Arts In Higher Education Research Articles

Discourses on artistic research in Flanders: non-scholarly perspectives on re-search in the arts

The research presented in this paper collects and analyses a set of documents disseminating discourse on artistic research in Flanders – the Northern, Dutch-speaking region of Belgium. In doing so, it identifies hegemonic constructions structuring the (im)possibility of fostering fruitful interlinkages between the often-dichotomised notions of ‘art’ and ‘science’. Hinged on the officialisation of the first Flemish doctoral degrees in the arts, the study points to earlier, ‘inclusive’ discourses on artistic research that allowed articulating a variety of activities and outcomes as ‘research’. The introduction of the PhD gave way to ‘exclusive’ discourses that restrict artistic research to the higher arts education context. Notably, these ‘exclusive discourses’ – often disseminated by higher art educators – are expressively critical of the research agenda. Highlighting its artificial origins in the Bologna Process, artistic research is normatively constructed as an infringement on the arts’ autonomy. Its potential is not denied altogether, however, but only touched upon in cryptonormative terms that reject current conditions without addressing what it should or could be.

Characteristics of Higher Art Education in China at the Beginning of the 20th Century

Characteristics of Higher Art Education in China at the Beginning of the 20th Century

Teaching through performing arts in higher education: Examples in engineering and psychology

This paper introduces two courses making use of performing arts at university level. The first course, taught by Prof. Simon Henein and his colleagues, called Improgineering, aims to teach collective creation through improvisation to master’s degree students in engineering at the EPFL (Ecole Polytechnique Fédérale de Lausanne, Switzerland). The second course, taught by Prof. Laure Kloetzer and her colleagues, aims to introduce the Psychology of Migration via a sociocultural approach to bachelor’s degree students in psychology and education at the University of Neuchâtel (Switzerland). After briefly introducing the topic of performing arts in higher education (section 1), the paper offers a description of the two courses (sections 2 and 3). These are complemented by teachers’ and students’ impressions of the course, as analyzed from individual interviews, focus groups and students’ learning diary entries (section 4). The conclusion presents some reflections on the convergences of the pedagogical designs of the courses, drafting a pedagogical model for using performing arts within higher education (section 5).

АКТУАЛЬНІ ПРОБЛЕМИ ВИЩОЇ МИСТЕЦЬКОЇ ОСВІТИ

The purpose of the article is to determine the special features of the formation of higher art education in Ukraine at the present stage and identify the main ways of their implementation. Research methodology. The article, along with general scientific methods – analysis, synthesis, induction, deduction, generalization, applies cross-cultural and systematic analyses, which makes it possible to characterize the ongoing challenges of higher art education. The scientific novelty of the research lies in the following priorities: peculiarities and current state of higher art education are described, distance education as one of the forms of translation of knowledge and skills and a methodological challenge to teachers of art educational institutions are investigated, ways of introducing the educational and creative degree of Doctor of Arts and accreditation of the academic councils (specialized councils for awarding the degree of Doctor of Arts) are outlined in three areas of creative artistic activity: 1) the music sphere, 2) the visual, decorative and applied, design and restoration, 3) stage and audio-visual arts. The regulations by the National Agency for Higher Education Quality Assurance sets out the requirements for the competence of members of the specialized councils for awarding the degree of Doctor of Arts. Conclusions. Today’s art and education market is characterized by a tendency when the provision of educational art services is forced to take place in conditions of fluctuations in state educational strategies, reinforced by some uncertainty of work in the conditions of global quarantine. But if the conditions of quarantine have external force majeure circumstances and cannot continue indefinitely, the lack of a clear state strategy in the field of higher art education remains an obstacle to the formation of its overall structure. However, the steps that have been taken in the recent years thanks to the collective efforts of the National Agency’s specialists allow us to see the prospects for moving towards the creation of such a structure.

