Arts In Higher Education Research Articles

The phenomenon of scientific school at higher art education

The article deals with the essence and peculiarities of the scientific school in the coordinate system of higher art education, also in the field of paradigmatic perspective. Characterized by the identification characteristics of scientific schools in higher arts education and their achievements. Conducted historical digression into the problem of determining the nature, structure and characteristics of the scientific school at different stages of social development. Based on the analysis of modern concepts’ identification of scientific schools described the major trends in reproduction research culture in the scientific community. The article highlights leading scientific schools at art education since the time of independence of Ukraine. It is emphasized that the mechanism of occurrence of a new school is the differentiation of the old school or the integration around a new direction of research. Paradigms of Thomas Kuhn “found” by studying the system’s organization of cognitive group or reputable research samples, which are used as new search models. A crucial role is played by the commonality of aims, scientific-methodological commonality of evaluation criteria and the most importantly is the presence of a leader, the author of the original ideas and methods. A significant role in the development of scientific schools is their influence on art education. Scientific schools in higher arts education provide the reproduction of scientific-pedagogical culture in the next generation of scientists.

Formation of methodical competence of future Ukrainian language teachers

The article deals with the essence and peculiarities of the scientific school in the coordinate system of higher art education, also in the field of paradigmatic perspective. Characterized by the identification characteristics of scientific schools in higher arts education and their achievements. Conducted historical digression into the problem of determining the nature, structure and characteristics of the scientific school at different stages of social development. Based on the analysis of modern concepts’ identification of scientific schools described the major trends in reproduction research culture in the scientific community. The article highlights leading scientific schools at art education since the time of independence of Ukraine. It is emphasized that the mechanism of occurrence of a new school is the differentiation of the old school or the integration around a new direction of research. Paradigms of Thomas Kuhn “found” by studying the system’s organization of cognitive group or reputable research samples, which are used as new search models. A crucial role is played by the commonality of aims, scientific-methodological commonality of evaluation criteria and the most importantly is the presence of a leader, the author of the original ideas and methods. A significant role in the development of scientific schools is their influence on art education. Scientific schools in higher arts education provide the reproduction of scientific-pedagogical culture in the next generation of scientists.

Beyond Geographical and Cultural Barriers: The Concept of a Virtual Gallery for Arts, Design & Architecture Schools in Saudi Arabia

The aim of this paper is to examine the advantages and disadvantages of a virtual gallery as a substitute for the Saudi Arabian schools of higher education in Arts, Design & Architecture which frequently organise exhibitions. Virtual galleries provide new opportunities for architects, designers, artists and experts of other disciplines to lay foundation for new social networks. These networks may establish interdisciplinary knowledge collaborations beyond global geographical barriers. Additionally, it will be an excellent opportunity for students at Saudi Arabian universities to lower the cultural barriers that separate male and female students. Virtual galleries can enrich students’ learning, enhance professional skills and also offer savings in term of practical costs (time, money and efforts) required to visit physical exhibitions.

Educational Entrepreneurs in Tamil Nadu - A Profile

Education has been considered as an indispensable asset of every individual, community and nation today. Indias higher education system is the third largest in the world, after China and the United States (World Bank). Tamil Nadu occupies the first place in terms of possession of higher educational institutions in the private sector in the country with over 46 percent(27) universities, 94 percent(464) professional colleges and 65 percent(383) arts and science colleges(2011). Studies to understand the profile of the entrepreneurs providing higher education either in India or Tamil Nadu were hardly available. This paper attempts to map the demographic profile of the entrepreneurs providing higher education in Arts and Science colleges in Tamil Nadu through an empirical analysis, carried out among 25 entrepreneurs spread across the state. This paper presents a summary of major inferences of the analysis.

The role of the agreement: Art students, dyslexia, reading and writing

Abstract This article looks at experiences of writing in higher art education. It demonstrates how the experiences of art students with dyslexia affect their perceptions of themselves as writers. It proposes the role of the agreement in providing a negotiated space for students with dyslexia to explore difficulties and to take on responsibilities regarding their academic literacy. The need for an agreement becomes clearer when we examine the significant role writing can play in expressing ideas, concepts and theories about students’ own visual practice, This article proposes the idea of agreements that might facilitate the process of integration between writing and creative visual practice. These agreements take place at the institutional, diagnostic and educational level. The article highlights the importance of these agreements in establishing a culture of mature and democratic discourse around education; one that acknowledges both rights and responsibilities.

