation and entrepreneurship where creativity has become a generalised discourse? What matters in this discussion is to find a way to argue for the sustainability of art education as a creative mode of enquiry through which self and the world may be better understood, identity might be realised as difference and being‐in‐time might be possible. 相似文献
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Fred Dervin 《欧洲师范教育杂志》2015,38(1):71-86
The ‘intercultural’ is now omnipresent in most departments of teacher education in Europe and elsewhere. It can be implemented under the guise of, amongst others, multicultural, transcultural, global and/or development education. In this paper, I problematise post-intercultural teacher education. The context of this study is that of Finnish education. Famed worldwide for its ‘miraculous’ educational system, Finland is rarely talked about for dealing with diversities in education. In this article, I explore the impact of a course on ‘multicultural education’ given to a cohort of ‘local’ and international student teachers studying to become Newly Qualified Teachers. I taught the course myself and decided that since only 8?h would be devoted to the issue of interculturality, the course would have to help the students to learn to develop quickly critical competences towards the many and varied approaches to diversities that are ‘available on the market’. The methodology rests on the use of a documentary on ‘extreme’ intercultural dialogue that the students discussed at the end of the course. Set in Israel, the documentary follows a class in a multicultural school in Tel Aviv during the second Gaza War in 2008–2009. I hypothesise that the documentary, which is often conflictual, would help me to evaluate the students’ learning and how they discuss and problematise such a case of ‘intercultural dialogue’ in education and relate it to their future practice. 相似文献
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Steven A. Stolz 《Discourse: Studies in the Cultural Politics of Education》2016,37(3):358-368
This paper critically discusses MacIntyre's thesis that education is essentially a contested concept. In order to contextualise my discussion, I discuss both whether rival educational traditions of education found in MacIntyre's work – which I refer to as instrumental and non-instrumental justifications of education – can be rationally resolved using MacIntyre's framework, and whether a shared meaning of education is possible as a result. I conclude that MacIntyre's synthesis account is problematic because the whole notion that there are rationally negotiable ways in which to compromise or harmonise opposing justifications of education found in instrumental and non-instrumental forms of education is troubling – the reason being that these are cultural disagreements about human flourishing that are not neutral-free, and due to a lack of care distinguishing between the common uses of the term ‘education’, and its looser usages to mean something like school learning that embraces a range of aims and goals that are often incompatible. In this light, it is argued that the contestability card has been unnecessarily overemphasised, and brings to our attention the complex ways in which we interpret education and what it means to be educated. 相似文献
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Alex Kendall 《Literacy》2008,42(3):123-130
In this paper I will argue that while young adult readers may often be represented through ‘othering’ discourses that see them as ‘passive’, ‘uncritical’ consumers of ‘low‐brow’, ‘throw‐away’ texts, the realities of their reading lives are in fact more subtle, complex and dynamic. The paper explores the discourses about reading, identity and gender that emerged through discussions with groups of young adults, aged between 16 and 19, about their reading habits and practices. These discussions took place as part of a PhD research study of reading and reader identity in the context of further education in the Black Country in the West Midlands. Through these discussions the young adults offered insights into their reading cultures and the ‘functionality’ of their reading practices that contest the kinds of ‘distinction[s]’ that tend to situate them as the defining other to more ‘worthy’ or ‘valuable’ reading cultures and practices. While I will resist the urge to claim that this paper represents the cultures of young adult readers in any real or totalising sense I challenge the kinds of dominant, reductive representations that serve to fix and demonise this group and begin to draw a space within which playfulness and resistance are alternatively offered as ways of being for these readers. 相似文献
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AbstractMetaphors help us understand a concept by resorting to the imaginary because it is sometimes difficult to do so through the use of words alone. Thinkers have made use of metaphors to not only describe ‘falling in love’, ‘the pain of losing someone dear to us’, but also to describe particular concepts both in arts and sciences. In fact, the use of metaphors in some disciplines, particularly the sciences, is now regarded as something essential for the development of the field. We note that influential philosophers of education, such as Martin Buber, Paulo Freire, Michael Apple, Gert Biesta and Ilan Gur-Ze’ev have also made use of metaphors to discuss education and specific issues in educational contexts. In this article, we do two things: (i) we discuss the methodological importance of metaphors in helping us make better sense of concepts and particular problems; (ii) building on this methodological discussion, we critically discuss the problems posed by the current processes of ‘marketisation’ and ‘learnification’ in education. We conclude by arguing that metaphors do not provide us with ultimate answers to the problems we face; rather, they help us unveil a diversity of novel perspectives and a world of new possibilities. 相似文献
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LARS LINDSTROM 《The International Journal of Art & Design Education》1994,13(2):189-201
‘What is art for?’ This provocative question was the motto of the 31st Annual Convention of the National Art Education Association (NAEA) held in Atlanta, Georgia, 1991. As a visiting scholar for a semester at Harvard Project Zero, I had rich opportunities to study art education programmes in higher education and public schools all over the United States. As a consequence, I felt complelled to reformulate the NAEA question, and ask ‘What is art education for?’ This essay argues for the importance of understanding and meaning-making in art education. It starts with a review of some common rationales for the teaching of art that stress both the alleged ability of the arts to promote ‘good’– i.e. creative, harmonious, and civilised – characters and the instrumental value of the arts as a means of communication. These rationales are then evaluated within the context of Nelson Goodman's philosophy, which emphasises the primary role of curiosity in the arts. The following two sections discuss the rationales, contributions and limitations of two art programmes that are currently being carried out in the United States: Arts PROPEL and Discipline-Based Art Education (DBAE). Arts PROPEL has introduced long-term, open-ended projects that integrate production (making) with perception (learning to ‘read’ art works and observe the world closely) and reflection (thinking about one's work and the works of others). The DBAE curricula are sequentially organised and integrate content from the disciplines of art creation, art criticism (learning what to look for and how to interpret), art history (studying contexts and alternatives of taste and style), and aesthetics (building a personal philosophy of art). In the final section, Arts PROPEL and DBAE are compared. In the context of previous rationales for the teaching of art, the similarity in aims of these programmes stand out as more important than the differences in approach. Neither do these programmes overstate the humanising power of art, nor do they focus on visual literacy per se. Instead, both programmes emphasise the role of reflection, interpretation, and understanding in art. Productive and analytic art activities are used as important vehicles in making sense of the world and of ourselves. It is concluded that Arts PROPEL and DBAE offer promising and supplementary approaches to promote curiosity and to teach art for the sake of understanding. 相似文献
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Carla Rice Eliza Chandler Kirsty Liddiard Jen Rinaldi Elisabeth Harrison 《Gender and education》2018,30(5):663-682
Project Re?Vision uses disability arts to disrupt stereotypical understandings of disability and difference that create barriers to healthcare. In this paper, we examine how digital stories produced through Re?Vision disrupt biopedagogies by working as body-becoming pedagogies to create non-didactic possibilities for living in/with difference. We engage in meaning making about eight stories made by women and trans people living with disabilities and differences, with our interpretations guided by the following considerations: what these stories ‘teach’ about new ways of living with disability; how these stories resist neoliberalism through their production of new possibilities for living; how digital stories wrestle with representing disability in a culture in which disabled bodies are on display or hidden away; how vulnerability and receptivity become ‘conditions of possibility’ for the embodiments represented in digital stories; and how curatorial practice allows disability-identified artists to explore possibilities of ‘looking back’ at ableist gazes. 相似文献
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Jessica Gerrard 《Critical Studies in Education》2018,59(2):204-217
Contemporary campaigns for public education rest upon an assumption that public schools are fundamental to an equitable and inclusive society. In this paper, I reflect on this presumption by exploring the inherent tensions of the meaning and practice of ‘public’ education, especially when the ‘public’ in public schooling is linked to political contestation and change in relation to the nation state. In particular, this discussion considers the ways in which the contemporary heightened racial politics of fear of ‘Muslim radicalisation’ structures the ways in which the state creates boundaries surrounding ‘public’ schooling. Here, analysis of recent governmental attempts to addresses the concern of ‘radicalisation’ in schools reveals the difficulties the nation state faces in defining what exactly is the ‘public’, and demonstrates how the politics of race and fear become overarching logics in the constitution of the Australian ‘public’. These logics risk creating exclusions and boundaries in public schooling, which, I argue here, have repercussions for the defence and claim to public education more broadly. 相似文献
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Angela Eckhoff 《Early Childhood Education Journal》2013,41(5):365-372
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
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Adam Saifer Rubén Gaztambide-Fernández 《British Journal of Sociology of Education》2017,38(8):1190-1202
The neoliberal turn in public education positions the parent as a consumer within an expanding educational marketplace. This shift is premised on the notion that the free market is best suited to promote equity. Critics of this claim highlight how a larger choice arena creates additional opportunities for privileged parents to mobilize their resources to further their child’s advantages. While extremely important, this framework of analysis ignores the role that educational choice plays in producing parent subjectivities. In this article, we explore how parents at one specialized arts high school construct notions of the ‘good/moral’ parent around the decision to ‘choose the arts,’ and how these categories work to reinforce dominant race, class, and gender hierarchies within the school. We hope to illuminate how educational choice is not solely about shaping the material and symbolic conditions of the child; it is about producing parent subjectivities as well. 相似文献
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Martin Blok Johansen 《The International Journal of Art & Design Education》2020,39(1):126-138
In this article, taking three selected works by the Danish artist Julie Nord as my point of departure, I will analyse and discuss the role of art in educational theory and practice. In this analysis and discussion I present two concepts, ‘resistance’ and ‘undecidability’, which are rooted in the theories of Dutch professor of education and director of research Gert Biesta and the French philosopher Jacques Derrida, respectively. The two concepts are used to analyse the three works of art and then come to grips with the empirical part of the study. The empirical part explores how a Danish fifth‐grade class (ages 11–12) interacts with works of art characterised by these very things, resistance and undecidability. The point the article makes is that it is not always what is easy and unambiguous that offers the best conditions for learning and gives school pupils a desire to learn. Rather it is often what is full of resistance and is difficult to decipher and understand. 相似文献
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《课程研究杂志》2012,44(6):815-826
In this paper I discuss some aspects of recent scholarship on rhetoric and the curriculum, making a distinction between approaches that use insight from rhetoric to analyse formal and informal curricula and approaches that develop programmatic suggestions for the conduct of education. In the paper I deploy an educational perspective which I distinguish from a perspective that sees education mainly as a process of the socialization of individuals into existing social, cultural and political ways of doing and being. I focus on three aspects of the discussion: the conceptions of education that are being used in the discussion and, more specifically, the way in which the rhetorical approach is connected to the ideas of paideia and Bildung; the particular understanding of language in the rhetorical approach to the curriculum; and the question whether the rhetorical curriculum should be understood in terms of empowerment or in terms of emancipation. I argue for a more consistent and more radical adoption of insights from rhetorical scholarship in order to make the rhetorical curriculum more educational and more politically aware. I capture this with the idea of becoming ‘world-wise’ as an alternative for the idea that the rhetorical curriculum should contribute to making students ‘symbol-wise’. 相似文献