Addressing the Underserved

Introduction. The modern information society has had a significant impact on the education systems of many countries around the world. It enables openness, accessibility, mobility and lifelong education. In recent years, arts institutions and educators have grappled with finding the right balance between traditional and digital arts education. Traditional art techniques have long been the foundation of art education in colleges and universities. Aim. This study aims to investigate the integration of digital education methods in Chinese traditional art education and examine future trends and directions in this field. Focusing on exploring current approaches and anticipating future developments, the research seeks to provide insights into the evolving landscape of digital integration within the context of Chinese traditional art education. Research methods. To achieve the research objectives a systematic review involved to conducting a comprehensive search of relevant literature, including academic journals and conference proceedings. Studies discussing various methods, technologies, and pedagogical approaches for incorporating digital education in traditional art education settings would be identified and synthesized. A systematic review would involve searching and analyzing literature to explore methods of integrating digital education into Chinese traditional art education. Results. This study sheds light on the current approaches to integrating digital education methods in Chinese traditional art education while also offering insights into future trends and directions in this field. Based on Google Scholar search results using the keywords "digital education" and "traditional arts education" resulted in 19,800 publications. Multiple indexes were used leaving 13,600 publications. After filtering the types of literature into articles and review articles, 65 publications remained. Additionally, we removed duplicates, poorly indexed documents, and documents inconsistent with digital arts education research, reducing the number of publications to 10. Each bibliography entry includes author, institution, abstract, Google Scholar category, research topic, year of publication, publications (volumes), and references. In conclusion this study highlights the need for ongoing research and adaptation to effectively navigate the complexities of integrating digital education into traditional Chinese arts education while preserving its rich cultural heritage for future generations.

With the deepening digital transformation across various fields, traditional art education encounters numerous challenges and opportunities. The advent of virtual reality (VR) technology offers a new dimension for art education, capable of breaking through the constraints of time and space to realize a more immersive teaching experience. This study explores the enhancement of educational immersion and interaction through VR technology, aiming to improve and enrich the teaching effectiveness in art education via advanced image processing techniques. Although VR technology has been proven to significantly increase learner engagement in existing research, limitations such as inadequate extraction and matching precision of image feature points, along with inaccurate camera pose estimation, remain as primary technical barriers hindering its development within the context of art education. To address these issues, an improved algorithm for the extraction and matching of image feature points is proposed after a thorough analysis of image feature points during the visual teaching process. Furthermore, a method for the precise matching of local image feature points with environmental map points is studied, combined with camera pose optimization technology to enhance the realism of the VR environment. Lastly, the stability and coherence of virtual teaching scenarios are improved through image frame map fusion and loop detection technology. The outcomes of this research not only enrich the application of VR in the field of art education but also provide a technological reference for interactive teaching in other disciplines, possessing significant theoretical and practical value. Experimental validation has demonstrated the effectiveness of the proposed methods in enhancing the interactivity of teaching content and the immersion of learners, showcasing the immense potential of VR technology in modern education.

The aim of this article is to gain insight into the factors correlated with active arts participation. Drawing on the cultural reproduction theory and the cultural mobility model, we assess the relative effects of level of education and art education versus social background and focus on possible interaction effects between them. We thereby query if and to what extent art education programs and parental milieu can account for differences in participation according to level of education. Results based on stepwise logistic regression analyses on representative population data for Flanders (N = 3,146) offer a mixed picture. Although we find clear effects of social background on the odds of active arts participation, net effects of art education prove more substantial. However, the context of art education clearly matters: for most of the art forms considered, only out‐of‐school art education shows net effects, while in‐school art education has no net effects. Furthermore, we find how the effects of level of education on active art participation are equally attributable to parental milieu and to art education programs. Finally, four significant interaction effects are found corroborating the cultural mobility model. Results are discussed in the light of both theorems and routes for further research are suggested.

