International Journal of Art & Design Education最新文献

Crip time is a fluid term with various definitions that pertain to the ways that disabled people experience time. In one sense, the effects of crip time can be constraining, particularly when it results in an encounter with ableist institutional and societal barriers. But crip time can also take on a liberatory form as a mode of resistance and a catalyst for structural change. This autoethnographic inquiry explores these various manifestations of crip time and will take form as a kind of crip time travel endeavour that recounts my experiences of temporality as a neurodivergent university art student. Framed through the mental imagery of the membrane and the vortex, I discuss the ways in which my neurodivergent student temporality collided and conflicted with the rigid temporal frameworks of neoliberal higher art education (HAE). I particularly focus on how HAE segments its programming into academic and artistic curricular time. I detail my difficulties keeping up with the academic curricular time to such an extent that the studio time and community time of artistic curricular time became lost or displaced time. Based on this crip time travel inquiry, I will acknowledge and move beyond a confining conception of crip time to offer insights into the liberatory potential of crip time towards reimagining temporal relations, reconceiving student success and opening time for neurodivergent students for critical making and thinking among a community of artist peers and mentors in HAE.

This paper explores how increases in modularisation, elements of professional practice and even our relationship to screens and social media are amongst the factors that have changed the way time is experienced in higher fine art education. I draw upon my experience as a student, educator and pedagogical researcher to propose that identity formation and/or transformation are amongst the key functions of higher education in fine art in the West; that becoming an artist involves complex process of socialisation and individuation; and that these processes take time. I speculate that time is something which was once experienced comparatively smoothly but has been striated and fragmented by various factors including an increased focus on employability, the presence of social media, and not least various post Bologna interpretations at national or local level of the introduction of units and modules to comply with standardised credit systems. I propose that the combined effect of these factors amongst others distracts students from the middle by focusing them on micro destinations that deflect from developing a practice and impacts on these potentials.

An autoethnographic exploration of identity formation raises the question of how individuals inhabit, negotiate, accommodate and resist the social groups to which they belong, continually coming to terms with who and what they are. This paper discusses, through this researcher's autobiographical exploration, the ways in which pedagogical discourse and practice produce identities that are constructed within the broader sociocultural context of arts education. As an art educator who has been learning and teaching in the Korean sociocultural context since the 1970s, I have experienced the struggle between my identity as an artist and my identity as a teacher amidst the changes in educational ideology reflected in the Korean national curriculum, which is a set of pedagogical discourses and practices that are constructed within a particular sociocultural context. It can be said that my autobiographical narration has important implications for the practice of art education in connecting individuals and society in an ambiguous and complex future society by enhancing theoretical understanding of wider social phenomena. In this paper, the narrative interpretation of my changing identity as an artist, an art teacher and a teaching artist provides a timely insight into identity shifts in how the artwork we encounter and our perceptions of art are shaped and transformed by our own cultural experiences and recollections of our own personal experiences within the interconnectedness of art and education across time.

Public art is increasingly recognised for its pedagogical value, especially in higher education, where it enhances institutions’ educational outcomes and expands students’ learning experiences. However, its potential in basic education remains under-exploited. This study aims to bridge the gap by investigating how public art is effectively integrated into school curriculums and the educational benefits it offers students in their learning journey. Researchers, therefore, designed a student-centred public art intervention project, Dreams and Hopes, at a Chinese nonprofit primary school incorporating the school's educational goals. The project recruited 5th and 6th graders to create a giant mosaic mural for the campus’ public space during the school's club and regular curriculum. To determine the educational benefits of the public art practice, researchers collected qualitative data using ethnographic methods in the project. The results showed that students at different stages (design, making, exhibition) gained competencies in three key themes: creativity (divergence, convergence, expression), practical ability (operation, innovation, collaboration), and self-identity (satisfaction, achievement, confidence). These competencies align with the school's educational goals and enhance students’ learning experience. Problem-based guidance, a relaxed and enjoyable atmosphere, effective communication and a connection to reality are essential to these critical competencies. The study reveals that public art may support educational goals and benefit students. It also enhances the practical experience of public art in basic education and provides a model of intervention to educators. The study recommends that schools actively collaborate with external resources, emphasise the art practice's educational value, and provide platforms for student arts participation.

