Art Education Curriculum Research Articles

Education on Sexual Diversity through Cinema

Our proposal raises the urgency to include the defense of sexual diversity in the curriculum of Art Education. We provide visibility mechanisms to sexual minorities in personal and social order, and propose an approach to the subject, especially in training teachers. From aesthetic reflection we must foster a new critical look at Media Education. We should encourage future teachers to address these issues in their classes, appropriating the use and content of images. A topical issue such as the promotion of respect for sexual diversity has on films perfect ally. Suggest ideas about educational processes through a series of examples. From cinema and visual art can introduce reflections to discuss the rights of sexual minorities. With these measures we can preserve the health of many people, and involve students in a creative process while we claim the protection of sexual diversity and the welfare of minorities.

‘The attainment of a true eye and a correct hand’: Drawing, art training institutions and theories of art education in Cape Town, 1860–1926

This is a study of the early history of Cape Town's institutional art education, from the establishment of the Roeland Street School of Art in the late nineteenth century to the opening of the Michaelis School of Fine Art in the early twentieth. With debate on the purpose of art education continuing into the twenty-first century this is a history with contemporary relevance. The article contextualises South Africa's art education debates at the turn of the last century in relation to corresponding British developments in art education and the accompanying questions as to the aims, constituency and curriculum of art schools and art education. The article argues that an emphasis on drawing is a constant throughout the period, but that the idea of what constitutes drawing changes enormously, paralleling significant shifts in the understanding of who benefits from an art education, and how. From the early period, when the South Kensington system is prevalent, to the later period, when a fine art model inspired by the Slade is instituted, Cape Town sees a change from a model of drawing as part of the general curriculum and a technical aid to a wide public, to a model of it as specific to an artist's education, with narrowly focused themes and goals. The article ends with the new ‘school of fine art’ raising criticism for its anglophile traditionalism, signaling a future of further debate about art education in the colony. In a postcolonial South Africa, these questions can only become more pressing.

Art Education and a Democratic Citizenry

AbstractThe first purpose of Art Education in public schools, articulated in the eighteenth century, was the ability to shape an imaginatively responsible, empathetic, democratic citizenry; this remains an aim for today, which is hard to achieve. This article explores the continuing tension between this original goal and other versions of Art Education, particularly Artistic Education, focusing on professional skills and techniques, and Aesthetic Education that focuses on appreciation of objects. After reviewing Friedrich Schiller's historic contribution to theorising aesthetics as empathy and as experienced through play, and Johan Pestalozzi's practical application in a first curriculum, the article demonstrates Schiller's influence on contemporary theorists Jacques Rancière and Gayatri Chakravorty Spivak who also insist that art must remain unproductive in order to defy cultural commodification. In their view, Art Education must be deviant to utility and retain an essential uselessness. A current case study demonstrates the difficulties in facilitating authentic democratic action within the utilitarian demands on today's schools. By developing wide‐awakeness in students, spaces develop where silenced individuals might be heard. Art Education curricula should form the mindful habit of an informed citizenry that fashions an art of living by constructively re‐imagining new possibilities of democratic community and empathetic understanding.

Games as an Artistic Medium: Investigating Complexity Thinking in Game-Based Art Pedagogy

This action research study examines the making of video games, using an integrated development environment software program called GameMaker, as art education curriculum for students between the ages of 8-13. Through a method I designed, students created video games using the concepts of move, avoid, release, and contact (MARC) to explore their understanding of complexity thinking. From this process of making games, students learned systems, deconstructing systems, and reconstructing systems using game-based art pedagogy. The findings of this study indicate that creating games expands the content of making in art education by being inclusive of the personal worlds and lives of students. Using the concept of MARC encourages students to think about the complexity of systems and how they work, identifying meaningful associations between students’ understanding of their worlds and games.

