Art Pedagogy Research Articles

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.

The archetypal image of a person in a test drawing and its role in artistic pedagogy

Introduction. The article analyzes the general (archetypal) properties of the human figure drawing, which can be traced when studying test drawings of a large number of test subjects. Purpose setting. The studied properties of the drawing are the basis for further training in artistic drawing. Knowledge of these properties allows for an individual approach to training. Methodology and methods of the study. The test subjects who took part in this study had not previously been specifically trained to draw outside of the school course. A total of 1848 people were examined. The study used evaluation criteria from the Goodenough-Harris test. Results. During the analysis of test drawings of persons from 14 to 20 years old, a number of notable properties were revealed. In particular, significant differences between male and female drawings were identified. Formal differences in the drawings of male and female subjects that cannot be explained by gender-role stereotypes are revealed. A much more «correct» but at the same time more stereotypical character of women»s drawings was found. Men»s drawings are less «correct», but more diverse. The age dynamics of graphic features of men»s drawings shows much less close correlations. Thus, the correlation analysis shows in male drawings a relatively greater consistency of features that characterize the image of the upper limbs of the human figure. This feature is usually associated with a greater propensity for social contacts and extroverted activities. Identification of these patterns is necessary for the psychological support of art education. In particular, this study allows us to justify differences in educational approaches depending on the gender of students. The results obtained provide a scientific justification for the failure of the gender approach, in particular, in art pedagogy. Conclusions. In the course of this study, the validity of the evolutionary theory of gender by V.A. Geodakyan was confirmed. According to this theory, the male sex is more characterized by an operational function, and the female sex by a conservative function. A comparative analysis of the graphomotor skills of male and female subjects allows us to reveal this particular feature.

Being the finger pointing to the moon: how martial arts can provide a holistic perspective on teachers' role in tackling sustainability challenges

From social injustice to the climate crisis, our modern society currently faces an unprecedented magnitude of global challenges. To properly support future generations, long-term solutions must take into account the role of educational systems in developing necessary competencies needed for future world citizens. Pedagogical methodologies should reflect this need and adapt accordingly, focusing on developing intrapersonal and implementation capabilities that are acknowledged as sustainability-related competencies. While some educational approaches are better tuned to develop these skills, the deployment and effectiveness of these might be limited by the perception of the teacher's position in the classroom. Given the urgency of the situation, we propose to use educational principles that have already proved effective in developing similar skills for decades and centuries, and inspired by the world of martial arts. Rather than incorporating martial arts elements per se, we argue that by adopting key principles taken from traditional martial arts pedagogies, we can redefine the teacher's educational function, and by thus redefining the student's learning process to acquire sustainability competencies. We propose a conceptual framework that distills relevant elements from martial arts methodologies and defines ways to implement these in academic educational systems.

ПРИКАЗКАТА КАТО СРЕДСТВО ЗА ПРЕОДОЛЯВАНЕ НА ПОВЕДЕНЧЕСКИ НАРУШЕНИЯ ПРИ УЧЕНИЦИ В НАЧАЛЕН ЕТАП

The fairy tale is a literary form with an extremely wide application in the educational process. In elementary school students, the fairy tale forms literary competences and is an important tool in artistic education. In the present report, the attention is focused on a less studied aspect – the educational influence of the fairy tale on behavioral disorders in elementary school students. The report briefly analyzes the difference between fairy tale therapy and the application of fairy tales in art pedagogy. Different art-pedagogical techniques were analyzed, in which the magical tale is used as a means to overcome behavioral disorders in elementary school students.

Teachers need teachers

This qualitative case study explores the experience of three first-year English language arts educators within a small community of practice designed to provide personal and professional support for beginning teachers. The participants engaged in a 6-week session where weekly meetings focused on participant experiences and English language arts pedagogy during the COVID-19 pandemic.

Professional training of future fine arts teachers for the use of graphic design

The article is devoted to the urgent problem of training future fine arts teachers for the use of graphic design. The goal of the article is to systematize and generalize scientific research on the training of future fine arts teachers for the use of graphic design. It was specified that in modern society the issues of forming the professional qualities of the art teacher, creating the conditions that would ensure their training in the system of higher pedagogical education are becoming particularly acute. After all, nowadays there is a need to develop design skills and mastery in future art teachers who could use graphic design in their professional activity, as well as teach this craft to students so that they can create brochures, magazines, books, advertising products, various packaging, web design etc. It has been proven that the training of such specialists who have the basics of design culture is an urgent problem of modern art pedagogy. It was determined that the formation of design skills in students as an integral component of the professional qualities of a future teacher of fine arts is realized in the process of their activity, during which individual characteristics are manifested, which contribute to the formation of a person’s positive attitude towards their profession and the people with whom they work, as well as the desire for personal growth and professional improvement. In general, the training of future fine arts teachers for the use of graphic design is a long, controlled, responsible process of forming professional competences, the result of which is knowledge and skills that future specialists will use in their further activities; it is the unity of theoretical and practical readiness of future teachers of fine arts to use graphic design in their professional activities. It has been confirmed that proper training of future art teachers with established professional competences will provide opportunities to become competitive in the service market.

