Role Of Arts In Education Research Articles

Arts-Based Activity Integration and Efficacy Among Chinese Teachers

This study delved into integrating arts-based activities within Chinese classrooms and its correlation with teacher efficacy. A descriptive research design was employed to examine data collected from 385 teachers. The findings revealed a prevalent use of arts-based activities among respondents, positively impacting student engagement and motivation. Teachers demonstrated confidence in their ability to implement arts integration, attributing this to effective teacher training programs and improved classroom management. Although most teacher demographics exhibited no significant differences in arts-based activity integration or teaching efficacy, the study identified a correlation between higher educational attainment and increased student engagement through arts integration. A strong positive relationship was established between arts-based activity integration and overall teaching efficacy, suggesting that incorporating arts into instruction enhances teachers’ confidence and classroom management skills. The research underscores the potential of arts-based activities to enrich the learning experience and bolster teacher effectiveness. Recommendations for future studies include longitudinal research to monitor the long-term impact of arts integration on student outcomes and teacher development. By expanding the scope of investigation to include diverse educational contexts, researchers can contribute to a more comprehensive understanding of the role of arts in education.

Forerunners of the Polish Theory of Aesthetic Education

The article outlines the views of the forerunners of the Polish theory of aesthetic education: Janina Mortkowiczowa (1875-1960), Stefan Szuman (1889-1972), Stanisław Ossowski (1897-1963) and Bogdan Suchodolski (1903-1992). The juxtaposition of opinions on the role of art in education with elements of precursors' biographies enables a deeper understanding of these opinions. The research approach adopted also shows the evolution of thought and the process of shaping the Polish theory of aesthetic education over the course of the twentieth century.

7. Use of Art and Expression Through Art as a Way to Educate and Prepare Young People for the Professions of the Future

Abstract Decision-makers in the field of education have always faced questions about the purpose of school and education. Is education meant to develop intellectual capacity, or does it have the role of developing skills and competences, of preparing the workforce for a constantly changing economy? The current discourse in education focuses on the adoption of standards, but they will matter less in a cyber world, in which, much more important will be the way of using the information. This study includes the role of art in education, focusing on how arts education could provide a way to adapt to this ever-changing environment, more energy, flexibility and confidence. Education for tomorrow does not mean limiting learning only to the assimilation of basic knowledge, through art or any other form of learning, but to how we can invest more closely and more carefully in the role that creativity can and should play in the training and preparation of young people.

A Systems View: The Role of Art in Education

A child mapped out her life on concentric rings of felt and paper. As she transcribed and placed her memories onto these expanding circles, she actively recalled her rapt encounter with a cross-sec...

Art as Alterity in Education

AbstractIn education, art has often been perceived as entertainment and decoration and is the first subject to go when there are budget cuts or test‐score pressures. Drawing on Emmanuel Lévinas's idea of the primacy of radical alterity that breaks the totality of our being, enables self‐transformation and ethics, and ensures community as a totality of singularities, and on Maurice Blanchot's expansion of radical alterity to art, Guoping Zhao argues that the role of art in education must be reconsidered and greatly expanded. Art as alterity takes students beyond where they are and what they have, and teaches them to appreciate and respect difference and diversity. If art as alterity is so essential to human subjectivity and society, and if education is conceived as a process of human growth and formation, art as alterity is essential to education and needs to be more seriously engaged and more fully integrated into the whole educational process instead of being isolated in arts education. Zhao concludes the essay by pondering the pedagogical implications of such a reconsideration of art as alterity in education.

The Role of Arts Education in Nigeria

This paper explores the meaning of Arts and Education from different perspectives. After a careful exploration of the meaning of arts, the paper highlights the role of art in Education with special reference to Nigeria. Art empowers individuals with creative skills that widen the base of participation in the society, create jobs, self reliance, identity, communicates by creating, recording and transferring ideas. It builds and perpetuates social, religious, political and economic stability. On the basis of this, suggestions are offered for developing Art Education in Nigeria. Art Education is a basic and very important aspect of our Education and should not be treated otherwise. Art should be given premium like other subjects in the school curriculum. It should reflect a study of all ages, as this is vital in the development of individuals.

