Learning In Art Education Research Articles

Interdisciplinary Art Learning Through Artistic Digital Game-Based Learning (DGBL): Evaluating Learning Outcomes and Processes Among Science and Engineering Students

The field of interdisciplinary art education, particularly through digital game-based learning, lacks empirical research on the art learning process and the competencies gained along the process. To address this research gap, this study collects data through experiment and post-experiment interviews from 20 science and engineering college students who participated in a 1-month digital game-based art learning program. The findings reveal three learning process cycles involved during art educational digital gameplay, namely the game action cycle, the experiential learning process cycle, and the game response cycle. Throughout the three process cycles, 29 learning outcomes were identified based on students’ gameplay experiences. These outcomes are then categorized into three themes, including enhanced self-management, enhanced learning experience, and refinement of proprioceptive competencies. Overall, this study highlights the digital learning process in the context of interdisciplinary art education and emphasizes the importance of valuing the outcomes gained from digital game-based learning in art education.

미술교육에서의 온오프라인 연계학습 사례 연구

The purpose of this case study is to introduce examples of online-offline learning in art education, combin-ing online and offline approaches in the post-COVID era, and to elucidate their effectiveness and impact. Additionally, it aims to provide foundational data for the continuous implementation of online-offline learning in art education. This study presents a case of online-offline learning conducted with sixth-grade elementary students, showcasing how various edutech services were utilized in art classes. The results of this research are twofold. Firstly, that the provision of online instructional materials can bridge offline and online courses, with edutech playing a pivotal role in streamlining this connection. Secondly, by supplying suitable online resources and employing edutech services, it is possible to facilitate art lessons that alleviate the psycho-logical stress students may experience with drawing. This case study demonstrates how online-offline learn-ing can be realized in elementary school art classes and establishes a basis for the continuation of such research, highlighting its significance in the field of educational innovation.

An Analysis of Generative AI Services for the Utilization As an Art Education Learning Tool

An Analysis of Generative AI Services for the Utilization As an Art Education Learning Tool

Exploring Visiting Artists' Dual Roles and Constraints in Art Educational Programmes

AbstractThis article investigated the multifaceted role of artists in educational programmes, focusing on the challenges they face while balancing their identity as artist‐teacher, artist teacher, artist‐educator, and artist educator. This research was conducted in two phases. Phase one interrogated the effectiveness of artists taking on dual roles as both artists and educators/teachers within international and New Zealand's educational programmes. This phase advocated for artists to embrace their original role as artists without the additional burdens of other roles. Moving to phase two, this research employed the method of document analysis to investigate the historical and current engagement of artists in students' museum education within the context of New Zealand. Historically, artists were considered as art technicians with no direct involvement in art teaching or creation. Although the current LEOTC and ELC programmes in New Zealand value artists' contributions to art education, they do not indicate artists' involvement in these two programmes. Drawing from the findings of phase one and two, the study proposed a novel model that emphasises the integration of three elements: learning environment (art museum), people (artists), and objects (artworks). This model suggested that the combined action of these three elements could lead to a transformation from teacher‐led teaching to student‐centred learning in art education. Such a transition held the potential to enrich students' educational experience through collaborative efforts between artists, museum educators, and schoolteachers, and also enhance students' interdisciplinary learning experiences.

ATTRACTING STUDENTS TO PROFESSIONAL AND CREATIVE ACTIVITIES USING THE CLUSTER APPROACH

The article discusses the use of the cluster approach to attract students to professional and creative activities in art education. The authors substantiate the importance of this approach and describe its main principles and implementation examples. The conclusions of the article point to the effectiveness of the cluster approach in increasing motivation and improving the quality of student learning in art education.

