Koncept predškolske likovne pedagogije kao prostora umetničke koprodukcije dece i odraslih

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.

Discipline-based art education, an extension of Penn State Seminar model, has implications for art and classroom teacher education. This article (a) reviews definition and distinguishing characteristics of discipline-based art education; (b) compares these characteristics with those of current practice in public schools; (c) examines national standards for art teacher education programs in relation to theory and practice; and (d) draws implications from this inquiry for making recommendations for changes in preservice classroom and art teacher education programs. From inception of art (drawing) in public schools in service of industry to improve design of manufactured goods in 1870s, to centering on art as a discipline in 1960s, and its extension to discipline-based art education in 1980's, process of value clarification and of self-definition as a field of study continues to be a major focus in art education. Significant progress was made towards redefinition of field as a result of federally funded 1965 Penn State Seminar in Art Education for Research and Curriculum Development. At Seminar a consensus was achieved regarding character and purpose of art education. Since 39 participants and 20 observers at Seminar were representative of leaders in fields of art education, education, visual arts, art criticism, and aesthetics, reaching a consensus was a remarkable feat. Efland (1984) in his retrospect and evaluation of Seminar, concludes that the most pervasive theme of Seminar was notion that art or art education is a discipline in its own right, with goals that should be stated in terms of their power to help students engage independently in disciplined inquiry in arts (p. 207). Professional scholars in art - historians, artists, and critics - were identified as models for inquiry. Curriculum in art education, it was agreed, should derive its structure from processes that artists, historians, and critics use in their work, Content in art education would consist of language, concepts, and processes derived from fields of studio practice, art history, and art criticism. Concepts of sequence, continuity, and integration from area of curriculum theory in general education were identified as useful in developing art curriculum. Twenty years have passed since Penn State Seminar. The concepts that emerged from Seminar differentially affected theory and practice in art education. Although art education concepts from Seminar permeated literature and were bases of large-scale federally or privately funded curriculum development projects, practice in field lagged behind movement. With recent national focus on excellence in education, concern for

The To optimize children's art development in art learning activities, teachers must have the right strategy. Therefore, it is not only the right techniques and resources that are needed to enhance children's art development. The teacher's method of preparing for learning, as well as methods, media, and other elements, greatly affect the child's learning process. The purpose of this study is to provide an explanation of the methods teachers use to make art learning fun for students in kindergarten. The research was conducted in one month, during April 2024. The location of this research was conducted in one of the PAUD in Yogyakarta, namely Jabal rahmah PAUD. This qualitative descriptive study was designed as a case study. Data collection involved observation, documentation, and interviews. Presenting data, reducing data, and drawing conclusions were part of the data analysis conducted using the Miles Huberman model. The discussion of art learning strategies in early childhood at Jabal Rahmah PAUD shows that these strategies are quite different: direct and collaborative learning strategies with group and centre models proved to be fun and improved children's art skills. based on this, children are used to working together and are confident in their respective fields. in addition, teachers use art learning as part of teaching and learning activities, while extracurricular teachers conduct art form activities such as music, fine arts and dance. This is due to the difference between classroom teachers and teachers who teach outside the classroom, who have greater professional experience gained through arts education.

