Drawing and the Aestheticisation of the Human Figure by Four‐ to Ten‐Year‐Old Botswana Children: Implications for Pedagogy     

Magdeline Chilalu Mannathoko  Attwell Mamvuto 《The International Journal of Art & Design Education》2019,38(2):376-386

Drawing is one of children's modes of communication which has recently excited academic inquiry in non‐Western cultures. It is the means through which children express their fears, desires, anxieties and conception of phenomena. This study investigated drawings by four‐ to ten‐year‐old Botswana children in response to the human figure as an aesthetic object. The methodology involved observing a sample of forty purposively selected children engaged in the drawing process and analysing their visual productions in addition to conversational talk about their art. The study found that the human figure was the dominant aesthetic subject across ages represented in both conventionalised form and personalised imagery. Older children showed interest in culture specific imagery and demonstrated mastery of occlusion and depth cues, while four‐year‐old children had limited spatial awareness. The study also found that children demonstrated gradual improvement of drawing skills with age. There was no significant difference in drawing competence between sexes. Pedagogical implications are suggested to scaffold children through the stages of art development.  相似文献   

Visual Arts and Art Education in Zimbabwe Since the 1999 Presidential Commission of Inquiry into Education and Training (CIET) Report     

Attwell Mamvuto 《Teaching Artist Journal》2019,17(1-2):34-44

African art education discourse is deeply enshrined in community visual arts and its programming. This article is an analytical narrative documentation of anecdotal historical debate on art education in Zimbabwe. The referential data-based entry provides a historical analysis of the evolution of art education and its programming as a post-CIET phenomenon. The CIET observations provide points of departure for continued debate on achievements and areas requiring further interrogation in art education and community visual arts in Zimbabwe. I conclude by coining a road map for art education in the quest for comparable programming against regional and international best practices.  相似文献