What does it mean to be human? And how is our humanity constituted by our relationships with others? These are two questions central to much research in the disciplines that make up the liberal arts and sciences. The concept of sustainability has come to prominence in recent years in response to increasing signs that the natural environment has incurred significant damage caused by human activities. Investigations of sustainability directly challenge the idea that to be human is to live in the world detached from the natural environment. Both personal and cultural identities are formed in relationship to a world beyond the human. Yet we often allow that non-human world to remain invisible, a barely assumed background that we take for granted. Despite our tendency to focus on human perceptions and human relationships, the natural world occasionally pushes back and insists on being part of the dialogue, As environmental degradation increases, this push back becomes more visible and disciplines from across the academie spectrum must take up nature's challenge. How will we learn to make our relationships to the non-human world conscious, responsible, and enduring? Thinking about sustainability is an unavoidable part of thinking about our own humanity and the source of our identities.The concept of sustainability has come to mean different things to different people. In its multi-dimensionality, sustainability has ecological, economic, cultural, and ethical aspects, Differences exist over what should be sustained, what the goal of sustainability should be, and what methods will be most effective. Many of these differences arise because sustainability is used in different domains for particular parochial purposes. For some, the key issue is ecological. How can we restore and sustain intact wild environments with their component species? For others, the focus is economic. How do we ensure an enduring supply of natu ral and human resources to maintain a flourishing economy? And for others, the key issue is cultural and ethical. How do we promote justice for the poor and marginalized alongside healthy urban and natural environments?Given these different domains and starting points, questions can be raised about how the ecological, economic, cultural, and ethical dimensions of sustainability relate to one another. How much can be subsumed under the sustainability umbrella, so to speak? Does sustainability require the reduction of poverty, or just the preservation of intact natural environments? Is sustainability compatible with economic growth, or does it require radical modification of the consumer society? Despite the frequency with which sustainability is discussed, there remain many uncertainties about its real meaning and practical implications.Even in the absence of a commonly accepted definition and an agreed upon set of applications, sustainability has implications for the arts and arts education. Sustainability's various formulations, metaphors, and principles provide an interpretive lens for investigating educational and artistic practices. They implicitly highlight a particular set of goals and values that could guide our relations with and impact on the human and natural environments constitutive of our own nature as human beings, citizens, and cultural agents. Thus, sustainability motivates critical reflection about social and political practices, and spotlights human engagement with the cultural and natural worlds. And the conceptualizations of sustainability challenge the present generation to think about the continuing impact of sustainable policies, innovations, artifacts, technologies, lifestyles, and ethical attitudes on future generations both of humans and non-humans.The fi rstthree articles in this issue of Studies in Art Education address the problems of sustainability directly from within the context of art education. The final two articles do not take up sustainability as a central concept, yet they are both interested in the role played by various cultural and environmental contexts in understanding what it means to be human. …

The belief that art should not be a handmaiden to social studies has continued in art education discourse since the 1920s. What role does the handmaiden play in this cultural narrative? Who is the handmaiden? We explore the handmaiden metaphor in art education and in popular texts. She is both needed and despised for her metaphorical acts of curriculum integration and for forming partnerships and collaborations. We focus on student discourse about the film The Handmaid's Tale in our team-teaching two different courses offered at two geographically distant universities connected via the Internet. The film generated critical dialogue among students regarding the “Handmaid” within the context of art education. Informed by the symbolism and speculative fiction of Margaret Atwood's book The Handmaid's Tale, upon which the film is based, we revise the narrative of art education towards a feminist position of interdisciplinary content-based and multivocal art creation and critiques.

Children's art education is closely related to the cultural environment. In consideration of the interconnection and interaction between education and culture, the impact of traditional culture on art education could not be underestimated. VR technology can break the limit of time and space to restore the history, and provide traditional culture and art education for children with vivid images. The advantages of VR technology in creating immersive teaching situation for children's traditional culture and art education can overcome limitations of teaching space and provide technical support for the creation of immersive learning situation. VR technology can realize the content dynamization and visualization of traditional culture in children's art education, stimulate students' learning initiative, improve the quality and efficiency of Chinese children's traditional culture and art education, and provide feasibility for the formation of Chinese traditional culture in children's art education resources and the reform of teaching methods.

