Aesthetics of movement and direction in the artistic achievement of students of the Department of Art Education

Select the researcher discussed problem of asking the following : Do you use visual intelligence strategy effective in the collection of students in the Department of Art Education in the foreseeable material ? The research aims to " measure the effectiveness of the strategy in the collection of visual intelligence students in the Department of Art Education in the foreseeable material ". To verify the objective of this research was identify hypotheses zero to measure the level of achievement in the foreseeable material second grade students in the Department of Art Education - Faculty of Fine Arts . The population of the research students in the Department of Art Education / Faculty of Fine Arts at the University of Baghdad who are studying items scheduled perspective within vocabulary curriculum Department of Technical Education 's ( 109 ) students , distributors (6) people. Akhtar researcher discussed random sample of second grade students - Division (a) of the Department of Art Education and both sexes , were selected ( 10 ) students who are studying perspective on the material in accordance with the visual intelligence strategy . The researcher used the experimental design is the same group ( experimental sample per ) to verify the objectives of the research as it aims Current search to reveal the effectiveness of the Strategy intelligence visual in the collection of students in the Department of Art Education in the material perspective for the purpose of achieving the objectives of the research and hypotheses it was necessary to create the requirements of research and whose required educational material that have been taught during the application of research and experience , which was distributed on two and lessons within two weeks. Subject of the first lesson ( the third dimension of forms and objects) The theme of the second lesson is ( Record peace ) After determining the educational material , select the educational objectives of the researcher thus refers to the behavioral goals . The researcher building objective test type ( multiple-choice ) consists of (20) paragraph and to show search results used means statistical represented (b test and Caucasians "Wilcoxon" to show the result of the null hypothesis specified in current research and achieve the goal of research and equation Keodr Richardson -20Kauder Richardson -20 " " used to find reliability coefficient cognitive achievement test . The most important findings of the researcher and that can be summarized in the following points :The calculated value less than a small spreadsheet to show the presence of statistically significant differences at the level of significance ( 0.05 ) to favor the achievement test post so first rejected the null hypothesis "there is no statistically significant differences at the level of significance (0.05) between the average scores of the collection experimental group students ( who are studying perspective on the material according to the visual intelligence strategy ) in the pre and post tests . " And thus accept the null hypothesis second alternative It is clear that the experimental group students who have studied the material according to intelligence strategy perspective demonstrated excellence in visual post-test results compared to the results of pre – test. The researcher has recommended a set of recommendations including:1 - emphasis on methods and strategies for teaching modern in the field of education and training of cadres of teachers for the use of such methods in their field and the emphasis on a strategy of multiple intelligences and in particular strategic intelligence visual because they show the strengths and weaknesses of the students and to reach the desired goals in the educational process .2 - tendencies interest of students and diversification of activities where they are interested in the detection of their intelligence and help them in their development . To complement aspects of current research researcher suggest the following :1 - the effectiveness of an educational program in the development of multiple intelligences among third-year students in the Department of Art Education in Article Creation imaging .2 - the effectiveness of multimedia programs prepared in the light of the theory of multiple intelligences different thinking patterns in the foreseeable material

The study started with four chapters where the initial chapter focused on identifying the activities performed by the Department of Art Education - Babylon Study Center and methods to enhance them. The research timeline covered academic year (2022-2023) and it included term definitions. The theoretical section of chapter two contained three essential subsections. The first was titled The Art Education Teacher (His Preparation and Development) and the second The Open Educational College (Its Origin and Role in Developing the Teacher) alongside the third chapter which was The Department of Art Education at Babylon Study Center (Its Tasks and Duties). Research procedures appeared in the third chapter where researchers involved the entire sample population with 35 participants chosen deliberately. The research adopted survey methodology which used closed-open questionnaires as its research tool in order to analyze the sample data through statistical procedures. Actual artistic participation by the sample turned out to be scarce since members only involved in artistic workshops and cultural seminars and artistic festivals.