Evaluating the Parallel Master of Arts in Education: Curriculum and Instruction of Art Education Program at King Saud University Based on Students’ Perspectives

The parallel Master of Arts in Education: curriculum and instruction of art education program was introduced in the college of education at King Saud University in the year 2010. This research aim to evaluate the program to identify its weaknesses and strengths. Thus, the objectives of the research are to: identify the efficiency of courses and study plan of the program based on students’ perspectives; identify the level of teaching efficiency of teaching faculty of the program based on students’ perspectives; and, determine statistically significant differences in the responses of the students depending on gender variable. Using descriptive method, forty master’s students (male and female) representing the program’s students in the academic year 2012 participated in this study. The instrument used in this research was the questionnaire. The results indicated that the courses and study plan of the program in general had a high degree of efficiency; however, the results indicated that the inclusion of the research project with other courses in the study plan had a medium efficiency. As for the students’ evaluation of the teaching faculty members’ axis and teaching efficiency, the results indicated a very high degree of efficiency; on the other hand, the faculty members’ acceptance of evaluation directed to them by students came in a moderate level. Keywords - Psychometrics, Evaluation- Efficiency- Curriculum and instruction of art education- Students’ perspectives, descriptive research, Saudi Arabia

Art Instructor's Attitude towards the Art Curriculum for Undergraduate Degree in Tehran Universities.

The present research aims to investigate lecturer’s feedback over the art curriculum in Tehran, the capital of Iran, and introduce the applicability of Discipline-Based Art Education (DBAE), as a new way of teaching art, and its implication of art instruction in studio-based fields of study for undergraduate degree. This study is carried out based on a survey in which fifty art lecturers contributed. The standard questionnaires included 22 questions were used to assess the objectives of the study. The findings revealed that: (a) of the three components of DBAE, art history, art criticism, and aesthetics were not dominated in seven art university studio based classes according to the lecturers’ ideas; (b) all participants were dissatisfied with the current art curriculum; (c) the majority of the lecturers were enthusiastic about further training which would enable them to teach the four components of DBAE. In the conclusion, a novel curriculum might be welcome based on the participants’ responses, and also a discipline-based art education curriculum may be presented as superior method. Key words: University degree, curriculum, studio-art class, discipline-based art education

Contemporary Art and Citizenship Education: The Possibilities of Cross-Curricular Links on the Level of Content

Unlike the previous phenomenon of modern art, contemporary art strives to return to society and everyday life, while thematising the current issues that the individual faces here and now. One of its more frequent topics is that of sustainable development, and the accompanying issues of environment, values, relations to others, etc. All such topics are part of the concept of active citizenship, which is why understanding contemporary art calls for active citizenship. This particularly holds true for relational art, which demands active participation on the part of the viewer. This paper inquires into the possibilities of the connection of contemporary art and citizenship education in elementary schools. Contemporary pedagogic doctrine highly encourages cross-curricular teaching; therefore, I have focused my analysis on the curricula of the subjects of Art Education, and Citizenship and Patriotic Education and Ethics, determining that (from this perspective) their link is quite troublesome. The absence of contemporary art from the curriculum of Art Education has been criticised on many occasions, but the problem of its curriculum seems to be of a conceptual nature. Only by a more intense inter-institutional link between schools and contemporary art galleries and museums can the common goals of art education and citizenship education be realised. This paper will, therefore, strive to show potential cross curricular links in content on three examples of participatorypractices (Proletarians of All Countries, Beggar Robot and EU/Others), while warning (from the pedagogic perspective) against the often neglected fact that contemporary art is experienced here and now.

O CURRÍCULO DE ARTE NA EDUCAÇÃO DE JOVENS E ADULTOS

With the advent of the Brazilian Federal Law 10.639/2003, and later, Law 11.645/2008, the union of Art Education and ethnic issues instead of being a possibility, became compulsory, which proposes a new look at the Art Education curriculum. The Education of young people and adults (EJA) has established itself as a specific teaching way. Since the EJA students have gone through processes of social exclusion, they bring into classroom ethnic-racial issues. Therefore, this study presents authors who think the school curriculum, the EJA and the teaching of Arts, creating connections with the ethnic-racial themes.