IMPLEMENTASI PEMBELAJARAN ONLINE BERBASIS EDMODO DALAM SITUASI PANDEMIK COVID-19 UNTUK MATERI KEPENDIDIKAN PADA PRODI PENDIDIKAN SENI PERTUNJUKAN

The COVID-19 pandemic has brought significant and spontaneous changes to the realm of education, including learning performing arts in higher education. Face-to-face learning in the classroom was replaced by online learning. Teachers need to explore online learning applications to provide learning facilities at home. This paper presents a discussion regarding Edmodo-based online classroom implementation as a tool for distance learning. The implementation has been carried out on performing arts pedagogy courses, namely Curriculum & Instruction, Classroom Management, Instructional Technology, and Art's Learning Evaluation, in performing art education study programs. From the results of implementing the Edmodo, it is known that most students could pass courses based on their final grades. This implementation is an example of setting online design on the subject of other performing arts pedagogy.

Training of undergraduates in modern art and pedagogical education

The article describes the essence of master’s education, actualizes the problems of master’s training of artists and teachers in modern Russia. It is suggested that the lack of qualification of the previous level of specialized education for master’s students violates the specifics of training in higher art education. The purpose of the article is to update the problems of master’s training of specialists who do not have a diploma in art and pedagogical education. Methodology. The study is built on the basis of a contextual approach, which made it possible to identify a problem relevant to the current state of art education related to the master’s training of an artist-teacher. The theoretical method was chosen as the main research method (analysis of regulatory documents and literature on the research problem, analysis and synthesis, comparison, generalization and interpretation of data). Research result. The analysis of the state of implementation of the master’s training of the artist-teacher in Russian education made it possible to identify a problem that must be addressed at the legislative level. Artistic and pedagogical education has its own specifics, which must be taken into account when organizing recruitment for a master’s degree in the field of “Art Education”. The lack of thought of innovations has a negative impact on the quality of training of graduates who do not have a previous level of specialized education. Conclusion. In conclusion, the authors argue that applicants with a non-core education experience difficulties in a master’s program in art education, since they do not have a list of competencies required by the master’s training of an artist-teacher.

Development Of Student’s Creative Abilities In The Fine Arts In The Higher Education System

The article deals with the theoretical and methodological features of the development of creative abilities in the field of fine arts in higher education, analysis of scientific research on this issue, methods of conducting fine arts lessons, the need for students to learn how to work with different visual aids in lessons, the importance of an individual approach to students in the educational process, the use of design methods in high school

Les écoles d’art en France: Un enseignement artistique en changement

Since Les accords de Bologne (1999), art schools in France have been experiencing unprecedented changes in the economic and pedagogical functioning of their institutions. The purpose of this article is to show the situations art schools are facing. The autonomy of art schools is being questioned. Does the university system operate within a higher art education? We will carry out a general study where we will be able to see what an art school means as an ecosystem that is distinct from other higher education institutions. The postgraduate level is at the heart of all questions. The dissertation crystallizes the whole structure of art schools. Thus, they have to invent new ways, to imagine themselves in order to create a new identity..

ТЕОРЕТИКО-МЕТОДОЛОГІЧНІ ПІДХОДИ ДОСЛІДЖЕННЯ ІННОВАЦІЙ У НАВЧАННІ МАЙБУТНІХ УЧИТЕЛІВ МУЗИЧНОГО МИСТЕЦТВА

The article considers the priority tasks of the higher school of art education, such as: improvement of its structure, strengthening of personal orientation, technologicalization of the educational process. It is emphasized that the modernization of the system of higher art education, first of all, is projected on the problem of improving its content, which is one of the main indicators of the general condition and quality of the education system, its prospects and innovation. The basis of innovative behavior is proposed to consider the initiative as a kind of activity, creativity of the individual. The term "initiative" is given as an initiative, an internal motivation for new forms of activity, entrepreneurship, the ability to act independently. The various definitions of "pedagogical technology" are united by the idea that the meaning of this concept is the design and implementation of a reproducible learning process aimed at achieving goals. pedagogical technology allows to design the educational process in advance and, as an integral part of the pedagogical system, meets the demands of modern society. Diagnostics, efficiency, cost- effectiveness, projectivity, integrity, manageability − features that distinguish pedagogical technology from other pedagogical phenomena.

