Art Education System Research Articles

Why use design methodology in culinary arts education?

Abstract Culinary arts education has remained largely unchanged for more than a century. Since the time of Auguste Escoffier, students have been taught French classical cookery using a master-apprentice model of education that began in the Middle Ages. While the vocational apprenticeship has been replaced in some instances by education delivered by public and private institutes, rote learning from a master continues. Contrast this with the fast pace of modern cookery and an outpouring of culinary innovation not seen in at least 150 years and you have an education system that simply cannot keep up. This article discusses the current culinary arts education system in New Zealand and identifies several forces that are highlighting the need for change. Food media’s popularizing of culinary design provides both inspiration and aspiration for those wanting to learn culinary arts. Meanwhile, the New Zealand Government promotes design through its technology curriculum and lauds design-led business and creative industries as the way of the future. Surrounding this is a growing global awareness of the challenges that we face in providing safe, sustainable and ethical food to an increasing population. The article concludes by briefly outlining how Otago Polytechnic’s Bachelor of Culinary Arts is attempting a paradigm shift that has N. Cross’ ‘designerly thinking’ at its core.

Erasmus and the Invention of Literature

Before 1980, a consensus existed that Erasmian humanism lay at the basis of the liberal arts education system. Within that system, literary studies had the prime position, embodied in the concepts of bonae litterae and litterae humaniores. In recent years the idea of a liberal education has taken a battering. The principles of humanism are often treated defensively. The study of Erasmus’s literary writings, meanwhile, has happily devolved into other areas: into philology, grammar, and rhetoric. This article argues that the retreat in the wake of anti-humanism has led to some misunderstanding of Erasmus. An idea of the “literary” is central to his theoretical position. Erasmus’ concept of literature is here re-examined, both as a theory of imitation and as a medium of subjectivity. He emerges as more radical a literary interpreter than the pre-1980 consensus allowed. At the same time, it is argued that in riding the wave of the educational storm of the late twentieth century, the post-1980 attack on literary humanism has missed something of the power, imagination, and subtlety of Erasmus’ thought.

Holistic pedagogy in practice: The curriculum and ideology of embodied self-discovery in Franziska Boas’s dance classes, 1933–1965

Drawing principally from archival material, published primary source documentation and oral history interviews, this article outlines how Franziska Boas, a dance teacher in the United States whose career spanned 1933 to 1965, implemented holistic ideas about dancer training before somatic philosophies were widely accepted in dance. A student of Bird Larson and Hanya Holm, Boas taught ‘creative dance’, an approach to movement intended to assist each student in developing her or his own kinetic creativity. To achieve this goal, Boas believed that students first needed to understand human anatomy and movement fundamentals. She was committed to the idea that structured improvisations were the best way to teach technique. She valued individuality more than the achievement of technical feats and the emulation of a set movement syllabus. Boas is positioned here as interesting case study who, because of her pedagogical practices, illuminate our understanding of how dance and somatics developed in tandem in a variety of environments within an American liberal arts education system, including at the Boas School of Dance, her privately owned studio in New York; and the formal educational setting she encountered as a professor in the Dance and Physical Education Department at Shorter College in the southern town of Rome, Georgia

Culture after civil war and destruction of values, Cambodia: Research diary

This text is a compilation of entries from a research diary created during field research in Cambodia (summer 2012). The objective of the project was to strengthen the system of governance for culture in Cambodia, complying with international trends specifically regarding the UNESCO Convention on the Promotion and Protection of the Diversity of Cultural Expressions. The mission has tried to accomplish its goals using many research methods from observations to interviews, but also applying 'action research methodology' by raising many questions, provoking expressions of needs and interest of local authorities as well as civil society and the professional sector in culture. The aim was to develop participative actions to enhance further development of ideas and concepts related to cultural development. This text is not an analysis, it is a research diary which documented interviews, visits, observation and other methods of collecting data, with first impressions about cultural situations and cultural potentials of Cambodia. As the expert task was to assist Cambodian Ministry of Culture and Fine Arts to prepare the grounds for development of cultural sector, paying special attention to development of performing arts (which in Cambodia include mostly traditional performing art forms) and crafts, this diary, although shortened, gives insight into crucial moments of the research mostly linked to policy discussions. The specific objectives which could be read 'between the lines' were attempts of two researchers (Vesna Copic and Milena Dragicevic Sesic) to help the Ministry redefine the position and role of culture in society; to provide cultural policy recommendations for empowerment of cultural policy effectiveness; to identify institutional and human resources in order to enhance its creative potentials; to suggest reform of arts education and educational system in the country through inter-ministerial cooperation; and to provide recommendations for strengthening the sector - raising professionalism and entrepreneurialism through capacity building programs.

The Mildura Model

From the mid-1960s on, the Australian tertiary art-education system experienced great and rapid change. Art education moved from the technical-education sector into the tertiary one. Institutional structures expanded, government patronage grew, and student numbers increased. There were new ideas about making, exhibiting, and viewing art; new curricula for art teaching; new critical theories; and increased political awareness. Follow-on effects included increased status and employment opportunities for artists (particularly sculptors), and pressure to exhibit emerging artists and new media. The changes in art education would prove pivotal to the development of the Mildura Sculpture Triennial, initiated in 1961, especially to its fourth, fifth, sixth, and seventh instalments (1970, 1973, 1975, and 1978). Specific to the development of the Mildura model was the 'profound dependence on the education system' by a new and emergent visual-arts profession, which constituted 'the indispensable means of [the profession's] reproduction and growth'.

