Arts Education Project Research Articles

Whitework in Antebellum Maryland: A quilt study in the visual culture of whiteness

This article argues that quilts are important sources for close readings of the visual and material culture of whiteness when placed against the backdrop of political and social history. Quilt making provides a space for multimodal learning and offers points of departure for related curricular resources that are educational tools to promote racial justice. Using a/r/tography, this research investigates the visual and material culture of whiteness and the historical context that produces its meaning. This article considers two quilt blocks from Applique Sampler: Whitework in Antebellum Maryland, a collaboratively made quilt which is part of a larger art education project that chronicles the role of visual culture in the process of creating, securing, and maintaining white supremacy in specific periods of U.S.

문예회관의 기술 융합 예술교육 사례 연구

The purpose of this study is to examine the justification and expandability by analyzing and synthesizing cases of technology convergence art education in local cultural centers and to suggest the direction of art education converging with cultural technology. Trends and technological advances change the meaning and value of art education content. Culture and arts education has fused with advanced technologies such as artificial intelligence and virtual reality, and has developed technology-worn culture and arts education projects in connection with the cultural identity of each region, continuing to perform and reproduce at literary centers nationwide. Technology convergence arts education can be expected to foster practicality, diversity, value creation of interaction, digital literacy and visual literacy, and the Cultural Center should plan programs suitable for each generation of the life cycle, including the cultural underprivileged, provide them to local residents, and seek feedback.

Opening Up Opportunities: Trainee Teachers Experiences of Teaching Pupils with Visual Impairment

AbstractPostgraduate Certificate in Education (PGCE) secondary art and design trainees facilitated an art education project for pupils at a specialist school for visual impairment (VI) in the Northwest of England. This paper focuses on the ways in which the art education project was designed to better prepare PGCE trainees for working with pupils with VI. There is an exploration of a series of reflections at the end of the art education project and again upon completion of the PGCE course. Feedback provided by PGCE trainees indicated the ways they were able to transfer the skills learnt regarding teaching pupils with VI into practice, as they embark upon their careers. Existing literature highlights variation across initial teacher training (ITT) in relation to what is taught regarding special educational needs, this is generally due to time constraints on one year ITT courses. The findings indicate these experiences have implications for practice. through following their journey, initially PGCE trainees were apprehensive about working with pupils with VI. However, facilitating the art education project enabled PGCE trainees to become more confident working with pupils. PGCE trainees were able to develop as teachers.

A New Exploration of Artistic Participation by Local Residents of Barcelona: “Utopia House Museum” Community Arts Education Practice Project

Utopia House Museum is a community art education project. In the context of the growing worldwide emphasis on the concept of arts and cultural education, the current state of arts participation among local citizens in Barcelona is still not promising. To address this issue, the concept of "Museum-House" is developed with the aim of bringing museums into the community and creating an outreach of museums in the community. However, it is more easily adapted to the needs of the community than the museum and radiates to the neighboring communities. Through an arts education program called Utopia House Museum, the community's issues and needs are addressed through community collaboration on craft and creative arts activities. The physical space of this project is offered to the community not only as a museum space, but also as a community cultural space with certain living areas that change according to the needs of the neighborhood. This is a utopian museum project that emerges from the idea of home and adds new ideas to the current public participation in art and cultural practices.

Affective and emotional experiences in arts-based service-learning environments

Dewey (1938) once wrote that the most effective forms of learning connect intellectual processes with emotion, which is able to inspire curiosity and excite the learner. This paper adds to the body of research that attests to the transformative role of affect in teacher education, which is able to be cultivated through arts-based service-learning experiences. Pre-service teachers at two universities in Sydney, Australia were placed in service-learning settings that were based around participatory experiences in drama and storytelling, music, dance or visual art. The pre-service teachers’ reflections on the placement revealed a transformative experience which combined emotional learning with critical analysis of social justice issues as they relate to education. As part of their placement, they experienced arts engagement that utilised affect and emotion as a transformative pedagogy. They broadened their understanding of the role of teachers, both in an institution and in society. These emerging understandings led them to find voice as advocates, investigate arts education and community projects as alternative career paths and re-evaluate their own perceptions of quality teaching. Some participants continued engaging with the community arts projects after the placement had concluded, and others became advocates for the arts in education and society. Finally, they adopted a critical stance on social justice issues, and shed light on the ways that arts learning service-learning placements can become deeper engagements, leading to sustainable benefits for all parties. Keywords: affect, emotion, arts education, education, creativity

