Art Pedagogy Research Articles

Enhancing pedagogy for teaching visual arts in the South African Foundation Phase classroom: A collaborative endeavor

In this article, we report on the pedagogy of a cohort of South African Foundation Phase teachers in the praxis of visual arts. We used participatory action learning and action research (PALAR) as paradigm and methodology and data was generated collaboratively through arts-based strategies such as photovoice, visual journaling, and reflexive group conversations. We analysed the data using an inductive analysis approach. The data indicated a set of extrinsic and intrinsic barriers experienced by the participants in the praxis and pedagogy of visual arts in a South African context. We provide recommendations for Foundation Phase teachers, school management teams, and governmental Departments of Education. This study contributes to the field of arts education by highlighting the plight of generalist teachers having to teach visual arts without sufficient training or support. We create opportunities for arts educators to contribute to the experiences of these teachers.

A BÁBOZÓ GYEREK TITKA, AVAGY A BÁBU MINT A LÉLEK KIHANGOSÍTÓJA

According to Teréz Virág (1998) a psychologist with regard to the 'mysteries' of the power of the puppet, three different spheres are worth investigating, namely the mysteries of the puppets, that of the child who plays with the object, and that of the puppeteer's. She views puppetry as creation, the puppeteer as the life-giver, and the puppet as an object of transition. When the aim is to develop the artistic methods as well as explore the 'general utility' of puppetry, it is worth further focusing on segments such as the making of the puppet, acting with the puppet, and perceiving the puppet play. These are three different viewpoints and three approaches. The study presents that the puppet in the child's hand is capable of embodying incomprehensible and insufferable feelings as well as making the unknowable accessible. In pedagogy today puppet play is believed to undoubtedly have a developmental impact, argued for widely with conventions, but it seems that there is still a lack of sincerely understanding of the being of the puppet and its mechanism of action, its principal essence. In my study, I elaborate on the questions of why and how puppet play can be of assistance, and what the puppet can actually mean in the child's hands. The puppet is an object, that makes a motion as it is assuming a role and takes action while portraying this role, it substitutes for someone or something. Being the puppet presupposes a space for the play, in which it takes the place of this someone/something by replacing what it represents. The primary goal of the study is to show that by playing with an object, a puppet lays a bridge in an abstract way between the visible and the invisible world, enabling thus art pedagogy to develop the child with its complex mode of action. The psychological mechanism of identification is best characterized by the eagerness to act, and the artistic genre of puppet play, providing the stage for action, is eminently capable of satisfying this urge. In the creative process, the approach of animation, the metaphorical thinking of the puppeteer, the abstraction as well as the development of the related assertive skills rely on all the operations of thinking; also, the simultaneity of the multi-lateral perception, the complex interpretation of communication play important roles.

Socially Distant Social Constructivism: Transitioning Visual Arts Pedagogies Online During COVID-19

The COVID-19 pandemic, and the emergency pivot to online learning that this health crisis prompted, has inevitably impacted teaching and learning across all study disciplines in higher education. This article presents a case study conducted by tertiary visual arts educators who shifted their social constructivist teaching methods from the face-to-face classroom to the online setting during the first wave of the pandemic in Australia. In exploring the challenges and opportunities posed by this transition, this article outlines the affordances and limitations of the digital learning tools employed by the teaching staff within a pilot study. The success of this pilot was measured through data analytics, student surveys, and teacher observations and reflections. Based on the findings, the researchers propose several ways visual arts education can be adapted online, while still maintaining the integrity of the discipline and its concomitant pedagogies.

Use and Influence of Technological Gadgets on Students’ Performance in Art Production

Despite the opportunities afforded art teachers in the use of technology today, many of them avoid these opportunities; either because they are not interested or they prefer the traditional way of teaching or they lack the know-how to use them. A cursory look at our Art institutions and Departments in Nigeria today reveals that there is need to overhaul the training methods and facilities in the system to meet global standard and technology-driven society of our time. This paper discusses the place of technology in Art pedagogy; looking at studio practice and theory, its influence on art production and sustainability in the future. The purpose of the study is to evaluate the quality of computer gadget-aided paintings and those made from real objects among selected students in tertiary institutions. Methodology adopted includes literary review, survey and practical experiments. The paper points to the fact that the role of technology cannot be over-emphasized in art teaching and learning, exhibition and sale, recording, preservation, as well as documentation and archiving of art experiences. It is recommended that teachers of Art must be abreast with modern techniques in teaching in a dynamic and technology-driven world of today.

