Art Pedagogy Research Articles

Happy Trees in a Black Box: Elevated Escapism as Comfort Television in The Joy of Painting with Bob Ross

Using The Joy of Painting with Bob Ross (PBS, 1983–1994) as a case study, this article analyzes three vectors of elevated escapism—categorization as comfort TV, nostalgia for public media, and an art pedagogy drawing on medieval and picturesque traditions. These three vectors, which are applicable to the program and the discourse surrounding it in the late 2010s and were heightened in 2020, exemplify the discursive category of comfort TV in the 2020s, amplified by American television critics and journalists in such a way that further normalizes class-based tastes in the era of streaming television.

АРТ-ПЕДАГОГІЧНА МЕТОДИКА ПІДГОТОВКИ МАЙБУТНЬОГО ВЧИТЕЛЯ МУЗИЧНОГО МИСТЕЦТВА

Explaining the meaning of art pedagogy, methodology, method. Analyzed the essence of the art-pedagogical method among the future teachers of the musical art. The main functions of the art-pedagogical methodology in the preparation of future teachers of musical art are characterized. Explaining the problem-dialogue method and technology of pedagogical improvisation in the implementation of the art-pedagogical methodology for the future teachers of the musical art.

“The Art of Living”: Selma Burke’s Progressive Art Pedagogies from the New Deal to the Black Arts Movement

“The Art of Living”: Selma Burke’s Progressive Art Pedagogies from the New Deal to the Black Arts Movement

ART ACADEMIC EDUCATION AMIDST MARTIAL LAW

The purpose of the article is to clarify the peculiarities of the development peculiarities of art education amidst martial law. The research methodology is based on the complex use of methods of pedagogy and modern art studies, which are aimed at theoretical and artistic-practical understanding of the modern educational paradigm of art education. The article highlights the problems arising in the educational process when training artists during martial law. Ways to improve the quality and algorithms of modernization of the process of professional training of students of art specialties are proposed. The article examines the fundamentals of the Higher Education Development Strategy of Ukraine and identifies the main vectors of education reform which will bring Ukraine closer to full membership in the European Union. The issue of contradiction between innovations and traditional forms of artistic personnel training remains debatable. The author draws attention to the renewal and modernization of educational standards of art pedagogy. This will solve a range of problems related to the demand for young artists and increase their potential for self-realization. The functioning of the art education system in martial law is characterized by an intensive search for new approaches to learning, innovative forms of organizing the educational process, and effective pedagogical and information technologies. Therefore, supporting the active implementation of innovations in the education sector during the war has become one of the key focus areas of the National Academy of Fine Arts and Architecture (NAFAA).

ФОРМУВАННЯ ПРОФЕСІЙНОЇ ГОТОВНОСТІ ДО ПЕДАГОГІЧНОЇ ВЗАЄМОДІЇ З ОБДАРОВАНИМИ ФУТБОЛІСТАМИ В МАЙБУТНІХ СПОРТИВНИХ МЕНЕДЖЕРІВ І ТРЕНЕРІВ

The essence of professional readiness for pedagogical interaction with gifted football players in future sports managers and coaches is substantiated as professional competence, which is formed on the basis of motivational-axiological, cognitive, praxeological approaches. In the process of training future managers and coaches of football, it is proposed to consider the football game on the basis of complementarity of art pedagogy (art pedagogy) and sports. Attention is paid to the relationship between different types of specialized professional education: sports, art, science. Their common methodological basis is the theory of cognition. Scientific education is correlated with scientific knowledge, art – with art, and sports – with «physical» knowledge. Taking into account different types of specialized education, the intellectual profiles of future football managers and coaches were characterized for the first time: physical-kinesthetic, imaginary-associative, operational-tactical. The intellectual profiles of future football managers and coaches are correlated with the following psychological mechanisms of their creativity: psychomotor skills, energy potential, RAM («body memory») of the player. The essence of the concept of «sports talent of a football player» is formulated as a natural integral formation whose components are body-kinesthetic, imaginative-associative, operational-tactical intellectual profiles of future football managers and coaches and which determines the full identification of sports-creative mechanism of the player. energy potential – random access memory. The aesthetic features of women's football and, in particular, the desire of female players to demonstrate not only playing skills, but also the attractiveness of appearance are highlighted. Given the aesthetic orientation of women's football games, it is proposed to introduce optional classes in women's football design in higher education institutions that train managers of physical culture and sports and football coaches. Key words: gifted football players, readiness for pedagogical interaction, specialized education, art and sports, women's football design.