韩·中参与式博物馆青少年文化艺术 教育项目比较研究 : 以韩国国立中央博物馆和中国故宫博物馆为中心

최근 참여적 박물관 개념이 확산되고 있는 가운데 청소년들의 예술적 소양을 함 양하기 위한 박물관의 교육기능이 강조되고 있다. 이에 본 연구는 한·중 박물관의 참여적 교육프로그램을 비교함으로써 개선 및 발전방안을 도출하고자 하였다. 이를 위해 한국 국립중앙박물관과 중국 고궁박물 관과의 청소년 교육프로그램을 Nina Simon(2010)이 참여적 박물관의 요소로 제시한 가상공간화, 현실감, 개인화, 상호작용성 등 네 가지 관점에서 비교 분석하였다. 연구 결과, 가상공간화 측면에서 두 박물관 모두 VR 기술을 통해 3D가상 모델링 기능을 활용해 가상 박물관을 구축하고 있다. 그러나 중국 고궁박물관은 VR에 집 중한 활용교육에 촛점을 둔다면, 한국 국립중앙박물관은 VR뿐 아니라 인공지능, 틸트 브러시, 뮤지엄 뷰 등 다양한 기술을 활용한다는 점에서 차이가 있었다. 현실 감 측면에서는 두 곳 모두 교육 수용자의 몰입을 이끌어내기 위해 놀이 요소를 적 극적으로 차용한다. 그러나 중국 고궁박물관은 온라인 앱에 의존하는 경향이 강한 반면, 한국 국립중앙박물관은 학교 수업과 연계해 박물관 공간을 적극적으로 활용 하고 있다. 개인화 측면에서 중국고궁박물관은 특히 청각장애 청소년을 위한 프로 그램을 강조한 반면, 한국 국립중앙박물관은 미래 직업에 대한 전문지식을 갖춘 청 소년 육성 프로그램을 집중 운영하고 있었다. 마지막으로 상호작용 측면에서 중국 고궁박물관은 음악 창작대회를 개최하여 청소년들로 하여금 창작 잠재력을 자극하 고 전통문화 계승에 대한 관심을 환기하는 반면, 한국 국립중앙박물관은 게임적 요 소를 도입한 체험을 통해 팀원들과의 교류 능력을 향상하도록 한다. 본 연구가 한국과 중국 양국의 박물관 문화예술 교육 발전에 기여할 수 있기를 기대한다.

미래사회 대비 중학교 예술교육 구현 양상에 관한 학생들의 핵심역량 변화 분석 및 논의

Objectives The purpose of this study is to analyze the perception of students participating in the class musical project and the degree of pre-post changes in core competency, and to draw implications for realizing competency-based middle school art education. Methods For this, four schools were sampled through consultation with researchers after receiving recommendations from the Seoul Metropolitan Office of Education for excellent schools in operating the class musical project. First, a preliminary survey was conducted from August 26 (Mon) to August 30 (Fri), 2019, before the 2nd semester collaboration class musical project was implemented, and November 28 (Thurs) after the class musical project was implemented. A post-mortem investigation was conducted on December 20 (Fri). Next, an expert council was held on December 6, 2019 for teachers in charge of operation. For opinion survey questions, pre- and post-reliability tests were performed with Cronbach α, and statistical analysis was performed for the processing of opinion survey results using SPSS Statistics 22.0 program. Results First, it can be judged that the educational effect has been achieved as a high percentage of respondents answered that their artistic sensibility and creativity were increased through the Hyeopjong's class musical project, and that school life was enjoyable as a result. Second, it was confirmed that meaningful contributions were made in ‘communication competence’ and ‘community competence’, which are future-oriented personality competencies. Third, in spite of the positive purpose of Hyeopjong's class musical project, it was confirmed that the work load was increased from the point of view of the teacher in charge, and supplementation was necessary for this. Conclusions First, there is a need for a systematic and comprehensive arts education project to revitalize arts and culture education linked to the curriculum and convergence education between subjects. Second, it is necessary to secure sufficient number of hours and budget for the effective and efficient operation of the curriculum. Through this, it is necessary to make continuous efforts to expand the scope of art education in public education by making good use of the characteristics of the class musical project in collaboration and to revive interest in education in the art field.

