scholarly journals Instruction Design Towards the Promotion and Integration of Movement in the Visual Arts Classroom

2014 ◽  
Author(s):  
Kathryn Adams

<p>My research project focuses on the integration of movement into the visual arts classroom. I explore two questions: “How can the teaching of movement enhance and strengthen learning in Visual Art Education?” and then, “How can I design powerful Visual Art Education learning experiences by incorporating movement”? It is my hope to encourage students in the art classroom to become healthy, life-long learners by engaging the mind and body. This study explores ideas and strategies for integrating the teaching of art with movement for both Elementary and Secondary level students.</p>

2017 ◽  
Vol 2 (1) ◽  
pp. 5
Author(s):  
Mindy Carter

This paper presents a research project conducted with Grades 9-12 students in Canada and Guatemala where the visual arts were used to explore identity. Participants engaged in a short-term artful inquiry in which they were asked to create a piece of visual art that represented their cultural roots, self in present society and hopes for the future. Various modes of representation including drawing and collage were used. When considering the data, emergent themes and the overall project, unexpected reverberations about the ethical impact of doing arts based work emerged. These questions led to further questions about how creative engagement, individual and collective transformation within the classroom environment does/does not occur as a result of creative engagement.  


2021 ◽  
Vol 40 (2) ◽  
pp. 155-166
Author(s):  
Ernest Zawada

The aim of the article is to indicate the essence and possibilities of educating through art children in grades 1-3 of primary school during visual art classes. In the study, the need to raise the level of competences of early childhood education teachers in terms of creating conditions for children to learn about and experience art directly has been emphasized. Aim of the research: The aim of the article is to show the educational values of art realized in the course of children's art education in grades 1-3 of primary school. State of knowledge: Raising a sensitivity to beauty and developing the ability to express and reproduce art using various methods and techniques was established as a pedagogical task of a teacher in the scope of visual arts education. The encounter with art is the basis of the process of discovering its values. Conclusion: The text emphasizes that raising a child through art is connected not only with the need to constantly expand knowledge in this area, but above all to motivate children's artistic creativity.


Author(s):  
Alīda Samuseviča ◽  
Gunta Krastiņa

The present paper looks at school age children’s creativity and the potential of its growth in the context of the contemporary educational system. In broad terms, visual art education in Latvia can be categorised in three categories: compulsory prescriptive, that every child has to learn in general schools, relatively voluntary in specialised art schools and voluntary in art studios. The paper draws on the practical experience of the author while teaching art in a studio that is voluntary in attendance. Through seven years of observation the author has found that children’s creativity grows the most when they are given tasks that inspiring fantasy and lack restrictive guidelines.


Author(s):  
Sandra Palhares - University of Minho

This article discusses contemporary visual arts education current changes. Visual Arts Education is frequently underestimated by most European Curriculum which often gave and still gives priority to other knowledge areas. Nevertheless, culture industries like museums and a wide range of culture and social organizations are doing the opposite, leading visual art education to an increasingly dissemination, even if it is always less than we all expect. This article also focus on a current shift and which seems to be a kind of paradox: visual art education services from alternative culture institutions are becoming integrated on school activities. By recognizing Visual Art Education Value, culture institutions are trying to develop different approaches in order to engage visual arts with communities. By informing and promoting creative thinking, they are trying to reach community involvement and, consequently, breaking down barriers when necessary. In a more and more globalized world, it is urgent to rethink culture, ethnical, social, economical and political diversities and here is where visual arts education can become a more active player. Art always allowed man to create different worlds in our world as Nelson Goodman affirmed. By creating new worlds, art offers possibilities on new world perspectives and therefore it also might make possible a great miracle, which is the possibility of changing into a better world! Isn´t that what next Documenta 14 is doing? Documenta 14, Kassel, considered the world's largest and most prestigious exhibition of contemporary art, will be held in Athens, Greece, and Kassel, Germany, under the following theme: Learning from Athens. Both - visual art education and contemporary art - seem to share this wish and determination in changing to a better world by implicating local, national and international community. And Art always seemed to be a great `educator´ throughout mankind history.


Modernist Objects is a unique mix of cultural studies, literature, and visual arts applied to the discrete materiality of objects. It places objects, how they emerge or withdraw, how they fashion us, and what status they hold, at the heart of what constitutes modernism. Three processes are consistently to be observed in modernist object experiments: objecting to realism, fashioning the human, and performing the ornamental. The cumbersome bourgeois semiotics of material possessions was itself taken on by writers as diverse as Beckett or Djuna Barnes as a material to be chipped away at, given new life or hollowed out. Writers and creators embraced the object in a way that culminated in such intimate extensions of the mind and body as constructivist clothing, literary magazines, musical instruments, and restorative sculptures. The most skin-deep artifice is shown here to have epoch-changing potentialities. Can a lost brooch define the feminine through an aesthetics of absence? Can the ever-accelerating succession of hats on the head of a lonely alien in Paris,or of manufactured appliances on the dress of a German baroness, loosen the maddening grip of consumer society? Can the bourgeoisie be placed in a position to camp gender (Boscagli) through the use of Japanese lacquer on the outer surfaces of a recliner? This book is characterized by attentiveness to works hitherto considered as minor alongside canonical ones, a careful reclaiming of women’s writing and fine art, and a methodological habitof extending transnational probes outside the realm of the English language.


2017 ◽  
Vol 41 (4) ◽  
pp. 50 ◽  
Author(s):  
Lisa Terreni

<div class="page" title="Page 1"><div class="section"><div class="layoutArea"><div class="column"><p><span>Visual art education plays a significant role in fostering </span><span>young children’s learning, thinking, and communicating. </span><span>In New Zealand, approaches to early childhood visual </span><span>art education have developed in response to international educational theories and trends, which, over the years, have often resulted in changes to pedagogy and practice in this domain. Currently, the national early childhood curriculum Te </span><span>Whāriki includes references to visual art education in many </span><span>of its learning strands. Whilst the curriculum has a strong sociocultural orientation to learning and teaching, approaches to early childhood visual art education are diverse. A brief historical overview of early childhood visual arts education in </span><span>New Zealand is presented and, to conclude, three examples of </span><span>current, innovative art projects are discussed. </span></p></div></div></div></div>


2016 ◽  
Vol 47 (4) ◽  
pp. 187-200 ◽  
Author(s):  
Mark H. White ◽  
Ludwin E. Molina

Abstract. Five studies demonstrate that athletic praise can ironically lead to infrahumanization. College athletes were seen as less agentic than college debaters (Studies 1 and 2). College athletes praised for their bodies were also seen as less agentic than college athletes praised for their minds (Study 3), and this effect was driven by bodily admiration (Study 4). These effects occurred equally for White and Black athletes (Study 1) and did not depend on dualistic beliefs about the mind and body (Study 2), failing to provide support for assumptions in the literature. Participants perceived mind and body descriptions of both athletes and debaters as equally high in praise (Study 5), demonstrating that infrahumanization may be induced even if descriptions of targets are positively valenced. Additionally, decreased perceptions of agency led to decreased support for college athletes’ rights (Study 3).


2018 ◽  
Vol 40 (2) ◽  
pp. 615-644
Author(s):  
Pilwon Lee
Keyword(s):  

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