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Sámi Re-Imaginings of Equality in/through Extracurricular Arts Education in Finland Sámi芬兰课外艺术教育中平等的再想象
IF 0.6 Q1 Arts and Humanities Pub Date : 2018-04-08 DOI: 10.18113/P8IJEA1907
A. Kallio, Hildá Länsman
The Indigenized arts-based inquiry reported in this article addresses matters of equality in Finland’s extracurricular arts education system, as experienced by Indigenous Sami artists, arts educators, scholars, and community leaders. Challenging national narratives of cultural homogeneity and egalitarianism, this research identifies aspects of this publicly-funded arts education system that function to create, or perpetuate inequality for Sami learners. Employing narrative and joik as analysis approaches, we reflect upon these processes of exclusion in order to envision new possibilities for this national arts education system to not only accommodate Sami learners, but to learn from and together with Indigenous arts, pedagogies, onto-epistemologies and ways of being to enhance equality for all.
本文报道的基于本土化艺术的调查涉及芬兰课外艺术教育系统中的平等问题,正如萨米土著艺术家、艺术教育工作者、学者和社区领袖所经历的那样。这项研究挑战了文化同质性和平等主义的国家叙事,确定了这一公共资助的艺术教育系统的某些方面,这些方面的作用是为萨米语学习者创造或延续不平等。采用叙事和joik作为分析方法,我们反思了这些排斥过程,以便设想国家艺术教育系统的新可能性,不仅能容纳萨米人的学习者,还能从土著艺术、教育学中学习,并与土著艺术、教学学一起学习认识论和存在方式,以增强所有人的平等。
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引用次数: 9
Cross-Curricular Teaching Going Forward: A View from "Strange Fruit". 面向未来的跨课程教学:从《奇葩》看。
IF 0.6 Q1 Arts and Humanities Pub Date : 2018-02-10 DOI: 10.18113/P8ijea1904
J. Esteve-Faubel, T. Martin, Ma Junda
“Strange Fruit”, a song popularized by Billie Holiday in 1939, paints a gruesome picture of racial violence suffered by former African-American slaves following Reconstruction, 1863-1877 (Foner, 2011). While many scholars have analyzed the lyrics of “Strange Fruit”, research that focuses on young people’s reaction to the song is scarce. This study explores the impact of Holiday’s performance of the song on students at a New England Research University. Institutional survey software was used to create an online questionnaire that participants (n= 40) answered in a controlled environment. The findings indicate feelings of disgust, anger, shame and IJEA Vol. 19 No. 4 http://www.ijea.org/v19n4/ 2 sadness after participants listened to “Strange Fruit”. Although few students could indicate the song’s time-period, many recognized the atrocities committed against African-Americans since slavery and the discrimination that continues. “Strange Fruit”, irrespective of whether the participants knew the background of the song, provokes a powerful reaction against racial violence, one which demonstrates the song’s value as a cross-curricular pedagogical tool for developing transversal competences linked to socially desirable values and principles.
Billie Holiday于1939年流行的歌曲《奇异的果实》描绘了1863-1877年重建后前非裔美国奴隶遭受种族暴力的可怕画面(Foner,2011)。虽然许多学者对《奇异果》的歌词进行了分析,但关注年轻人对这首歌的反应的研究却很少。这项研究探讨了Holiday演唱这首歌对新英格兰研究型大学学生的影响。机构调查软件用于创建在线问卷,参与者(n=40)在受控环境中回答。这些发现表明了厌恶、愤怒、羞耻和IJEA第19卷第4期http://www.ijea.org/v19n4/2参与者听了《奇异果》后的悲伤。尽管很少有学生能说出这首歌的时间段,但许多人认识到奴隶制以来对非裔美国人犯下的暴行以及持续存在的歧视。无论参与者是否知道这首歌的背景,《奇异果》都会引发对种族暴力的强烈反应,这表明了这首歌作为一种跨课程教学工具的价值,可以培养与社会理想价值观和原则相关的横向能力。
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引用次数: 2
Challenging Fiction: Exploring Meaning-Making Processes in the Crossover Between Social Media and Drama in Education 挑战小说:探索教育中社交媒体与戏剧交叉的意义制造过程
IF 0.6 Q1 Arts and Humanities Pub Date : 2018-02-10 DOI: 10.18113/P8IJEA1901
Kristian Nødtvedt Knudsen
The aim of this study was to explore how meaning-making activity can be expressed and shaped in the crossover between drama in education and social media. This study concerns the use of empirical material from an educational drama project called #iLive, which was designed and implemented, on four different occasions with a total of 89 students from upper secondary schools in Norway in autumn 2015. The results indicated that operating in the crossover between drama and social media was a way of challenging the aesthetic qualities of drama in education. For instance, it was found that the way in which social media simultaneously frames several platforms for social interaction and blurs the boundaries between fiction and reality was different from working with fiction in relation to the teaching and learning of drama. Meaning-making processes in educational drama often tend to mediate through the vehicle of fiction by asking questions like what is the play really about? Such challenges, and the fresh IJEA Vol. 19 No. 1 http://www.ijea.org/v19n1/ 2 questions that were raised as part of the project, led me to the philosopher Jacques Rancière’s “aesthetic regime” (2004) and his notion of dissensus. In the analysis, I adapted his theory as a theoretical framework for the discussion of how social media can revitalise the teaching and learning of drama. Based on this, I suggest that meaning-making processes in the crossover between drama and social media can be described as transformative, in that they redistribute and re-negotiate fragments of fiction or reality, and involve border-crossing activities between the notions of art and non-art.
