scholarly journals A 'LANGUAGE' OF MODERNIZATION: CULTURE AND ART EDUCATION IN THE VILLAGE INSTITUTES

2017 ◽  
Vol 1 (Volume 5 Issue 1) ◽  
pp. 321-332
Author(s):  
Gökhan AK
Keyword(s):  
Art Education ◽  
The Village ◽  
Village Institutes

Village Institutes of Turkey

2021 ◽  
Author(s):  
Filiz Meşeci Giorgetti
Keyword(s):  
Teacher Training ◽  
Primary School ◽  
School Teacher ◽  
Learning By Doing ◽  
Primary School Teacher ◽  
Left Wing ◽  
Long Time ◽  
The Government ◽  
The Village ◽  
Village Institutes

In the 1930s, the primary schooling rate in Turkey was significantly low compared to the European states. Ninety percent of the population lived in villages without any schools and teachers. Therefore, promoting primary education was addressed as an issue concerning villages in Turkey. The seeds of the intellectual infrastructure in the emergence of institutes were sown at the beginning of the 20th century, during the Ottoman rule. To train teachers for villages, Village Teacher Training School [Köy Muallim Mektebi] was founded in 1927 and Village Instructor Training Course [Köy Eğitmen Kursu] in 1936. However, these initiatives were not sufficient in terms of quality and quantity. Village teacher training experiences, new education, and work school trends of Europe were analyzed by Turkish educators, opinions of foreign and Turkish experts were received, and the Village Institutes [Köy Enstitüleri] project was carried into effect based on the realities of Turkey. The first Village Institutes opened in 1937. They were established in a restricted area, with a limited budget, and a non-common curriculum until the Village Institute Law was promulgated in 1940. On April 17, 1940, the law prescribing their establishment was approved by the parliament. The number of the Village Institutes, which spread over the Turkish geography evenly, reached 21 by 1949. The period between 1940 and 1947 was when the Village Institutes were most productive. Learning by doing and principles of productive work were embraced at the Village Institutes. The curriculum consisted of three components: general culture, agriculture, and technical courses. In addition to their teaching duties, the primary school teachers that graduated from the Village Institutes undertook the mission of guiding villagers in agricultural and technical issues and having them adopt the nation-state ideology in villages. World balances changing after the Second World War also affected the Village Institutes. In 1946, the founding committee of the Village Institutes were accused of leftism and had to leave their offices for political reasons. After the founding committee stepped aside, the Village Institutes started to be criticized by being subjected to the conflict between left-wing and right-wing. Following the government changeover in 1950, radical changes regarding the curricula, students, and teachers of the institutes were made. Making the Village Institutes unique, the production- and work-oriented aspects were eliminated, and the institutes were closed down in 1954 and converted into Primary School Teacher Training Schools. Although the Village Institutes existed only between 1937 and 1954, their social, economic, and political effects were felt for a long time through the teachers, health officers, and inspectors they trained.

scholarly journals Problems in applying the curriculum of art education in villages and remote areas from the teachers‘ point of view

2019 ◽  
Vol 1 (5) ◽  
Author(s):  
Sarah Bint Nasser Bin Sulaiman Al Shabanat
Keyword(s):  
Art Education ◽  
School Environment ◽  
Raw Materials ◽  
Local Environment ◽  
Point Of View ◽  
Educational Activities ◽  
Remote Areas ◽  
Study Population ◽  
Training Courses ◽  
The Village

The objective of the research to identify the problems of applying the curriculum of art education developed in villages and remote areas from the point of view of parameters. The descriptive approach has been used, where the study population is one of the teachers of art education in villages and remote areas (34) teachers. The technical education room is not equipped with suitable equipment for the application of the curriculum of advanced art education such as ceramic ovens, washing machine washing tools, etc., the inability of the student to be able to From the provision of tools and raw materials to the absence of libraries in the villages, the absence of a teacher for the distance of residence from the village headquarters and the lack of appropriate educational activities in the curriculum of art education developed for the physical potential of the school environment. The most important recommendations are: Providing a special bag for girls from remote villages and areas containing all necessary to apply the curriculum of art education to take into account their economic circumstances. Holding training courses for teachers of art education on the developed curriculum and how to teach it and adapt it to the rural environment and how to find alternatives to tools from the local environment. Developed as a pilot phase in villages and remote areas and include the curriculum with free educational activities; chosen by the teacher in proportion to the environment and nature of students.