Choreographing decolonization: pedagogical confrontations at the intersection of traditional dance and liberal arts in higher education in India

ABSTRACT When the traditional (dance) and the modern (university) intersect within the Liberal Arts, the pedagogical dynamics produced opens possible pathways to approach decolonization as an ongoing praxical pedagogical process. This un-archival unruly lived experience of decolonization proposes a possibility of evoking Indian pasts against the misuses of the present. Arguing for an un-archival response which mediates the insertion of traditional oral mnemocultres into academia, enables knowledge production through heterogeneous modes of practice sustained by an embodied relation with generativity. Examining the relationship between the curriculum, the teacher and the student created in this context, this paper theorizes decolonization as an epistemological move towards understanding, living and moving beyond the colonial translation.

The Training of Music Teachers According to Humanistic Oriented Artistic Paradigm

Radical changes in educational policy require the enhancing of educational systems quality and aiming at humanistic values. In this context, problems related to the forming of creative, competitive, existentially free and at the same time responsible citizens of Ukraine, capable of cultural identification and having respect for the “Other’s” culture, get highly actualized. The article addresses the problem of improving the quality of training of specialists in the field of art in higher education, as a derivative of culture, in the context of a humanistic-oriented artistic paradigm. The introduction of the humanistic-oriented paradigm in art education has a dramatically innovative character, focusing future music teachers on the mobility and variability in the selection of forms and methods of artistic communication, and focuses on the subjective position of participants in the interaction with art. The accordance with international educational standards necessitates a holistic approach to the artistic and educational process need to prepare a competitive specialist. The article suggests the methods of theoretical analysis and generalization, which made it possible to formulate the investigated definition, which should be noted that a personality’s culture is characterized not only by the ability for direct dialogue with art but also by “communication on the point of works of art”. The phenomenology of communication in the artistic and educational projection is highlighted and the basic methodological guidelines for the formation are outlined. Particular attention is given on the outlining substantiating of an existential-reflective strategy of artistic and pedagogical communication of subjects of interaction with art in the context of a humanistic-oriented artistic paradigm.

Analysis of Competencies Models in Culinary Arts Higher Education

ABSTRACT Competency models act as a competency management platform and consist of mapping knowledge, skills, and attitudes. Purpose: To analyze, qualitatively, the competencies assessment instruments in Culinary Arts higher education present in literature. Methods: The study consists of a systematic literature review from the EBSCO platform, identifying the competency models used in the culinary arts. The models were analyzed concerning their foundation, application, population, data treatment, and the main results obtained. Results: Two seminal models were identified for the study of competences: Tas and Sandwith’s competency dimension models. These models have been applied in five studies in four countries. Gersh identified methodological progress regarding the two models, realizing that both were complimentary to each other, so he presented a fusion between the two seminal models. The main findings in the studies are that the techniques, leadership, and interpersonal relationship are the most relevant competencies in the culinary arts.

Attentive outrage and fine art higher education: a manifesto of the liminal

ABSTRACTThis paper outlines the concept of attentive outrage as a potential underlying principle for a manifesto of the liminal for fine art higher education in the UK. Crystallized from past activist experience and scholarship in the face of the here and now socio-political context of the UK and beyond, it defines attentive outrage as an optimistically evocative, critical attitude with momentum that can be inspired via studio-based fine art teaching. It proposes that attentive outrage in fine art higher education depends upon six intricately linked commitments to be shared equally by academics and students which capture: the nuances of intersectionality, managing dominant embodied social matter, critiquing cultural presences in the curriculum, recognizing the productive-conflictive tensions between cultural essentialism and cultural apporiation within the discourse of academic standards and artistic merit, fostering radical wilfulness and pragmatic wisdoms, and articulating the impact of this in terms of the outcomes of students’ programmes in a manner that can address the needs of higher education governance mechanisms.