本研究的目的是探索如何在教育戏剧和社交媒体的交叉中表达和塑造意义创造活动。本研究涉及一个名为#iLive的教育戏剧项目的实证材料的使用,该项目于2015年秋季在四个不同的场合对挪威高中的89名学生进行了设计和实施。研究结果表明,在戏剧与社交媒体的交叉中运作是一种挑战教育中戏剧审美品质的方式。例如,研究发现,社交媒体同时构建几个社交平台并模糊小说和现实之间的界限的方式,与在戏剧教学中使用小说的方式不同。教育剧中的意义制造过程往往倾向于通过小说的载体进行调解,比如问这个剧到底是关于什么的?这些挑战,以及新的IJEA第19卷第1期http://www.ijea.org/v19n1/作为该项目的一部分,我提出了两个问题,这让我想到了哲学家雅克·兰齐埃的“美学制度”(2004年)和他的异议概念。在分析中,我将他的理论作为讨论社交媒体如何振兴戏剧教学的理论框架。基于此,我认为戏剧和社交媒体交叉的意义制造过程可以被描述为变革性的,因为它们重新分配和协商小说或现实的片段,并涉及艺术和非艺术概念之间的跨界活动。
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引用次数: 6
"Content without Context Is Noise": Looking for Curriculum Harmony in Primary Arts Education in Western Australia. “没有语境的内容就是噪音”:寻找西澳大利亚小学艺术教育的课程和谐。
IF 0.6 Q1 Arts and Humanities Pub Date : 2018-02-10 DOI: 10.18113/P8IJEA1902
S. Chapman, P. Wright, R. Pascoe
Arts education in Western Australian primary schools consist of learning opportunities outlined by mandated curriculum. However, assumptions underlying this curriculum involving access, resources and support impact schools’ capacity to implement the curriculum without them being adequately addressed by the written curriculum. Drawing on the policy enactment theory of Ball, Maguire, and Braun (2012), four contextual variables (situated contexts, professional cultures, material contexts and external factors) are used to highlight the differences between the written published curriculum and the implemented, practised curriculum. Drawing on interviews with 24 participants across four schools issues of geographic location, use of arts specialists, appropriate learning spaces and the stresses associated with mandated literacy and numeracy testing are reported as contextual pressures by this study. This paper details the disruptive interference of these contextual pressures that we describe as ‘noise’. The provision of a better understanding of this contextual landscape brings schools and teachers away from the ‘noise’ of disruption and closer to curriculum harmony.
