International Journal of Art & Design Education最新文献

In this paper, four colleagues working in teacher education reflect on a conversation. The conversation in question was a tangible discussion documented through frequent and purposeful email exchange, exploring traditionalist school art curricula through reference to lived experience, academic theory, and professional anecdote. The primary objective of this dialogic self-enquiry was informal critical analysis of the cultural diversity and positioning of art objects that populate classroom curricula in English schools, starting with the ‘African mask’. The secondary objective of our conversation was exploration of how complex talk on culture and curriculum might be modelled for schoolteachers yet to initiate similar conversations in their own professional contexts. We each provide reflections on the success of our conversation against these objectives and find that while email exchange provided some formal advantages for the structure of our discourse, this was not as we might have expected. The dialogue facilitated a rhizomatic deepening of our individual questioning of culturality in the classroom, which while nourishing was arguably unproductive in instrumental terms. Collectively, our reflections suggest that dialogue may be a critical catalyst for the latter, inherently private work of decolonising one's own critical teaching praxis.

The value introduced by informed teaching practices on Design for Social Inclusion is becoming widely accepted by many Design programmes worldwide, though students frequently struggle to propose novel concepts and design ideas from which to develop inclusive solutions. Both teachers and students often employ stereotyped concepts that ultimately lead them to propose ‘disabling solutions’. This inevitably brings emphasis on the urgency to equip students with original tools through which to design meaningful inclusive artefacts. This article presents ‘Inclusive Signs’, an innovative toolkit for students of Design programmes interested in making innovative solutions that adhere the Social Inclusion's key vision and broader concept. Tests carried out in university contexts with groups of students and designers resulted in an innovative range of inclusive ideas and projects showing the potential to include the toolkit within innovative teaching practices. Therefore, the toolkit easily allows students of Design programmes to get more awareness on how to develop original design processes and ideas closely linked to Social Inclusion.

Although visual arts teachers have free access to high quality online artwork images offering them immense teaching resources, making meaningful use of them remains a pedagogical challenge. During the COVID-19 pandemic, the transition from face-to-face to online teaching caused an immediate need for teachers to enhance their digital competencies and technological capability for planning and delivering a blended art curriculum. Herein, I propose a ‘teacher-curator pedagogy’ via a study in six primary and secondary schools in Hong Kong to assess its effectiveness. The study took place in the academic year of 2021-22 with 331 student participants. The proposed pedagogy puts visual arts teachers in the role of ‘digital curators’ who create virtual exhibitions for teaching art appreciation and artmaking. This paper addresses the theoretical framework, implementation strategies, and the results of the study highlighting its effectiveness, impact and limitations on teaching when using teacher-curated virtual exhibitions in both physical and virtual learning contexts. It was found that the technological capacity and confidence of the teacher participants was enhanced through the use of online resources and virtual exhibition tools. Making use of the 3D presentation of exhibits in themes and context through digital content curation, the teachers engaged students with deep interaction through the blending of online and face-to-face teaching. However, the proposed pedagogy was limited by the high demand of training and preparation work, hardware and software support, and difficulties in assessing and monitoring learning beyond class.

Narratives mirror shared interpretations of the world. Still, dominant narratives prevail, pushing non-hegemonic narratives in the corner. A change in the creation, interaction and distribution of narratives can support the design of counter-narratives able to feed social change. Interactive Digital Narrative (IDN) can be considered an emerging experimental context in which designers, researchers and practitioners from various domains operate to develop story-based content addressing relevant social or societal issues. The IDN social constructivist role in encouraging or influencing individuals and collectivities towards social change is a relevant design issue especially from an educational perspective. Specifically, it features methodologies and praxis not yet systematised, in need of exploration and formalisation. Recognising the contribution of an approach combining transdisciplinary methods and tools, the article presents a pedagogical model for designing IDNs as complex interactive systems able to impact culture and society based on empirical study from a design course in the higher education context. Composed of theoretical and operational frameworks, the pedagogical model orients the multilayered design process for building engaging, interactive narrative artefacts systematising and operationalising knowledge from the domains of Communication for Social Change, storytelling and IDN in an iterative design process.

