Art Teacher Training Research Articles

Visual culture in art teacher education: A Turkish case

As globalization impacts Turkish culture, the training and preparation of art teachers is increasingly important because these individuals will play a key role in teaching children how to become visually literate in a quickly changing world. This paper explores the concept of visual culture in Turkey as perceived by eight art teacher instructors teaching at various public universities’ educational faculties in Turkey. A phenomenological human science approach was employed in order to develop a description of the perception of visual culture, and to predict the possibility of including visual culture studies in pre-service art education in Turkish universities.

The role of cooperative learning in the introductory stages of art teacher training programmes in Japan

In this article the outcomes and issues of cooperative learning in teacher training programmes for undergraduate art students are examined. Cooperative learning utilizes human interaction in small groups in pursuit of shared goals. The author designed and delivered two introductory courses at the University of Tsukuba that were added to the teacher training programme as a result of reforms to the Japanese national teacher education system in 2000. The courses, which were informed by principles and methods of cooperative learning, had a positive impact on student engagement and satisfaction. Although the study workload is heavier since these reforms were put into place there has been a steady increase in numbers of art students entering and finishing teacher training.

Hiddenstream art forms: the bridge between theory and practice

At a time when values in mainstream art are being questioned, studying traditional art forms could contribute to Portuguese teachers knowing what these values are in general and, in particular, how they operate in hiddenstream art forms. Art theory and practice in Portugal are still controlled and guided by an institutional, financial power structure in which women are barely represented. This article reports the findings of researches into clay figurines in Galegos and the teaching of Portuguese patrimony that were underpinned by the desire to engage with multicultural curriculumreform. As a consequence, we argue that there is a need for extensive reflectionon and debate about the meaning of traditional values and standards throughout Portuguese education, particularly with regard to the unconscious application of social dichotomies such as mainstream and hiddenstream arts, and that art teacher training needs to play the key role in art educational reform.

Reflections upon Aspects of Art Education in Singapore

ABSTRACT Art education in Singapore has evolved over a number of years to cater for the educational needs and aspirations of modern Singaporeans. This evolution is paralleled by the development of a new art syllabus for secondary schools and new In-Service and Pre-Service art education courses at the Institute of Education (IE). This paper seeks to locate current trends in Singaporean art education within a broad cultural context. The training of specialist art teachers for the secondary sector will be discussed against this background.

An Analysis of Attitude Recognition, Formation, and Change Concepts in Selected Art Education Textbooks

The purpose of this study was to analyze selected art education textbooks to determine if art education majors were receiving exposure to attitude formation and change information as it relates to the teaching of art through the texts. This study was limited to seven textbooks designed for use in art teacher training courses. Each text was examined using content analysis to isolate statements about attitudes. The attitude statements, or context units, from each textbook were sorted into either statements of definition, which revealed the author's understanding of attitudes, or statements suggesting action, which were related to concepts of attitude formation and change. Criteria established by Morris and Stuckhardt (1977) and Berscheid and Walster (1969) were used for the classifications. Findings indicated that with one limited exception, the authors virtually ignored in their texts the body of attitude research from art education and social psychology. The frequency with which attitude concepts appeared in five of the seven texts suggested that their authors considered them important to art learning, yet none of the authors discussed what attitudes were, where attitudes came from, or how attitudes can be affected in an organized and systematic way.

Art Teacher Training in Britain (1852–1985) with special reference to Leeds

Journal of Art & Design EducationVolume 4, Issue 2 p. 103-146 Art Teacher Training in Britain (1852–1985) with special reference to Leeds E. J. MILTON SMITH, E. J. MILTON SMITH E. J. MILTON SMITH is Admissions Tutor for postgraduate courses in the School of Education of Leeds Polytechnic. He began his art training during the late nineteenthirties at the Stroud and Gloucester Schools of Art. During the Second World War he served as a Navigator with the RAF. Demobilised in 1946 he re-commenced full-time Art studies at the Leeds College of Art. On completion of the Art Teachers’ Diploma Course he was appointed Head of Art and Crafts at Jones’ West Monmouth School, Pontypool, a post that he held for ten years. In January 1963 he became a Lecturer in the Teacher Training Department of the Leeds College of Art, was upgraded to Senior Lecturer in 1966 and Principal Lecturer in Education two years later. From 1977 to 1983 he was Subject Leader (Art) PGCE Course (Leeds Polytechnic). An active member of the NSAE from 1951 he has been Chairman of both the Welsh and North East Districts and was President of the Society in 1972.Search for more papers by this author E. J. MILTON SMITH, E. J. MILTON SMITH E. J. MILTON SMITH is Admissions Tutor for postgraduate courses in the School of Education of Leeds Polytechnic. He began his art training during the late nineteenthirties at the Stroud and Gloucester Schools of Art. During the Second World War he served as a Navigator with the RAF. Demobilised in 1946 he re-commenced full-time Art studies at the Leeds College of Art. On completion of the Art Teachers’ Diploma Course he was appointed Head of Art and Crafts at Jones’ West Monmouth School, Pontypool, a post that he held for ten years. In January 1963 he became a Lecturer in the Teacher Training Department of the Leeds College of Art, was upgraded to Senior Lecturer in 1966 and Principal Lecturer in Education two years later. From 1977 to 1983 he was Subject Leader (Art) PGCE Course (Leeds Polytechnic). An active member of the NSAE from 1951 he has been Chairman of both the Welsh and North East Districts and was President of the Society in 1972.Search for more papers by this author First published: June 1985 https://doi.org/10.1111/j.1476-8070.1985.tb00154.xCitations: 1AboutPDF ToolsRequest permissionExport citationAdd to favoritesTrack citation ShareShare Give accessShare full text accessShare full-text accessPlease review our Terms and Conditions of Use and check box below to share full-text version of article.I have read and accept the Wiley Online Library Terms and Conditions of UseShareable LinkUse the link below to share a full-text version of this article with your friends and colleagues. Learn more.Copy URL Share a linkShare onFacebookTwitterLinked InRedditWechat Citing Literature Volume4, Issue2June 1985Pages 103-146 RelatedInformation