АРТ-ПЕДАГОГІКА В КОНТЕКСТІ НАСТУПНОСТІ ДОШКІЛЬНОЇ ТА ПОЧАТКОВОЇ ОСВІТИ: ПЕРСПЕКТИВИ ТА ТВОРЧИЙ ПОТЕНЦІАЛ

АРТ-ПЕДАГОГІКА В КОНТЕКСТІ НАСТУПНОСТІ ДОШКІЛЬНОЇ ТА ПОЧАТКОВОЇ ОСВІТИ: ПЕРСПЕКТИВИ ТА ТВОРЧИЙ ПОТЕНЦІАЛ

Application of Artificial Intelligence-based Visual Arts Pedagogy in Traditional Painting Education

Abstract Traditional art has a deep cultural heritage and rich connotation, combining artificial intelligence technology with traditional aesthetics as a way to realize the innovation of traditional painting education mode. In this paper, starting from the performance of traditional painting’s aesthetic value, a personalized intelligent painting teaching mode is constructed based on the visual art teaching method and combined with artificial intelligence. The CCME-GAN model is introduced for the construction of a personalized painting learning generation model, and the BERT-LDA model is established by combining the BERT model and the LDA model for the intelligent evaluation of personalized painting works. Xinjiang folk artworks were selected as the research data source to carry out the validation of personalized painting work generation and assessment, and teaching comparison experiments were designed to analyze the teaching effect of the personalized intelligent teaching mode. The subjective evaluation score of Xinjiang folk art paintings generated by the CCME-GAN model was 9.11, and among the nine clustering results of painting work assessment, the eigenvalues of the theme of painting evaluation of Cluster 1 range between [0,5.5]. At the end of the teaching experiment, students’ creativity scores increased from 2.74±0.37 before the experiment to 4.63±0.26. Relying on artificial intelligence technology can enhance the teaching effect of traditional painting methods and improve students’ painting levels.

Methodological Principles of the Formation of Cultural Competence of Future Art Teachers According to the Educational and Motivational Criterion

The article raised the issue and considered different views of modern scientists on the problem of forming cultural competence of future teachers of art disciplines. Normative educational documents and scientific work of modern scientists in the field of art pedagogy on the research problem were analyzed. The conceptual role of art for the formation of cultural immunity and cultural intelligence of the individual is determined. The position regarding the choice of an educational vector in the formation of cultural competence of future art teachers is substantiated. The essence of the phenomenon "cultural competence" is characterized and its motivational-educational, cognitive-communicative, innovation-discursive structural components are determined. The scientific approaches of semiotic-hermeneutic, creative-communicative, innovative-reflexive and the principles of their implementation are substantiated: integration of knowledge and skills acquired in the process of mastering the content of the curriculum disciplines, actualization of one's own educational experience, activation of artistic and associative imagination and personified penetration into the artist's artistic vision , pedagogical tolerance, pedagogical artistry, pedagogical support of the interpretive and methodical initiative of future teachers of art disciplines and orientation to the application of innovative artistic technologies in the educational process. The results of a diagnostic study of the levels of formation of the cultural competence of the applicants according to the motivational and educational criterion are presented. Prospects for further research are defined as the development of special diagnostic tasks and the selection of diagnostic methods for determining the levels of all indicators of the studied construct and the development of methods for forming the communicative competence of future art teachers by means of innovative technologies.

Геймификация как образовательная технология: философский и методологический аспект

The article provides an overview of the results of a philosophical and methodological study of gamification as an educational technology. The aim of the study was to find methodological guidelines that allow, in the vast field of research on the phenomenon of play in philosophy and education, firstly, to determine the boundaries of the game and its varieties, and secondly, to understand how and why the game can be introduced into the educational process. The research was carried out using methods of historical, cultural, and comparative analysis, and the structural and functional method was also used. As a result, three types of gamifications of the learning process were identified: how to introduce competitiveness, how to introduce dramatization and how to introduce creative practices. The article describes the change in the role of the teacher depending on the type of gamification chosen, the transition from pedagogical technology to pedagogical art is indicated. The theoretical significance of the research lies in the possibility of further development of types of gamifications, their detailing, the development of the issue of designing special types of games for various subjects, and the promising opportunity to create games with specified cognitive properties. The practical significance lies in the possibility of building training programs for developers and organizers of educational games around the found types of games.

PHOTOGRAPHY IN THE PRACTICE OF CONTEMPORARY PAINTING. A PEDAGOGICAL PERSPECTIVE.