Art environment is a best enlightening book for i nfants, and interior environment design is one of the important parts of art education in infant development. While conducting the interior environment design, we shall pay attention to children's psychological needs, the design space's conforming to the harmony of human and materials, and the coordination of interior environment design with the infants' developing mind. If we cultivate their artistic accomplishment since they are still infants, beautify the infants' spiritual context, then their aesthetic view can be enhanced, their artistic creation potential can be found, and their artistic observation and imagination ability can be inspired, thus to shape their artistic personality, to create beautiful artistic environment for them, and to give them a good living, learning environment and the energetic growth vision and space. With the development of China's social economy, people's living standard has been improved rapidly, combined with western culture's entering into China, Chinese have changed their aesthetic outlook, and they gradually have new pursuit of interior environment design. But a lot of interior design is made from the perspective of aesthetic feeling, and there exists obvious limitation and deficiency as for art education, let alone to combine interior environment design with children's art education. Therefore, it is a problem worthy to be discussed about how to make use of interior design elements to improve the children's art education, and to inspire children's art spirit and artistic creation ability. After the reform and opening up, China's economy has developed rapidly, and people's living quality is getting better and better, people's aesthetic view has also changed, and people have higher requirement about interior environmental design condition. So people tend to pursue luxury interior environment design and spacious interior space. But to our regret, obvious limitation and deficiency exist in the past and current art education, with its importance being ignored, not to mention the combination of interior environment design with children's art education. The elements of preschool art education are rarely applied in the interior environment design, some interior environment design is monotonous and dim, and are traditional and simple, which have deprived the infants of their art spiritual and artistic creation environment. Although interior environment design standard is quite high in China and the contents of interior environment design are also enriched, the application of reasonable decoration in interior space, rational selection of style and reasonable application of color and material in preschool art education is not obvious. Therefore, making full use of artistic education elements in the interior environment design and to design a high quality infants' interior environment is the task of the designers with no time to delay. Such interior environment design will bring a positive, happy and upward influence on Children with artistic inspiration and enable them to grow up happily.

With the continuous completion of Chinese educational system, teaching course content of higher education has been increasingly richer and people's philosophy of receiving education is also increasingly stronger.In order to respond to the nation's call of developing comprehensive education, some universities have added basic courses of art educations one after another.Some parents send their children to professional art training classes for professional training and some students sign up for art academies in college entrance examination to realize their art dreams.Art theory courses are the basic links of art education.Only by laying solid basis can one realize his dreams of art.This paper explains the importance of art theory in art education from the perspectives of the content of art theory and learning art theories.Art theory is the most basic and most critical teaching content in art education.To primary art students, art theory is especially important.It can provide valuable technical guidance to students.At present, many art academies pursue the improvement of students' art techniques excessively in art education without realizing the importance of art theory and such unbalanced education viewpoints and educational methods go against students' comprehensive development.Valuing the teaching of art theory and "engaging in idle theorizing" are never the same.In art education process, the teaching goal of valuing professional theory courses is to keep the balanced status between technique course teaching and theoretical class teaching so that every student can obtain comprehensive development in professional art education. Concept of art theoryDefinition of art theory.At present, many art academies pursue the improvement of students' art techniques excessively in art education without realizing the importance of art theory and such unbalanced education viewpoints and educational methods go against students' comprehensive development.Valuing the teaching of art theory and "engaging in idle theorizing" are never the same.From the perspective of the essence of aesthetics, most artists believe that art theories are practical summaries of people in the creation process of art forms.Generally speaking, people's generalized understanding of art theory includes art history, art basic theory, artistic aesthetics and artistic criticism.However, to academic field, the narrow category is usually adopted, which means that art theory refers to basic theories of art.Basic theories of art take art works creation and art works appreciation as research objects and are integrated into natural real life.When they are studying art theories (including discussion on the essence and characteristics of art), they are also studying sociology, psychology and art philosophy.Development history of Chinese art theory.In earlier stages of art theory development, there was no systemic art knowledge system or concept of art theory, and there were only viewpoints of art creation, which became the predecessor of art theory.China has 5000 years of historical civilization and art developed every early.As early as Shang and Zhou dynasties, painting types which took lacquer painting as art forms had appeared.With the emergence of characters, some viewpoints on art were also documented in literatures.The pre-Qin period was the most glorious period in Chinese cultural academic history, in which the prosperous scene of "contention of a hundred schools of thought" was formed.Art theory development under this background."Painting after simplicity" "unrestrained painting" and "dogs and horses are the most difficult to be painted" were the earliest record of art theories.They not only have guidance significance on art painting, but also have rich philosophical thoughts.When it came to the Period of Wei, Jin and Southern and

Children's art work has often been the subject of study by researchers seeking to gain insight into the role of art making in children's learning and development. However, rarely are children's own explanations of their art making used to inform these studies. Children's perceptions of their own art making are important for research and practice in art education, because their artistic experiences and motivations determine how they will engage in and respond to art making activities. This study used ethnographic methods to learn about the art making that took place over the course of one year in an elementary school art room, and to gain insight into the students' experiences and perceptions of art‐making activity. Data were analysed using a socio‐cultural framework. By asking children why they made art and exploring children's own explanations of their art making, this study reveals some of the important intentions that children bring to their artistic activity, and some of the ways that children make meaning through art making.