This text aims to revisit a practice developed in a course on art education within the Ph.D. programme in Arts Education at the Faculty of Fine Arts, University of Porto. We approached this space through the construction of a workbook that was practised during classes. The exercises aimed to reflect on the positionality we occupy and on art education as a field of practice/research built on several colonialities. The idea of theory as a practice enacted through questioning, displacements, staying in research and getting to know the archives we inhabit framed the work carried out. The text is an exercise in revisiting the workbook, activating it now through reading and outside the group of participants to which it was made. It is not linear in the sense of recounting the experience; rather, it seeks to blend today's writing with the exercises drawn from that workbook.

This paper responds directly to the question, how do we communicate our philosophy of art education? It does this by drawing upon previous research with House of Imagination, School Without Walls and doctoral research exploring children's learning identity as artists, to illuminate a philosophical approach to art education and its pedagogy that highlights both human and more-than-human dimensions of learning in communities of practice involving artists, researchers and educators working alongside children and young people where spaces of possibility for practice and innovation emerge. The paper focuses particularly on current and creative research in the Forest of Imagination, a long-term participatory contemporary arts and architecture event in Bath, UK. Forest of Imagination offers an alternative, creative approach to learning, focusing on ecological imagination and nature connection. As a new aesthetic imaginary, the Forest of Imagination is a living, breathing art classroom, inspiring curiosity, imagination and a deeper connection with the natural world.

Considering art and its educative potentials as a living experiment with the body's elemental constitution and modes of organisation, this article engages water, earth, air, and fire as milieus through which a body learns to sense, move, and act in the world differently. This leads to a series of propositions for an elemental philosophy of arts education, which recognises the intersectional and decolonial potentials of bodies, and strives to amplify and proliferate these potentials through creative pedagogic practices. If, as Elizabeth Grosz (2017) proposes, “the chain of evolutionary emergence is unbroken not only materially but also conceptually” (p. 250), then arts education offers an expression of the body's incorporeal and material potentials as they change and evolve through time. Further to this position, we argue that arts education has the potential to radically reframe relationships with water, earth, air, and fire in ways that resist their co-option as tools of colonialism and intersecting categories of oppression.

Traditionally, design – and by extension design education – has focused on the creation of distinct outputs (forms, artefacts, and objects) that satisfy a specific purpose and need. Historically these needs – and often the designed outputs themselves – have been dictated not by the designer but by clients and also through established disciplinary practices. Design was broadly framed as a commercial industry, where a client needed something (a poster, a chair) and the designer provided the requested output. Design education practices grew out of a master-apprentice approach, where students often learned by recreating idealized outputs repetitively. This didactic and skills-acquisition approach was sufficient when design focused on distinct fields (e.g., graphic, industrial, or fashion design), specific outputs, and traditionally understood challenges. As the field of design has expanded – in the scope of practice, the complexity of challenges tackled, and the range of collaborators – there is a need to re-examine our pedagogy. Traditional design education approaches are insufficient for the role that design needs to play in the 21st century. In this paper, I argue that a critical consideration of this re-examination is the reframing of a central tenet of design education, which is the production of outputs. Instead, what is needed is a re-focus considering the outcomes of design practice – the processes involved, and the effects of our design actions and artefacts. I identify seven principal and interconnected factors that drive the need for this shift in focus.

In this article, I ask what becoming a sustainable visual arts teacher might look like, and how a sustainable teaching practice might be created. The problem for education, and teachers’ becoming, is that formal schooling presumes how life should be lived there, how the assemblage of learning should be composed and the prescribed identities of humans and objects. This article aims to explore visual arts teachers’ becoming as a relational and entangled process. A Deleuze and Guttarian framework for thinking about the becoming(-teacher) involves relational and differentiated co-becoming that fold, unfold and refold in the process of becoming. The research questions of this article explore the potentials of the concept of becoming animal to activate and facilitate thinking differently about visual arts teachers’becoming. By mapping the academic degree project of one visual arts teacher student, this research investigates how multiple lines of becoming a visual arts teacher change and intermingle through the degree project. The results shows that animal becoming creates new sensitivities, dilating one's perception as a teacher. Sustainable teacher becoming involves the balancing (cat-)act of not only following molar lines of the curriculum, or the idols of pedagogy, but also making the curriculum come alive through molecular cat-becoming. Becoming cat means opposing administrative burdens and showing one's claws, as well as developing agility to find new ways of thinking, acting, resting, and finding space for playful inventiveness as a teacher.