Pretty Fierce: Amazon Women and Art Education

The story of the Amazon women, a nomadic nation with female warriors, has captivated cultures and persisted in public art since the 8th century BC. These women have inspired a rich and prolific public pedagogy—spanning across time in such mediums as sculpture, architecture, ceremonial artifacts, comic books, games, toys, and film. With such a long-standing presence in visual culture, how has this dynamic story about feminine power been addressed in art education? To what extent has this group of women influenced the practices of art education? This article explores how the Amazon motif has been framed in and outside of schools. Analysis of visual data reveals a paucity of the motif in formal art education curricula, whereas informal contexts contain abundant images. Recommendations are made for curriculum development that embraces public discourse focused on the Amazons and their broader significance for gender role and feminist identity formation.

The PostSecret Project

The PostSecret Project PostSecret, http://www.postsecret.com The Secret Lives of Men and Women: A PostSecret Book Frank Warren. New York, NY: William Morrow. ISBN-10: 0061198757.The PostSecret project is an ongoing community mail art project that includes an online social networking site and several hard-copy publications. From use of the PostSecret website (www.postsecret.com) in a graduate art education class, students raised several questions.* What potential does PostSecret have as an approach to art education?* How can art educators integrate PostSecret into the curriculum?* How might students benefit from PostSecret if used as an instructional tool in the classroom?This media review focuses on PostSecret's affordances for identity exploration via anonymity, reflexivity, collaborative knowledge construction, and currere, i.e., lived curriculum. These themes are significant to the field of art education because their consideration may lead to meaningful and empowering art education.In this media review, I introduce the PostSecret project and consider its significance to the field of art education. I critique the PostSecret website and books in order to identify how PostSecret may be integrated in college-level art education curriculum. I discuss my usage ofthe PostSecret website when I facilitated an activity, Challenging Gender Stereotypes, in the graduate-level art education curriculum. I also discuss David Darts's (2005) College Confessions: The Art of Telling Secrets, a website inspired by PostSecret, asa project that demonstrates further currere opportunities for art education.Frank Warren launched PostSecret in November 2004 after he distributed 3,000 self-addressed postcards inviting the public to mail in a secret. People initially returned only 100 postcards to Warren; the responses contained intimate revelations visually and textually represented. Over time, the return number of mail art postcards grew to more than 1 00,000 by 2007 (Warren, 2007a), and the PostSecret project continues today with the participation of individuals around the world (PostSecret, n.d.). PostSecret is open to anyone who is willing to share a secret. Through the PostSecret project website and books, Warren intends to create a safe place for the public's intimate revelations.According to Warren (2007a), the attraction of participating in this mail art project suggests that motives are as raw and complicated as the secrets themselves (p. 1 ). Warren (2007a) cannot confirm that all secrets are true, but believes that the postcards should be interpreted as works of art where the categories of fact and fiction are undetermined and not of particular importance. Much like narrative inquiry methodology, the visual/textual postcard creations tell stories. The stories told through visuals and text could run the gamut of interpretations, Including confessions of life, death, crime, justice, or women's issues such as body-image portrayal In media and abortion. Each Sunday, 20-30 new digitized postcards appear on the PostSecret website (see Figure 1). Several PostSecret hardcopy publications containing digitized anonymously submitted postcards are also available, including: PostSecret: Extraordinary Confessions from Ordinary Lives (Warren, 2005); My Secret: A PostSecret Book (Warren, 2006); The Secret Lives of Men and Women: A PostSecret Book (Warren, 2007a); A Lifetime of Secrets: A PostSecret Book (Warren, 2007b); and PostSecret: Confessions on Life, Death, and God (Warren, 2009). The major themes that I find useful for art educators to consider based on my analysis and interpretation of the PostSecret website and books are anonymity and online identity, reflexivity and collaborative knowledge construction, and currere.Anonymity and Online IdentityBecause postcards are submitted without attribution, the PostSecret site allows for anonymous multiple identity exploration (Turkle, 2005). …

図画工作・美術科における「ブルームのタキソノミー改訂版」の活用に関する考察

This paper is aimed at developing Art Education Taxonomy Table through critically examining a revision of Bloom's Taxonomy of Educational Objectives contrived by Anderson and Krathwohl. First, the overview of the history of Bloom's Taxonomy is provided in relation to art education. Second, the influence of Bloom's theory of educational evaluation and Taxonomy on the classroom practice of art education in Japan is discussed. Third, aiming at using for the development of art education curriculum at Mihara Elementary School and Junior High School attached to Hiroshima University, Art Education Taxonomy Table is constructed and its characteristics are specified in relation to the research theme of Mihara Educational Institution.

