Implications For Art Education Research Articles

Irresistible Invitations: Relational Possibilities in Collaborative Tea Experience

Abstract This arts-based research study investigates the relational possibilities afforded by shared experience when participants are invited to collaborate in a tea gathering. Inspired by Japanese tea ceremony tradition and the relations of host and guests, who demonstrate mutual respect and appreciation through prescribed gestures, the author aims to translate and make more accessible the relational possibilities of this practice by inviting guests to collaborate and co-create the experience. Through these gatherings, participant-collaborators explore the interplay of relational potential, sensory experience, and collaboration. This article considers how the relational dynamics of host and guest can have implications for art education when the teacher is understood as a host to student-guests in interdependent roles.

Dialogic Intentions: Social Practice and Moral Character in Contemporary Arts and Education

The decades-long surge of artistic interest in social practice finds a potential confluence in the recent rise of moral character as an object of psychological study, with both ideas filtering downstream into contemporary arts education philosophy and practices. Although much has been written about the social turn in the arts and the cultivation of character in education, few investigators have analyzed the relationship between them. This conceptual essay contributes to a possible convergence by examining the tensions and opportunities inherent in the integration of experimental art-making with the traditions of social science and moral theory. Its purpose is to take a personality-based approach to socially engaged art-making: to understand why some artists engage in social practice and the implications for arts education. This inquiry draws from a series of public interviews that examine the works and values, thoughts and feelings, practices and perspectives of contemporary artists working in higher education.

Body mapping as embodiment and witnessing and its implications for art education

Body mapping refers to the process of representing a person’s lived experience and sociocultural contexts by creating a visualization of the person’s body, with accompanying texts and symbols. Despite the history of disembodiment in the western context, the wide use of body mapping as a visual methodology in various fields attests to the potential of body mapping in promoting embodiment and witnessing. By analysing three body maps that were created at three distinct teaching sites in community-based and preservice art education settings, I examine how body mapping can evoke embodied witnessing and explore its implication for art education.

질료 형상론과 감각의 블록의 미술: 미술교육에의 시사점

질료 형상론과 감각의 블록의 미술: 미술교육에의 시사점

An Objective Aesthetics? Implications for Arts Education

An Objective Aesthetics? Implications for Arts Education

미술의 정의에 내재 된 인본주의의 의미: 미술교육에의 시사점

미술의 정의에 내재 된 인본주의의 의미: 미술교육에의 시사점

조선시대 궁중 기록화에 나타난 인성 교육: 미술교육에의 시사점

이 글은 조선시대의 기록화 중 특별히《춘궁강학도》의 감상과 해석을 통해 이를 현재의 교육과 관련하여 재해석하고자 한다. 과거의 미술에 보여지는 도덕성과 미의 특징은 오늘의 시각에서 재개념화가 필요하다.《춘궁강학도》는 조선시대 효명세자의 성균관 입학례는 미래의 통치자인 왕세자 역시 유학을 공부하여 유교의 이념으로 국가를 통치하고자하는 성군의 과정을 배우는 학생임을 알리는 동시에 학생이 스승에게 가르침을 구하는 격식 있는 예법을 알리기 위해 제작되었다. 6장면으로 그려진 이 기록화는 선생을 궁으로 부르는 것이 아닌 왕세자가 스승을 만나기 위해 궁에서 나와 예물을 준비하고, 격식을 갖춰 인사하고 낮은 자세로 첫 수업을 들은 후 궁으로 돌아와야 신하들의 입학 축하를 받는 장면으로 구성된다. 이 그림의 의의는 그것이 궁중기록화라는 점에 있다. 즉, 기록하여 후세에 남길 만큼 조선은 교육에 있어 학업능력과 결과보다 학습과정과 자세를 강조한 인성교육을 지향한 것으로 해석된다. 이러한 교육의 관점은 결과 중심의 지금 현재의 교육 문제에 대해 함의하는 바가 크다.

Zine Objects and Orientations in/as Arts Research: Documenting Art Teacher Practices and Identities Through Zine Creation, Collection, and Criticism

Zine making involves not only the creation of handmade and self-published books, but also local distribution in zine communities, as well as archival processes of zine collecting in university and community libraries. These creative and communal practices, as part of the intellectual discourse known as zine studies, engender valuable arts-based research orientations and implications for art education. This article investigates zines for their potential as objects of research exploring art teacher identities and autoethnography, fandom in zines as a devotional orientation and interdisciplinary form of research methodology, and research questions pertaining to practices of collecting and archiving zine materials in universities and zine communities. Characterized by proliferation in the 1990s and a strong contemporary continuation, zines continue to create distinctly personal and communal spaces for art education reflection.

