Arts In Higher Education Research Articles

Level of Awareness of ICT Tools Among the Faculty Working in Higher Education Institutions in the Malabar Region, Kerala

Introduction: The advent of internet and innovative technologies has rendered learning solution for universities currently navigating an environment of passionate change. Universally, the COVID-19 lockdown has impacted every facet of life, and education is no exception. Understanding faculty perceptions on e-learning technologies is essential for the successful growth of academic programs. Objective: This study aims to investigate college faculty members current status and future expectations regarding e-learning. Method: It is an empirical research study encompassing faculty teaching higher education in arts, sciences, humanities, engineering, and health sciences. The purposive sampling, with a sample size of 389 is adopted for the study. The primary data is collected through questionnaire. Descriptive Statistics and Regression, aided by IBM SPSS Statistics 22, are employed for analysis and interpretation. Results: The study reveals a moderate awareness level towards E-Learning.

Perception of E-learning among the Students Studying in Higher Education Institutions with Reference to Kerala

The advent of the internet and innovative technologies has rendered learning solutions for universities currently navigating an environment of passionate change. Universally, the COVID-19 lockdown has impacted every facet of life, and education is no exception. Understanding students' perceptions of e-learning technologies is essential for the successful growth of academic programs. This study aims to investigate college students' current status and future expectations regarding e-learning. It is an empirical research study encompassing students pursuing higher education in arts, sciences, humanities, engineering, and health sciences. The purposive sampling, with a sample size of 497 is adopted for the study. Primary data are collected through a questionnaire. Cross-tabulation and Chi-square tests, aided by IBM SPSS Statistics 22, are employed for analysis and interpretation. The study reveals a low awareness level towards e-learning.

Crip Time Travels Through the Membrane and Vortex: An Autoethnographic Inquiry of Neurodivergent Student Temporality in Higher Art Education

AbstractCrip time is a fluid term with various definitions that pertain to the ways that disabled people experience time. In one sense, the effects of crip time can be constraining, particularly when it results in an encounter with ableist institutional and societal barriers. But crip time can also take on a liberatory form as a mode of resistance and a catalyst for structural change. This autoethnographic inquiry explores these various manifestations of crip time and will take form as a kind of crip time travel endeavour that recounts my experiences of temporality as a neurodivergent university art student. Framed through the mental imagery of the membrane and the vortex, I discuss the ways in which my neurodivergent student temporality collided and conflicted with the rigid temporal frameworks of neoliberal higher art education (HAE). I particularly focus on how HAE segments its programming into academic and artistic curricular time. I detail my difficulties keeping up with the academic curricular time to such an extent that the studio time and community time of artistic curricular time became lost or displaced time. Based on this crip time travel inquiry, I will acknowledge and move beyond a confining conception of crip time to offer insights into the liberatory potential of crip time towards reimagining temporal relations, reconceiving student success and opening time for neurodivergent students for critical making and thinking among a community of artist peers and mentors in HAE.

THE STUDY OF TEACHING APPLIED DECORATIVE ARTS IN HIGHER EDUCATION INSTITUTIONS THROUGH SOFTWARE SOLUTIONS: A REVIEW OF METHODOLOGICAL LITERATURE

This article discusses the challenges of teaching applied decorative arts through software tools in higher education institutions. It examines the degree to which pedagogical, psychological, and methodological literature has studied these challenges and analyzes the current state of the subject within the higher education system. The paper emphasizes the importance of using digital resources and educational technologies to enhance learning outcomes, improve teaching quality, and align with international standards.