ow! Are they repairing the coast? Is that really art? This guy's a nut ... V V I saw his pink donuts on TV. So why the Reichstag? Why bother? Who gets to keep it? Neat! Why not just leave it there? Who helps? Does he get paid for this? . . . He must be rich. Why all that work for nothing? These are typical questions young people put to art education majors during a recent Christo exhibit in the Herron Gallery Art-to-School Program, a program preparing students and teachers to deal with art of this decade. The Herron Gallery of Contemporary Art and the Art Education Department at Indiana University, Indianapolis, have collaborated for the last three years to provide experiences with contemporary art for public school students, K-12. The Gallery exhibits work of avant-garde national and international artists as well as emerging regional and national figures. The Gallery curator is extremely receptive to art education. She solicits funding for the Art-to-School Program and provides gallery updates on current shows to our education students. As an assistant professor of art education, I coordinate this program with the curator. The cooperation between galleries and museums, university art teacher preparation programs, and public school art teachers is essential in preparing art education students with successful gallery experiences and non-studio methodology for teaching art. The art education department and the gallery share the philosophy that public school students of all ages should look at, discuss, and study contemporary art on a regular basis. I refer here to art imagery of this decade. This includes art found in today's galleries as well as popular art found in film, TV, and advertising. For this to take place, future art teachers must develop a large repertoire of current images, ideas, and philosophies of art. Universities also must prepare teachers with opportunities to test and develop these skills in the presence of both art and a public school audience. Once these skills are practiced in a teacher preparation program, students will more likely promote looking at and talking about art on a daily basis in their own artrooms, balancing the current studio approach

National Art Education Association (NAEA) presentations on Arts-Based Educational Research (ABER) have been few and far between the past few years. Twelve ABER related presentations were included during the 2006 convention in Chicago. Yet the American Educational Research Association (AERA) has housed an ABER special interest group for 11 years. Many scholars from colleges of education and departments of curriculum and instruction, especially in Canada, Australia, and the United Kingdom, have enthusiastically explored the potential of Arts-Based Educational Research for innovation and meaningful, reflexive artistic research and teaching rigor. Historically, the preponderance of art education departments in the U.S. higher education system, except for a few innovative scholars, have resisted this innovative methodology or, at the very least, have treated it and its practitioners with harsh skepticism.As the publication of this special issue of Studies in Art Education attests, arts-based educational research is now beginning to be considered more seriously in university art education departments in the United States. Following such a challenging start, however, we wonder where we really are in this conversation as a national field. After a decade of exploration, collaboration and publication surrounding various approaches to ABER, such as artistic inquiry, arts-informed research, arts-based educational research and a/r/tography, committed scholars (nationally and internationally) are now delving further into examining these methodologies for a clearer identification of theoretical perspectives, while also comparing and contrasting the defining characteristics of each approach (i.e. Irwin & de Cosson, 2004; Keys, 2003; Kiljunen & Hannula, 2002; Neilsen, Cole & Knowles, 2001; Knowles, Neilsen, Cole & Luciani, 2004; Springgay, 2004; Sullivan, 2004; Suominen, 2003). These scholars continue to act as formative pioneers in the ABER movement while the broader field of education continues to resist Arts-Based Education Research, plaguing these ground-breaking scholars with charges of flagrant narcissism, fears of questionable artistic quality, and accusations of invalidity and irresponsibility.Speaking from Experience: Historical WarningsAnniina (AS), Kathleen (KK): As a word of warning for the young, passionate, idealistic scholars, a full professor shared a story about entering the academy in a department of art education. The professor was strongly advised to stop making art by a senior faculty member in the department. Relegating any and all related manifestations to a hobby status was the advice provided, along with the warning that art production would cause her scholarship to be taken far less seriously. Clearly missed by the senior professor, were the integral ties between art-creation and the viable processes of arts inquiry.Nearly 20 years later, that early rejection of artistic production compared to the now evolving ABER methods, absurdly suggests to us a denial of visual art creation as a vivid and valid learning modality for arts educators and likewise our students. Isn't this the essential claim of our field? Do we not try to provide through extensive evidence and example that art practice and contemplation are an extremely rich learning endeavor for all students? Interestingly, it is (has been) acceptable for art education academics to take on research interest areas in art history, aesthetics and criticism-and publish or present accordingly. Why then is the role of art educator as artist so historically and currently contested within the field of art education? What fears or threats are associated with the concept of art educator as artist? How can such a modernist view of research and art education ever support ABER? Why is the symbiotic relationship of artistic practice and art education research so difficult for others to accept?Adversarial ProtectionCombined with the warning from our shared advisor as we, the authors, were finishing our doctoral research, was her emphatic and firm, yet cautious, support strengthened three-fold by the additional support (protection) from our art education committee members. …

