La memoria y su devenir en los espacios: evidencias del pasado en algunas experiencias cartográficas

En el marco del proyecto de investigación adscripto a la Línea Construcción Social del Espacio, de la Maestría
 en Estudios Sociales de la Universidad Pedagógica Nacional - Colombia. Se planteo como objetivo comprender
 la espacialidad cotidiana de líderes comunitarios, amas de casas, jóvenes y adultos mayores que han vivido en
 Las Cruces. Barrio del Centro Histórico de Bogotá, en el cual fue implementada la obra urbanística del proyecto
 Plan Centro (Decreto 492 de 2007), impulsado por el Plan de Ordenamiento Territorial. En el artículo se
 presentan algunos puntos de análisis para la comprensión de la espacialidad cotidiana desde una negociación
 constante y situacional que impregna la cotidianidad y al territorio con memorias, significados y problemáticas
 producto del acontecer histórico frente al proceso de renovación urbana. In the framework of the research project seconded to Line Social Construction of Space, the Master of Social Studies of the - Universidad Pedagógica Nacional - Colombia. It won’t aimed at understanding the every
 day spatiality of community leaders, housewives, young and older adults who have lived in Las Cruces.
 Neighborhood Historic Center of Bogotá, which was implemented project developments by the Center Plan (Decree 492 of 2007), driven by the territorial zoning plan. The article presents some points of analy
 sis for understanding everyday spatiality from constant negotiation and situational that permeates the everyday and
 territory with memories, meanings and problematic product of historical events to the process of urban renovation.

El presente texto aborda una reflexión en torno a las formas de constitución de los sujetos juveniles y sus modos de actuación por el derecho a la ciudad, en un contexto de violencia urbana en una zonas periférica de Bogotá - Colombia, conocida como Ciudad Bolívar. Hace parte de los avances de una tesis doctoral, en el marco del macroproyecto de investigación Memorias de la violencia y constitución ético-política de jóvenes y maestros en Colombia, llevado a cabo en la Universidad Pedagógica Nacional en el que participan estudiantes de Maestría y Doctorado.

Students learning English as an additional language (EAL) in Australian schools frequently struggle with the cultural and linguistic demands of the classroom while concurrently grappling with issues of identity and belonging. This article reports on an investigation of the role primary school visual arts programs, distinct programs with a specialist teacher, in a designated art room, can play in supporting EAL students’ identity construction and social transition. At six Melbourne primary schools, classroom observations and teacher and student interviews revealed that the visual art programs offer clear possibilities for enhanced and empowered constructions of identity. This article focuses on four students as case studies, highlighting the powerful role visual arts programs, classrooms and teachers can play in EAL learners’ identity construction. On a personal and societal level, identity construction and a positive sense of self are essential in our current era of increased linguistic and cultural pluralism, and this study offers insights into how these inclusive goals can be achieved.

This article summarizes the results of the thesis carried out in the framework of the Master’s program in Educational and Social Development from Cinde and Universidad Pedagogica Nacional. It presents the logic of sense, the methodological proposal and the relational system that characterize the systematization of an educational dialogic interaction experience of social appropriation of science and technology, with boys and girls at an early age, at non-formal settings, from the Little explorers club of Maloka. This systematization was performed in a four stages approach, from the creation of the Club in 2003 until 2012, in the context of the inter-institutional agreement between Maloka Interactive Center and Universidad Pedagogica Nacional. It revealed distinctive elements of the experience lived by the researcher during the process at the Club, which were later reflected pedagogically. It is important to point out that, due to the Master’s program, systematization as a research modality has became into a substantial part of the professional work for the researcher.

