International Journal of Art & Design Education最新文献

Past research has suggested incorporating design thinking in upper elementary art education helps students develop what are known as the Four Cs: collaboration, communication, creativity, and critical thinking. As an instructional strategy, design thinking focuses on empathy first and provides a structure for students to work through real-world, complex problems in small groups. This exploratory qualitative case study examined the effects of teaching empathy through design thinking in upper elementary art education. Eight teachers participated, representing public, private, charter, and independent school settings. Data included student observations, interviews, and journal reflections. An analysis of findings resulted in three conclusions: (a) design thinking can foster the development of empathy in preadolescents, (b) art education curricula at the upper elementary level can include design thinking, and (c) design thinking is a valid strategy for teaching empathy. Including empathy within art education promotes a classroom culture that is respectful and understanding of others, with students becoming advocates of justice, equity, and inclusion. As society continues to struggle with bullying, physical violence, and social unrest, teaching empathy has the potential to change how students relate to each other in the classroom, and, ultimately, in the world at large.

Creativity is a fundamental skill to prepare individuals to work and live in a changing world. Educators have recognised its value and advocate that schools can provide an environment for fostering the creative thinking skills of students. Makerspaces are emerging in school contexts, and they carry great opportunities for engaging students in creative thinking processes. The school makerspace also offers a professional learning space for teachers and artists to collaborate to support students’ creative potential through making activities linked to the curriculum. This paper proposes a teacher–artist partnership framework within the makerspace to support mutual professional growth and opportunities to foster a learning environment conducive to creative expressions. The framework consists of three non-linear and iterative processes, namely (a) developing craft knowledge, (b) co-constructing knowledge, and (c) reflection and researching, supported by a community of practice and internal and external communities. Expected outcomes from the partnership for students, teachers and artists, and recommendations are discussed.

In recent years, disability has become a site for knowledge and artistic creation. In this study, local governments, universities, art museums and non-profit organisations collaborated from 2019 to 2022 to implement an online art project for people with disabilities during the Covid-19 era. The project's goal was to enhance the identity of people with disabilities, promote their interest in museums and artwork as local resources and engage them in society. The project was conducted in three phases with a sequence of connections using the affirmative model of disability by Swain and French (2000) as the theoretical framework. In Phase 1, we surveyed 370 people with disabilities and their supporters living in Hiroshima Prefecture to clarify the conditions promoting or hindering their appreciation of art exhibitions and the use of digital devices. In Phase 2, we conducted an online interactive appreciation workshop at a museum for seven people with disabilities based on the Phase 1 survey results. In Phase 3, an online exhibition was held using the artwork seen in Phase 2, and words and photographs were used as methods of expression. The interactive appreciation workshop and exhibition was built to provide the participants a safe and comfortable online alternative space, which led to individual empowerment and enhanced collaboration in the disability community. This study advocates the value of coexisting and co-prosperous inclusion rather than inclusion that necessitates people gathering in the same place.

Many have defined the artist-teacher, most notable Alan Thornton (2013), who outlines the artist-teacher as an individual who practices making art and teaching art and is dedicated to both activities as a practitioner. However, this definition does not specifically define the artist-teacher in adult community learning (ACL). This article considers if this definition is applicable to artist-teachers working in this sector. ACL has its own qualities that set it apart from other educational sectors, such as secondary and higher education, including precarious work hours (Westminster Hall 2021). This article interrogates if these affect the identity of the artist-teachers working in ACL, and thus how they need to be defined. In this article, several similar terms and definitions are considered for their applicability to the artist-teacher in ACL and results from artist-teacher participants in relation to this are analyzed.

As the gender disparity increases yearly within art—with substantially more girls choosing to continue with the subject into asessed years than boys at secondary school—this essay explores a handful of the influencing factors for this gender imbalance, before exploring the ways in which we might begin to remedy such an unacceptable polarisation in subject preference.