Prolegomena of innovative space of art education in classical university

The main problem of creation of innovative space of art education in the classic university is to find the answer to the question: what should be the system of training specialists for modern innovative society, to bring the results of training to the needs of economic and democratic institutions of the European type. Higher art education as a substructure of a classical university aims to perform a progressive function in its cultural-educational space. This is due to the fact that the art education, focused on innovation, should receive scientific-methodical substantiation of new model, principles and forms of organization’s education. It should be emphasized that innovative cultural and educational space in the University has the form of a sequence of interrelated educational spaces, providing a level of mastering the theoretical concepts, which makes it possible to operate them as a complex categorical systems. The objective necessity of realization’s social and cultural potential of the country makes the modeling of innovative space of art education in classical University. The expediency of modeling is determined by the system of professional activity of a person. Modeling of innovative space in art education envisages harmonization of the content, technologies, ideas about learning outcomes, levels of involvement’s students in the cultural environment, etc. Integrative factor of building educational space is the key and subjectcompetences.

Esthetic development: a model for the undergraduate experience

Purpose – The purpose of this paper is to refine and measure esthetic development. Design/methodology/approach – Three phrases of data collection were conducted utilizing four separate student samples (n = 120, 154, 241, and 343). In Phase I, an initial esthetic development stage model was tested with a constructed response test format using generalizability measurement theory. In Phase II, this conceptual model in esthetic development was refined with a modified constructed response format. In Phase III, a selective response test format was designed with five esthetic development stage scores, which were correlated with several artistic discipline-based and interdisciplinary courses. Findings – Higher esthetic development stages correlate with verbal ability and grades in interdisciplinary general education arts courses. Lower esthetic development stages were associated with lower verbal ability and grades in traditionally taught discipline-based arts courses. Research limitations/implications – What this study did not do is examine whether attendance at arts events and activities support or lead to higher esthetic development. Social implications – People at Stages Four and Five of this esthetic development model are able to compare artistic experience – whether visual or performing art – within a historical and cultural context or perspective. Individuals at these highest stages are able to communicate about the social significance and societal themes of the artistic experience to wider audiences. Originality/value – No accepted model or assessment method about the arts in higher education is available. Although the arts are commonly accepted as important in higher education, there is a paucity of research about esthetic development in the curriculum. This paper attempts to address this gap, in part, and to advance further study about quality of arts’ programs and activities in higher education.

Asian Martial Arts in the Asian Studies Curriculum

This article is both a review of the current state of martial arts studies and a survey of the status of martial arts in higher education. It provides a rationale for inclusion of martial arts courses in the Asian Studies curriculum and a resource guide for designing such courses. Finally, it interrogates the persistence of the body-mind split in liberal education in spite of intense interest in embodiment across multiple fields of scholarship.

‘I've not finished’: why studios are still a fundamental requirement in the study of fine art

This article offers a discussion of the continuing importance of the studio in the study of fine art in higher education. The historical and political context for the current, pressurised circumstances of higher education institutions is considered and the argument for studio study is supported with key descriptors from the Subject Benchmark Statement, also presenting a case for why undergraduate study of fine art continues to be a relevant social and cultural dynamic. A contemporary popular view of artists' studios is suggested along with an indication of the continuing importance of studios in the real world of artistic practice. An analysis is made of the nature and function of the studio in relation to the open, individual and critical curriculum that characterises fine art. This analysis is fleshed out with reference to key concepts relating to phenomenological and pedagogic understandings of the experimental and experiential process at the heart of this demanding approach to study.