Conditions for the development of cultural and cultural-creative competencies of students in the process of artistic creation (from historical experience to the present day)

The relevance of the studied topic owes to the problem of the humanization and humanitarization of modern education. The goal of the study is to determine the conditions for the development of students’ cultural and cultural-creative competencies in the process of artistic creation proven by the historical experience of Russian art education and upbringing, as well as to assess their practical importance for contemporary schooling from the standpoint of modern art pedagogy. The problem is examined based on the example of students’ creative competitions and educational and exhibition projects (cases) of 1997-2020 focused on the development of students’ cultural and cultural-creative competencies in the process of artistic creation and the perception of exhibitions presenting students’ creative works alongside the works the same theme by authors of different generations. In conclusion, the conditions for the development of students’ cultural and cultural-creative competencies in the process of artistic creation are identified.

Урок окружающего мира в третьем классе: «Разнообразие мира животных (фауна)»

The article offers for consideration a variant of a lesson on the subject “The World-Around-Us”, which is held in the third grade based on the
 use of the educational and methodological set “Primary School of the XXI century”. The purpose of the lesson, which is part of the “Kingdoms
 of Nature” section, is to provide students with new knowledge about the diversity of the animal world. The high working capacity of junior
 schoolchildren during the entire period of the lesson is ensured by the use of various types of tasks that require constant mental activity, reasonable alternation of material of varying degrees of complexity, and the inclusion of elements of art pedagogy in the educational process. The use of art-pedagogical techniques allows the third graders to be informed as effectively as possible about the real results of their studies. Figuratively speaking, junior schoolchildren “put new knowledge in a portfolio and take it with them”, that is, they discover the expansion of their knowledge on the topic under study as a visual result of their activities in the lesson.

Pedagogy of choreography: teaching features and principles

The article reveals the basic principles of training, which preserve the continuity of traditions and the specifics of the profession in the training of specialists in the field of choreographic art. The authors analyze the peculiarities of teaching in the field of choreographic art, develop its concepts and principles based on the experience of teaching and performing practice in the training of specialists-mentors, teachers-choreographers of children's dance groups. On the basis of scientific works in the field of general pedagogy and pedagogy of choreographic art, the authors have developed modern principles of teaching and presented the results of the study for consideration. The recognition of the choreographic art of Kazakhstan at the world level is the result of the high creative potential of choreographers, the performance skills of dancers and the invaluable work of domestic choreographers. In the conditions of intensive development of the innovative, technological and integration process, the special specifics of choreographic pedagogy, the main functions and professional activities of choreographers require scientific and creative research and competent differentiation.

Thinking Minds, Virtual Bodies

With the emergence of the pandemic, the world adapted virtually; dance education and performance were no exception. Particularly, Indian classical dance (ICD) education and practice garnered mixed reactions due to the deviations from the intimate personified practices which are inherent in the traditional ICD system. Therefore, certain changes in the system became mandatory. With reference to the ideal tenets of arts pedagogy as mentioned in the ancient performing arts treatise Natyashastra, this paper provides specific significant methodologies which can benefit the knowledge exchange process in ICD especially in the online environment. Derived from the training in the sciences, this paper is an attempt to inform the virtual ICD scenario regarding complementation of and improvements in the traditional ways of knowledge acquisition and dissemination. These ways will appreciably enrich the desired purposes of the “felt” and “embodied” which may have been lost with the shift to the virtual scenario.

On the Potential of Exercises in Live Art Pedagogy

This exposition is a web of exercises which have been part of different participatory performances, -installations and -workshops. The projects were undertaken during the years of 2014–2019 and are part of my artistic pedagogical research about the potential of exercises in live art. By extricating exercises from their original context and placing them in a rhizomatic map alongside other exercises, I want to examine exercises as an important tool in creating the future of live art and new realities. A tool that can be used to create new performance art works and imagining the future. The exercises in live art pedagogy has potentials in imagining and creating new realities. Each exercise can also have value as an artwork in themselves, as a performance event score. The exercises in this exposition can be looked upon as traces of earlier works, and by cross-contextualising the exercises I look for how they are interrelated and what the materiality or technique of an exercise can be. In this cross-contextualising I look for the agency of the different exercises. I have selected the active performative agents that best characterise fo the exercises. These are the formulation, objects, performer, audience, place, and time as such agents.