This article reflects on analyzing and understanding the articulation between creative processes in art education and the development of training for a culture of social and cultural citizenship. The methodology of projects developed in Workplace Training over two academic years involved two 12th-grade secondary specialized art classes. The realization of the projects, based on the action-research methodology, sought the student's participation and involvement in the decision-making of the activities as co-authors in their learning and cooperation with the teachers. Direct observation and interviews with the participants were the main instruments for the data collection. The analysis data used the NVivo program. This study argues on the sociocultural theories of creativity (Glăveanu, 2013; Beghetto, 2016), citizenship and educational contexts (Eça, 2010; Caetano & Freire, 2014), and the context of Art Education (Eça et al., 2012; Eça, 2014; Ramirez, 2016). The main results revealed an interdependent relationship between creative processes and citizenship practices, increased knowledge, and capacities capable of promoting collaborative creativity (Burnard & Dragovic, 2015). These results will allow this relational dynamic to develop and transform through social interactions and situated contexts, with evidence of communication between all those involved, with openness to social and cultural diversity, to generate other possibilities for synergy.

최근 창의적 융합인재양성을 위해 '예술교육'이 국내외적으로 크게 주목받고 있다. 한편 현재 국제사회에서 '새로운 대안'으로서의 '교육 트랜드'로 주목하고 있는 예술교육의 경향은 과거 전통적 예술교육과는 목적, 내용 및 운영방식 면에서 큰 차이가 있다. 이에 본 연구는 새로운 개념의 국제적 예술교육 동향을 분석 소개함으로써 정부가 현재 추진 중인 초중등학교에서의 예술교육활성화, STEAM과 같은 과학기술분야에서의 예술융합교육 일환으로서의 예술교육의 문제점을 지적하고 향후 시대적, 사회적 요구에 부합하는 바람직한 예술교육의 지향 방향을 제시하였다. For recently training the creative convergence talents, 'art education' is being greatly noted at home and abroad. In the meantime, this art education, which is being paid attention now as the educational trend of 'new alternative' in international society, has great difference in the aspect of objective, contents, and an operating method from the traditional art education in the past. Accordingly, this study analyzed and introduced the international art-education trend in a new concept, pointed out problems of art education as a part of activating the art education at elementary and middle schools, which is being driven now by the government, and of the integrated art education in the science technology field like STEAM, and suggested the desirable art-education orientation direction of satisfying the historical and social needs hereafter.

The purpose of the article is to consider current issues of national higher art education in the context of meeting creative, personal, and social needs. Research methodology. To achieve the goal, general scientific (analysis and synthesis, generalisation) and special research methods were used. The systematic-analytical method made it possible to determine the features of modern art education, and the axiological method helped to identify the value priorities of art education, taking into account the needs of society and the artist. The method of theoretical generalisation was used to establish the specifics of the functioning of art education in modern conditions. The scientific novelty of the obtained results lies in the theoretical understanding of modern processes in art education, taking into account its personal, creative, and social potential. Conclusions. In general, the organisation of higher education in Ukraine provides a comprehensive approach to the training of an artist. The level of higher art education largely reflects the state of national education in general, the ability of students to act as producers of material and spiritual values, which characterises them as the spiritual potential of Ukraine. In order to address the issue of artistic education's relevance to contemporary civilisational challenges, its structure should be systematically modernised, taking into account the national educational experience gained. Traditional art education should be aimed at educating not only a producer of material values, but also a specialist capable of passing on his experience to a new generation, promoting spiritual values and interest in artistic activity among society by his own example. On the other hand, art education should enable artists to fulfil their creative and professional needs, which, in turn, should coincide with the development goals and needs of society.
 Key words: art education, artist, art, professional realisation, creativity, hermeneutics.