The purpose of this study was to determine whether a visual arts program related to the human figure would enhance the body-image of children with learning disabilities. Body-image was defined as the integrated mental image one has of one's own body. Four measures of body-image were used: The Human Figure Drawing Test, the Imitation of Postures Test, the Arthur Manikin Test, and the Self-Identification of Body Parts Test in Response to Verbal Instructions. Sixteen boys and four girls from learning disabilities classes participated in the study. The paired subjects were randomly assigned to either the experimental or the control group. The experimental group received training in a program designed to improve the body image. The art program focused on aspects of awareness: body schema, body image, and spatial awareness. A wide variety of media, materials, and techniques were utilized in the production of two- and three-dimensional art forms. Classes met three times a week for one-hour sessions for 24 sessions. Two of the sessions were set aside for pretesting and posttesting. Nonparametric statistics were used for analysis of the data. The results indicated that there were significant differences between the experimental and the control group on three of the body-image measures, which confirmed the hypothesis that through participation in a visual arts program, children with learning disabilities will exhibit a more adequate body image. The results of the Manikin Test were inconclusive.

October 01 2019 Courting Eden, Purging Rome Ross Cisneros Ross Cisneros Ross Cisneros is a SMVisS candidate in the Visual Arts Program at MIT. As a practicing artist, Cisneros has exhibited in London and New York City. His recent work illuminates the role of the artist as public poet, mediator, and evangelist. He also practices sustainable farming and manages livestock. Search for other works by this author on: This Site Google Scholar Author and Article Information Ross Cisneros Ross Cisneros is a SMVisS candidate in the Visual Arts Program at MIT. As a practicing artist, Cisneros has exhibited in London and New York City. His recent work illuminates the role of the artist as public poet, mediator, and evangelist. He also practices sustainable farming and manages livestock. Online Issn: 2572-7338 Print Issn: 1091-711X © 2005 Ross Cisneros2005Ross Cisneros Thresholds (2005) (29): 26–29. https://doi.org/10.1162/thld_a_00299 Cite Icon Cite Permissions Share Icon Share Facebook Twitter LinkedIn MailTo Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Search Site Citation Ross Cisneros; Courting Eden, Purging Rome. Thresholds 2005; (29): 26–29. doi: https://doi.org/10.1162/thld_a_00299 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search All ContentAll JournalsThresholds Search Advanced Search This content is only available as a PDF. © 2005 Ross Cisneros2005Ross Cisneros Article PDF first page preview Close Modal You do not currently have access to this content.

The role of Art is indispensable in the socio-economic development of Ghana; unfortunately, in this present Ghana people have had wrong perceptions about Visual Art and this has brought about unfair criticism by the general public, instead of appreciating the significance of Visual Art Education and accepting it as part of our culture. The study looked at the perception of the general public with regards to the study of Visual Art programme in Tamale Technical University. The main instrument for the study was the questionnaire, which was designed by the researchers and validated. The total of hundred (100) questionnaire was administered and ninety (90) was retrieved. The data collected were analyzed. After analyzing the data, the researchers found out that majority of the respondents do appreciate Visual Art programme run at Tamale Technical University (TATU) and have positive perception of the Visual Art programme. Additionally, it came to the fore that they have fair knowledge about the Visual Art programme, however, based on the foregoing findings, it was recommended that the intake of students from Senior High Schools must be based on the interest of the students rather than as is usually the case upon admission offered. In addition, attention should be given to (Creative Arts) at the Senior High Schools so that students will have a feel of Visual Art and appreciate it better

The arts (e.g., music and painting) have received considerable theoretical and observational support as a cognitive stimulation technique for persons living with dementia (PLWD). However, particularly for visual arts, limited empirical support exists. Therefore, the purpose of this study was to pilot a free-form arts program for PLWD in the context of a cognitive stimulation paradigm and measure subsequent engagement, communication, cognitive-linguistic function, and quality of life. Three PLWD (one each in mild-to-moderate, moderate, and moderate-to-severe stages) were referred for study participation by a local long-term care facility. A single subject across subjects, ABA reversal design was used to assess intervention effects over a period of 8 weeks, in comparison to an active control condition (cooking activity). Cognitive-linguistic function and quality of life were assessed using standardized measures at baseline and follow-up. Engagement and communication were probed regularly across each study phase. Significant changes were seen in participants' engagement and communication during painting sessions compared to the control activity. A nonsignificant positive trend was noted for self-rated quality of life from baseline to follow-up. Pre-post testing revealed nominal change in cognitive-linguistic functions. An arts program led to significant increases in constructive engagement and communication and a trend toward increased self-rated quality of life for the three PLWD. The fact that these changes were not sustained outside intervention sessions (i.e., pre-post testing) is consistent with the need for a larger paradigm shift in which rehabilitation specialists-including speech-language pathologists-better integrate creative, meaningful activities into the everyday lives of PLWD to maximize ongoing engagement, communication, and quality of life.