Conceptualizing the Digital Pedagogy in Arts Higher Education: Examining the Roles of Training, Technology Support, and Teacher Mindsets

In this concept paper, the propositions for incorporating professional development, ICT awareness, and technical support to introduce technology incorporation practices among College of Arts instructors are discussed. Drawing from past research in practice, this study’s conceptual framework posits value and ability beliefs as the mediators of technology integration practices. This research establishes professional development, ICT knowledge, and technical assistance as determinants of technology integration practices for learning in the study and looks at the value and ability beliefs and their impact on the instructors’ decision to integrate technology into the teaching practice. This work contributes to the generation of practical and theoretical knowledge for designing effective technology integration in arts education practices, underscoring the centrality of the multipronged perspectives of instructors’ belief, content, and practice knowing. In this case, this study seeks to improve the quality of arts education and better prepare College of Arts students for the job market of the still-growing technology focused era by raising the level of preparedness for integrating technology into lessons of the College of Arts instructors.

The Role of Artistic Practice and Practical Experience in Higher Art Education: Analysis of Methodologies and the Structure of Practical Courses

The Role of Artistic Practice and Practical Experience in Higher Art Education: Analysis of Methodologies and the Structure of Practical Courses

Efficacy of Martial Arts in Higher Education Affecting Students’ Psychosocial Behavior and Academic Performance

Martial arts, rooted in Chinese martial arts traditions, provides an avenue for cultural appreciation. In higher education, exposure to martial arts can enhance students' understanding and appreciation of diverse cultural practices; martial arts offer an alternative and culturally rich approach to physical education in higher learning institutions, diversifying the options available for students seeking physical activity beyond conventional sports. This paper draws the following conclusions: (1) The efficacy of martial arts in higher education is contingent on thoughtful program design, addressing individual differences, and recognizing the broader impact on students' psychosocial behavior and academic experiences. (2) The practice of martial arts forms and mindfulness techniques contributes to emotional balance, positively impacting the mental resilience necessary for academic success. (3) Martial arts education instills discipline and self-control, transcending the physical domain to influence positive behavioral outcomes. (4) Students participating in martial arts programs often exhibit increased self-discipline, responsibility, and a proactive approach to academic challenges, fostering a conducive learning environment. (5) Martial arts education's efficacy lies in its ability to promote holistic promote the holistic development. By combining physical fitness with mental focus and discipline, martial arts contribute to a well-rounded educational experience, nurturing not only academic excellence but also personal growth and character development.

Preparing Artists to Save the World: Community-Engaged Arts Practice as Critical Pedagogy

ABSTRACT The sustained marginalisation of creative arts in higher education in Australia risks the delivery of superficial learning experiences that are disconnected from the relationality of place, people, and histories. The metrics used to assess a university’s capacity to produce “job-ready graduates” does not adequately capture the success of students in the creative arts, leading to under resourcing in these disciplines and, ironically, limiting the capacity of these disciplines to train students adequately for their industry. In this paper, we examine the place of community-engaged creative practice and cultural policy learning in universities to ask how tertiary educators can support students to develop industry skills while also embodying a critically engaged pedagogy in order to work and create in the industry in ways that prioritise relationality, context and an ethic of care. Community-engaged arts practice can be understood as that which privileges collaborative processes, values people over institutions, is contextually grounded, and understands creative excellence as intricately entangled in social and relational outcomes. We argue that community-engaged arts practice is a form of critical pedagogy and, potentially, vice versa. We share two case studies of creative arts learning experiences in our university as examples of the powerful crossover between community-engaged arts practice and critical pedagogies in our endeavour to train effective, and impactful creative arts workers in sustainable and ethical practice via a critically engaged creative practice pedagogy.

Supports and Barriers to Experiential Learning Participation in Arts Higher Education

Supports and Barriers to Experiential Learning Participation in Arts Higher Education

APRESIASI TARI DAERAH SEBAGAI MEDIA PENDIDIKAN KARAKTER MAHASISWA PGMI UNIVERSITAS MUHAMMADIYAH MATARAM

Arts education is using art as a medium for character education for humans. However, there are still many who think that art is only for fun with no clear benefits. The use of art in higher education has not gone well considering the assumption that art, especially dance, is only related to movement skills. Unfortunately, it is assumed that women are better at dancing than men and that women are more "flexible" in dancing. Men who can dance are considered strange and dance is considered unable to improve cognitive or affective abilities. Actually, dance can be used as an educational character for students. The values contained in a dance can be used as an educational medium. Movement skills in arts education are not the main focus. Students do not need to be flexible in dancing, but the most important thing is the values in dance that can be conveyed to shape the student's character. In this article, the inaq tegining amaq teganang dance is used to appreciate traditional dance and as a medium for character education for students.