The article analyses arts teacher education in Lithuanian University of Educational Sciences, the only university in Lithuania which prepares teachers of four arts subjects – dance, music, theater and visual arts both on bachelor and master’s level. Analyzing this phenomenon input of Arts Education Department of the university is revealed through scientific and pedagogical activities which are closely connected with arts teacher education programmes implemented by the department. Since 1993 when Arts Education Department was founded it went through various changes which led from general university study subject of Arts education towards six arts teacher preparation programmes: dance pedagogy bachelor, theater and film, pedagogy bachelor, dance education, theater education, visual arts education and music education master. Over 500 arts education teachers graduated from Arts Education Department study programmes in the period of 1997–2013.

The Studies Invited Lecture is a presentation given each year at the National Art Education Annual Convention. The presenter is acknowledged as a leading art educator and is elected by the Studies in Art Education Editorial Board. This year's recipient was Patricia L. Stuhr. She is currently Professor and Chair, Department of Art Education, The Ohio State University. Professor Stuhr has published extensively in art education and related fields on issues of multiculturalism, postmodernism, feminism, and community-based art education.

Contemporary art requires that art and cultural educators reposition encounters with artefacts, images and performances into a context for new discourses. Whereas digital media and other aspects of visual popular culture predominate the frames of reference of school‐age children, their context (codes) of reference, in large part, do not contain those used by art and cultural education professionals. Most art professionals (con)textualise their interpretations from a more formalistic tradition, unlike school‐age children, whose use of iconographic elements from their experiential subcultures, are projected into the content of their visual encounters. In order to find relevancy for today's art education, interrelationships between the codes of the participant and visual experiences must be built upon the development of new strategies between viewers, artefacts and experts. This article presents the background and use of dialogic strategies for new discourse from the‘Open Dialogue Club’programme between the Department of Art Education at Charles University and the Galerie Rudolfinum, a contemporary art space, in Prague, Czech Republic.

The research dealt with the topic of (employing technology in the design of digital advertising and its creative representations in the products of art education students). The research contained four chapters. The first chapter dealt with: the methodological framework of the research, represented by the research problem that was revealed in the following question: How has technology contributed to employment in the design of digital advertising? They have no role in enriching the creative process and are represented in their artistic productions. The researcher determined the limits of the research, which were represented by the products of the students of the Department of Art Education - First Stage / College of Fine Arts/ University of Baghdad for the academic year (2020-2021), and then the researcher moved to the second semester, which included two sections. The title of the first section was employing technology artistically for advertising, and the section included the second is the creative process and aesthetic standards in the artistic achievement, and the researcher extracted a number of indicators that resulted from the theoretical framework: 1. The use of digital technical methods in employing shapes by following the technique of assembling and composing photographs, and generating a main rhythm between images and color values, served the functional aspect and the creative process of the advertising poster. 2. The computer showed a kind of diversity and excitement in the use of letters and their formal formulation in the design space. Among the most important conclusions is that the use of digital technology in the field of art education for practical academic subjects has given students the ability to diversify the styles of artistic production and facilitate the procedures used in producing these artistic works.

TO THE AGES OF AGES: RECONCEPTUALIZING HIGH SCHOOL ART HISTORY CURRICULUM Amy Michele Bergh, M.A.E. A thesis submitted in partial fulfillment of the requirements for the degree of Master of Art Education at Virginia Commonwealth University. Virginia Commonwealth University, 2011 Director: Dr. Nancy A. Lampert, Assistant Professor, Department of Art Education Through this curriculum study, I explored the application of ideas found within contemporary art education to a course of traditional secondary art history. These contemporary art education ideas included: visual culture instruction, interdisciplinary instruction, contemporary art instruction, curriculum development, the use of enduring ideas, and the inclusion of a variety of perspectives based on gender and ethnicity. Through these art education ideas, a new curriculum was formed, that pushed both the students and the teacher toward a more inclusive art history course that made real connections for students and allowed students to be active members in their own learning. Instruction shifted away from lecture and became more dialogue and discussion oriented. Unit examples are included for Romanticism, Dadaism, and American Social Realism.