Arte, costumbres, institucionalidades: Lecturas de choque

Se procede a un abordaje crítico que toma como eje el tema del arte en la educación, en la perspectiva de las diversas institucionalidades que pueden concitarse. Se habla de la institucionalidad formal en los ámbitos escolares, parcialmente permeada por los reclamos de inserción de la educación artística; de la institucionalidad que implica la costumbre y la tradición desde la informalidad, que por supuesto ha contribuido grandemente a informalizar la formación en artes, casi como condición inherente; y de la institucionalidad política que atribuye a la enseñanza des-escolarizada de las artes un rol curativo, cuando no sanador, frente a lo que se da en llamar con frecuencia ";problemas socialmente relevantes";. Intentaremos polemizar sobre el uso terapéutico del arte en la sociedad, el que ha sido alentado desde la escuela y desde los artistas, a menudo en procura de una legitimación innecesaria. Por último, se abocará el reclamo por la independencia de los discursos de la educación artística frente a las agendas temáticas del arte, en procura de instaurar escenarios que faciliten una ";institucionalización"; concertada del arte en la escuela, en el ámbito escolar, en la educación.

Arte contemporânea e educação

Hoje, é imperativo recolocar o tema da função da arte na educação, tanto nas instituições escolares como em atividades culturais de museus, institutos e fundações, tendo em vista a dificuldade de se manter a ideia de formação, derivada da Bildung, como fundamento de concepções e práticas educativas. Consideramos que o essencial é o acesso à experiência estética a partir do contato com a atitude e o trabalho dos artistas, portanto, como pensar e propor as mediações estratégicas para compatibilizar os dois termos da equação: educação e arte? Tanto se partimos das obras de arte tradicionais e modernas, como da generalização estética contemporânea – inclusive a determinada pela indústria da cultura e garantida pelo sistema e pelo consumo –, as propostas sobre a relação entre arte e educação, consensuais até pouco tempo, vinculadas ao ideal de formação, não satisfazem mais as expectativas de uma educação que enfrenta a heterogeneidade do saber, da sensibilidade e da experiência contemporânea. Desta maneira, os princípios do talento e da criatividade, até agora hegemônicos, que informavam sobre as concepções e práticas da arte na educação, demonstram-se insatisfatórios. Entretanto, ainda não está claro o que pode ser associado a eles para se superar as dificuldades atuais.

Visual Art and Education: Engaged Visions of History and Community

The visual arts, like multicultural education, play a vital role in our understanding of diverse human experiences. In this article we explore the role of community-based contemporary art in education. We consider the ways that art practices speak to issues of history and culture as a site of investigation and a method of investigation in pedagogical practices. Two different approaches to community-based contemporary art forms are described and their possibilities for use in education are discussed.