Teaching and Learning Guide for: A Window on the ‘New’ Sociology of Childhood

In contemporary life and education, the local is marginalized in favor of large-scale economies of consumption that are indifferent to ecological concerns. The consequences of neglecting local human and natural communities include a degraded habitat, loss of wilderness, alienation, rootlessness, and lack of connection to communities. Critical place-based pedagogy provides a robust framework for the theory and practice of art education that is concerned with ecological issues. This article locates art education within a critical pedagogy of place as a prelude to describing contemporary art and art education that is engaged with ecological issues.

The last forty years have seen substantial and dramatic changes in the thinking about education in art. Changes have taken place in art itself and there have been incredible social, political and economic upheavals. All this has led to an enlarged view of art education. It has given rise to the need for greater dialogue and debate. In more recent years, there have been more concentrated and focussed efforts to establish art curricula and standards of accomplishment for art education. In England, there has been the introduction of the National Curriculum and in the USA there has been the development of the National Standards for Arts Education. In both countries there have been numerous efforts at national or state, local and school levels aimed at assessing what students’ `know and are able to do’ in the arts. The role of theory in art education is of some importance. It is through theory that a systematic accounting can be constructed that explains and makes consistent the individual critiques of what is going on in classrooms, schools, committees and the nation‐at‐large.The paper discusses developments in England and the United States with regard to the theoretical development of curricula and the means for evaluation in art education. It also outlines and discusses the `limits of theory in art education’. It is not opposed to theory; rather it is posited that preoccupations with theory should not over‐ride the importance of maintaining a multiplicity of competing (or emerging) meanings. It is argued that theories should inform and illuminate actions rather than place arbitrary limits upon them.

With the increasing maturity of human-computer interaction technology, multi-channel human-computer interaction has become the main way of interaction between computers and humans due to its powerful functions and practicality. Interaction designs that can stimulate children's art skills are also endless. Children’s art education is not only a functional education that cultivates the coordination of hands, eyes, and brains before school age, but also an emotional education that meets children's aesthetic and emotional needs, and is also a creative education that cultivates children's creativity. Preschool is a critical period for art education. At this stage, the enlightenment education for children to experience beauty, express beauty, and create beauty plays a very important role in the life-long development of people. This article aims to study the coordinated development of children's art skills and creativity based on human-computer interaction technology, and analyzes the development trend of human-computer interaction for children, the principles of human-computer interaction design for children, the connotation of children's art creativity, and art skills and creation. Based on the relationship of force, in order to further understand the current status of the application of human-computer interaction technology in children’s art education, this article conducted a questionnaire survey of art teachers in five kindergartens in this article. The survey results show that More and more art teachers are beginning to realize that improving children's artistic creativity requires a variety of teaching methods The important role and significance of computer interaction technology in the process of children's art education, and is willing to make multi-directional and multi-level attempts.KeywordsHuman-computer interaction technologyChildren's artArt skillsCreativity