Approaching pedagogical arts research from within the studio

Research concerned with the learning of arts practices can be meaningfully explored from within the studio. The complex affordances of being an insider-researcher of arts pedagogy are unpacked in this paper. I articulate an interpretive ethnographic approach to studio practice-based research conducted by the teacher/researcher by building on the understanding of pedagogy scholar Bryant Keith Alexander (2003) of the classroom as a situated cultural site. I describe the entwined, situated and partial perspective of my teacher/researcher role as a contemporary dance technique teacher, and discuss the complications of foregrounding participants’ perceptions while reflexively tussling with my own biases and assumptions. The inductive nature of this methodology and the ethical considerations of the pedagogical situation are examined. Furthermore, fieldwork is defined as embodied practice. Permeating this, an alliance/agitation of feminism and queer is considered as lens through which structural disruptions and social re-imaginings might be galvanised. Consequently, this paper contributes to an understanding of the relevance and credibility of practice-based research in recognition of the advantageous complications that arise in the learning context of the studio. Throughout, theoretical considerations are grounded in the actual pedagogical practice and experience from my own research processes. However far from formulaic, these function as illustrations of immersive research; offering examples that flow from my pedagogical context. By describing this immersive methodology and recounting my experiences as teacher/researcher, my aim is to enable other pedagogical arts researchers to utilise the conceptual framework and theoretical discussion for their own insider-research projects.

МИСТЕЦЬКО-ПЕДАГОГІЧНІ ІННОВАЦІЇ ПРОФЕСОРА О. Я. РОСТОВСЬКОГО

The article is dedicated to highlight the artistic and pedagogical innovations of Professor O. Rostovsky and reveal their meaning in the context of the development of domestic art education. The authors made a brief analysis of the achievements of the musician-teacher, which gives reasons to speak about their undeniable value. It is emphasized that today it is difficult to overestimate the scientist’s contribution to school art education, methods of teaching lessons in general secondary education institutions, the system of training future teachers of music, etc. From today’s point of view, such works as «Methods of teaching music in primary school», «Methods of teaching music in secondary school», «Lectures on the history of Western European music pedagogy»,«Pedagogy of music perception», «Theory and methods of music education» not only do not lose their relevance, but on the contrary find more and more supporters. The results of musical and pedagogical activity of the scientist, who was deeply convinced of the importance of the profession of music teacher, the need to achieve a high level of pedagogical skills, gained special importance in the conditions of formation of the young state and development of the national education system. It substantiates new conceptual approaches to improving the quality of school art education, the need to update music programs, lesson content, rethink their goals and problems, study and generalize the best domestic and European experience, the widespread introduction of innovative developments in educational practice. One of the important activities of the scientist was the scientific guidance of dissertation research in the field of music pedagogy. The article emphasizes that the scientific school of Professor O. Rostovsky is characterized by innovative approaches to solving current problems of art pedagogy, and the results of research novelty and validity of conclusions. The authors of the article defend the need for further study of the achievements of the scientist, as they are convinced of their novelty and undeniable value for modern theory and practice of art education.