Visual Arts Education literacy in university contexts

In a digital world, which is evolving more and more rapidly towards the culture of the visual, acquiring visual literacy tools can be essential, especially for the professional future of university students. Art education manages to enhance the development of visual learning and motivate the student in their process of analysis, discovery, understanding, assessment and apprehension of the visual arts. The use of the image as a teaching tool in the classroom favours the progress of critical and reflective observation and promotes expressive skills. The objective of this work was to present experiences on visual learning in Art Education in university contexts. A systematic review of the literature was carried out during 1990 to 2020. The results allowed us to recognize the main author agents, their research tendencies, and reveal certain gaps in critical knowledge. Research findings and trends converge on the advantages of incorporating visual resources in higher education, emphasizing the importance of sensory approaches to support learning.

Evaluating Low Embodiment Multi-User Virtual Reality Learning Environments in Remote Art Education

The COVID-19 lockdown forced education to make a shift to Emergency Remote Learning (ERL) model, raising multiple issues, such as the higher level of distraction, absence, and scheduling difficulty. To improve the level of student engagement, a low condiment Multi-User Virtual Reality Learning Environment (MUVRLE) with high accessibility was built and assessed to evaluate its usability and effectiveness. A low embodiment MUVRLE was used for maximal accessibility and was compared with the traditional remote learning environment. 100 college students were invited to the experiment. A MUVRLE system based on Mozilla Hubs was designed to create a multi-user virtual classroom based on a course of 19th art history. Students participated in 2 questionnaire studies after they finished the experiment. The evaluation of System Usability Scale (SUS) was conducted in comparing the actual system usability of the MUVRLE model and traditional remote model. The outcome suggested that low embodiment MUVRLE learners had a better performance. Additionally, the low embodiment MUVRLE model had better usability than traditional remote learning in art education.

Art-Based Kindergarten Practices and Their Coherence with Art Curriculum Objectives

Kindergarten teachers use art-based activities and practices because they are useful and functional in learning processes and they help learning in other subject areas. While teachers allocate great deal of classroom time for art practices, an art curriculum is not required or enforced at kindergarten level. The objective of this study was to examine kindergarten curriculum, and to clarify at what extent curriculum objectives and learning outcomes met art education learning outcomes specified for elementary level art education state standards. Document content analysis and descriptive survey questionnaire were used to collect information. Content analysis method was also employed to examine classroom applications and practices. Kindergarten curriculum and visual arts curriculum were also compared and analyzed in relation to teacher responses. The study clarified a need for an art integrated approach to kindergarten. Kindergarten activities majorly consist of art-based practices, therefore kindergarten curricula should be designed based on an art-based comprehensive understanding of educational interventions.

Mapping Research With a Systematic Review: The Example of Social and Emotional Learning in Art Education

Social and emotional learning (SEL) standards and policies are quickly being adopted across the United States. States and school districts are now requiring demonstrations of SEL in schools and hoping for evidence that school subjects, including art education, can successfully meet those requirements and provide that evidence. This article reports the results of a review of research on the relationship between art education and SEL for three purposes: (1) to illustrate the process of a systematic review of research in a small field, (2) to propose a foundation on which researchers can build, and (3) to map empirical research results about preK–12 SEL in art education for instructional practice. The article contributes to research by offering an instrument to aid systematic reviews in the field. It also summarizes the conclusions of the found empirical research articles on SEL in preK–12 art education contexts.

What Kind of Paintings Inspire Children when Viewing Art?

AbstractViewing art inspires creativity, which can encourage learning in art education. A previous study revealed that the type of artwork and the way art is viewed affects adults' inspiration; however, no study exists concerning the way children are inspired by viewing art. Thus, the current study aimed to examine whether children's age group/grade level, art style (figurative or abstract), and artwork creators (children or adults) influence children's inspiration, and whether the effects of the art style and creators vary by children's age group/grade level. An online questionnaire survey was conducted with the help of 600 pairs of parents and their elementary‐school‐aged children. They were asked to view eight paintings that differed in terms of the artists and their individual style and they then rated their inspiration experience when viewing each artwork. The results revealed that children were more inspired when viewing abstract, rather than figurative, paintings, and the effect of the type of painting differed in the third and sixth grades. Additionally, children gained more inspiration by viewing paintings created by children rather than by adults; a difference observed in all grade levels.