When I began writing this editorial, i was sitting in the Vancouver International Airport in British Columbia, having just spent 3 days with colleagues from across the US and Canada discussing a range of contemporary concerns related to art education.Topics of conversation included the impact of social contexts on aesthetic experience and artistic practice; the expanding power of fear and the role it plays in the lives of students and teachers; and the emergence of do it yourself or DIY influences on art, and more broadly, on the richness of our material culture. These conversations encouraged me to continue thinking about how art education responds to the social forces within which it constructed and practiced. For me, this means that the history and future development of art education cannot be understood and imagined from the standpoint of an objective set of incontrovertible facts. Instead, we must address the diverse ways in which artists and educators see and engage with the world, as well as the forces that enable or constrain that engagement. Whatever understanding we acquire of the or the new pathways emerging in the present always situated within and influenced by the framework of our prevailing interpretations. When responding to the question, What history?, E. H. Carr (1961) wrote that it is a continuous process of interaction between the historian and his [sic] facts, an unending dialogue between the present and the past (p. 35); it a process of interpretation situated in a particular context at a particular time.Forthose persuaded of this contextual perspective, it always useful to study and reflect on the forces that influence our understanding of what art education has been in the or could be in the future. Sometimes untold or lesser-known stories and events can be brought to light in such a way that we change our thinking about art education's and perhaps, re-envision the possibilities for its future.The articles included in this issue of Studies in Art Education address a wide range of topics. However, they all, in different ways, help us to reflect on the social forces that affect what art education has been and what it may become. Two of the articles present research on important moments in the history of art education, while the remaining three set the stage for thinking about how our contemporary stories or narratives will be interpreted and told by art educators in the future. To think about this requires that we consider how current social forces are uncovering and constructing new potentialities and possibilities for the practices of art and art education.In Lowenfeld at Hampton (1939-1946): Empowerment, Resistance, Activism, and Pedagogy, Ann Holt looks at one of art education's most influential figures, Viktor Lowenfeld. Holt interested in an aspect of Lowenfeld's legacy that not usually thematized. Focusing on the years spent at the Hampton Institute in Virginia, Holt positions Lowenfeld's pedagogical engagement as a practice of social justice, grounded in efforts against institutionalized racism.''While doing so, Holt not only focuses on Lowenfeld's work to support his students in the face of well-entrenched racism; she also draws our attention to issues of historiography. Her article challenges us to consider how are created, whose pasts are deemed worth remembering in histories and why, and whose interests are served by leaving out the messiness of political turmoil, cultural conflict, racism, and class discrimination.In a similar vein, Gina Wenger's History Matters: Children's Art Education Inside the Japanese American Internment Camp reflects on the role played by art education during a particular period of political and cultural turmoil. Through archival research and interviews with survivors who were relocated and interned in camps during WWII, Wenger examines the practice of art education within these camps and the role it played in the cultural assimilation of young Japanese Americans. …

In 1932 Dorothy Dunn established the Studio, a painting program for Native American students, at Santa Fe Indian School. Dunn taught at the Studio for only 5 years; however, she was influential on the development of both art education for Native American students and Native American easel painting. Dunn taught several Native American students who became well known artists. Her teaching theories influenced the art education practices of several subsequent programs for Native American students. Her theories about Native American art influenced what was accepted and rejected by critics, galleries, collectors, museums, and the general public for decades. Recently Smith (1999) and Stokrocki (2000) have called for more research on art education in the American southwest. Smith brings Dorothy Dunn into art education historical literature as an important historical figure in southwestern art education. Stokrocki praises Smith's efforts to make this major female art educator's work more visible and asks for more research about her. With this article I will continue the dialogue begun by Smith and Stokrocki concerning the work of Dorothy Dunn by exploring Dorothy Dunn's theories and art education practices. I will examine implications of Dunn's theories and art education practices for both the art education of Native American students and for Native American art. This study also can help fill the gap identified by Smith (1999) in existing art education historical literature concerning the art education of minority students. I want to bring to the dialogue issues of identity and authenticity, which are important concerns in Native American art, and which are deeply intertwined with the history of art education for Native American students. Dunn's art teaching, the exhibition of her students' works, and her publications helped to codify ideas about Native American identity, Native American art, and its authenticity for both Native people and nonNatives. Some Native American artists found in Dunn's influences the means to create positive identities for themselves as Native people. Others rejected Dunn's influences and from this rejection created a different basis for their Native American identities and established new directions in Native American art. Stokrocki (2000) asked that the voices of Native Americans and women be brought forth in research about the history of art education in the American southwest. Although I have not conducted the ethnohistories of Native Americans and women that Stokrocki rightly calls for, as a Native American woman researcher who has chosen to write on this topic I do bring one such voice to the dialogue. Dorothy Dunn herself published in both the literature of art education and the literature of Native American art studies. To date, very little has been published about Dunn in art education historical literature. Consequently, many of the secondary sources that I use for this paper come from the field of Native American art studies. Early Native American Education Policy The Bureau of Indian Affairs (BIA) has been involved in the education of Native American students since the late 19th century. Indian education policy prior to the New Deal era focused on assimilation of Native students into mainstream American society. This was thought to be best accomplished by replacing savagism with civilization (Adams, 1995). The annihilation of traditional Indian cultures was seen as the removal of a major roadblock to civilization. This cultural annihilation included preventing students from practicing their traditional religions and speaking their Native languages. Creating images of their homes, rituals, or creating other aspects of their visual and material cultures also was discouraged. Consequently art instruction was not usually a part of Indian education. However, some groups of people who were predominantly White AngloSaxons worked to change this government policy. …