Showing-knowing: the exhibition, the student, and the higher education art institution

ABSTRACTThe student exhibition is a format and a genre which is both under-theorized and under-historicized. It is not properly contextualized or explored within the field(s) of contemporary art, curation or fine art pedagogy. This paper maps, analyses and discusses the student exhibition in terms of the format, the potential, and the institutional agencies, with reference to the relevant pedagogic literature as seen in relation to the wider field of contemporary art practice, exhibition practice, and curatorial praxis. For this article, the central example of the student exhibition is the degree show. This event is not just the ‘showcase’ for individual students or cohorts, it is the public face of the institution. This is notable because it positions the student exhibition in general and the degree show in particular as a nexus between the vision and reputation of the institution and the individual student’s artistic production and future career.

Interdisciplinarity as form of fundamentalisation of higher art education: faceted approach

The interdisciplinarity of art education lies in the universality of the influence of art on all human cognitive processes and the ability to embody artistically any theme and plot that excites a person — an artist and a recipient. The origins of interdisciplinarity as a scientific paradigm are involved in the theory of communication. Interdisciplinarity is based on scientific semantics: interdisciplinarity plays a syntactic role, on the one hand, and, on the other hand, it helps to build semantic connections in schemes and transitions between different subject areas. A promising strategic direction is to increase the cultural intensity of all disciplines. Simplified practical use of art as an illustration, “figurative confirmation” of life phenomena ignores its high purpose. Practitioners pay attention to the use of interactive teaching methods: discussion, round table, method of projects, synectics, inversion, etc. In the implementation of research projects of students, we use phenomenological dialogue / polylogue. The use of this method creates conditions for analysis, reflection and self-assessment of students in the organization of their educational activities. The facet approach is an important area of modernization of the university and corresponds to the innovative nature of science. The transition from interdisciplinary integration in the classroom to interdisciplinary integration with project forms of education is the main condition for building an innovative model for the development of art education.

What's in a title? The developing role of an artist-critic in the university

Abstract Arts professionals within higher education struggle with identity. Dual roles across departments, the changing role of the arts professor and non-traditional positions have challenged the notion of the studio arts instructor and whether institutional expectations are the best way to think about the future of the arts in higher education. As a veteran arts professor, dean, art historian, art critic and artist – my role is not as straightforward as I originally thought it might be as an undergrad studio art major. Through a series of significant streams in my education and personal life, including successes and failures in the academic and professional art world – a new identity emerged that is not represented in search profiles, academic departments or administrative positions.

Ensemble practices in the arts: A reflective matrix to enhance team work and collaborative learning in higher education

Ensemble practices have been essential to the performing and visual fine arts over centuries. The skills of working in ensembles, including team work and collaborative learning, are increasingly understood to be critical and transferable professional attributes. However, much teaching of ensembles is practical and embodied, relying on tacit knowledge within a focused specialism. This kind of approach champions depth of expertise in a particular field, but may have limitations, particularly where more explicit awareness is needed to support transferring practical skills to new contexts. There is therefore a need to strengthen reflective practice in ways that connect explicit procedural understanding with tacit practical experience. To serve this purpose, this paper develops a reflective matrix as a framework to support dynamic reflection for students and teachers in higher arts education. The matrix emerges from analysis of the literature across music, theatre, dance and visual fine art.