Regulation and Recognition in Education Discourses

In December of 2010, blogger Michael Fischer created Common CoreZilla as a referent to the Common Core State Standards (CCSS) as a forum to talk about teachers' fears regarding curricular change and new regulatory requirements. As of this writing, the CCSS have been adopted by 45 states in the United States and are the result of a statedriven, business-backed initiative to develop a set of internationally benchmarked Math and English Language Arts achievement standards. Assessments of student achievement on CCSS are being developed by two consortia for national use. Further, teacher evaluations in many states, for both art and non-art teachers, are tied to CCSS through value-added models using CCSS test results to define the educational value a teacher has added to a child's education1 (Jennings, 2012). The CCSS and related assessments are intended to align diverse state curricula, improve educational outcomes, prepare students for college and careers, foster development and implementation of rigorous academic content, and ensure high-quality teaching practices grounded in content and pedagogical knowledge and skill (Common Core State Standards Initiative, 2012; Youngs, 2013).Fischer's Common CoreZilla (2012) has served as both an icon of terror and a promise of manageability. It is a tongue-in-cheek metaphor intended to reassure teachers that although CCSS seems terrifying, it is manageable; although time consuming, its management will not consume them. Despite this, the Godzilla metaphor aptly signals the unease that CCSS-and the network of regulations they are part of-is creating. This commentary further considers CCSS and the network of related assessments within which it is embedded, using Jacques Lacan's theory of discourse to develop insight into the regulatory education discourse provoking this unease and teachers' positions within it.Recognizing Ourselves Through Master SignifiersPreK-12 and higher education art educators with whom I have spoken acknowledge that attending to standards and assessments can lead to deeper understandings of what is being taught and how student learning happens. However, the current configuration of standards and assessments houses curricular decisions and evaluation systems in large, centralized organizations-such as the CCSS Initiative, the Association for Supervision and Curriculum Development (ASCD) (www.ascd. org), and Pearson Education (www.pearsonschool.com)-that act from assumed positions of definitive knowledge about what constitutes good content and good teaching. Concerns about what is important for students, teachers, and society are voiced but occur at the periphery of regulated actions which are already codified through states'requirements and supported by the U.S. federal government's Race to the Top funding structure (www2.ed.gov/programs/ racetothetop).Lacan used the term master signifier to describe signs that position individuals within discourse by providing anchors for identities in which we can recognize ourselves and be recognized by others (Bracher, 1993). Master signifiers operating within the CCSS discourse can be found in the CCSS mission statement:The Common Core State Standards provide a consistent, clear understanding of what students are expected to learn, so teachers and parents know what they need to do to help them. The standards are designed to be robust and relevant to the real world, reflecting the knowledge and skills that our young people need for success in college and careers. With American students fully prepared for the future, our communities will be best positioned to compete successfully in the global economy. (CCSS Initiative, 2012, para. 1)The words consistent, clear, help, robust, relevant, college and career, knowledge and skills for success, fully prepared, future, best positioned, compete, and global economy appear here and throughout the CCSS website, and are echoed in countless blogs and articles discussing CCSS. …

Creating e-learning History of Art courses in Higher Education

In the last years the number of technological tools and devices at the disposal of art historians is constantly increased. New technologies are changing the way art history is taught or, at least, they have the potentiality to do it. Many of the experiences carried out until now simply replace the face-to-face lecture with online materials or combine in-class experiences with online materials or activities (for instance forums to answer questions submitted electronically or to have seminar-style discussions with small group of students). A most powerful way to use technologies to teach art history is to use them to engage students in new activities and to facilitate them in taking control of their learning. In order to achieve this goals it could also be useful to take advantages of the potentialities related with mobile devices as delivery tools and with game based teaching approaches as methodology. This paper aims to identify the most used methodologies to teach History of Art in higher Education and, based on these considerations, to propose a model to design History of Art e-learning courses for University. The field testing of this model will be done as part of a doctoral research described at the end of this paper.

Making judgements about students making work: Lecturers’ assessment practices in art and design

This research study explores the assessment practices in two higher education art and design departments. The key aim of this research was to explore art and design studio assessment practices as lived and experienced by art and design lecturers. This work draws on two bodies of pre-existing research. Firstly this study adopted methodological approaches that have been employed to good effect to explore assessment in text based subjects (think aloud) and moderation mark agreement (observation). Secondly the study builds on existing research into the assessment of creative practice. By applying thinking aloud methodologies in a creative practice assessment context the authors seek to illuminate the ‘in practice’, rather than espoused, assessment approaches adopted. The analysis suggests that lecturers in the study employed three macro conceptions of quality to support the judgement process, namely the demonstration of significant learning over time, the demonstration of effective studentship and the presentation of meaningful art/design work.

From fail to first: Revising assessment criteria in art and design

This article serves two purposes. First, it explains a review and development process for revising the application of assessment criteria for undergraduate art and design students in the United Kingdom. Second, it makes data generated by the process available for use by others. These data consist of keywords used to locate student learning across the numerical scale of marking typically employed in higher education art and design assessment procedures, and six different ways that this numerical scale has been used. Additionally, student participation in the development process is explained. Discussion about the process acknowledges the emergence of learning, meaning and identity in a social theory of learning, and the importance of assessment literacy in the development of pedagogical intelligence. The article will be of interest to those concerned with the development of assessment criteria in art and design, and how this might be improved through consistent use and formatting of criteria for use in formative and summative feedback mechanisms.