Intergenerational visual art relationships at shared sites have the potential to contribute to social sustainability. This article describes the results of a national survey that explored the role of visual art programming in promoting social sustainability at intergenerational shared sites. The study looked at facility demographics, art programming characteristics, and the sense of community perceived by 73 program directors. The results of the survey indicate that the directors believed that their intergenerational programs of which the visual arts were the largest area of participatory activity build a sense of community among the generations.

Chapter 14 - A User-Friendly Guide to Assessment in Visual Arts

Figure drawing is at the centre of many visual art programmes in the tertiary institutions in Ghana such as Fashion Designing, Sculpture, Painting and Graphic Designing. This is important because careers in these programmes requires the use of knowledge on correct representation of the human figure. Fortunately, the second cycle Visual Art and General Art programmes syllabi mandates the teaching of figure drawing. Unfortunately, students who are admitted to pursue various programme options in Industrial Art at the Bolgatanga Polytechnic are unable to demonstrate good skill in the drawing of the human figure. This paper therefore sort to identify areas in figure drawing which pose challenging to students. The study was carried out between 2014 and 2017 with the level 100 students of Industrial Art department of the Bolgatanga Polytechnic. The students were made to produce several human figure drawings each week and these drawings were then scored and the various infractions recorded. The study revealed that human figure drawing is a general problem for graduates of the second cycle visual art programme. Areas in the human figure drawing which was very difficult for students to handle included the facial features as well as the fingers. The study recommends that the Ghana Art Teachers Association takes a look at this trend and advice teachers to take lessons of figure drawing serious. Also, figure drawing teachers in Tertiary institutions needs to start the lessons of figure drawing from the basics. Keywords : Adult figure drawings, draw-a-person, human figure drawing, industrial art. DOI : 10.7176/JEP/10-8-09 Publication date :March 31 st 2019

Figure drawing is at the centre of many visual art programmes in the tertiary institutions in Ghana such as Fashion Designing, Sculpture, Painting and Graphic Designing. This is important because careers in these programmes requires the use of knowledge on correct representation of the human figure. Fortunately, the second cycle Visual Art and General Art programmes syllabi mandates the teaching of figure drawing. Unfortunately, students who are admitted to pursue various programme options in Industrial Art at the Bolgatanga Polytechnic are unable to demonstrate good skill in the drawing of the human figure. This paper therefore sort to identify areas in figure drawing which pose challenging to students. The study was carried out between 2014 and 2017 with the level 100 students of Industrial Art department of the Bolgatanga Polytechnic. The students were made to produce several human figure drawings each week and these drawings were then scored and the various infractions recorded. The study revealed that human figure drawing is a general problem for graduates of the second cycle visual art programme. Areas in the human figure drawing which was very difficult for students to handle included the facial features as well as the fingers. The study recommends that the Ghana Art Teachers Association takes a look at this trend and advice teachers to take lessons of figure drawing serious. Also, figure drawing teachers in Tertiary institutions needs to start the lessons of figure drawing from the basics.