The Relationship of Types of Exploration Activities with Originality of Visual Arts Designs

AbstractThis study examines specific exploration activities in students’ visual arts portfolios from secondary education. Creating original visual arts products requires exploration according to Getzels and Csiksentmihalyi (The creative vision. A longitudinal study of problem finding in Art. New York: John Wiley & Sons Inc., 1976). Obtaining insight about the contribution of specific exploration activities to the originality of arts products is important for designing and supporting learning in arts education. The aim of this study is to examine the contribution of activities within three types of exploration: association, combination, and abstraction to originality of visual arts designs. Data consist of 196 portfolio events showing exploration activities and art designs, from 11 Grade 11 visual arts students. Portfolio events were coded for three different types of exploration: association, combination, and abstraction, on a dimension of ascending abstractness. We coded activities within each of these types, on a scale of remoteness, to determine the metaphorical distance. Visual originality of each portfolio event was assessed using the comparative judgment method. Multilevel regression analyses showed all three types of exploration significantly contributed to originality of visual designs. In total, 31% of the variance in originality at portfolio events level was explained by these types of exploration. In general, the more remote exploration activities were, the more original the visual design. These findings are discussed related to the literature on creative processes.

Innovating Culturally Responsive Pedagogy With the Craft Fun Kit (CFK)

This study presents findings on the implementation of a teaching learning tool to enhance culturally responsive learning to enhance awareness of and knowledge about Malaysian traditional crafts in Visual Art classes. Most research in the Malaysian context exploring culturally responsive pedagogical methods has investigated theoretical and general properties, but few have attempted to investigate innovating tools to improve teaching and learning in schools and higher education. New methods with interesting features to teach certain cultural elements will not only trigger learning but can also instil the targeted values in students especially those living in multi racial countries. Using the Design and Development Method for one such tool, this study presents an evaluation of the Craft Fun Kit utilised by an experienced Visual Arts Education teacher in his class to study the students’ responses to and acceptance of the tool both to enhance learning and multicultural awareness. The overall results found that the Craft Fun Kit is relevant and appropriate as a learning tool which can enable students to attain Visual Art education learning outcomes at the secondary school level in Malaysia.

Connecting Art Education Learning Tasks with the Artistic Field: The Factor of Quality in Art Lessons

This theoretical study deals with interconnecting learning tasks of art education with the parent discipline of art education (that is, with the artistic field as defined by Pierre Bourdieu, 1996), while reflecting on the quality of art lessons in the Czech Republic. The authors draw on current theoretical and empirical research of quality that identifies individual quality factors. The most salient factors are the connection with the artistic field and the resulting ability of conceptual integration, together with curricular normativity, the intentional work of the teacher with educational content, characteristics of teaching such as the support of divergence, creative approaches, associativity, imagination, reflection, searching for intersections between pupils’ experience and the content of the subject, etc. The text also emphasises the fact that judgement on the quality of learning tasks should be based only on ontological-didactic and psychological-didactic aspects. The former relate to the cultural and artistic context of learning tasks, that is, the current values in the field of visual culture and the artistic field, while the latter consider the personal characteristics of each and every pupil.

From Distant Horizon to the ‘Uncoercive Rearrangement of Desire’: Institutional Pedagogy and Collaborative Learning in an Instance of Arts and Curatorial Education

AbstractIn politics and philosophy, the question of horizons, the vanishing point that is always out of reach, but provides direction and guidance, underpins utopic thinking. This is a strange phenomenon since, as Jodi Dean suggests, horizons are ‘real’ insofar as they exist both spatially and temporally. Dean invokes the Lacanian concept of the real to demonstrate how horizons are omnipresent, even when we are unable to see them. Here, we disagree with Dean. Rather than view them as a fixed and constant entity, with Deleuze & Guattari we agree that horizons, understood as spaces of possibility, must be constructed through communal enunciations of desire. Following Dean's (re)formulation of horizons alongside of Deleuze & Guattari's concept of desire, we propose that Foucault's idea of ‘heterotopia’, a real, but inverted and potentially uncomfortable counter‐site, is a better schema for thinking the possibilities of arts education's horizon. This article thinks through the construction of other, emancipated, spaces of learning in arts education through the methodological approach of institutional analysis and the work done by the Institutional Pedagogy movement in post‐war France. Drawing from this movement, the work of Fernand Oury and Aïda Vasquez and Félix Guattari, ‘institution’ here is understood loosely as anything that institutes forms of sociability. As such, institutional analysis seeks to radically transform institutions from within and without by creating spaces to facilitate the reconfiguration of desire. Our analysis will be grounded in our own pedagogical practices in universities where we have made use of the techniques of Institutional Pedagogy.