ON THE IMPACT OF EVALUATION. APPLIED RESEARCH ON ARTS EDUCATION PROGRAMMES AS A TOOL FOR DEVELOPMENT

In the last decade, quality standards for the practice of arts education have rightly risen. At the same time, it becomes more important for arts education projects to prove their success to funding bodies. This development has created an increasing need to assess the impact of arts education projects, often making it a self-referential action. This article takes one step back and raises the question more generally: what impact can an evaluation have on a project and how can it be done in order to create an added-value for the practice of arts education?
 By analysing the examples of the German-wide programme Arts and Games of the Robert Bosch Foundation and the Foundation Brandenburger Tor as well as the project Foyer Public of the Theatre Basel, both evaluated by the independent research institute EDUCULT in Vienna, possible impacts of evaluation on the projects themselves are presented. Results of this analysis shed light on lessons learned through these projects on a practical level. From research experience, to how assumptions are made about prerequisites, to how evaluations can be relevant to the practice and how it is possible to generate an impact. One option for achieving these goals is the implementation of a co-creative research design which is examined more in detail on a theoretical level, defining advantages and challenges of this approach.

Reconciling the Other: Travelling Objects and Collaborative Teaching

A collaborative art education project involving Japan and the Czech Republic focused on the enculturation processes experienced by two teachers and their students, how immersion in visual arts can contribute to cultural understanding and the reconciliation of two pedagogical approaches to art. This project also addressed this reconciliation with the unknowable ‘Other’ through the creation of artwork, ‘travelling objects’ and collaborative teaching. Outcomes include similarities between objects from the two countries and two pedagogical approaches and suggest that participants strived to reconcile the Other, thus creating a spatial and relational intermediate space by dealing with those objects and communicating together.

Art education and sensitive tolos innovation project in the training of early childhood education teachers

This paper shows the experience developed in the compulsory subject Expression Laboratory of the 4th year of the Early Childhood Education Teaching Degree at the University of Oviedo within the Innovation Project Art Education and Sensitive Tools for Early Childhood Education (PINN-20-A-056). An optional project that was developed online during the first term of 2020-2021. It was developed in a stressful situation for the students, an educational context of distance learning, in which they felt stress and pandemic fatigue (Covid-19), with the additional disadvantage of not having common physical spaces in which to develop the artistic work of the subject in a context of didactics for Early Childhood Education. The objective was to integrate activities related to sensory stimuli and the well-being of people through the Visual Arts. To this end, a group of N=115 pupils were given the tools of art therapy and other disciplines. With a qualitative methodology, through semi-structured interviews, activities and questionnaires, the results were measured. The results are considered to have been positive, with an increase in motivation towards Art Education subjects. In conclusion, Art Therapy, Music Therapy and Mindfulness generate moments of relaxation and reduce anxiety in students.

Objects of curiosity: How old master paintings have been used in the primary classroom to provide pupils with cognitive challenge and creative agency

Cremin & Chappell (2019) in an international systematic review of creative pedagogies call for more methodically appropriate studies that address ‘how pedagogies shape and influence creativity’ (p.27). This paper describes a study (Hosack Janes, 2019) that explores why and how 25 UK primary school teachers undertook an arts education project linked to a scheme run by the National Gallery, London, called Take One Picture. Analysis of the data, from teacher-collated log journals, teacher interviews and a questionnaire, revealed that when paintings were used as objects of curiosity teachers employed strategies that were experiential in nature, as characterised by Dewey (1938). There were also strong signs that the experiential pedagogical practice provided high levels of cognitive challenge and creative agency for pupils.