This study incorporates gray correlation analysis from gray statistical theory to assess the quality of traditional culture and art education. It establishes an evaluation index system and a gray correlation analysis model, examining the relationship between contemporary art education and traditional culture. The model is applied to identify the correlation, key characteristics, and principal influencing factors of traditional Chinese culture and art education in higher education institutions. Additionally, it examines the advantages of random sequences of factors through specific data processing techniques. The structural model tests the influencing factors on the quality of traditional culture and art education, with an analysis of path coefficients. The results showed that 97.4% of teachers chose traditional culture and art teaching resources, mainly by referring to the network aspect. The results of the weight distribution indicate that the teaching process U3 (0.3613) is the most important in traditional culture and art teaching, and the innovative activities in teaching content (0.8113) hold the largest weight. The top three gray correlation values of the indicators of the second-level factor layer are U43>U22>U32. The direct influence effect of excellent traditional culture permeating the teaching process is 0.232, which has the greatest influence on the quality of teaching. The direct impact of excellent conventional culture permeating teaching content is 0.184, which has the second largest influence on teaching quality. This paper successfully constructs a gray correlation model to analyze the relationship between traditional culture and contemporary art, which has high scientific validity.

This article explores the strategies, advantages, disadvantages, and methods of digitalizing art education. The study focuses on observations and research conducted at the selected university, where the characteristics of classroom technologies in the art department were analyzed and categorized. The paper challenges the claim that "all traditional teaching methods should be abandoned in favor of complete digitization and increased reliance on technological tools." Instead, it aims to provide a clear perspective on digital technologies' current state and features in art education, facilitating their effective integration into traditional and modern teaching approaches in the university under study. This ensures that the digitization of art education progresses in a practical and well-informed manner. Given that educators, students, and educational institutions hold diverse perspectives on digitization, examining the fusion of traditional and digital teaching methods is strategic and highlights the need to address the viewpoints of these three groups. The primary concern of this paper is bridging the gap between traditional art education and technology-driven art education. While the findings suggest that the benefits of technology integration in art education outweigh the drawbacks, they also offer a promising pathway for balancing tradition and technology, successfully merging the two to foster creativity and innovation. Received: 30 January 2025 / Accepted: 4 March 2025 / Published: 10 March 2025

