Pub Date : 2008-02-01DOI: 10.1111/J.1476-8070.2008.00554.X
D. Gall
Teachers need to have a clearer understanding of the dynamic process effecting change in culture and identity if they are to overcome fears about teaching diversity. This article draws on Eastern and Western insights on culture to clarify its dynamic process. In particular, teachers need to be aware of the two phases of culture: in one it appears as an organic integrity that suffers violence when any aspect of it is changed, removed or replaced; in the other it appears as a mechanical assemblage of parts momentarily caught in a particular relationship, comfortable with change. Each moment requires appropriate curriculum planning and pedagogical practice. Crucial to achieving that end is keeping the two phases distinct while exploring and exposing their relationship in culture and identity transformation. This will help a great deal to alleviate teachers’fears about teaching diversity or multiculturalism.
{"title":"Navigating a Way through Plurality and Social Responsibility","authors":"D. Gall","doi":"10.1111/J.1476-8070.2008.00554.X","DOIUrl":"https://doi.org/10.1111/J.1476-8070.2008.00554.X","url":null,"abstract":"Teachers need to have a clearer understanding of the dynamic process effecting change in culture and identity if they are to overcome fears about teaching diversity. This article draws on Eastern and Western insights on culture to clarify its dynamic process. In particular, teachers need to be aware of the two phases of culture: in one it appears as an organic integrity that suffers violence when any aspect of it is changed, removed or replaced; in the other it appears as a mechanical assemblage of parts momentarily caught in a particular relationship, comfortable with change. Each moment requires appropriate curriculum planning and pedagogical practice. Crucial to achieving that end is keeping the two phases distinct while exploring and exposing their relationship in culture and identity transformation. This will help a great deal to alleviate teachers’fears about teaching diversity or multiculturalism.","PeriodicalId":296132,"journal":{"name":"International Journal of Art and Design Education","volume":"58 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2008-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127118554","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2008-02-01DOI: 10.1111/J.1476-8070.2008.00557.X
Laura Trafí
This article reflects on the reading and writing of an art education curriculum for teacher education centred on the biographical and social reconstruction of childhood. The foundations of this curriculum interconnect ideas from different fields like postmodern childhood studies, visual studies, and the performance of subjectivity and memory. This is an interpretative curriculum centred in narrating aesthetic encounters for imagining and producing alternative views of childhood. It stresses the relevance of biographic work in the formation of teaching identities, and constructs dialogues and connections between the private and public discourses of childhood. In this context the family album becomes a powerful resource for visual analysis, cultural critique, and subjective re-construction.
{"title":"A Visual Culture Art Education Curriculum for Early Childhood Teacher Education: Re-Constructing the Family Album.","authors":"Laura Trafí","doi":"10.1111/J.1476-8070.2008.00557.X","DOIUrl":"https://doi.org/10.1111/J.1476-8070.2008.00557.X","url":null,"abstract":"This article reflects on the reading and writing of an art education curriculum for teacher education centred on the biographical and social reconstruction of childhood. The foundations of this curriculum interconnect ideas from different fields like postmodern childhood studies, visual studies, and the performance of subjectivity and memory. This is an interpretative curriculum centred in narrating aesthetic encounters for imagining and producing alternative views of childhood. It stresses the relevance of biographic work in the formation of teaching identities, and constructs dialogues and connections between the private and public discourses of childhood. In this context the family album becomes a powerful resource for visual analysis, cultural critique, and subjective re-construction.","PeriodicalId":296132,"journal":{"name":"International Journal of Art and Design Education","volume":"9 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2008-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127475199","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2007-06-01DOI: 10.1111/J.1476-8070.2007.00531.X
M. Romans
The 1835/6 Select Committee on Arts and Manufactures is generally acknowledged as being the key political event in the establishment of a system of public art and design education in Britain. The immediate outcome of its deliberations was the opening of the Normal School of Design in London in 1837 followed by the steady expansion of the system over the course of the nineteenth century, with art schools being opened in most major towns and cities throughout the country. The Minutes and Report from this Select Committee therefore represent the most important primary source for historians seeking rationales for the introduction of governmentally funded art and design education in Britain. Despite this, the workings of this Select Committee remains under-researched in a number of important directions. This article sets out to look at one of these - namely, the politicians who sat on the 1835/6 Select Committee on Arts and Manufactures.