Contemporary art as a resource for learning about human rights: a case study of the use of the Placenta Methodology with hospitalized adolescents

The Placenta Methodology is a critical art education system developed at the Complutense University in Madrid (Spain). This article explores how the Placenta Methodology (Acaso, 2009) can be used to develop educational projects. In this case the authors used this methodology to work with hospitalized teenagers on the topic of human rights, using contemporary art as a medium. In the workshops they aimed to promote a critical perspective to show that art is connected to real life, and to encourage the participants to question the importance of technical training in being a contemporary artist. By placing this kind of art education project in a new environment (in this case the hospital), the authors wanted to promote the role of art education as an intellectual force instead of merely teaching handicrafts.

Craft‐Art as a Basis for Human Activity

AbstractThis article based on my doctoral thesis examines the Basic Arts Education system in Finland, focusing on Basic Crafts Education and its description through action concepts. The main task of the study was to create a concept model. In the first part of the study a concept map was created from the practice of Basic Crafts Education. The aim of the second part of the study was to specify the concept map and to ground a concept model, which describes the reality of Basic Crafts Education. Basic Crafts Education, which I define as craft‐art, is examined from the viewpoints of art education, socio‐cultural education and education for the future. In addition, craft‐art is explored as a basic human activity as defined by the philosopher and theorist Hannah Arendt.In the study the Delphi Expert Method was used and carried out through question rounds by email. The empirical data consists of expert knowledge where experts represent different crafts fields and areas in Basic Crafts Education such as pedagogy, education and administration.

An Analysis of the Political Complexion of the 1835/6 Select Committee on Arts and Manufactures

AbstractThe 1835/6 Select Committee on Arts and Manufactures is generally acknowledged as being the key political event in the establishment of a system of public art and design education in Britain. The immediate outcome of its deliberations was the opening of the Normal School of Design in London in 1837 followed by the steady expansion of the system over the course of the nineteenth century, with art schools being opened in most major towns and cities throughout the country. The Minutes and Report from this Select Committee therefore represent the most important primary source for historians seeking rationales for the introduction of governmentally funded art and design education in Britain. Despite this, the workings of this Select Committee remains under‐researched in a number of important directions. This article sets out to look at one of these ‐ namely, the politicians who sat on the 1835/6 Select Committee on Arts and Manufactures.

Mapping Histories of Art Education In New South Wales

This article examines the historical discourse relating to the field of art education in New South Wales from the nineteenth through to the late twentieth century. While discussing antecedent historiography relating to the history of art education in Australia, it argues that the tasks associated with that history are incomplete. By focusing on the system of art education in New South Wales, the paper refers to the differences between specific state-based systems of art education in Australia. It indicates the advantages of recognizing the effect of sexual, ideological, psychological, and other social and educational practices when writing historical material about art education. It introduces evidence that some of the most common perceptions of the history of Australian art education require more detailed scrutiny.

Psichologiniai paauglių meninio ugdymo aspektai

Straipsnyje remiantis mokytojų ir mokinių apklausos rezultatais ir teorine literatūra nagrinėjami paauglių integruoto dailės dalykų mokymo koncepcijos psichologiniai pagrindai. Iškeliama holistinė kūrybos ir meninės veiklos prigimtis. Meno psichologijoje ji atsiskleidžia kaip dviejų priešingų asmenybės pradų – afektinio ir kognityvaus – vienovė meninio pažinimo procese. Visa tai kelia reikalavimą, kad meninio ugdymo turinys būtų grindžiamas teorijos ir praktikos sąveika. Ši sąveika dailės mokymo programoje pasiekiama dviejų dalykų- dailės istorijos ir dailės kompozicijos pagrindų – integravimu.

Radical Artists & Art Students versus Management & Bureaucracy during the 1970s

This paper is an account of the impact of Conceptual art and art theory upon art students, studio tutors and managers during the 1970s in certain British art schools. The impact on students resulted in a shift away from the making of physical artefacts to the production of writings and magazines. It also problematised ‘the visual’ and encouraged critiques of art and the art education system. Some tutors responsible for art theory courses were dismissed and some students became politicised and attacked those in charge of art schools and polytechnics. Managers disciplined the students and, in some instances, failed and expelled them. William Furlong and Bruce McLean were two London based artists who responded to the ever‐increasing bureaucracy of art colleges by mounting a parodic performance.

Art Education

Feminist Review thought that it would be important to consider the financial and institutional context in which feminist cultural work currently takes place. Although we have clearly not been able to cover the entire field, or report in any detail on these matters, we are publishing two pieces that reflect the present situation in various specific areas. First, we are very pleased to have obtained an account of the work of the Greater London Arts Association from a feminist point of view, since we rarely have the opportunity to see funding decisions from the other side. Secondly, in a report that documents a continuing situation of male privilege, we review the question of women's access to both learning and teaching in the art education system.

A New System of Art Education: Arranged and Directed by Arthur W. Dow

A New System of Art Education: Arranged and Directed by Arthur W. Dow