International Journal of Art & Design Education最新文献

This paper argues that the teaching of art in Higher Educational Institutions is inherently paradoxical. Informed by the transgressive and interdisciplinary qualities of contemporary artistic practices, education nevertheless is often made to fit into a reductionist, outcome-oriented and individualistic discourse. Taking a weeklong workshop at the Nida Art Colony in Lithuania as a practical axis for its reflections on the fluid nature of art education, the paper discusses possibilities of extending beyond pedagogical, political, human/nonhuman and other borders and treating ‘noise’ and other ‘interferences’ as opportunities for transgression and dialogue. This workshop with students from the Vilnius Academy of Arts took place in September 2022, at a time characterised by the Russia–Ukraine war. Nida's proximity to Russia's exclave Kaliningrad, its location on the narrow Curonian Spit, and its immediate environment characterised by woods and sand dunes provide this paper with a setting for a discussion about a variety of borders: territorial borders, border pedagogies, perceived borders between human and nonhuman entities, between land and sea, and so on. Borders are described as dominant indicators of power and distinction, while educational standards and instruments of measurement often replicate similar distinctions between the known and the unfamiliar. Yet, borders can also be shifted while new connections and dialogues across real and conceptual borders can be forged in a porous process that is predisposed towards flexible scenarios characterised by the ‘not-yet’. The surrounding forest and wetlands and huge drifting sand dunes in Nida become analogies for the changing structure of the workshop, silently yet overpoweringly advocating for a mutable pedagogy. Analysed through the work of various contemporary artists, this nonhuman intrusion into a pedagogical and creative experience is both undefined and vulnerable, unlike the preordained structures of attainment targets often associated with contemporary schooling.

The fate of art's education looks like a cynical and rather hopeless process. Those who belong to the field pledged their loyalty to the discipline by dint of how they regard art as being inherently pedagogical – what is here called art's education. Decades of engagement in art's education leaves one travelling over spaces that present themselves as widening chasms between art's education (the pedagogical inherence of art) and art education (art's location within the structures of schooled education). Chasms aside, new borders and unnecessary walls keep being erected just as new territories and jurisdictions are continuously declared. Those of us who have always regarded themselves as migrants within the field would be forgiven to pine with nostalgia for when, not so long ago, art and education moved and roamed with pride and autonomy. Maybe it is this nostalgia which keeps us hoping, while knowing very well that often we tend to idealise the very ‘past’ in which we take false solace.

The concern of this paper is to provide a number of ‘seeds’ for a reclaiming of art in education by placing emphasis upon art's pedagogy or art's education. The notion of reclaiming does not infer a return to a utopian past or to a halcyon future, but it invokes a reaffirmation of the adventure of events of art practice that can take us beyond ourselves towards new creative assemblages and possibilities for becoming-with. Such reclaiming requires a culture of trust, care and response-ability. In relation to art's pedagogy the paper calls for opening up what is formally recognised as ‘practice’ in art education to a sensing towards what might be obscured by such recognition and in doing so reshape our ideas and modes of practice.

The aim of this paper is to contribute to the concept of design literacy by exploring what it means to learn design literacy through making. To support my argumentation, I draw on a case study where I followed two student teachers of design and craft as they learned design literacy through woodworking. Due to Covid-19, the learning environment was located at the students' homes rather than the design and craft studio at the university. Two research questions guide the case study: What stories does the student recall from learning woodworking and what do these stories provide that are relevant for learning design literacy? Three ‘making’ stories are presented from the case study: (1) Making with the unknown, (2) Making alone educationally, and (3) The affective and embodied making. These stories provide numerous making skills that are relevant when teaching and learning for design literacy, which is further discussed in the paper.

The state-of-the-art literature indicates an increasing need for co-design education as it is imperative to equip future designers with the co-designing mindset. This derives from the significance of involving ‘people with lived experience’ in co-design processes to better meet their needs. However, the traditional design education system seems to include mostly individual designing skills, causing a lack of skills in design students to facilitate the active participation of people in co-design. This paper reports on a case study carried out in a third-year Bachelor industrial design engineering course with design students (n = 32) and design educators (n = 4) to find an effective and efficient way of preparing future designers for their role in co-design and to gain insights into design students' experience with learning about co-design. As an instructional method, a co-design workshop including the game-play, game-modding and game-design approaches is introduced. The obstacles and confusion of the design students regarding co-design and co-design education, which they have documented throughout the year on their personalised logbooks, are explained to eliminate them in the future for smoother incorporation of co-design education into design education curricula. Lastly, for future designers' mindfulness of co-design and their role as facilitators suggestions are provided such as accreditation of curriculum activities regarding co-design education.