1835/6年的艺术与制造特别委员会(Select Committee on Arts and manufacture)被普遍认为是英国公共艺术与设计教育体系建立的关键政治事件。其审议的直接结果是1837年在伦敦开设了师范设计学院，随后该系统在19世纪稳步扩张，全国大多数主要城镇和城市都开设了艺术学校。因此，这个特别委员会的会议纪要和报告代表了历史学家寻求在英国引入政府资助的艺术和设计教育的理由的最重要的主要来源。尽管如此，这个特别委员会的工作在一些重要方面仍未得到充分研究。本文将着眼于其中之一，即1835/6年艺术与制造业特别委员会的政治家们。
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Pub Date : 2006-10-01DOI: 10.1111/J.1476-8070.2006.00493.X
Tom Hardy
With the National Foundation for Educational Research concluding that schools which include Contemporary Art Practice (CAP) in their curriculum add significant value to their students' art experience, [1] and at a time when much of the discussion around contemporary art questions the value of the art object itself, this article addresses the question: how are we to engage students with the contemporary and, at the same time, make value judgments of their own work? And, while the professional fine art world subscribes increasingly to the ‘rhizomatic’ [2] template of art processes, how do we square this with current assessment criteria which require that students produce work where the preparation and finished product occupy separate domains and rely on ‘procedures and practices that reach back to the nineteenth century’? [3] By way of a postscript to the inconclusive findings of the Eppi-centre art and design review group [4], this article will also address what we have lost in the drive for domain-based assessment and how to regain some of the ground lost since the introduction of Curriculum 2000.
美国国家教育研究基金会(National Foundation for Educational Research)得出结论，将当代艺术实践(CAP)纳入课程的学校为学生的艺术体验增加了重要的价值，[1]并且在围绕当代艺术的许多讨论质疑艺术品本身价值的时候，本文解决了这个问题:我们如何让学生参与当代艺术，同时对自己的作品做出价值判断?而且，当专业美术世界越来越多地订阅艺术过程的“根茎”[2]模板时，我们如何将其与当前的评估标准相结合?评估标准要求学生创作的作品在准备和成品占据不同的领域，并依赖于“可以追溯到19世纪的程序和实践”?[3]作为对eppi中心艺术与设计审查小组[4]的不确定结果的后记，本文还将讨论我们在基于领域的评估的驱动中失去了什么，以及如何重新获得自课程2000引入以来失去的一些基础。
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Pub Date : 2006-10-01DOI: 10.1111/J.1476-8070.2006.00496.X
K. Walker, J. Parker
This article explores the potential correlation between key aspects of the creative process and the requirements of GCSE Art and Design Specifications as determined and defined by stated assessment objectives. It considers approaches that might be employed to more effectively establish a link between pupils’ creative endeavours and their necessary evidencing of attainment in respect of these objectives. In order to illustrate and amplify this enquiry reference is made to specific examples of candidates' work that was selected by the Assessment and Qualifications Alliance (AQA) to exemplify and disseminate GCSE Art and Design standards for teachers in 2006. It concludes with a set of implications for consideration.
{"title":"GCSE Art and Design: An Arena for Orthodoxy or Creative Endeavour?","authors":"K. Walker, J. Parker","doi":"10.1111/J.1476-8070.2006.00496.X","DOIUrl":"https://doi.org/10.1111/J.1476-8070.2006.00496.X","url":null,"abstract":"This article explores the potential correlation between key aspects of the creative process and the requirements of GCSE Art and Design Specifications as determined and defined by stated assessment objectives. It considers approaches that might be employed to more effectively establish a link between pupils’ creative endeavours and their necessary evidencing of attainment in respect of these objectives. In order to illustrate and amplify this enquiry reference is made to specific examples of candidates' work that was selected by the Assessment and Qualifications Alliance (AQA) to exemplify and disseminate GCSE Art and Design standards for teachers in 2006. It concludes with a set of implications for consideration.","PeriodicalId":296132,"journal":{"name":"International Journal of Art and Design Education","volume":"14 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2006-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127252645","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2006-10-01DOI: 10.1111/J.1476-8070.2006.00492.X
P. Dash
This article addresses the issue of Caribbean cultural under-representation in school art departments. It argues that diasporic subjects are not seen and their cultures not recognised precisely because their contributions to the way we live are indivisible from the mainstream. This in contradistinction to some groups whose cultures and heritages are relatively distinct and separate from Western mores. Our ways of understanding culture do not take this into account. Yet diasporic contributions to the way we live have buttressed Western lifestyles since the beginning of the slave trade. The article argues that this relationship, characterised by multiple entanglements, must be recognised if Caribbean cultural identities are to be seen and valued. In doing so it challenges the way we construct notions of cultural heritage and belonging, and promotes the adoption of more risk-taking pedagogies possibly based on contemporary practices.