The Newcomers Group

2018 ◽  
Author(s):  
Sarah-Neel Smith
Keyword(s):  
General Population ◽  
State Policy ◽  
Fine Arts ◽  
Press Coverage ◽  
Western Modernity ◽  
National Body ◽  
Relationship Of ◽  
The Village ◽  
The Relationship ◽  
Village Institutes

The Newcomers Group [YenilerGrubu] was formed in 1940 while its members were still students at the Istanbul Academy of Fine Arts under Leopold Levy (1840–1904), and was active through 1952. It is also known as the Harbor Group [LimanGrubu], in reference to the theme of the collective’s first exhibition, which featured scenes of waterfront life in Istanbul. Similar to art collective D Group (1933–1947), the Newcomers aimed to portray what they saw as uniquely Turkish social realities using formal strategies associated with Western modernity, including impressionist, fauvist, and cubist painting techniques. At the same time, the Newcomers claimed with greater urgency than the D Group that local artists were obligated to engage directly with Turkey’s general population. This preoccupation with the relationship of the artist in an elite social position to the larger national body was closely linked to ongoing debates both in state policy (reflected in the development of the Homeland Tours program from 1938–1943, and the Village Institutes from 1940–1954) and in the Turkish literary world. As a result, the Newcomers received ample press coverage and the support of major literary figures such as Hilmi Ziya Ülken (1901–1974) and Ahmet Hamdi Tanpınar (1901–1962), who also sought to develop national art forms rooted in Turkish popular experience.

scholarly journals KUASA PENDIDIKAN ERA GLOBAL PADA SENI TRADISI GENGGONG DI DESA BATUAN, STUDI KASUS SENI PERTUNJUKAN GENGGONG

WIDYANATYA ◽  
2019 ◽  
Vol 1 (1) ◽  
pp. 60-68
Author(s):  
I Nyoman Winyana ◽  
I Made Sugiarta ◽  
I Putu Gede Padma Sumardiana
Keyword(s):  
Data Analysis ◽  
Qualitative Methods ◽  
Art Education ◽  
Performance Art ◽  
Depth Data ◽  
The People ◽  
Direct Data ◽  
The Village ◽  
A Performance

ABSTRAK             Salah satu penyebab keberadaan kesenian Genggong menjadi tidak populer dalam kehidupan masyarakat masa Global adalah peran pendidikan yang diduga tidak berpihak pada seni Genggong seperti di Desa Batuan. Seni pertunjukan Genggong Batuan di era tahun 1973 sempat menjadi karya seni pertunjukan yang mengundang perhatian khususnya pada pertunjukan seni hiburan. Kekhasan dan keunikan bentuk karya ternyata tidak cukup mampu mempertahankan populeritasnya di panggung hiburan.             Kajian tulisan ini berangkat dari metode kualitatif yang dirancang guna memperoleh jawaban secara lebih mendalam. Analisis data dilakukan dengan memperhatikan keabsahan data langsung di lapangan selain dokumentasi tersimpan. Teori yang dipakai membedah persoalan kuasa adalah diambil dari teori kuasa yang menekankan pada ranah kuasa dan juga habitus yang terjadi di masyarakat.             Hasil akhir kajian ini adalah temuan yang berhubungan dengan proses pendidikan seni tradisional Genggong nyatanya tidak terkait dengan aktivitas kegiatan yang hiburan. Keterlantaran yang diakibatnya oleh perubahan gaya hidup dan struktur yang kurang berpihak pada seni Genggong Desa Batuan. ABSTRACT One of the causes of the existence of Genggong art became unpopular in the lives of the people of the Global period was the role of education which was allegedly not in favor of Genggong art such as in the Village of Batuan. The performance of Genggong Batuan in the 1973 era had become a performance art work that drew attention especially to entertainment art performances. The peculiarity and uniqueness of the form of work turned out to be not enough to maintain its popularity on the entertainment stage. The study of this paper departs from qualitative methods designed to obtain answers in more depth. Data analysis is done by paying attention to the validity of direct data in the field besides the stored documentation. The theory used to dissect the issue of power is taken from the theory of power which emphasizes the realm of power and also habitus that occurs in society. The final result of this study is that findings related to the process of traditional Genggong art education are in fact not related to entertainment activities. The negligence that was caused by changes in lifestyle and structure was not in favor of Genggong Desa Batuan art.

The "Village Institutes" in Turkey

1964 ◽  
Vol 8 (1) ◽  
pp. 41-47 ◽  
Author(s):  
Alexandre Vexliard ◽  
Kemal AytaÇ
Keyword(s):  
The Village ◽  
Village Institutes
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