西澳大利亚州小学的艺术教育包括强制性课程规定的学习机会。然而,该课程的基本假设涉及机会、资源和支持,影响了学校实施课程的能力,而书面课程没有充分解决这些问题。根据Ball、Maguire和Braun(2012)的政策制定理论,使用四个情境变量(情境情境、职业文化、物质情境和外部因素)来强调书面出版课程与实施的实践课程之间的差异。根据对四所学校24名参与者的采访,地理位置、艺术专家的使用、适当的学习空间以及与强制性识字和算术测试相关的压力等问题被本研究报告为背景压力。本文详细介绍了这些语境压力的破坏性干扰,我们称之为“噪音”。更好地理解这一背景景观,使学校和教师远离混乱的“噪音”,更接近课程和谐。
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引用次数: 7
The Everydayness of Tina: An Introduction 蒂娜的日常生活:简介
IF 0.6 Q1 Arts and Humanities Pub Date : 2018-01-01 DOI: 10.18113/P8IJEA19SI01
Kristine E. Sunday
This Article is brought to you for free and open access by the Teaching & Learning at ODU Digital Commons. It has been accepted for inclusion in Teaching & Learning Faculty Publications by an authorized administrator of ODU Digital Commons. For more information, please contact digitalcommons@odu.edu. Repository Citation Sunday, Kristine, "The Everydayness of Tina: An Introduction" (2018). Teaching & Learning Faculty Publications. 77. https://digitalcommons.odu.edu/teachinglearning_fac_pubs/77
本文由ODU数字共享资源的教学与学习免费提供给您。它已被ODU数字共享的授权管理员接受,并被纳入教学与学习学院出版物。欲了解更多信息,请联系digitalcommons@odu.edu。库引用周日,克里斯汀,“蒂娜的日常:介绍”(2018)。《教学与学习》。https://digitalcommons.odu.edu/teachinglearning_fac_pubs/77
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引用次数: 0
An A/r/tographic Inquiry of a Silenced First Nation Ancestry, Hauntology, G(hosts) and Art(works): An Exhibition Catalogue. 一个沉默的第一民族祖先的A/r/地理调查,鬼屋学,G(主机)和艺术(作品):展览目录。
IF 0.6 Q1 Arts and Humanities Pub Date : 2016-11-17 DOI: 10.20381/ruor-6683
G. Cloutier
As a hauntological artist, I deconstruct my silenced First Nation Wolastoqiyik (Maliseet) ancestry and look towards the intergenerational narratives of my grandmother, mother, and I. Employing the methodology of a/r/tography, the intersection of autobiography and art-making, I utilize diverse art forms to find that g(hosts) reside amongst spaces of liminality. Supported by the methodology of a/r/tography and drawing upon works, which blur the boundary between past and present, self and other, I deconstruct the silencing of my First Nation lineage by creating three art(works). These art(works) are placed within an exhibition catalogue and inquire into 1) the specters that loom between the evocative objects of our narratives, 2) how script-writing and the script’s performance can reveal ghosts in IJEA Vol. 17 No. 30 http://www.ijea.org/v17n30/ 2 spaces of liminality, and 3) how sculptures facilitate spectral movement. Each individual art(work) plays a role in breaking the silence. A(wake), specters arise. When I was a child, people often asked me if I was First Nation or “an Indian”. I suppose it was because my skin was darker. I practically lived outside. Sun drenched, my hair was long, going down to my elbows, at times. In response though, I always told them that there was no relation. When I was ten years old, a neighbour brought me to the Odawa Pow Wow. I remember dancing in the circle with everyone. I remember flowing bodies, the trees, the