Art Education Online: Teaching and Learning Through Communities of Practice and DIY

With millions of users, the social media site Pinterest compels the exchange of information about diverse topics. The do-it-yourself (DIY) content community has risen to prominence on Pinterest in recent years as users frequently consult the site to begin new projects. On Pinterest, DIY communities exchange tips and cocreate generative knowledge about techniques, processes, and design ideas. Addressing the lack of access to formal art education and the prevalence of social media usage as a tool in higher art education, this research uses mixed methods to examine new forms of education catalyzed by Pinterest outside traditional academic contexts. Using these methods, the Pinterest-DIY Data Set was analyzed with observations of undergraduate art education students’ usage of Pinterest to discover how the site can provide new avenues for art education. The research revealed that preferred DIY projects involve low-cost endeavors made from repurposed materials, suggesting engagement with Pinterest can promote creative adaptation.

The online teaching of the performing arts in higher education in a context of confinement as a creativity challenge

ABSTRACT The expansion of cyberperformance has been noticeable through the growing access and effective development of digital technologies for the performing arts and reinforced within the pandemic scenario of the last two years. For educational institutions, namely higher education, and especially in the creative sector, creativity has become the keyword for the adaptation to a new reality that has led teachers and artists to experiment with models for online performance for their capacity to reinvent methodologies and forms of interaction. This text presents the first results of the research project CyPet. Based on these first results, it is intended to map the panorama of the performing arts both in the context of online/hybrid teaching and practice and consequently, as the outcome, to propose a new pedagogical model for both higher education and the artistic post-pandemic reality.

System-forming concepts of the person’s spiritual experience in higher art education

The article reveals the state of scientific understanding of the system-forming concepts of spiritual experience, aimed at investigating the peculiarities of its development in the conditions of art education. The author of the article believes that spiritual experience acts as a process and result of reflection in the person’s consciousness and activity of artistic images and ideas and is considered as a spiritual quality, which includes: experience of artistic perception; experience of mastering the categories of aesthetics; experience of assessment and value-orientation activities.

Higher Arts Education

Marginalized groups within any dominant culture find engagement with higher education challenging. Partially to blame is the compensatory paradigm within which they are situated and the resulting denigration of their culture and cultural capital. This attitude reinforces the deficit model, where socio-cultural diversity is seen pathologically rather than as a treasured asset. To contest this model, and empower marginalized learners, it is necessary to credentialize the capital, which they possess. Contemporary arts education, liberated from any generalized form of a priori aesthetic, moral imperative, or referential loyalties, provides a learning environment where individuals, once considered outsiders, can achieve such validation.

Propositions for a counter-economy of assessment: Adventures in the assessment of creative arts in higher education

This article considers assessment practices within the neoliberal conditions of higher education by posing questions to conceptions of value. As a motivating thrust, this article asks: might there be generative potential that remains unexplored, due to assessment’s direct linkage to the production of human capital? With its central emphasis on value, this article turns towards Brian Massumi’s Postcapitalist Manifesto: 99 Theses on the Revaluation of Value (2018). Guided by Massumi, I compose speculative propositions with which to explore the potential for a postcapitalist reworking of value within the context of assessment. The propositions offered in this paper by no means exhaust the emergent potential of re-thinking assessment, yet my aim is to sow but a few generative seeds that might expand on the potential of what (else) assessment might do. In engaging assessment otherwise, this article foregrounds assessment practices that are pertinent to the creative arts (with particular interest in the pedagogical convention of the studio crit), not as a means to suggest that arts-based disciplines have a superior and well-resolved approach to assessment, but rather to leverage the already tenuous relationship between arts education and assessment. As its objectives, this article aims to (1) contribute to the underrepresented discourse on the assessment of creative arts in higher education and to (2) explore the potential for re-imaginings of arts-based assessment practices to leak into the wider discourse of assessment as a whole. The intention is not to deliver fully formed methodological formulae but to think through assessment with propositions that might be expanded upon through speculative experimentation and future inquiries.