Photography in the Practice of Contemporary Painting. A Pedagogical Perspective. Photography is a technological medium that suffers continuous evolution. From its earliest developments to the various types of recent printing, the photographic image has become an avatar of the world. Since images are irreversibly intertwined with human activity, their usage becomes an increasingly frequent practice in the area of traditional creative techniques. This article discusses some examples of this usage in the context of contemporary painting studios in higher education. Photography is accessed by young students and the foray into photographic documentation is now an inevitable tool. The way students use it as an intermediary can be disruptive to their learning process, as long as the role of photography in painting practice is not fully comprehended. There are different ways of integrating photography into the practice of contemporary painting. The present article addresses conceptual aspects, presents several particular situations and launches some perspectives for better understanding these practices. Photography is a tool, not an end, but what happens when these terms juxtapose or are taken for granted? What kind of painting results out of the practical process “contaminated” by photography? However, if technology is properly and timely integrated in the practice of painting, one can no longer talk about a “contamination”, but rather about a conscious process able to generate quality painting. Keywords: painting, photography, hyper-realism, photorealism, contemporary art, art teaching, art pedagogy, art courses, artist, contemporary painters

“The Scream”: Using the Visual Critical Pedagogy of Subversive Indigenous Art in the Elementary Classroom to Discomfort the Comforted and Activate the Empathic, Ethical, and Relational Dimensions of Reconciliation

This paper uncovers my journey as K-12 practitioner in British Columbia towards exploring the use of “subversive art” as a “visual critical pedagogy” (Gil-Glazier,2015; Naidus,2005; Peters, 2016; Zorilla & Tisdell, 2016) to advance my students and myself towards reconciliation with Indigenous Peoples in Canada. I use the powerfully unsettling painting done by Cree artist, Kent Monkman, titled “The Scream”, as a springboard for this inquiry. “The Scream” provides an Indigenous counternarrative to the colonial versions of residential school histories and has the potential to progress practitioners and students towards actionable reconciliation by activating their empathic and ethical consciousness. I attempt in this essay to weave together a cluster of concepts, as I explore: (a) the nature and evolution of truth in BC’s elementary school curriculum (Andersen, 2017); (b) the historical establishment of the curriculum in a positivist modality (Gadamer, 2013; Greene, 1975; Marker 2004); (c) Greene’s (1995) argument that aesthetic education can help students and practitioners to engage meaningfully with difficult knowledge; (d) Greene’s (1977, 1995) philosophy of wide-awakeness, through which students and practitioners can activate the power of difficult knowledge; (e) Gadamer’s (2013) “fusion of horizons” as a means by which wide-awakeness can function in this context; (f) “subversive art” as a form of “visual critical pedagogy” (Gil-Glazer, 2015); (g) and the critical pedagogy of Paulo Freire. I braid these concepts together using the scholarship of Indigenous scholar, Michael Marker (1951-2021) to provide the pedagogical rationale for my determination to establish the visual critical pedagogy of “subversive art” in my classroom.
 
 Key Words
 Subversive art, Visual critical pedagogy, Reconciliation, K-12 education, Practitioner inquiry

Seven Embroidered Threads Between Works of Art and Art Pedagogy

This article is based on a walking interview through an art museum with the artists Pia Skogberg and Mette Hegnhøj. At seven stops on our walk, we discuss their 'work of art,' meaning the work, the processes themselves that the artists undergo, and the connec tions between this and their art pedagogical work in the project LegeKunst (PlayArt).11 I describe these themes as seven connecting threads and illustrate them in the article with an embroidery. The seven connecting threads that emerge through the dialogue to connect the works of art and pedagogy con stitute the article's first research finding. Then, I analyse, condense and unfold the threads as seven propositions for a world and process centred art pedagogy with a focus on a material relational practice. The second finding of the article consists of the seven propositions for art pedagogy: Reverses, the Engine Room, the Creative Urge, Handwork, Rebellion, Cracks and Exploration. I discuss these propositions in relation to art theory by Kontturi and Bolt, and pedagogic theory by Biesta, Skregelid, and Knudsen.

Методика навчання студентів-художників зображенню оголеної натури людини м’якими матеріалами.