Media Arts: Arts Education for a Digital Age

Background/ContextNew technologies have been largely absent in arts education curriculum even though they offer opportunities to address arts integration, equity, and the technological prerequisites of an increasingly digital age. This paper draws upon the emerging professional field of “media arts” and the ways in which youth use new technologies for communication to design a 21st-century K-12 arts education curriculum.Description of prior research on the subject and/or its intellectual context and/or policy contextBuilding on sociocultural theories of constructionism as well as Dewey's theories of the arts and aesthetics as a democratic pedagogy, this study draws upon over three years of extensive field study at a digital design studio where underprivileged youth accessed programming environments emphasizing graphics, music, and video.Purpose/Objective/Research Question/Focus of the StudyThis study documents what youth learn through media art making in informal settings, the strengths and limitations of capitalizing on youth culture in media art production, and the distinct contributions that media arts education can make to the classroom environment.Research DesignA mixed-methods approach was utilized that analyzed data from participants and professional interviews, an archive of youths’ media art, and videotape documentation of youth at work on their projects.Conclusions/RecommendationsFindings point to the ways in which youth engage with technology that encourages active learning and how new types of software can be used to illustrate and encourage this process.

Rethinking Aesthetic Education

Scholars have continuously debated about the importance of aesthetics in art education and of aesthetic education and have posed numerous questions about the possibility of practicing aesthetics in the educational field. Aesthetic education was first introduced in the structured curriculum of Discipline-based Art Education (DBAE). Since DBAE, the significance of aesthetic education has become manifested, and the meaning of aesthetic education has become recognized. However, aesthetic education in DBAE was not fully developed. The primary reasons for this lack of development include an absence of available curriculum for aesthetic education, problems with aesthetic education related to its birth under the influence of modernism, and the complex and ambiguous meanings that the term aesthetics has. Because of these reasons, it is still difficult to define aesthetic education, which has led to the continued confusion about what aesthetic education is and how to teach aesthetics to children. In addition, some scholars insist that the discourse of aesthetics in art education is useless. Therefore, this study suggests that these difficulties and problems come from a narrow understanding and interpretation of the meaning of aesthetic education. Thus, this study attempts to overcome these problems by redefining the meaning of aesthetics by reexamining the term aesthetics from its origin in order to break through the modernist dichotomy between body and mind, emotion and reason, sense and thought, as well as art and life. Based on this investigation, this study emphasizes the importance of aesthetic education and the possibility to practice it in art education.

Teaching Design Education for Cultural, Pedagogical, and Economic Aims

The aims of educating for economic, cultural, and pedagogical purposes have existed since the early inception of art education. Looking at how and why these aims evolved in the early era of art and design education has potential for better understanding how and why design should be incorporated into the art education curricula today. This article places a special focus on economic considerations. In this climate of economic instability, some countries are considering design and design education as important for their competitive edge in the global economy. This is reminiscent of the call for education to improve design during the Industrial Revolution and should be considered germane again today.

Meaning and identities: a visual performative pedagogy for socio‐cultural learning

In this article I present personalised socio‐cultural inquiry in visual art education as a critical and expressive material praxis. The model of Visual Performative Pedagogy and Communicative Proficiency for the Visual Art Classroom is presented as a legitimate means of manipulating visual codes, communicating meaning and mediating values through imaging technologies. It identifies that visual art studio learning outcomes as exhibition artworks facilitate the mediation and communication of ideas, and support understanding of individual identities, social behaviours, culture and beliefs.A critical phenomenological methodology was used to explore longitudinal and case‐study learning insights about student learning in a post‐compulsory visual art curriculum in New South Wales, Australia. Through analysis of student artworks, reflective journals and post‐schooling case‐study interviews, the research identified that this unique learning environment developed visual communicative proficiency in the students.The findings affirm the significance of personalised imaging inquiry strategies to support understandings about the self, society and culture. The studio pedagogies and visual arts education curriculum in NSW represents an alternative approach to a prescribed and explicit values curriculum. This article will identify the key elements of the model of Visual Performative Pedagogy and Communicative Proficiency for the Visual Art Classroom. It will expand on the aesthetic and critical approach in arts learning as studio pedagogy and the exhibition process that generates public benefits through socially embedded and embodied inquiry.