THE MAIN TRENDS IN HIGHER ART EDUCATION

The innovative progress in improving the professional training of future artists is based on increased attention to the competence-based approach to professional training. When planning the educational path of future choreographers, it is essential to consider the role and specifics of their practical training. An effective practice occupies a prominent place in this process. It would take into account the development trends of the general social and artistic spheres. Such practices should cultivate skills that meet the demands and requirements of the contemporary world. The creation of qualitative conditions for the creative self-realization of a future choreography teacher allows both to consolidate knowledge and skills and to form a model of effective future professional activity. This article aims to identify the key trends in the development of higher art education. The paper outlines the prerequisites and peculiarities of trend formation while considering the features of the modern artistic environment. The study also aims to highlight the most promising change directions in higher art education, assessing the most significant factors contributing to their emergence and development. During the research, analytical methods were employed to process information regarding applying new working methods in higher art education. Additionally, the authors used the methods such as induction, deduction, analysis, synthesis of information, system-structural and comparative approaches, abstraction, and idealization for studying and processing data. The research has identified the leading, most important trends in higher art education, as well as the scientists' viewpoints on the key promising areas of development of higher education institutions in the field of art.

Access and Widening Participation in Arts Higher Education: Practice and Research, Samantha Broadhead (ed.) (2022)

Review of: Access and Widening Participation in Arts Higher Education: Practice and Research, Samantha Broadhead (ed.) (2022) Cham: Palgrave Macmillan, 263 pp., ISBN 978-3-03097-449-7, h/bk, £109.99

The Implications of the Performing Arts in Higher Education in India: An Analytical Study

Performing arts let youngsters explore their emotions and broaden their imagination, while also allowing them to discover and express their distinctive voices. A student's brain, body, and emotions are all stimulated in different ways by the many forms of music, dance, and theatre that they participate in. Performing arts can help students develop their cognitive abilities. As a result, arts education has a significant role to play in preparing students in higher education for a wide range of future vocations. When it comes to music or theatre, the creative process is well-rounded and allows students to focus on a particular issue and share their work with a big group of people. Students who are naturally timid learn how to deal with social situations, whereas anxious students may find refuge in the arts. As a result, students build self-confidence in presenting their work to a larger audience since they are forced to step outside of their comfort zones. The University seeks to produce graduates who can communicate effectively, think critically, study freely and cooperatively, and demonstrate expertise in their chosen fields. Performing arts instruction is a crucial factor in the development of communication skills. The goal of this paper is to determine the extent to which performing arts influence a student’s cognitive abilities and create an environment in which they can meet their physical, social, cultural, spiritual, and other personal needs while also developing a strong sense of a social and civic obligation for leadership and the service in dynamic, a multicultural society.

System-forming concepts of the person’s spiritual experience in higher art education

The article reveals the state of scientific understanding of the system-forming concepts of spiritual experience, aimed at investigating the peculiarities of its development in the conditions of art education. The author of the article believes that spiritual experience acts as a process and result of reflection in the person’s consciousness and activity of artistic images and ideas and is considered as a spiritual quality, which includes: experience of artistic perception; experience of mastering the categories of aesthetics; experience of assessment and value-orientation activities.

Різьба Шкрібляків у сучасному соціокультурному середовищі

The relevance of the study lies in the fact that at the present stage of development of the modern young generation and higher art education changes are taking place. Based on the acquired and preserved folk traditions in the field of science and artistic activity in the western regions of Ukraine and not only. The interest and encouragement of the younger generation to traditional folk art is one of the main tasks that arise in the process of studying in art institutions and institutions of Ukraine as a whole.