African Masking Systems: An Archive Of Social Commentary

October 21 2021 African Masking Systems: An Archive Of Social Commentary Samuel Nortey, Samuel Nortey Samuel Nortey is an artist and an associate professor in the Department of Industrial Art (Ceramics Section), Kwame Nkrumah University of Science and Technology (KNUST), Ghana. He holds a PhD in African Art and Culture. He is a multicultural fellow of the National Council for Education of the Ceramic Arts (NCECA) and has worked with several art centers in Ghana developing the frontiers of art production. Nortey's publications are in ceramic art, art history, art education and issues of contemporary art. He has been involved in many local and international exhibitions and reviews. snortey.art@knust.edu.gh Search for other works by this author on: This Site Google Scholar Edwin K. Bodjawah, Edwin K. Bodjawah Edwin Kwesi Bodjawah is an artist, associate professor in the Department of Painting and Sculpture, KNUST, and the coordinator of the Opoku Ware II Museum at KNUST. He is a principal trustee and patron of blaxTARLINES, KUMASI. Through decommissioned materials he researches serial reproduction of African mask forms. Search for other works by this author on: This Site Google Scholar Kwaku Boafo Kissiedu Kwaku Boafo Kissiedu Kwaku Boafo Kissiedu (Castro) is a cofounder and the administrative director of blaxTARLINES, KUMASI. He is a senior lecturer at the famed Fine Art Department of KNUST, Kumasi, Ghana, where he, and other colleagues, have pioneered revolutionary changes in fine art pedagogy, turning out emerging artists who are making waves worldwide. Search for other works by this author on: This Site Google Scholar Author and Article Information Samuel Nortey Samuel Nortey is an artist and an associate professor in the Department of Industrial Art (Ceramics Section), Kwame Nkrumah University of Science and Technology (KNUST), Ghana. He holds a PhD in African Art and Culture. He is a multicultural fellow of the National Council for Education of the Ceramic Arts (NCECA) and has worked with several art centers in Ghana developing the frontiers of art production. Nortey's publications are in ceramic art, art history, art education and issues of contemporary art. He has been involved in many local and international exhibitions and reviews. snortey.art@knust.edu.gh Edwin K. Bodjawah Edwin Kwesi Bodjawah is an artist, associate professor in the Department of Painting and Sculpture, KNUST, and the coordinator of the Opoku Ware II Museum at KNUST. He is a principal trustee and patron of blaxTARLINES, KUMASI. Through decommissioned materials he researches serial reproduction of African mask forms. Kwaku Boafo Kissiedu Kwaku Boafo Kissiedu (Castro) is a cofounder and the administrative director of blaxTARLINES, KUMASI. He is a senior lecturer at the famed Fine Art Department of KNUST, Kumasi, Ghana, where he, and other colleagues, have pioneered revolutionary changes in fine art pedagogy, turning out emerging artists who are making waves worldwide. Online Issn: 1937-2108 Print Issn: 0001-9933 © 2021 by the Regents of the University of California2021Regents of the University of California African Arts (2021) 54 (4): 52–63. https://doi.org/10.1162/afar_a_00612 Cite Icon Cite Permissions Share Icon Share Facebook Twitter LinkedIn Email Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Search Site Citation Samuel Nortey, Edwin K. Bodjawah, Kwaku Boafo Kissiedu; African Masking Systems: An Archive Of Social Commentary. African Arts 2021; 54 (4): 52–63. doi: https://doi.org/10.1162/afar_a_00612 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search nav search search input Search input auto suggest search filter All ContentAll JournalsAfrican Arts Search Advanced Search African masking systems have the potential to contribute to the conversation around the relationship between contemporary art and providing an archive of social commentary. In precolonial times and in geographical locations across Africa, these masking systems connect and integrate cultural practices and the infrastructure of these communities. Nortey, Bodjawah, and Kissiedu (2019) have explained that most African masks were not used in isolation, as mere objects offering visual pleasure, but were part of ceremonies that were cross-genre in nature, often embedded with layers of history, politics, and other important provenances. These African sculptures come alive in a variety of exhibition spaces; every member of the audience is engaged in the discussion or documentation of history through the communal nature of these masking ceremonies. History also chronicles the significance and contribution of the environment... © 2021 by the Regents of the University of California2021Regents of the University of California You do not currently have access to this content.

The Influence of Performing Arts Competitions on the Formation of Artistic and Pedagogical Space

The article deals with the main pedagogical problems of performing arts competitions in the context of the humanistic paradigm of the forming artistic and pedagogical space. Different pedagogical situations determining the requirements for organizing and conducting contest programs are analyzed. Various pedagogical strategies of involving the younger generation in performance activities that ensure mass participation and provide children and adolescents with access to creative activities regardless of the level of their performing abilities are proposed. The article also pays special attention to the creation of a pedagogical environment that motivates children and adolescents to participate in contest performance; the organizational conditions of the competition that minimize the negative psychological effects on its participants are highlighted and further prospects for their improvement from the point of humanistic art pedagogy are outlined. The pedagogical problems considered in the article allow the authors to conclude on the need for greater use of the achievements of theater pedagogy in work with contestants, as well as for a thought-out differentiation of competition programs accounting for the composition of the participants and the nature of the pedagogical problems.

Learning to play with memory: participatory performance and the pedagogical potential of self-documentation

ABSTRACT Recent proliferation of participatory performance forms has prompted debate on the agency of participants. Consideration of agential potential must go beyond the enactment of the work, however, to assess how participatory experiences can be self-documented and how such records may inform artistic pedagogy. Through discussion of a creative learning project on live action role-play design, facilitated by the author in 2018, pedagogy is reconceived as a curatorial practice that provides frameworks for co-creative learning. Self-documentations of play experiences can, subsequently, be understood as gifts that extend the agency of participants, calling for reciprocal responses from new generations of players.