A review of author's different approaches regarding the question of relationship between art and education is given in the article. Authors agree that in every child exists possibilities of experiencing, evaluating and artistic expressing, that children's art creation has its continuity and phases of development as well as that educational impacts have the role in its development. However, there are some unbalanced opinions regarding the question in what range the education affects the speed and level of artistic expression of preschool child and student. Starting from the premise that teaching and development are understood in the complexity of their interactive relationship, i.e. that teaching is understood as an encouragement for development, the paper points out that creativity in the field of arts can be developed through an appropriate organization, selection of content and methods or work. Artistic creative expression of children and students will come to light in those organised activities in which the accent is on production of large number of ideas, independent judgement, flexibility in thinking, open mindedness towards personal and others experiences and ideas, constant aspiration towards discovering new things, formulating problems and searching the ways to their solutions. In final conclusions the question of a needed teacher's competencies to stimulate artistic expression of a preschool child and student is opened. It is pointed out a need to establish cooperation between different participants of educational process, teachers of arts, primary school teachers, preschool teachers, experts in visual arts, as one of sources of achieving and redefining their existing competencies in this area.

For many years, researchers have tried to comprehend the meaning of children's drawings (Kindler, 2010). They assumed that children express their emotions and their personality in their pictures, including conscious and unconscious fears, hopes, trauma, conflicts, and fantasies, opening a window to a child's mind and soul (Cox, 1992; Di Leo, 1983; Kavanagh, 1998; Kolbe, 2005; Krenz, 2004; Malchiodi, 1998). However, as Rubin (1984) observed: deciphering a child's symbolic art messages is a complex, shifting and variable (74). The aim of this research was to critically analyse relevant interpretations of children's art, to find commonalities in various methods and to determine their effectiveness in particular for the analysis of children's drawings. Further, it aimed to find a workable method for educators to interpret children's drawings. The research employed a qualitative approach, using comparative document analysis to critically examine methods for analysing children's drawings. Several methods of analysing children's drawings have been suggested, including looking at drawings in relation to a child's development, classifying the content of the artworks, and trying to understand children's art from various other perspectives and interpretations. This resulted in the identification of three method categories for analysing children's art: developmental analysis, content analysis, and interpretive analysis, with three approaches from each method selected and trialled with children's drawings. The research question was: How can we, as educators, make sense of children's drawings? Findings from this study demonstrate a need to move from monopolistic to holistic methods of interpreting children's drawings, from a content-dominated analysis to one that includes interpretive and developmental methods. By combining existing methods into an easier-to-apply form, teachers will be better equipped to take on the task of interpreting children's drawings. The content-interpretive-developmental (CID) method of analysing children's drawings was created as an outcome of this study, with suggestions for approaches within this method to get a rich understanding. Further, this research suggests that children's art provides great insight into children's learning and development; and that children need to be guided beyond stereotypical drawing. The arts, often overlooked in schools, need to be seen as important components of curriculum, as they offer great benefits for the developing child. Educators would be interested in the meanings and messages of the child's artwork as a way of understanding the whole child and as a way to support the child's learning in an individual and personalised way.

International Handbook of Research in Arts Education