Five Artists on Play and Their Implications for Art Education

Five Artists on Play and Their Implications for Art Education

어린 시절의 순수 기억이 예술적 정체성에 미치는 영향: 미술교육에의 시사점

이 글은 어린 시절의 기억이 미술가들의 예술적 정체성을 결정짓는 중요한 요인으로 작용하는 이유를 파악하였다. 이를 위해 먼저 기억이 예술적 정체성에 영향을 미친 미술가 두 명의 사례연구를 소개하였다. 그런 다음 기억을 다룬 서양철학의 역사를 통해 이를 해석하였다. 앙리 베르그손에게 있어 미술가들의 어린 시절의 기억은 습관 기억과 구별되는 순수 기억에 속한다. 순수 기억은 개인의 의지와 상관하지 않고 출현하는 우발적 기억이다. 인지 능력으로서 기억을 확인한 들뢰즈는 인지에서의 세 단계의 종합과정을 확인하였다. 첫 단계의 종합에서는 외부에서 온 감정적 충격 또는 자극/불연속성의 물질이 유한한 상상을 불러 모은다. 두 번째 단계의 종합은 첫 단계, 즉 외부 자극에 상상력이 동반된 상황에 기억이 초대되는 것이다. 그리고 세 번째 단계의 종합은 자극, 상상, 기억을 토대로 사유하는, 즉 개념을 만드는 단계이다. 따라서 우발적 기억은 먼저 자극과 상상이 불러일으킨 상태에서 떠오르는 것이다. 두 번째 단계의 종합에서 나타나는 기억은 과거의 순간들을 담지하고 있지 않으며 과거의 형식 그 자체만을 지닐 뿐이다. 이러한 기억은 사유하는 세 번째 종합의 단계에서 변형되면서 단순한 기억의 재현이 아닌 현재의 시간적 차원을 만들어낸다. 이 단계는 전치와 위장으로 나타나는 반복에 의해 행해진다. 그리고 이러한 성격의 반복이 차이를 만든다. 이상의 연구결과가 미술교육에 시사하는 점은 미술교육이 어린 나이의 학생들에게 살아있는 기억으로, 즉 언제든지 우발적 기억으로 떠오를 수 있는 잠재성의 장으로 구축해야 한다는 것이다.

Evaluation, educational policy reforms, and their implications for arts education

This article is the introduction to the special issue about Evaluation, Educational Policy Reforms, and Their Implications for Arts Education. A summary of all the articles comprised in the special issue is reported, mainly featured, on the one hand, by a discussion about how the education policy reforms shape a particular approach to evaluation that ends up conforming education and arts education and, on the other hand, it shows some magnet examples of arts curriculum evaluation combining both standardized assessment with qualitative strategies pertinent to the nature of arts content and experiences. The article also discusses how it could be possible to move from the current scope of school arts education most of the authors depict to the development of another way of evaluation and curriculum development where the experiential process is taken into account. While these signals might be still scarce, for some other authors could be the opportunity to overcome at least partially the current demise of school arts curriculum.

A Study on the Emotional Expression of Traditional Paintings through the Brush Stroke for the Implications for Art Education

A Study on the Emotional Expression of Traditional Paintings through the Brush Stroke for the Implications for Art Education

Collaboration in Visual Culture Learning Communities: Towards a Synergy of Individual and Collective Creative Practice

AbstractA visual culture learning community (VCLC) is an adolescent or young adult group engaged in expression and creation outside of formal institutions and without adult supervision. In the framework of an international, comparative research project executed between 2010 and 2014, members of a variety of eight self‐initiated visual culture groups ranging from manga and cosplay through contemporary art forms, fanart video, graffiti and cosplay in five urban areas (Amsterdam, Budapest, Chicago, Helsinki and Hong Kong) were studied through interview, participant observation and analysis of art works. In this article, collaborative group practices and processes in informal learning environments are presented through results of on‐site observations, interviews and analyses of creations. VCLCs are identified as inspiring, collaborative spaces of peer mentoring that enhance both visual skills and self‐esteem. Authors reveal how identity formation is interrelated with networking and knowledge sharing. Adolescents and young adults become participants of global communities of their creative genres through reinterpretation and individualisation of shared visual repertoires. In conclusion, implications for art education from the VCLC model for creative collaboration are suggested.