In the Making: Queer Publishing and Transpedagogies

Handbook: Supporting Queer and Trans Students in Art and Design Education is a practical guide and a collaborative intervention in art and design pedagogy. Handbook is also a collaboratively produced artist book with a hand-printed letterpress cover. Here I consider processes of studio production, physical “objectness,” and distribution of Handbook as models for pedagogy-in-the-making. The handmade is a methodology and an orientation, a connection point between publishing, transpedagogies, and embodied art practices. I argue that artist publishing and printmedia offer demanding and multifaceted forms of production for trans and queer pedagogy. I center on the studio as a site that both intertwines with and exceeds equity work. To see these methods of studio-based and collaborative work in action requires reading Handbook beyond its written content; a closer look at the materiality and processes of artist publishing reveals useful daily practices of support and survival of trans and queer life in academia and beyond.

A contemporary pedagogy of drawing

ABSTRACT This article reviews 20 years of attitudes to drawing pedagogy and looks forward with a studioful of post-pandemic optimism. It reiterates the importance of drawing in art schools as the most direct and economic means of nurturing our intelligence of seeing. Throughout the period, neoliberal policies directing the UK higher education curricula towards market-oriented criteria of success have eroded the foundation of a visual arts pedagogy: the exploration of the perceptual and its communication through visual language; educative activities of wider import than market concerns. An articulacy in drawing – visualcy – is fundamental to human culture, let alone preparation for professional practice in the visual arts and design disciplines. A remedial pedagogy is proposed, structured upon the two fundamental theoretical bases of visual perception and visual communication, illustrated with students’ drawings and the author’s efforts to practise what he preaches.

A personal perspective on pedagogical structures and strategies that uphold Indigenous ways of knowing

This article gives a brief background of where I come from and how my experiences in Africa and North America have framed the ‘philosophy of teaching’ that defines me as a visual art educator. I reflect on the postcolonial concept of ‘decolonization’ as a means to identifying possible pedagogical alternatives of practice. Acknowledging that my knowledge embraces both ‘western’ and ‘Indigenous’ ways of knowing, poses a question for me as an art educator about ways to design and implement pedagogies that embrace contextualized experiences in order to achieve meaningful learning within formal education. I conclude by stating that nothing will effect change within Uganda’s education sector, particularly in reference to visual art education and practice, without educators having a firmer grasp of their scholarly standpoint on knowledge and learning. Development of concrete ways of bringing together diverse ontological, epistemological and axiological positions of western and Indigenous knowledge systems as well as art pedagogies to facilitate learning, will require educators to develop structures and strategies that progress from the bottom up in order to benefit from the values, beliefs and ways of knowing within diverse local communities.

Specifics of the Concert Master's Pedagogical Activity in the Context of Trends of Modern Art Education

The article considers the problems of pedagogical activity of the accompanist through the prism of the peculiarities of the development of art education in the first decades of the XXI century. It is stated that the current stage in the pedagogy of concertmaster activity is characterized by the presence of formed and developed by specialists in various fields of science basic concepts, scientific and methodological principles, methods of artistic and aesthetic education of future musicians. It was found that the issue of pedagogical competence of the accompanist is one of the urgent problems, as each historical stage of development of society, forming its own guidelines for art pedagogy, makes new demands or modifies existing ones. It is noted that the problems of concertmaster activity in the context of art education at the present stage are determined by the nature and content of the conditions that characterize the life of modern society. It is emphasized that the prospects for the development of pedagogical activities of the accompanist include educating future artists of the best artistic and aesthetic qualities, creating in the learning process conditions for comprehensive personal development, meeting professional and spiritual needs, developing their creative abilities and skills of artistic research. The specifics of the development of modern art education involves the transformation of traditional methods and approaches to teaching in order to adapt to the requirements of modern students, as well as - to the conditions of socio-cultural space.

THE ARTS EDUCATION SYSTEM IN BULGARIA

The development of art education in Bulgaria is determined by factors like historical circumstances, industrial development, professional experience and competence. They all decide the methods and approaches in art pedagogical practice, influenced to a great extend by the science approaches in England, Russia and America. In the past there was lack of traditions in the field of art pedagogy, so the teachers in art used the foreign experience. The subject “arts” appears in the Bulgarian schools at the end of XIX century, the first program in arts - in 1885. Many art programs have been created since then and their content has been improved up to nowadays. The paper gives a brief overview of the art education system in Bulgaria development from its beginnings in 1396 to the present day.