Building school community through cross-grade collaborations in art

This qualitative study examines multiple collaborative art experiences across ages and classrooms during two years at a suburban public school in one of the largest school districts in the United States. Students in two middle-school elective art courses engaged in contemporary art education projects to strengthen visual and verbal communication skills as they partnered with younger peers in primary grades, including the following activities: collaborative earthworks, toy designs and mixed-up animal sculptures. These multi-age socially-constructive art experiences provided students with opportunities to build community across campus while interacting with each other and the artwork co-created. Observations and noted responses via reflection from students indicated positive impact on both communication and collaboration through bidirectional teaching and learning, with students in each age group requesting more opportunities for cross-grade collaborative experiences.

Emotion and Critical Pedagogy: Community Art Workshops for Women at Midlands Shelter as Critical Emotional Praxis

Abstract Community-based art education (CBAE) projects are closely related to critical pedagogy as many work with underserved populations for their knowledge production and both individual and sociocultural changes. However, critical pedagogy in CBAE has been associated with reason over emotion, which can have ethical and emotional ramifications. In response to these concerns, in a CBAE project with women residing in a shelter, the researcher employed critical emotional praxis as a form of emotionally charged and socially critical pedagogy. The researcher will discuss her implementation of three pedagogical strategies for critical emotional praxis in her CBAE project in the form of action research, including pedagogical discomfort, mutual vulnerability, and strategic empathy.

Making murals in the Marshall Islands and Hawai’i: An exploration of the possibilities and limits of artistic agency in a community arts education project

This article explores the painting of two murals as part of a community arts education project aimed at understanding Marshallese children’s experiences of displacement and belonging. It describes the process and outcome of mural making workshops conducted in two schools: one in Honolulu attended by migrant Marshallese children; the other with a community of Marshall Islanders, internally displaced as a result of the effects of nuclear testing on their home atoll. Engaging with anthropological approaches to art, the article seeks to address important questions around the agency of these murals in the context of community arts education. What do these murals do, both in the process of coming into being, and as finished products? How did the images depicted on them take shape? In what ways were the artist’s intentions, and the children’s input, enabled and limited in this process? Paying detailed attention to these questions, the article argues for a nuanced understanding of what a successful community mural-making process might look like.

Participativni umetnički projekti - treći prostor udruživanja

The paper focuses on educational art practices involving adults with disabilities. The introduction elaborates on two issues-the critical views of visual stereotypes and the negative representation of persons with disabilities in the media, and the arts as a means to give visibility to the hidden voices of people with disabilities. The second part of the article opens with a brief overview of research having to do with the fields of art education and disability studies, followed by the description and discussion of findings during a project funded by the European Community "CIRCLE of COMPETENCES for COMMUNITY WORK with ADULTS", implemented by the Art Teacher Association APECV and taking place in Portugal throughout 2018-2019. The APECV research team works both in formal and non-formal education contexts and develops participatory art education projects with other associations working with adults with intellectual disabilities.

Global Consciousness in Art Education: Utility and Problematics of Curriculum Development within a Critical Postmodern Relational Praxis

When we, as practitioners of art education, challenge ourselves to reflect on established views about and beyond local, regional, and national history and knowledge and how these views have necessarily created boundaries, we might think of the utility and limitations of a critical postmodern relational framework. This type of framework allows for the possibilities of thinking through critical and postmodern theories as a starting point for examining and understanding cultures affected by colonial structures, which has resulted in the denial of agency and a flattening of narratives. Often, these “bedrock” views, in their simplistic, one-dimensional, and reductive nature, cast an “othering” on cultures lesser-known in contemporary art education. Additionally, this framework exposes the limitation of Western critical thought in attempting to understand and center the aesthetic practices of non-Western societies. To consider how we might address these views within our teaching, research, and art-making is no small task. In this paper, I present a look at how an attempt at designing a curriculum and art education project for a Secondary Methods art education course offered the potential to critically reflect on the challenges of how Western patterns of thought and practice re-inscribe a colonialist mindset and privilege.