Tensions in the Third Space: Examining the Digital Visual Culture of Teenagers

Abstract The concept of the third space is a broad area of interest for educational researchers, particularly within art education. This realm is often tied closely to elements of popular culture, and may often enter subversive, transgressive, and inane territories. In the 21st century, teenagers are spending vast amounts of time online, engaging in the same informal types of play, socialization, learning, and art making as occur in real life (IRL). Because of these issues, some have responded by exploring the hybrid "third space" between formal and informal learning spaces, both on- and offline. The third space integrates concepts like playful pedagogy into learning, and it is typically seen as a productive co-mingling of teacher and student interests. However, this study traces the third space to its roots as a discourse of dissent and conflict, and examines the unique tensions that arise in this space and their implications for art education. This qualitative case study examines the researcher’s efforts to facilitate a third space for learning in the Digital Arts Workshop (DigArts). This workshop was designed as a third space that intended to facilitate a productive space for tech-savvy teens to meet, work on self-initiated projects, and forge a cooperative community of art makers. This report presents a survey of the digital visual culture of these teenagers, and discusses the various tensions that arise in the third space between teacher and student, formal and informal learning, offline and online.

A Study of South Korean Art Education Disability Discourses and Their Implications for Art Education

A Study of South Korean Art Education Disability Discourses and Their Implications for Art Education

The case against the arts from Plato to Tolstoy and its implications for why and how the arts should be taught in schools

From Plato onwards many of the great Western thinkers have explored the nature of the arts, their contribution to society and their role in education. This has often involved a discussion of the potentially negative impact of the arts. The recurring message has been that the arts can warp judgment, elevate emotion at the expense of reason, distract people from attending to their own lives, diminish autonomy and authenticity, and create a damaging culture of fame. This “case against the arts” has been associated with the wish to control their contents and restrict their use in education. The views of Plato, Aristotle, Augustine, Rousseau and Tolstoy are considered in turn and distinctions made about the extent to which each writer’s “case against the arts” is a “case against the arts” per se or only against certain kinds of arts. Four implications for arts education are discussed: the avoidance of hyperbole with regard to the benefits of arts education; the role of cognition in responding to the arts; the ethical dimension of art appreciation; and the balance between practice and study. The conclusion is that the “case against the arts” provides a powerful case for arts education of a certain kind.

Understanding Cultural Diversity Issues through Contemporary Art - Implications for Art Education -

Understanding Cultural Diversity Issues through Contemporary Art - Implications for Art Education -

The Effects of a Museum Art Program on the Self-Concept of Children

Research suggests that art programs have positive therapeutic effects on children, including improved self-concept. This pretest/posttest intervention study examined changes in self-concept in children (N = 176) who participated in an art program at the Dalí Museum in St. Petersburg, Florida. Results indicated significant, positive increases in self-concept from pre- to posttest with small to moderate effect sizes. This study provides preliminary evidence that art programs can be beneficial for the self-concept of children and draws implications for arts education and art therapy programming for diverse needs.

Beyond the creative industries

Abstract Although Creative Industries as engines of post-industrial economies have assumed an increasing global priority with implications for art education at all levels few studies exist. Nomenclature here is contested, especially when arts’ role appears freighted with alien concepts of industry and commerce. But much of this debate concerns visual and performing arts, only part of a larger cluster comprising, amongst others, architecture, design, fashion and games. And, Creative Industries are now seen as important socially as economically. This article takes classification as least problematic, concentrating instead on people working in the Creative Industries (largely in Glasgow and Scotland), their interactions and networking within a creative ecology, and real-world interactions with education. It presents examples of collaboration, co-creativity and co-design, and cross-disciplinarity, arguing for a strategic role for design and design thinking linked to social and economic innovation, where educational gains are prime, and revisiting earlier debates about postmodern art education.

Creativity as conversation in the interactive audience culture of YouTube

Abstract YouTube videos produced by school-aged youth in their own time of their own accord are described, and their implications for art education are considered. The videos are conceived as creative conversations, their productions being the consequence of social networks and self-organizing systems rather than individual psychology. The videos primarily emerge from collaborative interaction between two or more contributors. The phenomenal success of YouTube is noted, including how its interface helps to facilitate conversation. Particular examples of videos are described involving Barbie torture, blending machines and aquatic disasters. Educational implications are drawn, partly by considering what art educators have suggested in the past with regard to former kinds of unsolicited creativity by youth. These include pairing students to create collaboratively, teaching appropriate skills, and going beyond the oftentimes-transgressive subject matter to consider the deeper developmental roles played by unsolicited creativity. The adoption of a mix of pedagogies is advocated.