Previous theoretical frameworks used to research and explain creative design processes tend to privilege individual expression and not address the context in which the process occurs. This is problematic due to the ways in which creative activities are embedded in and shaped by socio-cultural and historic contexts. In this article we focus on the ways in which cultural historic activity theory (CHAT) and its analytical activity systems can be used to reveal creative processes in context. We draw on the tools and concepts of CHAT and data from a study of visual communication design (VCD) students and lecturers situated within a transnational higher education (TNHE) context at a university in China. An analytical framework was constructed to research practices used in creative design process learning. The dynamic nature of CHAT offers design process research methods a set of analytical tools to capture the powerful parts played by artifacts and interactions within specific sociocultural and historic learning contexts.

The aim of this paper is to ascertain the main subject qualities in Junior Cycle (JC) Visual Art (VA) in The Republic of Ireland, and whether these qualities are unique to the subject. The context of JC VA education is outlined through the exploration of its values, aims and objectives as well as investigating the subject's unique qualities. A mixed methods research approach was used to analyse three years of Department of Education Subject Inspection Reports for VA to explore the qualities of VA education. Seven published JC Subject specifications, including the VA specification were analysed using word frequency measurements with the aim of exploring the qualities of JC VA and whether these qualities are unique to the subject. Semi-structured interviews were also held to explore the issues arising and aim to capture some of the thoughts of VA curriculum experts, school leaders and VA teachers. Through the analysis of word frequencies, it can be concluded that the VA specification highlights creativity, problem-solving, collaboration and reflecting as dominant qualities in VA education and similarly, the Inspection Reports present the same findings. However, it is important to note that these qualities are also found in other subject areas though not as strongly or frequently. The interview process highlighted similar findings concluding that VA education “lends itself” to the above qualities however the subject cannot claim them as solely unique to the VA classroom.

Art education has a range of purposes. Art is said to support students to explore, interpret, ask critical questions, communicate and realise ideas, experiment, take risks, collaborate, tell stories and/or engage in social and political actions. In this paper, we consider whether educational researchers have the same capacious view of students’ potential and capacities for involvement. We bring the results of a Rapid Evidence Review (RER) of the benefits of arts education into conversation with the literatures on student voice and participation. We outline the ways in which student voice and participation are discussed, then move to the results of the RER. We conclude with a discussion of the opportunities for art education researchers to develop research practices that are inclusive of students.

This intrinsic case study examines art museum learning of elementary school students during a week-long visit at the Mackenzie Art Museum. Museums are informative institutions that provide opportunities for visitors to engage with self, others, and society. It is a unique place for visitors to learn beyond classroom settings. This project aims to analyse the discourse around art and understand how young learners utilise discourse as tools to make meaning during art museum visits. By examining learners' dialogues, the research investigated a meaning-making framework that incorporates strategies for negotiating insights in art museums. This study includes approximately 12 hours of video-recorded data and student artefacts. The data suggests learners engage and form new meanings through building and negotiating discourses with peers and museum educators. Different discourses and knowledge are valued and reinforced by members of the group. This study addresses the gap in children's meaning-making during art museum visits, illustrating their strategies to construct knowledge and bridge connections.

This paper reports on the findings of a visual text analysis of selected infographics and data visualisations used in  news websites during the COVID-19 pandemic in Sydney, Australia. Infographics and data visualisations used in news website articles disseminated and communicated local and national information to the public about the COVID-19 pandemic and related social implications. For the first time live data, animation and interaction were used in reporting health and societal information to a general news readership, contributing to the knowledge base and visual literacy of the public. The information presented was not only clear but also aesthetically appealing. This paper examines the styles of news digital infographics and data visualisation of three longitudinal studies using lessons learned from Grainger et al. (2016), Dick (2020) and Tufte (2001) and contextualises the context, narrative, aesthetics, communication, data, functionality and examines the collaboration between communication designers, journalists and the development team. The implications for communication design education are explored in the context of skills, tools and teamwork needed for future communication design students.