campsite around us, the feathers, the beading–the sense that people were coming together to experience this relationality as drumming and dancing filled the space with colour and movement. The circle was alive with the dynamic motion that everybody brought forth. I thought about the experience a lot afterwards, and grew up to have an expanding interest in Aboriginal knowledge and education. Then, in 2007 as I was making a film with my grandmother and mother, I learned that my grandmother’s grandfather was First Nation. I learned that my grandmother only found out when she was thirty years old, that the ancestry was silenced by the family. I knew a lot about First Nations history, the historical Cloutier: An A/r/tographic Inquiry 3 trauma that comes with it, but I was not prepared to be so close to that history. How was I to proceed? My great great grandfather was born of the Wolastoqiyik (Maliseet) Peoples. As an a/r/tographer (Irwin, 2004; Irwin & de Cosson, 2004; Springgay, Irwin, & Kind, 2005; Springgay, Irwin, Leggo, & Gouzouasis, 2008), I am struck by a destabilizing hauntology, a haunted (non)presence whereupon the past permeates the present (Derrida, 1994). Workingtowards breaking the silence through art, I consider what is outside language and objects to find that ghosts reside amongst spaces of liminality. Intergenerational narratives concerning a silenced First Nation ancestry are deconstructed within a continuum of time that connects the past with the present, and into the future. A silencing sti
作为一名鬼魂艺术家,我解构了我沉默的第一民族沃拉斯托奇伊克(Maliseet)祖先,并寻找我祖母、母亲和我的代际叙事。我采用了a/r/地理学的方法,自传和艺术创作的交叉点,我利用不同的艺术形式来寻找g(宿主)居住在有限的空间中。我以a/r/tography的方法论为支撑,以模糊过去与现在、自我与他者界限的作品为素材,通过创作三件艺术作品,解构了我的第一民族血统的沉默。这些艺术(作品)被放置在一个展览目录中,并探讨1)在我们叙述的唤起对象之间隐约出现的幽灵,2)剧本写作和剧本表演如何揭示IJEA Vol. 17 No. 30 http://www.ijea.org/v17n30/ 2 liminality空间中的幽灵,以及3)雕塑如何促进幽灵的运动。每一件单独的艺术(作品)都在打破沉默中发挥着作用。一觉醒来,幽灵就出现了。当我还是个孩子的时候,人们经常问我是“第一民族”还是“印第安人”。我想是因为我的皮肤比较黑。我几乎是住在外面。阳光普照,我的头发很长,有时垂到手肘。作为回应,我总是告诉他们没有关系。当我十岁的时候,一个邻居带我去了小田瓦仪式。我记得我和大家一起在圆圈里跳舞。我记得流动的身体、树木、我们周围的营地、羽毛、串珠——人们聚在一起体验这种关系的感觉,鼓声和舞蹈使空间充满了色彩和运动。由于大家的活跃,整个圈子都活跃起来了。后来我对这段经历思考了很多,长大后对原住民知识和教育的兴趣越来越大。然后,在2007年,当我和我的祖母和母亲一起拍摄一部电影时,我了解到我祖母的祖父是第一民族。我了解到,我的祖母直到30岁时才发现,她的祖先被家人沉默了。我知道很多关于第一民族的历史,历史上的克鲁迪尔:与之相伴随的a /r/地理调查3创伤,但我没有准备好如此接近这段历史。我该怎么做呢?我的曾曾祖父出生在沃拉斯托奇耶克(马里塞特)民族。作为a/r/tographer (Irwin, 2004;Irwin & de Cosson, 2004;Springgay, Irwin & Kind, 2005;Springgay, Irwin, Leggo, & Gouzouasis, 2008),我被一种不稳定的鬼屋学所震撼,一种萦绕(非)的存在,由此过去渗透到现在(德里达,1994)。我试图通过艺术打破沉默,思考语言和物体之外的东西,发现鬼魂存在于阈限的空间中。关于沉默的第一民族祖先的代际叙事在连接过去与现在以及未来的连续时间内被解构。一阵安静的骚动。在a/r/tography的支持下,我致力于通过艺术和文本的突发之旅,并期待为我的鬼屋生活创造一个理论蓝图。考虑到我沉默的Wolastoqiyik血统的代际叙述如何影响我作为一个a/r/tographer,我被一种幽灵般的关系所吸引。当我打破原住民祖先的沉默时,我将自己置身于我所经历的运动之中。这种光谱运动通过艺术发生,超越自我;这是一种鬼魅学,一种闹鬼的本体论,一种流离失所的声音。通过a/r/tography,我致力于在研究中包含“可能不会被听到的声音”(Sinner, Leggo, Irwin, Gouzouasis, & Grauer, 2006, p. 1249),并考虑对代际叙事的探究如何强调了主体性的多样性,这些主体性仍在出现。