International Journal of Art & Design Education最新文献

The majority of art education research in the United Kingdom originates from England; however, the devolved nations each have responsibility for education resulting in four different curricula working concurrently across Great Britain. It can be argued that in comparison to England, art and design education research in Scotland is an under-researched area though one that is increasingly garnering interest. This paper contributes to the field by presenting and discussing some of the findings from a survey of teachers focused on art and design education in Scottish primary schools in 2022. A total of 110 teachers participated and the survey examined the value of the subject, the current delivery in schools, the future of the subject and support for teachers. A wealth of data were gathered so this paper focuses particularly on the value of the subject among staff, confidence levels regarding delivery and the role of training and professional learning. The paper concludes that while the value of the subject among staff is strong, confidence levels with regard to teaching the subject are not. Staff felt that training had left them unprepared to teach the subject, and there was limited awareness of professional learning opportunities in their geographical area.

This article reflects on 4 years of research activities in the fields of horticulture and creative praxis. The initial project was a personal one and set out with a simple methodology of collecting, observing, and recording a specific genus of plants, that of Mentha. But as the specific question of whether a garden can, or should, be thought of as a work of art was raised it developed into an interactive, more-than-human dynamic between the researcher and multiple species. Ultimately, this led to a consideration of the positionality and interactions of the creative practitioner as critical, in order to develop a transdisciplinary praxis that explores the ecological and transformative potential of learning and healing through gardening. Through a reflexive narrative approach, the role of gardening in education, therefore, is positioned as an art and design praxis and as a partial remedy for several salient, contemporary global issues and challenges. A praxis that if not the complete remedy might at least help, in part, to remedy the damaging ecological experiences of adult and child learners alike, and as such, this article concludes with a provocation for teachers as artists and activists.

This article considers the notion of belonging as an always incomplete and evolving journey integral to which is the gift of otherness; a journey that consists of a continuous mutation of self, others and world. This contrasts with the more fixed notion of ‘belonging-to’ that suggests prescribed identities affiliated to an established order, which can then invoke the negation of ‘not belonging’ and the subsequent violence of exclusion, marginalisation or dispossession that we witness almost endlessly. The negation of negation as manifested, perhaps unconsciously, in educational practices that need to respond empathetically to diverse pathways of learning, is central to this article. In this light perhaps in education we require a new declaration of rights, the right to have rights, that extends cartographies and obligations of belonging, in a world of increasing precarity. The article explores the notion of belonging in educational practices by articulating a series of scenarios in order to open up collective debate for possibilities in pedagogical practice.

Postgraduate Certificate in Education (PGCE) secondary art and design trainees facilitated an art education project for pupils at a specialist school for visual impairment (VI) in the Northwest of England. This paper focuses on the ways in which the art education project was designed to better prepare PGCE trainees for working with pupils with VI. There is an exploration of a series of reflections at the end of the art education project and again upon completion of the PGCE course. Feedback provided by PGCE trainees indicated the ways they were able to transfer the skills learnt regarding teaching pupils with VI into practice, as they embark upon their careers. Existing literature highlights variation across initial teacher training (ITT) in relation to what is taught regarding special educational needs, this is generally due to time constraints on one year ITT courses. The findings indicate these experiences have implications for practice. through following their journey, initially PGCE trainees were apprehensive about working with pupils with VI. However, facilitating the art education project enabled PGCE trainees to become more confident working with pupils. PGCE trainees were able to develop as teachers.

This article explores how the colonisation of womens bodies, as perpetuated through the art trope of the female nude, has constructed a specific bodily ideal that still resonates and informs how we view women's bodies in contemporary life. I address how the same narratives that restrict our understanding of the female body, also restrict our understanding of drawing. I share part of my PhD practice research: PhEminist Skins of Resistance, a project conducted in my school, which sought to decolonise the legacy of the female nude and support the empowerment of the young women artists who populate the classrooms in which I teach. Theoretically informed by PhEmaterialism (feminist posthumanism and new materialism research methodologies in education), material agency is positioned as vital to an embodied learning experience and situates how I (re)position life drawing as a tool to re-imagined and disrupt heteronormative and raced colonial imaginings of the female body. I further explore how this project created space within the secondary art classroom for creative-activism, and the power of such learning environments to reach out beyond the constraints of neo-liberal educational structures and inspire transformative pedagogies of hope.