시각문화교육은 포스트 모더니즘 이후, 미술교육의 새로운 패러다임이라고 볼 수 있다. 시각문화교육은 전통적인 미술교육에서 우리 주변을 둘러싸고 있는 시각 환경으로 그 관심의 폭을 확대하였으며, 전통적인 순수예술에서 대중문화 및 영상예술 등으로 미술교육의 관심을 폭넓게 확장해 왔다. 시각문화교육은 이미지를 둘러싼 사회문화적 맥락에 주목하고, 비주얼 리터러시 능력을 강조하며 구성주의적인 학습을 강조한다는 면에서 문화예술교육의 이슈와 많은 부분을 공유하고 있으며, 실제로 문화예술교육의 주요한 이론적 배경이기도 하다. 이 글에서는 디지털 미디어 시대와 더불어 중요성을 더해가고 있는 애니메이션 교육의 방향성을 제시하기 위해, 시각문화교육의 이론적 배경 및 이슈를 살펴보고, 이와 관련하여 애니메이션 교육의 방향을 제시하였다. 시각문화교육은 1970년대 이후의 진보적인 문화적 배경 아래에서 탄생하였으며, 그 요지는 개인적이고 사회적인 삶의 개선을 위해 시각적 인공물과 그 행위의 의미를 파악하는 것이다. 그러나 시각문화교육은 시각문화 양상의 변화에 따라 지속적으로 발전 중이며, 현재에는 시각문화에서의 미적 체험교육이나, 디지털 스토리텔링을 통한 의미 구성등으로 그 관심을 확장하는 중이다. 디지털 미디어 시대의 시각환경에서 애니메이션은 시각문화의 중심에 자리잡고 있으며, 애니메이션은 하나의 예술장르, 혹은 테크놀러지를 넘어 시각문화 전반에 걸쳐 이미지가 구현되는 형식이기도 하다. 그간 시각적 의사소통 및 비판적 문화 읽기 등을 강조해 온 시각문화교육 또한 미술교육의 체험에서 이해, 감상에 이르기까지 전 영역에 있어서 디지털-애니메이션 시각문화의 새로운 양상을 반영할 필요가 있을 것이다. 이 글에서는 애니메이션 교육 영역의 확장, 범교과적 접근, 사회재건주의적 교육철학, 애니메이션 리터러시 등을 강조하였다. 시각문화교육적 관점에 기초한 애니메이션 교육의 연구는 애니메이션 교육의 정립에 이론적 토대가 될 뿐 아니라 전통적인 비판적으로 텍스트 읽기중심의 시각문화교육을 내용적으로 풍부하고 동시대적이고 미래적인 방향성에 도움을 줄 수 있을 것이다. Visual culture art education (VCAE) seems to be the new paradigm for art education after postmodernism. Getting beyond the traditional art education, VCAE has expanded its scope of interest to include the visual environment that surrounds our life, thus pushing the boundary of art education beyond the traditional fine arts to cover pop culture and visual art. VCAE shares the issues as well as a lot of elements of culture and art education and in fact serves as a major theoretic background for culture and art education, in that it pays attention to the sociocultural context of images and emphasizes visual literacy and constructionist learning. In this paper, I have reviewed the theoretical background and related issues of VCAE with a view to presenting a direction for animation education, which is gaining in importance coming into the Age of Digital Media. VCAE was born in the progressive cultural atmosphere from the 1970s and thereafter, and its gist consists in figuring out visual artifacts and their action in order to improve individual and social life. Yet, VCAE continues with its development according to the changing aspects of visual culture, and currently, it is expanding its scope of interest to cover the esthetic, experiential education in visual culture and construction of meaning through digital story-telling. In the visual environment of the Digital Age, animation is establishing itself as the center of the visual culture, being a form that goes beyond an art genre or technology to realize images throughout the visual culture. Also, VCAE, which has so far emphasized visual communication and critical reading of culture, would need to reflect the new aspects of the visual culture in digital animation across the entire gamut from experiencing to understanding and appreciating art education. In this paper, I emphasize on Cross-Curricula, social reconstruction, the expansion of animation education, interests in animation as a digital media, and animation literacy. A study of animation education from the perspective of VCAE will not only provide a theoretical basis for establishing animation education, but also enrich the content of VCAE, traditionally focused on critical text reading, and promote its contemporary and futuristic orientation.

Intuition plays an important role in children's art education, for intuition enables children to grasp the basic characteristics of the object and represent visual image in a creative way so as to demonstrate the natural rule of beauty. This paper is divided into three parts. The first part points out the problems in children's art education. The second part analyzes the role of intuition in children's art education. The third part discusses the ways of intuition training with a view to providing some new solutions to the problems that occur in the process of children's art education. Index Terms - Intuition, Children's art education, Traditional art education, Visual training, Visual expression.

Quality community-based art education programs for older adults over the age of 50 should exploit the broad range of interests and cognitive abilities of participants by utilizing adult education theory, brain research, and the best practices of adult art education programs. We consider a developing paradigm on the cognitive abilities of the mature mind and incorporate transformative learning theory to engage the creative potential of older adults participating in these art programs. Older adults have a wealth of knowledge and experience, a broad range of interests and cognitive abilities, and a unique vantage point: the wisdom acquired with age. The reinterpreting of past experiences and understanding them in a new way may provide meaningful creative inspiration. Transformative experiences can occur for adults across cultures and generations through activities such as storytelling, social interaction, and collaborative artmaking.

The establishment of Academies of Art in Florence and Rome during the second half of the Sixteenth Century marked the beginning of a new era1. Early academies ennobled art education, contributed to the social and cultural rise of the artist and established new career patterns. The changes they introduced regarding the creation, selection and transfer of theoretical and visual knowledge were long lasting, but they will be better understood when compared with the context of art education during the Middle Ages and when due attention is paid to changes which took place before their establishment.