Training of Choreographers in Higher Education Institutions

The relevance of the study is determined by the active development of the pedagogical art branches, where the professional competence development of future choreographers and the development of their creative views becomes the main aspect of specialists training in higher education institution and involves the creation of the necessary conditions on the way to their creative growth and professionalism. In this regard, the purpose of the research work is to determine the features of the training of choreographers in higher education institution, their professional development in the context of educational activities, the professional competence development in the process of practical professional training, as well as to determine possible ways to overcome the professional crisis and destruction. The basis of the theoretical and methodological approach in this article is a qualitative combination of system analysis methods of choreographer training in higher education institutions with an analytical study of the professional competence development of future specialists in the art of dancing, where the use of modern approaches involves the use of innovative forms and means of learning to implement the educational concept regarding the professional development of choreographers. The article presents the results that reflect the problem of implementing the training of choreographers in higher education institution on the way to the professional qualities development of future specialists, their motivation for self-education, the development of creative abilities and creativity, as well as the necessary skills development for future productive professional activity. The obtained results of the research work are of practical value for educators of higher education institutions that train the specialists in the art of dancing, for the perspective of introducing and implementing the latest training approaches in the educational process, as well as for practical purposes for determining the development of professional qualities of future choreographers in higher education institutions.

PROFESSIONAL COMPETENCE FORMATION OF FUTURE TEACHERS OF THE INTEGRATED COURSE “ART”

The article presents the analysis results of educational practices for future teacher training for teaching the integrated course “Art”, which made it possible to ascertain the presence of a specific approach of higher pedagogical educational institutions to the necessary competencies formation. It has been emphasized that institutions of higher education choose different paths. The first one is deepening the content of individual academic disciplines of educational and professional training programs for music teachers, fine arts teachers, or choreography teachers with information that contributes to competencies formation for teaching the integrated course “Art”. The second one is the introduction to the educational and professional programs “Secondary Education (Musical Art)”, “Secondary Education (Fine Arts)” or “Secondary Education (Choreography)” of individual educational components aimed at students mastering other types of art and their teaching methods with the aim of preparation of future teachers for the integration of various kinds of art in the process of art education. It has been emphasized that one of the ways of professional training of a teacher of the integrated course “Art” at Poltava V. G. Korolenko National Pedagogical University is a combination of the above-mentioned approaches with the introduction to the educational process of students majoring in “Secondary Education (Musical Art)”, of the certificate educational program “Integrated Course “Art” for Institutions of General Secondary Education”. It is noted that the proposed certificate educational program provides for the presence of such educational components as “History of Culture”, “Art Pedagogy”, “Theory and History of Fine Arts”, “Theory and History of Choreographic Art”, “Fundamentals of Theater and Screen Art”, “Non-Formal Art Education”, “Methodology of Teaching Fine Arts”, “Methodology of Teaching Choreographic Art”, “Multimedia Technologies in Education and Art”, “Computer Arrangement", etc. It has been emphasized that mastering the content of the above-mentioned educational components by future teachers of musical art is the key to the necessary competencies formation for teaching the integrated course “Art” in a general secondary educational institution.

How Critical Art Pedagogies Changed Student Perspectives on a COVID-19 Culture Crisis World

"How Critical Art Pedagogies Changed Student Perspectives on a COVID-19 Culture Crisis World." Art Education, 76(3), pp. 38–39 Additional informationNotes on contributorsJordan RaymondJordan Raymond, High School Educator, University of Saskatchewan in Saskatoon, Canada. Email: jmr388@usask.ca

Topical issues of teaching fine arts

The development of methods of teaching fine arts is based on the general aspects of humanity’s relationship to art, the value of art in modern conditions, new information, computer, visual and other technologies. The development of information technologies is global in nature and is changing the society. Changes become an innovation, and at the same time, questions arise about the preservation of traditional teaching as a special sphere of public consciousness, which can be considered at the level of the philosophy of art. The article outlines the main problems of modern art pedagogy associated with these processes. The analysis of the problems will make it possible to update and correct both the methods and technologies of artistic activity themselves, as well as the accompanying educational and methodological materials