{"title":"Heritage, Identity and Belonging: African Caribbean Students and Art Education","authors":"P. Dash","doi":"10.1111/J.1476-8070.2006.00492.X","DOIUrl":"https://doi.org/10.1111/J.1476-8070.2006.00492.X","url":null,"abstract":"This article addresses the issue of Caribbean cultural under-representation in school art departments. It argues that diasporic subjects are not seen and their cultures not recognised precisely because their contributions to the way we live are indivisible from the mainstream. This in contradistinction to some groups whose cultures and heritages are relatively distinct and separate from Western mores. Our ways of understanding culture do not take this into account. Yet diasporic contributions to the way we live have buttressed Western lifestyles since the beginning of the slave trade. The article argues that this relationship, characterised by multiple entanglements, must be recognised if Caribbean cultural identities are to be seen and valued. In doing so it challenges the way we construct notions of cultural heritage and belonging, and promotes the adoption of more risk-taking pedagogies possibly based on contemporary practices.","PeriodicalId":296132,"journal":{"name":"International Journal of Art and Design Education","volume":"47 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2006-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127407031","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2006-05-01DOI: 10.1111/J.1476-8070.2006.00480.X
K. Sayer, Jacquie Wilson, S. Challis
Staff observing undergraduate students enrolled on the BSc Hons Textile Design and Design Management programme in The School of Materials, The University of Manchester, identified difficulties with knowledge retention in the area of constructed textile design. Consequently an experimental pilot was carried out in seamless knitwear design using a Problem Based Learning approach, to determine whether or not this method of learning was more effective for design students. This article investigates the effects of the trial on the student volunteers and documents the shift of focus from teacher to student centred learning. It also outlines plans for future curriculum developments in other areas of constructed textile design.
{"title":"Problem Based Learning in Constructed Textile Design.","authors":"K. Sayer, Jacquie Wilson, S. Challis","doi":"10.1111/J.1476-8070.2006.00480.X","DOIUrl":"https://doi.org/10.1111/J.1476-8070.2006.00480.X","url":null,"abstract":"Staff observing undergraduate students enrolled on the BSc Hons Textile Design and Design Management programme in The School of Materials, The University of Manchester, identified difficulties with knowledge retention in the area of constructed textile design. Consequently an experimental pilot was carried out in seamless knitwear design using a Problem Based Learning approach, to determine whether or not this method of learning was more effective for design students. This article investigates the effects of the trial on the student volunteers and documents the shift of focus from teacher to student centred learning. It also outlines plans for future curriculum developments in other areas of constructed textile design.","PeriodicalId":296132,"journal":{"name":"International Journal of Art and Design Education","volume":"35 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2006-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128217336","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2006-05-01DOI: 10.1111/J.1476-8070.2006.00479.X
Tara Page, Steve Herne, P. Dash, Helen Charman, Dennis Atkinson, Jeff Adams
The Education Departments of Tate Modern and Goldsmiths College collaborated with a group of teachers to find out what they understood by the term ‘contemporary art’ and to discover the conditions that enable contemporary art practices in the classroom. We explored questions with eleven teachers, from both primary and secondary schools, during the Autumn of 2004. Although the cultural/ethnic context of the schools the teachers worked within was diverse, they shared a commitment to working with contemporary art in the classroom and exploring new pedagogies in this field. Their engagement with contemporary art and their revealing and compelling experiences are documented, contextualized and summarized. Samples of the discussions form the substance of this article. This is preceded by an analysis of the success of socially-orientated contemporary art in the wider global context and its contrast with the omission of these practices in many schools. Conclusions have been tentatively drawn about how the curriculum may be better served by the use of contemporary art, as well as the means by which new learning methods may be facilitated.