The wonder project: an early years arts education project with Traveller mothers and their children

ABSTRACTThe Wonder Project was a collaborative early-years music and visual arts project developed in partnership with Traveller children and their mothers, involving artists, Fingal County Childcare Committee, Fingal Travellers’ Organisation and the Arts Education Research Group in Trinity College Dublin. This qualitative study aimed to create an artistic space for young children (aged 0–5 years) and mothers from the Traveller community. Accounting for less than 1% of the population, Irish Travellers are a small indigenous ethnic group who are recognised for their shared history, rich cultural and arts traditions, and distinct language [Murray, C., and M. Urban. 2012. Diversity & Equality in Early Childhood. An Irish Perspective. Dublin: Gill Education.]. Facing severe discrimination for centuries, the Irish Traveller community were officially recognised as an ethnic minority in Ireland in 2017. The area of arts engagement with ethnic minorities is under-researched [DiMaggio, P., and P. Fernández-Kelly. 2015. “Immigration and the Arts: a Theoretical Inquiry.” Ethnic and Racial Studies 38 (8): 1236–1244.], with little evidence pertaining to the early years. At the social, cultural, political, economic and policy levels, the relevance of arts engagement and participation for ethnicized minorities has been hypothesised [Vertovec, S. 2009. Conceiving and Researching Diversity. Göttingen: Max Planck Institute for the Study of Religious and Ethnic Diversity, MMG Working Paper 09-01.], but greater research is needed to better understand how artistic expressions play a role in the assertion of local identities and protect against the assimilating forces of the dominant social, cultural and political order [Martiniello, M. 2015. “Immigrants, Ethnicized Minorities and the Arts: A Relatively Neglected Research Area.” Ethnic and Racial Studies 38 (8): 1229–1235.]. Working within a Freirean and participatory and collaborative arts framework, this study aimed to examine the potential of arts education to impact on the relationship between Traveller mothers and their young children, and its potential to facilitate artistic exchanges between artists, mothers and children. Increased access to the arts, outdoor play and well-being between Traveller children and mothers was documented through audio recordings, still photographs, artists’ evaluations and semi-structured interviews. The success of The Wonder Project illustrates the importance of non-mainstreamed arts interventions for marginalised minority groups.

Virgin in the art classroom: Finnish pre-service teachers reconfiguring devotional images

Abstract The purpose of this article is to present art education projects at the University of Eastern Finland that have applied phenomenon-based approach to learning. Phenomenon-based pedagogy (learning by topics) serves as the founding principle for the current national core curriculum for basic education in Finland. With two Virgin Mary images as a source of inspiration, the art projects aimed at encouraging Finnish pre-service teachers to engage with and critically reflect upon the ways that different religious cultures encode their values and belief systems through the images they idolize. The article suggests that pre-service teachers, while generally openminded and interested in knowing more about other cultures, simultaneously tend to reaffirm conventional national narratives and values through their artworks and essays. The topic is controversial but should not be excluded from art education since in increasingly multicultural societies like Finland, teachers need a better understanding of religious visual practices and their diverse meanings. The art projects show an example of how phenomenon-based art education can respond to this need by enriching students’ learning experiences across cultural differences and disciplinary borders.

People and heritage: an art education project between students from Finland and Spain

People and heritage: an art education project between students from Finland and Spain

Artful Dodgers: an arts education research project in early education settings

Artful Dodgers is an arts education project developed by two artists and delivered in two early years settings located in two areas of urban disadvantage. It is a music and visual arts programme designed and implemented with early years teachers of children aged 3–5 years. It explored whether the provision of high-quality arts experiences could enhance children’s emerging literacy and numeracy. A novel ‘artist in(formed) residency’ model was developed within a unique arts education research design. Piloting a tripartite relationship between researchers, artists and early years teachers, this study was situated within a qualitative action research paradigm, with both artists located in both services weekly over a 12-week period. The evaluation of the programme indicates changes in pedagogical planning and style in the early years teachers over the period of the artists’ residency. Their language became more reflective and their practice incorporated a wider and richer range of materials; there was greater evidence of more child-led activities and unstructured play opportunities over the duration of the study. The data suggest that children’s social, cooperative and communication skills were enhanced. Recommendations have implications for the professional development of artists and teachers working in early years settings.