This paper introduces the life and work of art educator and designer Kurt Rowland (1920–1980) who authored the first set of textbooks on visual education and played a role in the shifting world of art and design education in post-war Britian. We detail the foundational experiences of his extraordinary life in the first half of the 20th century including surviving the Spanish Civil War and La Retirada, being a ‘friendly enemy alien’, and becoming one of the Dunera boys forced into Australian internment camps. He later went on to develop a new aspect of art and design education he called visual education. We explore Rowland's notion of a visual education, explicating its features, appraising its import, and situating Rowland's ideas to those of his contemporaries. We explore his motivations and how his work advanced art pedagogy. Finally, we argue that Kurt Rowland has been absent in recent literature on art and design education and that his work, which contains elements that have continued relevance today, should not be overlooked.

As the sustainable fashion movement gains momentum, there is a growing need to introduce such concepts to the next generation of fashion designer. One approach to produce sustainable designs is upcycling, defined as the salvage and reuse of discarded or found items into new products. This study examines a pedagogical approach for engaging 2nd year undergraduate textile and fashion design students in sustainable fashion design practice. Working in groups, students are challenged to upcycle old clothing into a little black dress, using a keyword as direction for concept, design development, and garment construction techniques. To elevate value in post-consumer textile waste, it is necessary to develop high-quality contemporary design outcomes. This teaching approach aims to encourage the revaluation of recyclable resources, the exploration of the creative potential of fabric manipulation techniques, experimental design development, and professional production techniques. This is achieved through the implementation of a design brief that establishes original approaches to upcycling, contrary to the arbitrary processes that are typically used.

Understanding changes to student wellbeing on design modules in a distance higher education setting is difficult. Previous research suggested that environmental, study and skills-related barriers impact the wellbeing of learners at a distance. This study sought to understand the experiences of barriers and what enabled distance design students’ wellbeing. It identifies avenues to balance tensions between conflicting experiences of studying design and maintaining wellbeing that our participants disclosed in a longitudinal, qualitative study using repeat interviews, experience sampling and a diary study. The findings provide insights from the learners’ perspectives. Students reported strategies on how to deal with open-ended design projects and how to cope with feedback. They revealed how they currently seek and receive support for design work and wellbeing. We uncovered how learners keep to deadlines and how they approach social learning. The study also exposed enabling study rhythms to facilitate creative flow and how creative environments are set up in the learners’ homes. Our findings suggest that educators and designers of hybrid and distance design education should pay attention to three key aspects: dealing with uncertainty, learning satisficing and managing creative flow, to enable design students’ wellbeing.

This paper aims to interrogate the design studio conversations between teachers and students in order to explore the indicators regarding empathy. To investigate design conversations occurring between design teachers and design students, participant observation studies were conducted at two universities in Finland and Turkey. As an empathic indicator, we addressed (1) how design teachers take the perspective of other agencies and (2) what deliveries are utilised for empathic perspective-taking. It was understood that design teachers identify themselves with both human and non-human agencies as design students, users and materials. Moreover, deliveries leading to the identification of design teachers with these agencies included both discursive and performative means.

This article reports on research focused on a visual arts education course offered during a primary teacher training in Chile. It was driven by the increasing cultural diversity in Chilean schools, the potential of art education to respond to this context and the limited space that this field has in the national curriculum, an issue that is replicated in most teachers’ training programmes. Intercultural and students’ cultural funds of knowledge theories informed a framework that was implemented in the investigated course to strengthen pre-service teachers’ cultural identity and the adoption of culturally inclusive practices. Through focus groups with the students and analysis of their visual journals, the research explored whether the course impacted their perception of visual arts education, and their cultural identities. Through a/r/tography, an arts-based methodology that articulates art, research and education, the study presents the students’ voices and imagery, testimonies that contributed to reassess the space given to art education in primary schools and teacher training programmes.