通过a/r/tography,在我周围的许多声音中,我绘制了模糊自我与他者,过去与现在界限的作品(Bhabha, 1994;室,1994;德里达,1994,1997;Aoki, 1993,2003),因为在叙事的范围内,“分离的时间”(Bhabha, 1994,第254页)提醒我们,我们总是被过去所困扰——因此,我反思我是如何不想特权存在而不是缺席(Aoki, 2003,第3页)。从这些哲学概念中提取,并在a/r/地理学方法论的支持下,我解构了我的第一民族血统在阈限性地点的沉默。阈限,虽然模糊了存在和不存在,但存在于模棱两可的互文空间中(Hurren, 2003)。我思考“艺术家、研究人员和教师如何通过他们的艺术实践在未知/已知的有限空间中徘徊”(Leggo, Sinner, Irwin, Pantaleo, Gouzouasis & Grauer, 2011, pp. 239-240)。 作为一名鬼魂艺术家,我解构了我沉默的第一民族沃拉斯托奇伊克(Maliseet)祖先,并寻找我祖母、母亲和我的代际叙事。我采用了a/r/地理学的方法,自传和艺术创作的交叉点,我利用不同的艺术形式来寻找g(宿主)居住在有限的空间中。我以a/r/tography的方法论为支撑,以模糊过去与现在、自我与他者界限的作品为素材,通过创作三件艺术作品,解构了我的第一民族血统的沉默。这些艺术(作品)被放置在一个展览目录中,并探讨1)在我们叙述的唤起对象之间隐约出现的幽灵,2)剧本写作和剧本表演如何揭示IJEA Vol. 17 No. 30 http://www.ijea.org/v17n30/ 2 liminality空间中的幽灵,以及3)雕塑如何促进幽灵的运动。每一件单独的艺术(作品)都在打破沉默中发挥着作用。一觉醒来,幽灵就出现了。当我还是个孩子的时候,人们经常问我是“第一民族”还是“印第安人”。我想是因为我的皮肤比较黑。我几乎是住在外面。阳光普照,我的头发很长,有时垂到手肘。作为回应,我总是告诉他们没有关系。当我十岁的时候,一个邻居带我去了小田瓦仪式。我记得我和大家一起在圆圈里跳舞。我记得流动的身体、树木、我们周围的营地、羽毛、串珠——人们聚在一起体验这种关系的感觉,鼓声和舞蹈使空间充满了色彩和运动。由于大家的活跃,整个圈子都活跃起来了。后来我对这段经历思考了很多,长大后对原住民知识和教育的兴趣越来越大。然后,在2007年,当我和我的祖母和母亲一起拍摄一部电影时,我了解到我祖母的祖父是第一民族。我了解到,我的祖母直到30岁时才发现,她的祖先被家人沉默了。我知道很多关于第一民族的历史,历史上的克鲁迪尔:与之相伴随的a /r/地理调查3创伤,但我没有准备好如此接近这段历史。我该怎么做呢?我的曾曾祖父出生在沃拉斯托奇耶克(马里塞特)民族。作为a/r/tographer (Irwin, 2004;Irwin & de Cosson, 2004;Springgay, Irwin & Kind, 2005;Springgay, Irwin, Leggo, & Gouzouasis, 2008),我被一种不稳定的鬼屋学所震撼,一种萦绕(非)的存在,由此过去渗透到现在(德里达,1994)。我试图通过艺术打破沉默,思考语言和物体之外的东西,发现鬼魂存在于阈限的空间中。关于沉默的第一民族祖先的代际叙事在连接过去与现在以及未来的连续时间内被解构。一阵安静的骚动。在a/r/tography的支持下,我致力于通过艺术和文本的突发之旅,并期待为我的鬼屋生活创造一个理论蓝图。考虑到我沉默的Wolastoqiyik血统的代际叙述如何影响我作为一个a/r/tographer,我被一种幽灵般的关系所吸引。当我打破原住民祖先的沉默时,我将自己置身于我所经历的运动之中。这种光谱运动通过艺术发生,超越自我;这是一种鬼魅学,一种闹
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引用次数: 2
The Future of Homegrown Teaching Artists? Negotiating Contradictions of Professionalization in the Youth Arts and Humanities Fields. 本土教学艺术家的未来?谈青年艺术与人文领域专业化的矛盾。
IF 0.6 Q1 Arts and Humanities Pub Date : 2016-04-14 DOI: 10.17863/CAM.20665
H. Winkler, Tyler Denmead
Youth arts and humanities programs are providing invaluable learning opportunities for youth participants to become what we term “homegrown teaching artists.” After several years of artistic and pedagogic development, these alumni teach youth in the same programs where they were once participants. This phenomenon has emerged at the same time that the teaching artist field has become professionalized with new credentialed pathways through higher education. This simultaneity presents a paradox. Professionalization introduces formal standards and barriers to entry into the teaching artist field at the same time that teaching artists train youth who are racialized and lowIJEA Vol. 17 No. 10 http://www.ijea.org/v17n10/ 2 income to become teaching artists through informal pathways in youth arts and humanities programs. In other words, the professionalization of the field is at odds with its aspiration to expand and sustain youth’s right to cultural self-determination. We address this contradiction by investigating the pathways and practices of three homegrown teaching artists before turning to implications for policy and practice.