This paper considers the issue of professional training future specialists in Fine arts, in particular, forming their artistic skills in image creation using soft materials in a process of portraying nude art model in drawing and painting. The article covers both the educational process in institutions of higher education and individual creative activity. The article highlights the main achievements of the scientific research in Ukrainian National Mykhailo Dragomanov University in the discipline "Creative Drawing". It also reveals the specifics of the process of human body construction, which is the basis of the Fine art literacy and formation of artistic skills of a future specialist in visual Art pedagogy. It was determined that the students learn quickly to work with soft materials and do the educational scope of tasks in painting and drawing. They also get the practical technical skills which contribute the holistic vision of a model and their reflection in the sense of proportion, details and personality assessment. Students form aesthetic taste, figurative and colour vision, perception and understanding of time and space in environment. It allows them to grow professionally, show curiosity and implement their creative ideas. It was established that using soft art materials is the basis for the formation of art skills in reproduction of a nude figure in painting and drawing in professional education of the future qualified specialists.

Involvement and Detachment of the Actor in the Creative Process. Stanislavsky System - Brecht System

The two systems – the Stanislavsky’s and the Brecht one – have points in common, even if, at first glance, they are very different in approach. The article aims to describe the two directions regarding the practice and pedagogy of the actor's art. Elements relating to inner or outer inspiration, awareness or the distancing effect are analyzed and counterbalanced between the two systems. Likewise, the discourses that continued the two fundamental aesthetics for the 20th century stage are also presented.

Yakym Zapasko is an outstanding scientist and educator (to the 100th anniversary of his birth)

The time of the attack on Ukrainian values - territory, language, history, it is extremely important to maintain the memory of outstanding figures of Ukrainian culture, to which J. P. Zapasko belongs. The achievements of the scientist in the field of research of ancient Ukrainian books, decorative and applied art of Ukraine, his organizational contribution to the development of Ukrainian science and education are monumental. Contemporaries equate it with a feat. August 2023 marked the one hundredth anniversary of the birth of Yakym Prokhorovych (born on August 28, 1923 in the village of Rozsishki in Kyiv Oblast (now Cherkasy Oblast), died on November 1, 2007 in Lviv. Buried at the Lychakiv Cemetery). The purpose of the publication was to recall the life and activity of the scientist, his scientific output, which includes more than 500 works, work in the field of art pedagogy, organization of the cultural process in Ukraine. The proposed article outlines the life and creative path of Y. P. Zapasko, main features of his personality, contribution to Ukrainian and world science and education, analyzes some aspects of the most outstanding scientific works of the scientist, which are related to efforts to defend national identity. The source of the research was the creative work of J.P. Zapasko, articles about him, memories of contemporaries, the author of this publication, and the good memory of the scientist's wife Maria Andronivna Zapasko, whose selfless efforts were directed to support and ensure the scientific creativity and pedagogical work of her husband. From the distance of time, on the basis of printed sources, manuscripts, memories, it is possible to once again draw a conclusion about the remarkable scientific contribution of the scientist, the significant and fruitful organizational efforts of the educator, the impeccable moral image of the Ukrainian Yakym Zapaskas, his unyielding imperative in life, which consisted in serving Ukrainian culture, which can be an indisputable example for modern Ukrainian youth

Ecological art pedagogy: co-creation for ecological transformation

ABSTRACT This research aims to investigate the pedagogical outcomes derived from the implementation of an environmental and art-based project within an after-school art programme. The study involved 18 participants between the ages of 9 and 13. Employing an art-based research approach integrated with phenomenology, the investigation sought to elucidate the participants’ emotional connections to the environment while evaluating the development of their environmentally conscious behaviours. The data were garnered through various means, including artistic works utilised in the learning process, reflective journals, worksheets, a researcher’s journal, and focus group interviews, and analyzed using an inductive approach. The research findings highlighted that ecological art inquiries exerted a significant impact on enhancing the students’ knowledge pertaining to the environment and notably fostering heightened environmental awareness. Additionally, the extracurricular activities undertaken by the students in non-classroom settings played a pivotal role in creating collective environmental consciousness, fostering a desire to participate in creative actions, questioning the nature-human relationship, developing empathy for other living beings, and making them realise that remedies for the planet’s future well-being reside intrinsically within themselves.

Creative and Critical Entanglements With AI in Art Education

Since the advent of the postdigital era, technologies have been dramatically transforming human lives, shifting the ways humans communicate, learn, and create. This article aims to envision how entanglements with nonhuman intelligences can unsettle and reshape pedagogical approaches in the field of art education. I argue for the need to reconceptualize relations between humans and artificial intelligence (AI) as collaborative and symbiotic relationships beyond instrumental understandings, which are informed by posthuman perspectives. Reframing human–AI relations will help art educators and researchers not only explore the potential of AI for new inquiry and creativity in art curricula, but also critically examine possible ethical issues for its implementation in art classrooms. By looking at how AI has been explored in new media art projects that intersect emergent intelligences and art pedagogy, I investigate their implications for future art education.

