The Aesthetic Imperative, Relevance and Responsibility in Arts Education, Curriculum Issues in Art Education, Vol. 2

Leonardo ◽  
1984 ◽  
Vol 17 (4) ◽  
pp. 303
Author(s):  
Marilyn Johnston ◽  
M. Ross
2017 ◽  
Vol 7 (2) ◽  
Author(s):  
Sunarto Sunarto

The core of art is aesthetics, then art education is actually aesthetic education. Aesthetics itself is like a building, it has: roof, wall and hallway (foundation). As a roof, aesthetics give the spirit of art; The aesthetic wall gives themes and contents of art creation, and as aesthetic hall is the goal and background of art creation. Aesthetics are built on ideas, ideas and the purpose of creating works of art According to the results of research on the Art of Public Space in Yogyakarta (2015) shows that the aesthetic building of artwork has moved from the position, from the work to the connoisseur. The move is the latest (Contemporary) art phenomenon, resulting from the thinking of teenagers' paralogism and antihistorianism. This antagonistic, recent development is not anticipated by the learning of Arts Education in public schools.


PROMUSIKA ◽  
2019 ◽  
Vol 7 (1) ◽  
pp. 11-19
Author(s):  
Diah Uswatun Nurhayati

Perjalanan panjang gagasan pendidikan kesenian  yang sudah dilakukan Dewantara, sampai sekarang ternyata belum dapat membuat pendidikan tersebut mampu menarik perhatian para pengembang kurikulum pendidikan di Indonesia. Diawali dengan nama pendidikan kesenian, kemudian menjadi pendidikan seni, kerajinan tangan dan kesenian, saat ini dengan nama  Seni budaya dan ketrampilan, yang ruang lingkupnya terdiri dari seni musik, tari, rupa/lukis, dan teater. Dari riwayat kurikulum pendidikan kesenian ini, dapat diketahui bahwa  sebenarnya Indonesia belum dapat memunculkan ide pendidikan kesenian yang dapat menyentuh aspek cipta, rasa, karsa itu yang bagaimana, dan pendidikan musik yang dapat memenuhi standar kompetensi itu yang seperti apa. Hal-hal semacam inilah yang belum dapat dirumuskan oleh para pengembang pendidikan khususnya seni, baik di tingkat pusat maupun di tingkat daerah. Oleh sebab itu, gagasan tentang kesenian khususnya musik dari Dewantara dapat dijadikan acuan sekaligus pedoman dalam mengembangkan pendidikan seni, kesenian atau seni budaya di Indonesia, karena kedudukan kesenian di dalam kebudayaan di seluruh dunia selalu terpakai sebagai ukuran untuk menetapkan rendah tingginya kebudayaan dari sesuatu bangsa.  Banyak pendapat bahwa kebudayaan adalah kesenian dan kesenian adalah kebudayaan. Kesenian salah satu bagian terpenting dari kebudayaan. Menghargai keluhuran bangsa adalah dengan mempelajari  keseniannya, karena ada kesenian ada penghormatan, tidak ada kesenian tidak ada penghargaan terhadap suatu bangsa. The long journey of the idea of art education that has been done by Dewantara, until now apparently has not been able to make the education able to attract the attention of curriculum developers in Indonesia. Beginning with the name of art education, then became art education, handicraft and art, currently under the name Art culture and skills, the scope of which consists of music, dance, visual / painting, and theater. From the history of this art education curriculum, it can be seen that in fact Indonesia has not been able to come up with an idea of art education that can touch the aspects of creativity, taste, what initiative, and music education that can meet such competency standards. Things like this that have not been able to be formulated by educational developers, especially art, both at the central and regional levels. Therefore, the idea of art, especially music from Dewantara can be used as a reference as well as a guideline in developing arts education, arts or cultural arts in Indonesia, because the position of art in cultures around the world is always used as a measure to determine the low or high culture of a nation. Many opinions that culture is art and art is culture. Art is one of the most important parts of culture. Respecting the nobility of a nation is to study its art, because there is art there is respect, there is no art there is no appreciation for a nation.Keywords: ideas, art, music


Author(s):  
Dominic McIver Lopes

A theory of aesthetic value should help us to make sense of how our aesthetic commitments matter to us as members of collectives. Aesthetic policies endogenous to aesthetic practices are directly justified by the network theory. The chapter looks at what aesthetic reasons we have to adopt exogenous aesthetic policies. Many argue that aesthetic practices deserve public support because aesthetic goods are public goods. A case is made for an aesthetic opportunity principle: larger social groups have reason to foster the aesthetic opportunities available to their members. The principle is applied to arts education and to communication technologies subserving aesthetic exchanges. The chapter ends with a discussion of how aesthetic opportunity interacts with—and can potentially counteract—oppressive social structures.


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