Increasing usage of digital technologies in daily life has affected even tech savvy students. With the prominent development of augmented reality (AR) and virtual reality technologies, this study concentrates on the ongoing development of AR in art education and its potential in art education. As an educator in visual arts at a higher education institution, the author explored AR-integrated curriculum by introducing an AR creation tool (Adobe Aero) and AR education tool (Merge Cube) into visual arts education classes. The lessons were designed with multimodal delivery methods for learning effectiveness with AR, and students learned about the concepts of arts integration and AR technologies. This study examines how newly developed AR-based curriculum expanded students’ art expression and represented artwork in real and virtual spaces. In outlining the results, this study explains the practice of two-dimensional (2D) and virtual-based three-dimensional (3D) hybrid art creations in AR, and digital storytelling with AR. This study also discusses the positive impacts on students' learning engagement and satisfaction and understanding of layers and spatial structures.

United Nations (UN) released the 2030 Agenda for Sustainable Development in 2015. This agenda has received attention from various disciplines and sectors globally; partnerships from private and public sectors were formed to play a role in this challenging ambitious plan. However, architectural education and professional organisations in Turkey have not been strongly engaged with the agenda in particular. To meet this gap and create synergy, this paper aims at presenting pedagogical paths followed in a graduation studio, integrating the studio outcomes with UN 2030 Sustainable Development Goals (SDGs), which have not been widely covered either in nationwide architectural education or professional policies. In addition, the paper focuses on how the SDG action plan is echoed in higher education as well as in the discipline of architecture in Turkey. The paper is a case study in architectural education of which the motivation is to create awareness about UN SDGs among the students; to give insights and demonstrate a realistic design policy to achieve development targets. The pedagogical path presented here is original and aims to fulfill an interlude in the literature, which is still emerging. The case presentation includes the process and the results with a sufficient number of student projects as outcomes of the studio.

A socially engaged art project conducted in Malta in 2021 brought together a group of participants from different sub-Saharan African countries with artists and researchers to promote civic engagement and cultural inclusion and understand how participants' ideas could be promoted and discussed beyond the workshop. This article addresses one of the project's central themes – citizenship – and argues that democratic participation is enacted in the actual processes of social practice in art. Informed by the principles of Global Citizenship Education, the article highlights its references to human solidarity, empathy and sustainable development and distinguishes them from a notion of citizenship that is framed within the legal, political and physical boundaries of the nation-state. While the segregation of non-citizens in contexts like this can interfere with the development of voices of resistance and a sense of agency among migrants, the article explains how principles of Global Citizenship Education can enrich socially engaged practices in art and education by subverting fixed citizen identities in the performance of pedagogical processes and acts of presentation.

In order to achieve successful products and services, design research nowadays is searching for new methods that unify collaboration between professional designers and future users. Developing and using these new design methods is also of interest in design education. In this study, design toolkits are developed to practise participatory design with a user-centric orientation. The purpose of this study is to analyse a case in higher education where students of art and design aimed at becoming craft teachers developed toolkits in design situations appointed beforehand. The literature review of the toolkit shows that a diverse and multidisciplinary field of applications has been developed. The data of the study consist of 24 virtual or physical toolkits made by the students as well as their reflections on their work. The results showed that executing a design process where students in a design situation had to enter into the future user's world creates empathy for designers. Also, various elements connected with the unifying of senses and physical activities were built into the toolkits as well as certain game-like features. The results of this study can be used as basic data concerning making educational insights in design education in higher education.

This article reflects understandings of artful encounters in relation to ecologies of practice and walking with public art. Introduced as a pedagogic inquiry among art education students training to become teachers in community settings, meaningful event-encounters transpired while walking with the museum. Navigating spaces of becoming-with between body-object-environment encouraged relational positions: self as a/r/tographer, self in relation to artworks, self in relation to a museum space and self in relation to co-participants. Visual, spoken and written responses to artworks were anchored in guiding themes and in an awareness of the artist's creative process. The resultant perceptions are defined in this case as introspective, extrospective and what may be described as intra-spective (reflecting the experience of collaborative exploration). Participant data revealed that the exchange of interpretation becomes a meaningful provocation to one's own assumptions about an artwork. Moreover, intra-spective practice fostered a genuine curiosity about others through the sharing of perspectives in ways that suggest such inquiry offers a pedagogic opening by enhancing focus, stimulating curiosity, and mindfully engaging reflective, affective and reflexive dispositions.