Images of Art Teaching: Comparing the Beliefs and Practices of Two Secondary Art Teachers

1992 ◽  
Vol 33 (2) ◽  
pp. 86 ◽  
Author(s):  
Anne L. Bullock ◽  
Lynn Galbraith
Art Education ◽  
1988 ◽  
Vol 41 (5) ◽  
pp. 50
Author(s):  
Lynn Galbraith
Keyword(s):  

2020 ◽  
Vol 10 (4) ◽  
pp. 187-205
Author(s):  
Nina Licul

Contemporary art education relies on the use of diverse methods, approaches, art techniques, and technologies. Although photography is part of daily visual communication and gallery exhibitions, there is no structured approach to photography as a medium for learning the arts in Croatian primary schools. The objectives of the quantitative study were to determine art teachers’ views on (1) their knowledge about photography, (2) their abilities in using photography in art teaching, (3) obstacles to using photography in art teaching, and (4) the importance of photography in students’ visual culture. Regarding the fourth objective, we wanted to examine possible differences in terms of the teachers’ gender, age, and length of service. A survey was conducted with 112 teachers who teach arts in 5th to 8th grades in 17 Croatian counties. The results of the descriptive statistics were supplemented with a qualitative analysis of the teachers’ responses in the questionnaire. The results show that the teachers perceive their knowledge about photography obtained by formal education as average, but they assess their abilities to apply photography in their lessons as slightly better. The main problem, in their view, is a low number of art lessons in the Croatian curriculum. The teachers generally agree that photography is very important in a student’s visual culture, regardless of the teachers’ gender, age. and years of service. These findings indicate the need to place greater emphasis on photography as an artistic medium in primary school, as it may generate new visual knowledge and artistic skills.


Author(s):  
Sara Victoria Carrasco ◽  
Rosario García-Huidobro

Resumen: Este artículo intenta rescatar algunas de las ideas que para nosotras como profesoras de artes visuales son relevantes al momento de afrontar la enseñanza de las artes en la educación chilena actual. Estas ideas emergen de algunas contribuciones obtenidas durante el seminario “Diálogos entre la educación artística y los desafíos del siglo XXI”, que se desarrolló en Santiago de Chile durante el año 2014. Este encuentro nos permitió dialogar y reflexionar, a partir de los relatos y experiencias de los(as) académicos(as) que participaron con sus ponencias, en torno a cómo la educación artística se ha visto influenciada por los desafíos sociales, culturales, políticos y económicos que hacen frente a la situación en Chile durante los últimos años. A partir de aquí rescatamos como ejes centrales las nociones de “posmodernidad” y “posicionamiento” para repensar algunos de los desafíos que enfrenta la educación artística y el rol de las y los docentes de arte dentro este cometido.Concebimos la noción de “posicionamiento” como un elemento que puede adquirir un nuevo sentido desde la postura post-estructuralista y otorgar otro valor a las prácticas educativas artísticas, ya que nos permite cuestionar y reflexionar nuestros propios roles como enseñantes de las artes y algunos de los discursos artísticos que se comparten con los y las estudiantes dentro del proceso educativo. Con ello, proponemos pensar la tarea docente desde una posición fluctuante y en constante movimiento donde no exista una sola manera de ser docentes, ni un único modo de hacer o constituir las relaciones pedagógicas a fin de pensar otros espacios y posibilidades que permitan a los estudiantes a resituarse en el centro de la acción educativa desde la significación de sus propias experiencias. Palabras claves: posmodernidad, posicionamiento, enseñanza artística, enfoques artísticos. Abstract: This article rescues some ideas that for us, as art teachers, are relevant when facing the art teaching in the current Chilean education. These ideas emerge from some of the contributions share during the seminar "Dialogues between art education and the challenges of the XXI century", developed in July 2014 in Santiago, Chile. This meeting allowed us to dialogue and reflect, based on the stories and experiences of the academics that participated as speakers, how art education has been influenced by the new social, cultural, political and economic challenges which face the current situation in Chile in recent years. From here we rescue the notion of positioning and the postmodern perspective as main elementsto rethink the challenges of art education and the role of teachers in this labor.We conceived the notion of "positioning" as an element that can acquire a new sense from the post-structuralism stance and give another value to the educational practices of arts, allowing us to question and reflect our own roles as art teachers and some of the artistic discourses that are shared with the students in the educational process. Hence, we proposed to think our teaching task from a fluctuating position and constantly moves, where there is not only one way to be teachers, or one way to do or conform pedagogical relationships, with the intention to think others spaces and possibilities that allow students to reposition in the center of educational action from the significance of their own experiences. Keywords : postmodernism, positioning, art education, artistic teaching approaches. http://dx.doi.org/10.7203/eari.8.7246


2016 ◽  
Vol 3 (2) ◽  
pp. 301
Author(s):  
Erika Natacha Fernandes de Andrade ◽  
Marcus Vinicius da Cunha

This work highlights the important contribution of John Dewey’s theses on aesthetics and art, consolidated in the book Art as Experience, to the current discussion on art teaching in the context of children’s education in Brazil. The focus of such discussion is the issue of formal certification of teachers, rather than reflection on matters related to the training of art teachers, such as, for instance, how to design and implement a teaching method for art and education. Even though Dewey himself does not lay down methodological guidelines, this paper traces the associations between his philosophical principles and educational theses. By conceiving art as both experience and a form of language, and by stressing the value of rhythmic experience in everyday life, Dewey advances his notion of reflexive thought. This notion is at the core of his proposed reform of pedagogical ideas and practices to promote a democratic way of life. The bringing together of his aesthetic and artistic theses and educational proposals is characterized in this work as rhetorical pedagogy. In this framework, education is aimed at building a radical democracy, by creating individuals who are able to compose and express the power of their personal inclinations, to the benefit not only of their individual lives, but also of a collective well-being.


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