Teaching and learning in Ghana’s Senior High Schools (SHSs) are guided by a centralized curriculum, teaching syllabus, textbooks, assessment criteria, and examinations, yet rural–urban disparities exist in educational resources provision, which significantly affect teaching and learning processes and student achievement in the SHSs, particularly those on the Visual Arts program. To understand the factors that cause rural–urban differentials in student performance in different SHSs in Ghana, we adopted a qualitative–quantitative research approach with interview, observation, and questionnaire administration to examine teaching and learning of Visual Arts in six public SHSs: two each in rural, peri-urban, and urban settings in metropolitan Kumasi. Findings from data sourced from 120 students (66 males; 54 females), 17 teachers (15 males; two females), and 24 Visual Arts lessons revealed that unlike Visual Arts education in urban SHSs, student achievement in rural and peri-urban schools is hampered by lowered criteria for admitting students into Visual Arts, large class sizes, lack of studio facilities, insufficient specialist teachers, and instructional time for teaching elective Visual Arts subjects, adoption of ineffective teaching strategies, setting of low academic standards, and inadequate funding for teaching practical lessons. Unlike rural and peri-urban SHSs, urban schools organize speech and prize-giving days to motivate students, and effectively collaborate with Visual Arts students to mount art exhibitions to showcase their creativity. Improving the quality and distribution of social infrastructure, educational facilities, and qualified teachers, and actively monitoring educational standards in rural and peri-urban SHSs could raise academic achievement for students in all parts of Ghana.

UPSI-Sekolah Bitara Visual Art Program was a smart, collaborative project involving Universiti Pendidikan Sultan Idris (UPSI) and SekolahKebangsaanDato’ Kamaruddin, BehrangStesen, Perak. The UPSI’s Sekolah Bitara Visual Art Program was a smart collaborative project held at the SekolahKebangsaanDato’ Kamaruddin, BehrangStesen, Perak. This program was implemented based on the concept of sharing and exchange of the knowledge of visual art involving several teachers and students, aged 8-12. This ‘visual art expression’ program was carried out in several series, which began in 2014 and ended in 2018, consisting of six (6) visual art projects as follows: batik craft, print art, ceramic art, fine metal art, wall murals, and textile art.The program involving art appreciation, textile art, and legacy of art helped exposed students and provided a rich experience for such participants in learning visual art through activities that enhanced their higher-order thinking skills. This six-series project produced 180 visual art works in various disciplines of art, which were put on display at the UPSI’s Art Gallery. In addition, students’ creative wall murals were displayed on the walls of the school building. Surely, such accomplishments signify their innovative and creative thinking that can help develop students holistically with strong intellectual, emotional, spiritual, and physical attributes, which are in line with the aspirations of the National Education Philosophy. Surely, more efforts of similar nature are required in the future to further enhance such a program to develop students who are highly creative, innovative, and competitive.

How do students develop a personal style from their instruction in a visual arts program? Women Artists on the Leading Edge explores this question as it describes the emergence of an important group of young women artists from an innovative post-war visual arts program at Douglass College. The women who studied with avant-garde artists at Douglas were among the first students in the nation to be introduced to performance art, conceptual art, Fluxus, and Pop Art. These young artists were among the first to experience new approaches to artmaking that rejected the predominant style of the 1950s: Abstract Expressionism. The New Art espoused by faculty including Robert Watts, Allan Kaprow, Roy Lichtenstein, Geoffrey Hendricks, and others advocated that art should be based on everyday life. The phrase “anything can be art” was frequently repeated in the creation of Happenings, multi-media installations, and video art. Experimental approaches to methods of creation using a remarkable range of materials were investigated by these young women. Interdisciplinary aspects of the Douglass curriculum became the basis for performances, videos, photography, and constructions. Sculpture was created using new technologies and industrial materials. The Douglass women artists included in this book were among the first to implement the message and direction of their instructors. Ultimately, the artistic careers of these young women have reflected the successful interaction of students with a cutting-edge faculty. From this BA and MFA program in the Visual Arts emerged women such as Alice Aycock. Rita Myers, Joan Snyder, Mimi Smith, and Jackie Winsor, who went on to become lifelong innovators. Camaraderie was important among the Douglass art students, and many continue to be instructors within a close circle of associates from their college years. Even before the inception of the women’s art movement of the 1970s, these women students were encouraged to pursue professional careers, and to remain independent in their approach to making art. The message of the New Art was to relate one’s art production to life itself and to personal experiences. From these directions emerged a “proto-feminist” art of great originality identified with women’s issues. The legacy of these artists can be found in radical changes in art instruction since the 1950s, the promotion of non-hierarchical approaches to media, and acceptance of conceptual art as a viable art form.