Visual Arts Self-Efficacy: Impacts and Supports for Early Childhood Teachers

Although visual arts pedagogies are considered central within early childhood education programs, teacher self-efficacy has a direct impact on the quality and delivery of visual arts curricula. Until recently, the visual arts self-efficacy, pedagogical knowledge, and practice of in-service early childhood teachers have remained largely unexplored. The authors of this paper present a qualitative, iterative re-analysis of their three PhD studies which broadly focussed on early childhood visual arts praxis and specifically examined the visual arts beliefs and pedagogy of early childhood teachers in Australia and New Zealand. A thematic analysis of the intersecting self-efficacy findings raised in the three studies identifies the powerful influence of self-efficacy on teaching practice in the visual arts domain and offers new understandings about visual arts self-efficacy amongst early childhood teachers. The combined findings reveal several factors that restrain or enhance teachers’ visual arts self-efficacy across time, including the impact of childhood experiences, pre-service training and epistemological beliefs. The paper also identifies several enabling conditions that appear to support teachers to develop and maintain positive visual arts self-efficacy beliefs, including practical engagement with materials, sustained professional learning, relational trust and intentional leadership. These enabling conditions offer practical strategies and research recommendations in service of positive visual arts self-efficacy to enhance quality visual arts teaching in early childhood contexts.

Musical theatre’s omnivorous voice: Interviews with elite voice teachers in the Broadway community

This article explores how the pluralities of vocal behaviours and vocal aesthetics in present-day musical theatre are understood and manoeuvred in the context of teaching musical theatre voice. Transcribed interviews with six elite voice teachers in the Broadway community are analysed and placed into a conceptual framework of the ‘omnivorous voice’ (based on sociologist Richard Peterson’s writings on cultural omnivorousness and sociologist Antoine Hennion’s writings on tastes); the article also engages with Braun and Clarke’s reflexive thematic analysis. Four central themes are generated and discussed: (1) understanding omnivorous code-switching and shape-shifting as a fundamental potential of the voice, (2) manoeuvring vocal omnivorousness by carefully attending to sonic information, (3) searching for authenticity in an omnivorous vocal world and (4) expanding and diversifying vocal aesthetics beyond musical styles and genres. This article contributes to the fields of performing arts pedagogy and voice training in musical theatre, and aims to provide insights into how vocal technique and vocal aesthetics are influenced by, taught in, and created in dialogue with the communities and societies in which our voices exist. The last is especially explored in light of the COVID-19 pandemic.

One Hundred Years of Revolutionary Experiments in Art Education

“One Hundred Years of Revolutionary Experiments in Visual Art Education” defines and clarifies four often-invoked yet elusive concepts in visual art and visual art pedagogy: “experimental,” “progressive,” “critical,” and “radical.” Using the Marxist-theory based Whitney Independent Study Program in New York as a case study, an institution now transitioning from over a half-century under the continuous leadership of director Ron Clark, it helps write the history of the past one hundred years of revolutionary art training. In particular, this essay argues that the critical theory in contemporary art education taught at organizations like the Whitney Program, though built on a foundation initiated by experimental art schools such as the Bauhaus, Black Mountain College, and Vkhutemas, has dramatically reinvented the terms in which progressive politics are understood in visual art. To truly understand the Whitney Program’s unique form of revolutionary experimentation requires contending with the radical element of its pedagogy as laid out in the definition this essay provides of radical pedagogy, that is, the ISP’s emphasis on social change. This emphasis comes to the ISP in large part from the Frankfurt School, which, beginning in the 1920s, embarked on a critique of the culture and social forms of modernity, exploring the anomie and alienation at the heart of capitalist class inequality. The ISP is radical in the literal meaning stemming from the Latin radix (root), as it questions the basis of art at an ideological level: what roles it serves, and how it can align with other forces in society advocating for social justice, racial, gender and class equality, and economic redistribution.