Editorial

This editorial provides a summary on key contributions from authors within the field of digital design and creative learning strategies that are inclusive and sustainable within various learning environments. Appreciating individual conceptualized visual ideas, online project-based learning, peer learning and assessment, Indigenous knowledge and its contribution in enhancing creativity, accessible and inclusive learning platforms in art and design, and use of technology during the creative processes by design students are core scholarly contributions discussed. Authors guide the readers’ critical reflections on how best art and design educators could uphold students’ creative identities, their involvement in assessment, technology adaptation during object-based learning and the relevance of peer involvement in learning processes. Implementation of art pedagogies that enhance individual skills competences is considered imperative when considering students’ level of engagement, ownership of knowledge and their development of self-esteem within the field of art, design and technology.

Ч. АЙТМАТОВДУН “КЫЛЫМ КАРЫТАР БИР КҮН” РОМАНЫНДА- ГЫ НАЙМАН ЭНЕ ЖАНА МАҢКУРТ ЖӨНҮНДӨГҮ УЛАМЫШТЫ САХНАЛАШТЫРУУ АРКЫЛУУ КЕП ӨСТҮРҮҮ (окутуу орус тилинде жүргүзүлгөн мектептер үчүн)

This article presents speech development methods and means of increasing the motivation of students of an intermediate (continuing) group of higher educational institutions through staging on the example of "The Legend of the Mankurt" by Chingiz Aitmatov. This form of learning through the means of a literary text has the greatest incentive to study, to speak Kyrgyz language, to increase practical orientation and to gain deep knowledge. Learning through staging is based on the method of communicative learning, active learning methods, game methods, individual learning methods and art pedagogy, where the main technologies are play and improvisation. In the scientific article, it was emphasized that the teacher should take a creative approach to his work, go out of the framework of the lesson that has been done for a long time, and use the power of free, lively, artistic speech will undoubtedly increase the student's activity. It was also described our desire to increase the practical value of language development by relying on the method of teaching the Kyrgyz language through dramatization in Russian-language schools.

Innovation in gallery education: Art experimental workshops in the Moravian Gallery

The framework of this paper describes my own experience as an independent gallery educator in a museum institution, implementing a "classic educational format" focusing on experiential teaching activities for schools, practical teaching activities for the public in order to develop a "new educational format" for teaching within a gallery space.
 These formats of a gallery educational activities were tested in the Moravian Gallery in Brno, Czech Republic and a series of free-time artistic and experimental workshops called ARTS'UP_ ART ON EX were created and open to the public. The gallery term for these activities was coined as "edutainment". The result was documented and curated in a permanent exhibition titled Art is Here -"New art".
 Part of this research is an examination of galleries educational activities that explores the theory and the practical ideas to define the formats of education within gallery spaces to develop a programme of activities aimed to children and the public.
 The aim is to explore other formats for spaces to learn by bringing the "educational institution" and "cultural institutions", together by developing a common ground to create a curriculum for visiting schools to create a new platform for teachers to expand the model of education.
 The practical result of the research is the presentation of a gallery project created for the permanent exhibition of modern art in the Moravian Gallery. Since no educational material detailing the social science concept of modernism was created for the exhibition itself, the creation of a methodological sheet that contains structured educational content with a proposal for activities that allows elements of art pedagogy and cross-curricular links. In addition, the result enriches a constructivist-oriented model of teaching that can be used in galleries or can serve as a strategy point to develop new educational spaces.

Shame and Disavowing Queer Reality

Stigma has been defined as a spoiled identity, a branding that sets a person outside the norm, with potential to elicit feelings of shame. The authors recount firsthand experiences of having felt shame in connection with their queer identities and the disavowal this provoked, until such time as they met serendipitously as researchers with related interests and began sharing memories of being queer in a cis-heteronormative society. Two stories, illustrated in comic form and told in first-person narrative, are centrepieces for analysis in which the authors write against themselves, their past assumptions, and interpretations. Applying insights from queer and feminist decolonial theory, and from arts pedagogy, this autotheoretical analysis demonstrates that, despite the injurious nature of shame, revisiting and recodifying its roots can help one avow queer reality and come to terms with feelings of inadequacy induced by the politics of purity infecting many fledgling efforts at self-expression.