Some Student‐Teachers' Experiments in Art Education and Humanistic Understanding

Journal of Art & Design EducationVolume 4, Issue 1 p. 19-33 Some Student-Teachers' Experiments in Art Education and Humanistic Understanding RACHEL MASON, RACHEL MASON RACHEL MASON is Lecturer in the Centre for Postgraduate Studies and Research at Leicester Polytechnic with responsibility for Postgraduate Certificate and MA (Art Education) courses, and was previously Assistant-Professor of Art Education at the University of Wisconsin-Madison (1979-81), and Lecturer in Art Education at Kelvin Grove College of Advanced Education, Brisbane (1975-77). Before this she had wide experience of teaching in adult evening centres and English secondary schools. In 1975 she was awarded MEd (Aesthetic Education) by Manchester University, England, and in 1980 PhD by the Pennsylvania State University. Rachel Mason's publications include, Norman Adams—Catalogue for Exhibition at Herbert Art Gallery, Coventry 1979; An Exercise in Artistic Understanding: Studies in Art Education 23/2/1982; Norman Adams’ Religious Paintings: Research Bulletin, Institute for the study of Worship and Religious Architecture, University of Birmingham 1983; Art Teacher Training in England, Australia and the USA Some Observations: British Journal of Teacher Education 1983; Paul Ricoeur's Interpretation Theory: Its Implications for Art Education; Journal of Aesthetic Education, and recently, A Romantic/Religious Interpretation of Artistic Reality; Journal of Art & Design Education Vol 3, No 1, 1984.Search for more papers by this author RACHEL MASON, RACHEL MASON RACHEL MASON is Lecturer in the Centre for Postgraduate Studies and Research at Leicester Polytechnic with responsibility for Postgraduate Certificate and MA (Art Education) courses, and was previously Assistant-Professor of Art Education at the University of Wisconsin-Madison (1979-81), and Lecturer in Art Education at Kelvin Grove College of Advanced Education, Brisbane (1975-77). Before this she had wide experience of teaching in adult evening centres and English secondary schools. In 1975 she was awarded MEd (Aesthetic Education) by Manchester University, England, and in 1980 PhD by the Pennsylvania State University. Rachel Mason's publications include, Norman Adams—Catalogue for Exhibition at Herbert Art Gallery, Coventry 1979; An Exercise in Artistic Understanding: Studies in Art Education 23/2/1982; Norman Adams’ Religious Paintings: Research Bulletin, Institute for the study of Worship and Religious Architecture, University of Birmingham 1983; Art Teacher Training in England, Australia and the USA Some Observations: British Journal of Teacher Education 1983; Paul Ricoeur's Interpretation Theory: Its Implications for Art Education; Journal of Aesthetic Education, and recently, A Romantic/Religious Interpretation of Artistic Reality; Journal of Art & Design Education Vol 3, No 1, 1984.Search for more papers by this author First published: March 1985 https://doi.org/10.1111/j.1476-8070.1985.tb00142.xCitations: 2AboutPDF ToolsRequest permissionExport citationAdd to favoritesTrack citation ShareShare Give accessShare full text accessShare full-text accessPlease review our Terms and Conditions of Use and check box below to share full-text version of article.I have read and accept the Wiley Online Library Terms and Conditions of UseShareable LinkUse the link below to share a full-text version of this article with your friends and colleagues. Learn more.Copy URL Share a linkShare onFacebookTwitterLinked InRedditWechat Citing Literature Volume4, Issue1March 1985Pages 19-33 RelatedInformation

Beyond Aesthetic Education

Personal Prologue In 1948, having returned from what Archie Bunker calls the big one, WW2, I obtained my first teaching job. I became an elementary classroom teacher in a cheerful slum in New York City. When I think back to those relatively innocent times, I am appalled to realize how badly I taught everything: reading, writing, and arithmetic, as well as art, despite my shiny new B.A. and my elementary teaching credential. I am even more embarrassed to recognize that the subject I taught worst was art. The approach to art teaching of the day was the righteous conviction that through art activities we could rectify the traumatic pressures of growing up and produce the whole child, replete with an integrated and creative personality. My textbooks in art teacher training courses were Viktor Lowenfeld's and Mental Growth and Victor D'Amico's Creative Teaching in Art. At one point I briefly considered changing my first name to Victor, which seemed an entirely logical thing to do. My education professors were delightfully vague about what art can do for people, and my studio instructors were just as non-directive in hoping to protect and nurture that precious spark of individuality in my art work. This experience left me an incompetent, if happy, painter. I can recall the favorite classroom

Art Teacher Training Must Change!

Art Teacher Training Must Change!

Art Teacher Training for the Changing Curriculum

Art Teacher Training for the Changing Curriculum