“Coming of Age in Methodology”

In this article the authors tell the story of their separate but related journeys toward “coming of age in methodology,” journeys that brought them, as non-indigenous women, into relationships with indigenous peoples, who challenged them to unlearn their taken-for-granted notions about research. The first study highlights the pervasive silencing of indigenous perspectives within K-12 schools and teacher preparation programs on Long Island, New York. The second study focuses on the mentoring model in two Maya artists’ studios as a dialogic process that is guided by Maya artists, and which fosters discoveries that help to transform art education curricula. Through rich conversations leading to alliances with the indigenous peoples they have met in these studies, the authors hope to examine their own biases and create avenues for indigenous perspectives to inform and transform educational and research practices.

What Art Educators Can Learn from the Fan-based Artmaking of Adolescents and Young Adults

The explanations of 101 adolescents and young adults, who are fans of popular culture narratives and make art inspired by these phenomena, provide insight into why these youth were drawn to create fan-based artworks, how they learned to make these art forms, and what the creative activities mean to them. Emergent themes highlight (a) the significance of resonance with narrative content; (b) self-exploration and skill development through repetitive artmaking; (c) recognition and support within a community of like-minded others; and, (d) a sense of balance between fantasy play and everyday life experience. The findings suggest several strategies that might contribute to meaningful art education curriculum for secondary level students.

ReMapping the City: Palimpsest, Place, and Identity in Art Education Research

The built environment has a long history of study within the field of art education as the site of material and visual culture that is reflective of, and constructed by, cultural values, traditions, and norms. As our understanding of place is challenged by postmodern theories of culture and identity, art education research and curriculum must consider methodologies that document and account for multiple narratives and viewpoints of place. Drawing on a visual ethnographic study of Panama City, Panama, I examine the figurative concept of the palimpsest as a means to analyze the ways in which built environments embody social, cultural, and historical narratives of place, highlighting the involuted relations between material, visual, cultural, and social experience. I discuss the implications of visual and arts-based methods in terms of the ways in which they might address postcolonial and postmodern concerns with such issues as hybridity, representation, and identity.

A Visual Culture Art Education Curriculum for Early Childhood Teacher Education: Re‐Constructing the Family Album

AbstractThis article reflects on the reading and writing of an art education curriculum for teacher education centred on the biographical and social reconstruction of childhood. The foundations of this curriculum interconnect ideas from different fields like postmodern childhood studies, visual studies, and the performance of subjectivity and memory. This is an interpretative curriculum centred in narrating aesthetic encounters for imagining and producing alternative views of childhood. It stresses the relevance of biographic work in the formation of teaching identities, and constructs dialogues and connections between the private and public discourses of childhood. In this context the family album becomes a powerful resource for visual analysis, cultural critique, and subjective re‐construction.

The relationships between creativity, drawing ability, and visual/spatial intelligence: A study of taiwan’s third-grade children

The purpose of this study was to examine the relationships between the qualities of creativity, drawing ability, and visual/spatial intelligence of selected third-grade students in the Hsinchu area of Taiwan, Republic of China. The population for this study included approximately 11,653 third-grade students from 99 public elementary schools. Subjects were randomly selected from 16 out of 99 elementary schools. TheMilne- Kasen Story Pictures (A Test for Creativity), theYoung Visual Artist’s Checklist, thePortfolio Review Measurement, the classroom teacher’s nomination ofMilne- Kasen Visual/Spatial Intelligence Checklist were given to 427 selected students. Data were processed, analyzed, and reported using descriptive and inferential statistics. The findings revealed that positive relationships exist between a child’s creativity potential and self-image of artistic ability and local art educators’ observations of students’ artwork and classroom teachers’ observations of student’s art-related behaviors. There were significant differences in responses based upon the demographic factors of gender, community, age, and time of test taking. These findings should impact the delivery of art education to children at the elementary school level. In addition, it might influence the development of the art education curriculum in Taiwan.