{"title":"Teaching Now with the Living: A Dialogue with Teachers Investigating Contemporary Art Practices","authors":"Tara Page, Steve Herne, P. Dash, Helen Charman, Dennis Atkinson, Jeff Adams","doi":"10.1111/J.1476-8070.2006.00479.X","DOIUrl":"https://doi.org/10.1111/J.1476-8070.2006.00479.X","url":null,"abstract":"The Education Departments of Tate Modern and Goldsmiths College collaborated with a group of teachers to find out what they understood by the term ‘contemporary art’ and to discover the conditions that enable contemporary art practices in the classroom. We explored questions with eleven teachers, from both primary and secondary schools, during the Autumn of 2004. Although the cultural/ethnic context of the schools the teachers worked within was diverse, they shared a commitment to working with contemporary art in the classroom and exploring new pedagogies in this field. Their engagement with contemporary art and their revealing and compelling experiences are documented, contextualized and summarized. Samples of the discussions form the substance of this article. This is preceded by an analysis of the success of socially-orientated contemporary art in the wider global context and its contrast with the omission of these practices in many schools. Conclusions have been tentatively drawn about how the curriculum may be better served by the use of contemporary art, as well as the means by which new learning methods may be facilitated.","PeriodicalId":296132,"journal":{"name":"International Journal of Art and Design Education","volume":"36 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2006-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125749714","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2006-05-01DOI: 10.1111/J.1476-8070.2006.00481.X
Olga M. Hubard
This article explores the way young people's responses to an image evolve when they engage with it repeatedly. An analysis of the sequential encounters of six adolescents with a Renaissance painting reveals that, as they gained experience with the picture, the youngsters probed for increasingly deeper layers of meaning in the work. Specifically, on their second encounter with the painting, the students showed greater sensitivity to visual information, and they incorporated their own experiences and knowledge into the meaning-making process more actively than on their first encounter. This study also shows that, once the participants had established a relationship with the artwork on their own terms, they seemed eager to discover contextual information about it. However, far from accepting this information as ‘authority’, the young viewers considered it critically and used it to deepen, expand and revise their personal visions of the painting.
{"title":"‘We've Already Done that One’: Adolescents' Repeated Encounters with the Same Artwork","authors":"Olga M. Hubard","doi":"10.1111/J.1476-8070.2006.00481.X","DOIUrl":"https://doi.org/10.1111/J.1476-8070.2006.00481.X","url":null,"abstract":"This article explores the way young people's responses to an image evolve when they engage with it repeatedly. An analysis of the sequential encounters of six adolescents with a Renaissance painting reveals that, as they gained experience with the picture, the youngsters probed for increasingly deeper layers of meaning in the work. Specifically, on their second encounter with the painting, the students showed greater sensitivity to visual information, and they incorporated their own experiences and knowledge into the meaning-making process more actively than on their first encounter. This study also shows that, once the participants had established a relationship with the artwork on their own terms, they seemed eager to discover contextual information about it. However, far from accepting this information as ‘authority’, the young viewers considered it critically and used it to deepen, expand and revise their personal visions of the painting.","PeriodicalId":296132,"journal":{"name":"International Journal of Art and Design Education","volume":"80 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2006-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124094389","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2006-02-01DOI: 10.1111/J.1476-8070.2006.00465.X
Dennis Atkinson
This article begins with a brief summary of the findings of a recent research project that surveyed the content of the art curriculum in a selection of English secondary schools. The research findings suggest a particular construction of pedagogised subjects and objects rooted in ideas of technical ability and skill underpinned by a transmission model of teaching and learning. Drawing upon psychoanalytic and social theory reasons for passionate attachments to such curriculum identities are proposed, when in the wider world of art practice such identities were abandoned long ago. Working with the notion of the subordination of teaching to learning and the difficulties of initiating curriculum practices within increasingly complex social contexts, the article argues for learning through art to be viewed as a productive practice of meaning-making within the life-worlds of students. The term, ‘encounters of learning’ is employed to sketch a pedagogical quest in which an ethics of learning remains faithful to the truth of the learning event for the student.
{"title":"School Art Education: Mourning the Past and Opening a Future","authors":"Dennis Atkinson","doi":"10.1111/J.1476-8070.2006.00465.X","DOIUrl":"https://doi.org/10.1111/J.1476-8070.2006.00465.X","url":null,"abstract":"This article begins with a brief summary of the findings of a recent research project that surveyed the content of the art curriculum in a selection of English secondary schools. The research findings suggest a particular construction of pedagogised subjects and objects rooted in ideas of technical ability and skill underpinned by a transmission model of teaching and learning. Drawing upon psychoanalytic and social theory reasons for passionate attachments to such curriculum identities are proposed, when in the wider world of art practice such identities were abandoned long ago. Working with the notion of the subordination of teaching to learning and the difficulties of initiating curriculum practices within increasingly complex social contexts, the article argues for learning through art to be viewed as a productive practice of meaning-making within the life-worlds of students. The term, ‘encounters of learning’ is employed to sketch a pedagogical quest in which an ethics of learning remains faithful to the truth of the learning event for the student.","PeriodicalId":296132,"journal":{"name":"International Journal of Art and Design Education","volume":"87 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2006-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"119481001","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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