Developing Eastern Culture-Based Arts Education To Improve Students National Identity

This study aims to determine the feasibility of developing art education teaching materials from the aspects of content, language, design. The study was conducted at STKIP Citra Bakti Ngada-Flores-NTT. The subjects of this study were STKIP Citra Bakti students who took art education courses, while the object of the research was arts teaching materials based on eastern culture. This research was developed using the ASSURE model, with the consideration that this development model is oriented towards learning. The development is carried out with 6 steps: (1) analyzing learning needs with the observation method; (2) formulate objectives with the ABCD method; (3) design teaching materials with methods of making teaching materials, expert testing with TESSMER methods and refinement with TESSMER methods; (4) apply teaching materials (product) using the ASSURE method; (5) group testing using the ASSURE method; (6) evaluate test methods and revise test result methods. The data collected in this study were analyzed descriptively and qualitatively to assess the feasibility and effectiveness of the developed teaching material. The results showed that the teaching materials developed were reviewed in terms of the content, language, design, and feasibility of the teaching materials as ”Good” quality with an overall average rating of 75.88%. Thus, it can be concluded that the Eastern culture-based art education teaching materials developed are feasible and effectively used as media for art education learning.
 Keywords: Teaching materials, Art Education, Eastern Indonesian Culture

Teaching and Learning in Art Education: Cultivating Students’ Potential from Pre-K through High School, D. Sickler-Voigth (2020)

Review of: Teaching and Learning in Art Education: Cultivating Students’ Potential from Pre-K through High School, D. Sickler-Voigth (2020) New York and London: Routledge, 438 pp., ISBN 978-1-13854-931-9, h/bk, £104.00

Local-level implementation of Social Emotional Learning in arts education: moving the heart through the arts

This group of portraits paints a picture of how educational policies across different regions of the United States afford varying experiences using arts disciplines pedagogically for SEL instruction. Each policy-supported portrait interfaces with SEL to teach competencies and report enhancement in personal emotional growth, social awareness, critical thinking, problem-solving, information management, global innovation, and artistic competency. Through reading these portraits, rationales emerge for the need to enhance interpersonal collaboration, verbal, non-verbal and esthetic communication, collaborative creativity, and cultural awareness in teacher education, in curricular design, and school-policy.

Knowledge and Learning in Arts Education: Neglecting Theory and Practice

Abstract Gaining traction in the profession is the belief that the arts are not educational. The evidence for this comes from epistemological reports. Plato drew a similar conclusion but without the meta-analysis and evidence-based pedagogical research approach that we have today. Epistemological reports state that learning in the arts is ineffective. What is effective and ineffective in teaching is subject to causal proof methodological assessments. Current knowledge-based educational thinking has assessed arts education as uncertain. Presumably, facts about artworks, art practices, art theories, art history, and human experiences that morphologize how arts education is taught have necessarily and accurately been taken into account when determining the arts as unproven. To be examined forthwith are the knowledge capabilities of arts education and the epistemological difficulties we seem to have in evaluating them.

Conceptualizing Region Connected Learning in Art Education

Conceptualizing Region Connected Learning in Art Education

NATIONAL APPROACHES TO DISTANCE LEARNING IN ART EDUCATION (the cases of Spain, the USA and Turkey)

NATIONAL APPROACHES TO DISTANCE LEARNING IN ART EDUCATION (the cases of Spain, the USA and Turkey)