A Response to Ted Bracey

Ted Bracey's criticism of my book Mind in Art: Cognitive Foundations in Art Education finds fault with my views on artists, art, philosophy, psychology, mind-body relationships and with my failure to elucidate a theory of Art Education. The list suggests that my biggest failure may have been not writing the book he wanted to write. One might find this lengthy effort to find fault with an introduction to art education flattering, in that it aroused so much ire in the mind of the reviewer. Some of his criticisms are, of course, quite valid and speak to issues that professionals may respectfully disagree on. But his efforts to find so many things to disagree with resulted in his making a number of serious misattributions and misinterpretations. It may be useful to discuss some of our major disagreements and to expose some of his misunderstandings and misattributions. Bracey's biggest disappointment with my book was that I did not propose a new theory of art education. He is correct in claiming that I did not do this, since my intentions, as noted in the preface, were to examine and make explicit those cognitive behaviors normally associated with most higher order and problem solving activity and how they function in the act of creative forming (p.14). Further, I stated in the preface that my purpose was to inform the reader how we can go about understanding the role of cognition in art learning and to suggest some strategies teachers can use in schools to demonstrate the feasibility of that approach. I long ago disabused myself of the dream of constructing a theory that would answer all the questions one could raise about the role of art in education. I have always thought that there is more than one suitable rationale for teaching art-a view I made clear in 1997 (NASA 1997) and in my offering of three competing paradigms, reflecting the Rationalists, Idealist, and Empirical philosophies (Dorn 1994). I have never had any desire to develop a Dorn Theory or to present a single theory of art education as being more adequate than any other. My experience in teaching college students tells me that most art majors are not all that hot to read theory. I believe, perhaps falsely, that Art Education students are more interested in learning how, rather than why, we do what we do. For this reason I did not want to write a textbook on psychology and art in such a way that I might give any students that eyes-rolled-over look. More importantly, perhaps, Bracey aims a good deal of his criticism at my claim that art making is an intelligent activity. He argues that I have advanced unquestioned assumptions about the nature of art and mind, and he asserts that making art is mindless rather than intelligent, that artworks can be made stupidly and that individual artworks reveal only the thinking [that] led them from one work to another. He also believes that the tradition of Modernism has long been discredited, is hierarchical and wildly elitist. One might conclude that Bracey has a negative view of both artists and art. We can only guess why Bracey challenges the claim that making art is intelligent activity. My attempts to provide a view of both top down and bottom up theories of cognitive psychology and aesthetics were apparently insufficient to sway his on this matter. So too was my review of the art education research yielding data supporting a positive relationship between art and intelligence. One can guess about what assumptions he used to criticize the book by noting his use of the ideas of Wittgenstein, Ryle, Lanier, and Institutional Theory. Bracey was correct that I avoided George Dickey's institutional theory of art as a basis for my thinking. Dickey's theory argues that the artist must accept that his or her artwork is first and foremost a commodity for sale on the art world market and that its aesthetic value is decided by the number of works sold and the prices they bring in the marketplace. …

Questioning the Role of Art in Education: Paradoxical Views of Preservice Teachers

Many of the preservice elementary teachers with whom I work begin to contemplate questions such as, What is my role in the teaching of art? and What is the role of art in education and society? while enrolled in the elementary art methods course required for teacher certification. As a form of critical inquiry, contemplation of such questions can be an important and integral part of these preservice elementary teachers' professional development. Moreover, recent research has shown that preand inservice teachers and students can use questions or questioning as strategies to develop critical thinking, increase cognitive or metacognitive activities, improve comprehension, focus attention, organize new material, and enhance learning in general.1 In this article, however, the focus is not upon the strategic use of preservice elementary teachers' questions to enhance learning, but rather, on my use of such questions to gain important and evaluative insights into the field of art education. Because preservice elementary teachers consider themselves to be outsiders looking in on the field, they can offer fresh and valuable perspectives to those of us inside it. These perspectives, of course, are shaped by preservice teachers' experiences of the elementary art methods course. Indeed, the particular texts used in the course serve to construct the lenses through which they look at art education and what it means to teach art at the elementary level. During the past several semesters, preservice elementary teachers enrolled in my courses have engaged in a form of critical inquiry as each kept a journal, reflecting on and questioning one of the following texts: Creative and Mental Growth (Viktor Lowenfeld and Lambert Brittain),2 Children and Their Art (Al Hurwitz and Michael Day),3 and Emphasis Art (F. Wachowiak).4 That is, 137 preservice elementary teachers enrolled in six sections of elementary art methods at two different institutions formulated questions

Art Education and Multiculturalism

This book aims to explore the role of art in education in a multicultural society by linking descriptive portrayals of art education in classroom settings to theories of personal and social education.

The Role of the Fine Arts in Education

The recommendations in the following article are those of the Educational Policies Commission of the American Association of School Administrators and the National Education Association of the United States. While publication of this policy state- ment does not constitute formal approval by the sponsoring associations, it is being circulated widely among school administrators. Music educators who may wish to amplify, correct, or debate the views presented are invited to do so in letters, or articles. The statement is reprinted with permission.—Ed.

EPC: The Role of the Fine Arts in Education

EPC: The Role of the Fine Arts in Education