青年艺术和人文项目为青年参与者提供了宝贵的学习机会,使他们成为我们所说的“本土教学艺术家”。经过几年的艺术和教学发展,这些校友在他们曾经参加过的项目中教授年轻人。这种现象出现的同时,教学艺术家领域也通过高等教育的新认证途径变得专业化。这种同时性提出了一个悖论。专业化引入了进入教学艺术家领域的正式标准和障碍,同时,教学艺术家通过青年艺术和人文项目的非正式途径,培养种族化和低收入的青年成为教学艺术家。换句话说,该领域的专业化与其扩大和维持青年文化自决权的愿望是不一致的。在转向政策和实践的含义之前,我们通过调查三位本土教学艺术家的途径和实践来解决这一矛盾。
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引用次数: 3
Dialogue and democracy through museum education: A Review Essay 博物馆教育中的对话与民主:一篇评论文章
IF 0.6 Q1 Arts and Humanities Pub Date : 2014-10-13 DOI: 10.17863/CAM.20667
Tyler Denmead
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引用次数: 0
What Are the Great Discoveries of Your Field 你所在领域的重大发现是什么
IF 0.6 Q1 Arts and Humanities Pub Date : 2013-01-30 DOI: 10.4312/MZ.51.2.163-174
Bruno Nettl
This is an attempt to sketch some of the principal discoveries or contributions of the field of ethnomusicology since 1885. These include consideration of the world of music as comprised of musics, the origin of music, universals, the study of music in culture, the relationship of composition and improvisation, the issue of authenticity,  and  the practical contributions of  ethnomusicology to education and social life.
本文试图概述自1885年以来民族音乐学领域的一些主要发现或贡献。这些包括考虑由音乐组成的音乐世界,音乐的起源,普遍性,音乐在文化中的研究,作曲和即兴创作的关系,真实性的问题,以及民族音乐学对教育和社会生活的实际贡献。
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引用次数: 1
Teacher-artist partnership in teaching Cantonese opera in Hong Kong schools: Student transformation 在香港学校粤剧教学中教师与艺术家的合作:学生的转变
IF 0.6 Q1 Arts and Humanities Pub Date : 2010-02-06 DOI: 10.4324/9781315095257-16
B. Leung, Chi Cheung Lawrence 梁志鏘 Leung
This study aims to examine how and why students transform in terms of learning motivation in learning the Cantonese opera with a teacher-artist partnership approach in Hong Kong schools. An artist and seven teachers from four schools collaborated to teach the genre for eight weeks. Students’ learning motivation changes in Cantonese opera was measured by a set of pre- and post-learning questionnaires. Qualitative data were drawn from class observations and focus group interviews with teachers and students. Results indicate that students’ motivation in learning the genre has been changed. The statistical analysis suggests that, while primary students had significantly increased their motivation in learning Cantonese opera, the secondary students’ motivation had not increased. Attributions include age differences, self-consciousness, intrinsic value and socio-cultural impact. However, the partnership was found to be an appropriate and effective approach in teaching the ethnic genre for its “role supplementation” between the teacher and the artist.
本研究旨在探讨在香港学校中,学生如何及为何会在学习粤剧时,以师艺合作的方式转变学习动机。一位艺术家和来自四所学校的七名教师合作,用八周的时间教授这一流派。采用一套粤剧学习前和学习后的问卷来测量学生粤剧学习动机的变化。定性数据来自课堂观察和对教师和学生的焦点小组访谈。结果表明,学生学习体裁的动机发生了变化。统计分析显示,小学生学习粤剧的动机显著增加,中学生学习粤剧的动机没有增加。归因包括年龄差异、自我意识、内在价值和社会文化影响。然而,我们发现这种合作关系是一种适当而有效的教学方式,因为它在教师和艺术家之间起到了“角色补充”的作用。
{"title":"Teacher-artist partnership in teaching Cantonese opera in Hong Kong schools: Student transformation","authors":"B. Leung, Chi Cheung Lawrence 梁志鏘 Leung","doi":"10.4324/9781315095257-16","DOIUrl":"https://doi.org/10.4324/9781315095257-16","url":null,"abstract":"This study aims to examine how and why students transform in terms of learning motivation in learning the Cantonese opera with a teacher-artist partnership approach in Hong Kong schools. An artist and seven teachers from four schools collaborated to teach the genre for eight weeks. Students’ learning motivation changes in Cantonese opera was measured by a set of pre- and post-learning questionnaires. Qualitative data were drawn from class observations and focus group interviews with teachers and students. Results indicate that students’ motivation in learning the genre has been changed. The statistical analysis suggests that, while primary students had significantly increased their motivation in learning Cantonese opera, the secondary students’ motivation had not increased. Attributions include age differences, self-consciousness, intrinsic value and socio-cultural impact. However, the partnership was found to be an appropriate and effective approach in teaching the ethnic genre for its “role supplementation” between the teacher and the artist.","PeriodicalId":44257,"journal":{"name":"International Journal of Education and the Arts","volume":null,"pages":null},"PeriodicalIF":0.6,"publicationDate":"2010-02-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70630017","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}
引用次数: 19
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International Journal of Education and the Arts
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