The professionalism of artists and further education (FE) teachers is often questioned. This research will evaluate the impact this has on artist–teachers working in FE. Schön defines a professional as an individual who works in a highly specialized occupation. This article examines how this applies to artists and FE teachers, with reference to historical and contemporary cross-disciplinary research. Published research focuses on professionalism in terms of meeting sets of criteria. However, research participants within this study were more concerned with the activities undertaken by artist–teachers and how these reflected their professionalism. The research findings focus on the perceived professionalism of artist–teachers in adult community learning (ACL), a sub-section of FE in the United Kingdom that encompasses adult and community learning delivered to adults aged 19+ but local authorities or general FE colleges.

Understanding and advancing pluralist worldviews through education is a tenet of decolonisation. This paper explores the importance of a decolonial pedagogical framework in visual art and design education by disrupting epistemic injustice through employing creative body-based learning (CBL). This approach focuses on relationality and inter-subjectivity through embodied strategies that create encounters to explore pluralist worldviews. Finally, by employing the cognitive, affective and aesthetic domains within a learning design, the paper argues for a decolonising approach to visual art and design education that embodies deep listening, dialogic meaning making and standpoint theory.

Theoretical studies and perspectives have argued that humanities positively influence art and design learning performance, yet little study has tested this argument empirically. Further than testing the impact of humanities on art and design learning performance, the present study explores how humanities influence art and design learning performance. The present study investigates the influence of humanistic knowledge (e.g., history and literature) and skills, capabilities (e.g., innovation and narrative) and spirits on art and design learning performance (e.g., professional course marks) empirically via a survey. The moderations of age and gender are also tested. The results showed that humanistic knowledge and skills and humanistic spirits increase the art and design learning performance of visual communication and industrial design students, respectively. Humanistic capabilities increase art and design learning performance for all subjects. Besides, we found the individual difference that the effects of humanistic capabilities and humanistic spirits are stronger in male visual communication students than in female visual communication students. The pedagogical strategy of humanistic education for improving art and design learning is discussed based on the results.

Faculty continue to support extracurricular activities, co-curricular activities and service learning for the long-term student's benefits that outweigh obstacles present in community engagement. This case study describes relationship building between a community partner and an interior design programme through extra- and co-curricular activities which led to more robust projects for service learning and engaged research. The programme was able to initially engage students with the community through a student volunteer charrette led by the student organisation. This extracurricular service activity resulted in continued engagement with one invested undergraduate student through a faculty-supervised independent study that centred on research for the design of place-based recovery spaces. The student and faculty continued to work with the organisation for ongoing spatial needs after the semester, including an abrupt re-thinking of the space due to the COVID-19 pandemic. The narrative analysis of the case will demonstrate the benefits, challenges and impact of extra- and co-curricular engaged activities as well as advocate for best practices in diversity, equity and inclusion to be explicit within existing frameworks for service learning.

Different and competing conceptions of knowledge have recently been the focus of debate in education, especially art education. The cognitive science conception of knowledge as information processing and storage in long-term memory is especially prominent in educational policy. By contrast, within writing that is directly about art education, discussion of knowledge has often been framed in negative, terms, as reductive, as entailing the imposition of rigid subject content and as antithetical to art. Taking issue with both these contrasting views, and using a non-empirical, philosophical approach, this article puts forward a case for the centrality of knowledge and reasoning within the art and design curriculum. Specifically, the article draws on inferentialism, a theory that has not previously been applied to art education. The argument presented understands art as discursive and rational, as concept using and reason sensitive, as essentially a disjunctive set of historical-social practices. Art education is then best thought of as a rational-critical introduction to knowing those practices, as making explicit their proprieties, entailments and contradictions and the choices that are thereby made possible. This view emphasises learning in art and design as developing increasing levels of responsibility and commitment by integrating concepts in practice and theory.