The purpose of this article is to describe how the Department of Art Education at the University of Lapland in Finland has developed winter art as a method of environmental and community‐based art education. I will focus on the Snow Show Winter Art Education Project, a training project funded by the European Union and the State Provincial Office of Lapland. The general aim of the project was to increase the know‐how of winter art in Northern Finland. This goal was put into practice through workshops on snow construction, documentation of winter art, winter‐oriented media production, and snow and ice sculpting; through continuing education seminars, workshops, and school projects for teachers; and through public lectures and seminars on winter and winter art. In this article, I describe the challenges that winter offers to community and environment‐based art education in the North. Further, I introduce the methods of implementation and the outcomes of winter art exercises carried out by several schools in Lapland in cooperation with and inspired by the Snow Show Winter Art Education Project.

Evaluation is highly important in improving learning. Therefore, trainee teachers must be taught to evaluate effectively before commencing teaching. This research aimed to study the difficulties teachers in the field of art education face while evaluating students’ work. A descriptive analytical method was used to study a cohort of 63 students from the Department of Art Education at the College of Education at Jazan University. The researcher used a questionnaire consisting of nine paragraphs to collect information and data, which was presented to a committee of specialists to ensure its validity. The Cronbach alpha coefficient was used to calculate the reliability of the resulting data, giving a reliability coefficient of 0.96, which was acceptable for this study. The results focused on the school administration’s lack of reliance on evaluation in art education to determine the students’ outcomes and the students’ poor interest in the evaluation results and in improving their performance. The study suggests some methods of evaluation in art education, with the most important recommendations relating to the importance of placing art education grades within the grades of students, writing a list of criteria with which to evaluate students in order to measure their performance and supporting and motivating talented students.

Este artigo apresenta uma narrativa pessoal do meu engajamento crítico no desenvolvimento de uma parceria internacional entre duas instituições de ensino superior, que resultou no aprimoramento da Educação Artística na Jamaica e nos Estados Unidos, ampliou o entendimento das identidades culturais de cada país e entre os dois países. Neste artigo, se sugere que o tempo viabiliza a profundidade de um relacionamento colaborativo entre países e tem um impacto significativo no aprendizado e no crescimento dos indivíduos envolvidos. A Faculdade Edna Manley de Artes Dramáticas e Visuais em Kingston, na Jamaica, é a principal faculdade de artes de língua inglesa no Caribe e mantém uma parceria de quinze anos com o Departamento de Educação Artística da Universidade do Estado de Ohio. Estudantes da Jamaica completaram seus doutorados na Universidade do Estado de Ohio desde 1980. Este relacionamento foi se transformado em uma parceria que levou ao desenvolvimento de um programa de mestrado on-line em Educação Artística para professores de arte na Jamaica e eventualmente a um programa de estudo no exterior para os estudantes da Universidade do Estado de Ohio viajarem para Kingston. Compartilhar o conhecimento entre estes dois países através de várias perspectivas socioculturais permitiu aos participantes complexificarem as noções a respeito de cada país e, portanto, criou oportunidades para refletirem sobre suas próprias identidades culturais, realidades e limitações como artistas e educadores de arte.

In this personal account by an art education professor, Enid Zimmerman describes her own experiences growing up and later how she, as a non-Asian art educator at Indiana University, developed a program focusing on the needs of doctoral students from Asian countries. She presents the outcomes of a study in which she interviewed art education doctoral students from Asian countries about their challenges living and studying at a university in the Midwestern United States. She shares advice for those from Asian countries seeking to be doctoral students. Her concern was for these students to have transformational experiences so they could become integrated into a nurturing academic community. She explains how she created a compassionate, family-like environment for them and other doctoral students in the art education department. She also reports visiting these students after they completed their doctoral degrees and returned to their native countries, and the rewards of forming lifelong bonds with them and their families.

The current research included a study of popular folklore and its reflection on students' projects in the Department of Art Education. The research problem was summarized in the following questions: 1- Is popular folklore a role in student projects in the Department of Art Education? 2-What are the reflections of popular folklore in students' projects in the Department of Art Education?

The Effect of The Training Program Using (Paper Marbling) Technique on The Ability to Draw and Achievement of Students in The Department of Art Education