Travelling with Darwin and Humboldt. A Transdisciplinary Educational Experience

Aim. This research aims to confirm that transdisciplinary projects can be very adequate to develop content and competencies traditionally assigned to Sciences and Arts in higher education, exploring the possibilities of outdoor education.
 Methods. The subjects of the study were one hundred alumni of two different courses “Natural Sciences for Teachers” and “Literary Training for Teachers” at a Spanish university. An educational experience around the phenomenon of scientific travelers was developed, focusing on Charles Darwin and Alexander von Humboldt and the literary genres of travel journals and letters. The main activity contained three phases, including indoor and outdoor education, in which both subjects tackled the same 6 educational topics from a different perspective. After different individual and group activities around those topics, alumni from both subjects merged at a natural environment where a scientific-literary tour took place. At the end of the academic year, an assessment questionnaire with open and closed questions was filled out by all participants.
 Results and conclusion. After the analysis of all the collected data, we can deduce that the experience was a success. The students appreciated aspects like the setting in which the experience took place, the possibility of interacting with alumni from different courses and the integration of Sciences and Arts. Thus, we have demonstrated that the same activities can be implemented in prototypical subjects of Sciences and Arts and that outdoor education is an ideal resource to achieve a holistic pedagogy engaging the sensory and emotional facets of learning.

Онтопсихологічні аспекти художньої комунікації в контексті парадигмальних змін у системі сучасної мистецької освіти

The article is devoted to the problem of improving the quality of the training aimed at future teachers of Art disciplines in the context of paradigmatic changes within the system of modern art education. Based on the methods of theoretical analysis, generalization and abstraction, the state of research of the scientific problem has been clarified; the viewpoints of some researchers in this regard have been determined and connected with the ontological content of artistic communication. There have been considered scientific conceptual directions for defining the essence of the “artistic communication” and “ontological aspects of being” phenomena in the context of: philosophical concepts (M. Bakhtin, M. Buber, M. Kahan, V. Frankl et al.), ontological conditions of communication in the hermeneutic paradigm (H.-G. Gadamer, P. Ricœur); ontological ideas of the philosophers-existentialists, representatives of humanistic psychology (A. Maslow, K. Rogers, R. May), theoretical concepts of the ontological dimension of the “being” intended for the subjects of the artistic and educational process (N. Huralniuk, O. Yeremenko, O. Mykhailychenko, O. Oleksiuk, V. Orlov, G. Padalka, O. Rebrova, O. Rudnytska, V. Fedoryshyn, O. Shcholokova et al). The synthesis method enabled us to make a deliberate formulation of the author’s definition. The phenomenology of communication in the artistic and educational projection as a vector of humanistic orientation of the subjects of interaction with an art to the awareness and correction of their own subjective development has been presented. The author emphasizes the implementation of the existence-centred and reflexive approach, which makes it possible to achieve coherence between ontological positions of the teacher and the student in the process of communicating with arts. The author’s position, according to which communication is determined by the deep onto-psychological connection between two individuals oriented to meeting the other type of existence and involves the achievement of a spiritual unity between them in the joint work, has been grounded. Keywords: higher Art education, future teacher of Music, the existence-centred and reflexive approach, onto-psychological aspects, values, meanings, artistic communication.

Contemporary art in higher education: Creative pedagogies in political economy

We propose that contemporary art, which reflects the problems and attitudes of our times, can be used as a way of promoting creativity in disciplines that are not traditionally associated with the arts. Whilst contemporary art is being used as a learning and teaching aid in higher education in a small number of disciplines, it is not normally used in disciplines dominated by rational discourse; an example is economics, on which we focus. We begin by reviewing the literature on art, education and creativity. We then perform an activity with students taking political economy. Students are given the task of selecting a work of contemporary art which “speaks” to them about political economy, followed by an assessed, in-class presentation on the connection between the piece of art and the subject of political economy. We run a focus group to assess the effectiveness of the activity in terms of encouraging the students to exercise and develop their creativity. We find that it is particularly effective at enabling them to establish innovative connections and associations, increasing their interest in learning and developing a personally relevant body of knowledge. Furthermore, taking into consideration contemporary art’s ability to highlight the problems of our times and to react to them, we consider whether the works presented by the students display these problems and are capable of offering solutions, or elements of solutions, to them, and find that they are indeed capable of doing so.