ХУДОЖНЬО-ЕСТЕТИЧНА КУЛЬТУРА ПЕДАГОГІЧНИХ ПРАЦІВНИКІВ ЗАКЛАДІВ ДОШКІЛЬНОЇ ОСВІТИ

The article examines the phenomenology of artistic-aesthetic culture as a scientific-terminological dimension and professional- pedagogical quality. The concepts of "pedagogical cooperation", "pedagogical communication" are outlined, and the concepts of interaction of the "teacher - preschool child" format are highlighted. The phenomenon of the artistic culture of a pedagogical worker as a prerequisite for effective professional activity has been studied.The place of the concepts "aesthetics", "moral", "morality" and "figurative thinking" in the narrativization of the culture of an art-aesthetic teacher are determined. The impact of the teacher's artistic and cultural competences on the aspects of interaction with preschool children, children's parents, other teachers, social and institutional representatives, etc. was determined. The features of pedagogical mastery of artistic and aesthetic direction are determined. The complex of concepts "the art of pedagogy" and "pedagogical art" in an inseparable combination and commensurability with the understanding of the "artistic and aesthetic culture of the teacher" was studied. Aspects of the generation of "pedagogical talent" as derived from the aesthetic and artistic culture of the simulacrum are singled out. Models and options for the implementation of the artistic and aesthetic culture of a pedagogical worker have been determined in accordance with the Law of Ukraine «The Education Act" No. 2145-VIII dated 09/05/2017 (as amended from 01/01/2023). In particular, the provisions regarding the academic freedom of the teacher and the educational institution (clause 2, part 1, article 1 of the Law) were analyzed in relation to the hypothetical-potential artistic development of the teaching staff in the process of increasing professional competence. Exclusively, attention is focused on the conformity of artistic and aesthetic pedagogy commensurate with Clause 4, Part 1, Art. of the Law of Ukraine "The Education Act" No. 2145-VIII, which defines the criterion narratives of pedagogical activity in general and aspects of competence, formed by Clause 15 Part 1 of Art.1 of this Law. The version of modifications to the Law of Ukraine "The Higher Education Act" No. 1556-VII dated 07.01.2014 (ed. dated 03.15.2023) was specified in the context of the process.

Distributed leadership across a network professional learning community

Abstract A network professional learning community (PLC) is characterised by a non-hierarchical approach to professional learning. Members are supported to engage and to learn when leadership is distributed across a network PLC. The mixed methods study reported here was designed to examine how a network PLC could effectively improve visual arts pedagogy in early childhood education (ECE) settings. The design and analysis were considered through a lens of distributed leadership. The research had two main stages, a nationwide survey and an embedded case study. The case study findings demonstrated the possibilities of a network PLC approach to foster distributed leadership across PLC members, the facilitator, ECE teams and leaders; participants successfully shared and applied new learning and improved pedagogy for visual arts learning. Overall, this study suggests that leadership is a critical aspect of the network PLC approach, and that attention should be paid to distributed leadership and to the role of the positional leaders in supporting the application of learning from a network PLC to education settings.

Form and form creation in the art of painting

The article draws attention to the need to study and master the concepts "form ‒ form creation" in the art of painting, relying on their unique importance in the process of creating an artistic image. Analysing the current state of the problem, and understanding its role in the future professional activity of artist-pedagogues, we are forced to state that this important section of art pedagogy still remains outside the boundaries of professional attention, despite the active request of student youth. However, we admit that the interest in studying the "form ‒ form creation" expressed by the students of the Faculty of Arts and Graphics as well as the impossibility of its implementation in the educational process depend not only on the professional wishes of teachers and students, but also on the lack of software, the shortage of special literature and the laboriousness of extracting necessary data from its volume, and, most importantly, ‒ on the difficulty of assimilating material during independent study. Similar factors forced the authors of the article to compile and offer a shortened version of the textual information from theoretical provisions and examples of form creation in the world art of painting, giving further analysis of the quality of its perception by the student audience. For the practical implementation of the event, a number of milestone topics were developed, which made it possible to create a certain methodical course for solving strategically selected issues.

The foundations of a personality-oriented approach in art pedagogy

Introduction. The article deals with the psychophysiological aspects of the personality-oriented approach in art pedagogy. A person-centered approach is a broader concept than an individual approach to learning, but the former is unthinkable without the latter.Purpose setting. The individual approach is based on differences in the motor profiles of students. Individual motor profile is a system of relations of individual motor levels in the student»s motor skills, according to the concept of N. A. Bernstein. This concept has been further elaborated in the works of modern researchers. According to this approach, human activity is a hierarchical system, at the head of which is the symbolic level, and at the base – the lower motor levels. In different individuals, the development of certain motor levels can vary significantly. Taking into account these differences should form the basis for the formation of an individual approach in art education.Methodology and methods of the study. The study uses a systematic approach. One circumstance that was not taken into account by N. A. Bernstein at the time is being investigated. According to his classical concept, the highest motor level in the hierarchy acts consciously, and the subordinate levels work outside the actual consciousness. But the motor hierarchy has the same properties as other complex hierarchies. It is capable to generate systemic inversions, as a result of which the lower motor level takes precedence in this system. This is evident in many areas of fine art.Results. System inversions are especially evident in those areas of art that can be called marginal; for example, abstract expressionism or hyperrealism. In such art movements, the highest symbolic coordination level acts as a service level; it only supplies material to the lower motor levels, through which the artistic intent is carried out. But marginal artistic trends are only an example that demonstrates the potential diversity of motor skills in visual art activity.Conclusion. The described diversity of motor inclinations allows students with a variety of motor skills profiles to achieve self-realization in the visual arts.