The effectiveness of educational podcasts for teaching music and visual arts in higher education

Podcasting is now being used frequently in the higher education sector. Although research has been conducted into the use of podcasting in teaching business, engineering, sciences and languages, little has been done on its use in arts learning. This paper reports on a study that investigated the effectiveness of using podcasts to learn music and visual arts in a teacher-education institution. A total of 128 Year-One to Year-Four students completed a survey and 24 students attended focus-group interviews and gave their feedback on the effectiveness of using podcasts in learning. Generally speaking, the students found the podcasts useful and viewed podcasting as a method which could be used to supplement faceto- face teaching. Results of the study indicated that demonstration of procedures or skills was the most effective type of podcast while reproduction of lecture materials was the least effective. The students suggested that the teachers needed to increase the relevance of the podcast content to what was taught during lessons. The paper concludes with a discussion of the production of effective podcasts and directions for future studies.Keywords: podcasting; podcasts; teaching/learning strategy; arts education; teacher education(Published: 3 January 2012)Citation: Research in Learning Technology 2012, 20: 14919 - DOI: 10.3402/rlt.v20i0/14919

The effectiveness of educational podcasts for teaching music and visual arts in higher education

The effectiveness of educational podcasts for teaching music and visual arts in higher education

Art and Design Blogs: a Socially‐Wise Approach to Creativity

AbstractMany images of the ‘artist’ or ‘designer’ pervade the media and popular consciousness. Contemporary images of the artist and creativity that focus solely on the individual offer a very narrow depiction of the varying ways creativity occurs for artists and designers. These images do not capture the variety of creative processes and myriad ways artists and designers work. Young creatives in particular are choosing to work with a social approach to creativity. An example of this approach is the world of blogging, a form of social media where young creatives have a very active voice. This article explores how creative bloggers, that is, artists, designers and makers who blog about their practice, use a social approach to foster creativity with a sense of community, environmental and ethical awareness, a value framework that is in opposition to the market‐driven notion of liberal individualism. Is there a way to include participation in the broader art and design blogging world as part of art and design education? What can we learn from such a social approach to learning in higher education art and design programmes? This article explores these questions and shares findings of an ethnographic approach to an analysis of art and design blogs. In doing so it argues for a socially‐wise approach to creativity in art and design education as a means of promoting values other than those usually connected to the market.

Incorporating Egan’s <i>Imaginative Education</i> into the Curriculum and the Culture at the Post-Secondary Level

Creativity is conspicuously absent in the outcomes of liberal arts higher education institutions generally and Georgia College particularly. One strong candidate for rectifying this deficit is the incorporation of curriculum based on Kieran Egan’s theory of Imaginative Education (IE, 1988). There is a dearth of investigation as to how IE might be used in colleges and universities by faculty and students to allow the “the unusual and effective to flourish” (IERG, 2008). This paper presents a component of the work of one grass roots faculty development group as it learned about and sought to implement aspects of IE into their undergraduate curriculum and university culture.

The Origins of Christian Liberal Arts Higher Education in Russia: A Case Study of the Russian-American Christian University

This is a case study of the historical development of a private Christian faith-based school of higher education in post-Soviet Russia from its conception in 1990 until 2010. This binational school was founded as Russian-American Christian University (RACU) in 1996. In 2003, business and economics as well as social work undergraduate academic programs were accredited by the Russian Ministry of Education. In 2008, RACU added English language and literature to the list of its state-accredited undergraduate academic programs. The academic model of RACU was designed according to the traditional American Christian liberal arts model and adapted to the Russian higher education system.

And I also teach: The professional development of teaching creatives

Teacher-practitioners are a unique community, working across cultural and creative sectors and within Arts higher education (Arts HE). The authors argue that higher education programmes like post-graduate teacher training certificate courses do not meet practitioners' professional development needs. Higher education institutions (HEIs) have the potential to develop wider models of creative industry workforce development through offering practice-based staff development to its teacher practitioners. The authors argue that academia has responsibilities to engage with practitioners by; (1) supporting them in pursuing practice outside of HE and in maintaining their identity as practitioners, acknowledging this as central to the value of their role; (2) exploring how practice-knowledge can be made available to students and (3) supporting practitioners in managing processes that make the teaching-practice relationship mutually beneficial to their practice (industry) and the teaching and learning community.

Insight on OutReach: Towards a critical practice

This article touches on several kinds of arts practices and activities that bear upon debates concerning the social role of the arts. This then informs our main argument that a re-examination needs to take place of the arts outreach activities undertaken by institutions of higher arts education (HAE). We suggest that the boundaries between socially engaged contemporary art practice, community arts and the arts outreach activities of institutions, with their contested terms and multiple perspectives, are more porous than often suggested and would benefit from a fluidity of debate in and through them. We also argue that the theory, socio-political motivation and ensuing practice which powers arts outreach should, in many instances, be re-energized with a radicalization in line with twenty-first century polyphonic concerns. These ideas are explored through the lens of Insight on OutReach, an outreach project at University of the Arts London.