scholarly journals Aesthetic Intelligence and Aesthetic Experience in Children

2020 ◽  
Vol 8 (4) ◽  
pp. 35-44
Author(s):  
Lilly K V ◽  
Sudhakar Venukapalli
Keyword(s):  
Visual Arts ◽  
Personal Growth ◽  
Aesthetic Experience ◽  
Developmental Process ◽  
Fine Arts ◽  
Art Making ◽  
New Knowledge ◽  
The World ◽  
Arts Curriculum ◽  
Visual Arts Curriculum

How do children experience music, art, emotions, and beauty? Is aesthetic potential in children innate or acquired? Do children understand the world around aesthetically? Is aesthetic experience a developmental process? How can teachers provide students with opportunities to experience aesthetics for cognitive, social, cultural, and psychological development? These are some of the fascinating questions in the field of contemporary aesthetic education. This paper presents what is aesthetic experience and how it enriches the lives of children. Children should be exposed to fine arts and support from teachers will help them to find meaning in fine arts. Visual arts curriculum will help children in cognitive development by continuously constructing new knowledge and integrating it into existing knowledge. Curriculum designed to teach aesthetic experience should incorporate both art viewing and art making. Aesthetic experience integrates mind, body, and emotion. It can induce personal growth in children, and it is intrinsically satisfying.

scholarly journals THE ROLE OF CONTEMPORARY MEDIA IN THE TEACHING OF THE ART

2019 ◽  
Vol 34 (2) ◽  
pp. 547-553
Author(s):  
Vojislav Ilić ◽  
Tamara Stojanović-Đorđević ◽  
Andrijana Šikl-Erski
Keyword(s):  
Information And Communication Technologies ◽  
Visual Arts ◽  
New Technologies ◽  
Fine Arts ◽  
Educational Process ◽  
Input Output ◽  
Internet Connection ◽  
Modern Media ◽  
The World ◽  
Contemporary Media

We are witnessing that Information and Communication Technologies (ICT) have a huge impact on the functioning of the world. This explains why the tools they provide play such an important role in the educational process, their use opens up numerous opportunities and perspectives in education. Today, aware of the inevitability of digital technologies in the functioning of the world, and of the benefits they bring, we try to use them as meaningfully as possible in education.In the visual arts, ICT technologies provide various opportunities for exploring multicultural and multi-technological content. The social tendencies of the 21st century set new criteria for the modern man - creativity, flexibility and innovation, which also requires the development of educational systems in accordance with these new, changing conditions. In the context of contemporary teaching and the education process in the field of art, new technologies certainly deserve special attention as a medium and a means that enables students to apply them to innovative forms of communication, research, learning and creative expression in the field of visual arts. Today's media bring flexibility, speed, accessibility, interchangeability of digital data and this is what makes contemporary media essential in the teaching of fine arts. The basis of modern media used in the teaching of fine arts are personal computers supported by internet connection, with specific software and various input-output devices. With the use of contemporary media in a specialized classroom for the teaching of fine arts, one can speak of an increase in the choice of teaching, an increase in the choice of means of learning and expression, and finally, an increase in individualization in teaching.In the twenty-first century classroom, the teaching of fine arts is increasingly influenced by external influences, so that the classroom is a place for students to learn, explore, do and evaluate works of art. The wealth of information offered through the use of information technology is multiplied by many over the traditional media. The basis of modern media used in the specialized classroom for the teaching of fine arts are computers supported by internet connection, with specific software and various input-output devices.

Of the Akan people: Colour and design education in Ghana

2020 ◽  
Vol 16 (3) ◽  
pp. 399-416 ◽  
Author(s):  
Patrique deGraft-Yankson
Keyword(s):  
Visual Arts ◽  
Visual Communication ◽  
Design Education ◽  
Proper Understanding ◽  
The People ◽  
Arts Curriculum ◽  
Education In Ghana ◽  
Visual Arts Curriculum ◽  
Design Experience

This article digests some of the general ideas that constitute the concept of colour among the Akan people of Ghana and how their proper understanding and desirable consideration will enhance effective visual communication in the Ghanaian visual arts curriculum. The investigation, which involved a number of conversations with knowledgeable personalities in the teaching and speaking of the Akan language, sought to bring out the perceptions, beliefs and functions of colour among the people. The outcome of the study pointed to how colour resides deeply within the traditional lives of the Akan people, not only as aesthetical experience but also as an ‘object’ of cultural and spiritual signification. The study therefore recommends a proper understanding of and conscious respect to the perceptions and meanings of colour among contemporary Akan designers and design educators to improve the design experience of teachers, learners and practitioners.

scholarly journals THE RELEVANCE OF THE VISUAL ARTS CURRICULUM IN THE PREPARATION OF PRE-SERVICE VISUAL ARTS TEACHERS IN UGANDA

2017 ◽  
Vol 75 (4) ◽  
pp. 394-409
Author(s):  
Julius Ssegantebuka
Keyword(s):  
Visual Arts ◽  
Practical Knowledge ◽  
Integrated Approach ◽  
Design Data ◽  
Visual Arts Education ◽  
Short Period ◽  
Arts Curriculum ◽  
Arts Teachers ◽  
Visual Arts Curriculum

The research examined the relevance of the visual arts curriculum content with the view of assessing the extent to which it equips pre-service visual arts teachers with the knowledge and skills required for effective teaching. The study adopted a descriptive case study design. Data were collected from three purposively selected National Teacher Colleges (NTCs), six tutors and 90 final year pre-service visual arts teachers participated in this study. The research findings showed that teacher education institutions are inadequately preparing pre-service visual arts teachers because of the gaps in the Visual Arts Curriculum (VAC) used in NTCs. Some of these gaps are attributed to the structure of the visual arts curriculum tutors use in NTCs. The visual arts curriculum lacks explicit visual arts assessment strategies; it has wide and combined visual arts content to be covered within a short period of two years and the limited knowledge of the available art materials, tools and equipment. The research recommended the restructuring of the VAC to accommodate more practical; and the introduction of specialized knowledge in the visual arts education (VAE) to enable tutors decipher practical knowledge from the theory studied so as to adopt an integrated approach in VAE curriculum. Keywords: case study, pre-service teachers, relevant visual arts curriculum.

Session II: Essential components for a visual arts curriculum for highly talented high school‐age students

Roeper Review ◽  
1991 ◽  
Vol 13 (2) ◽  
pp. 69-71
Author(s):  
Kenneth Snelson ◽  
Todd Siler ◽  
Lilian Schwartz ◽  
Jeffrey Can ◽  
George Strange
Keyword(s):  
High School ◽  
Visual Arts ◽  
School Age ◽  
Essential Components ◽  
Arts Curriculum ◽  
Visual Arts Curriculum

scholarly journals A Visual Arts Curriculum Requires Vision

1999 ◽  
Author(s):  
Carol Langton
Keyword(s):  
New Zealand ◽  
Lifelong Learning ◽  
Visual Arts ◽  
Daily Living ◽  
Essential Element ◽  
Intellectual Ability ◽  
Spiritual Needs ◽  
The Arts ◽  
Arts Curriculum ◽  
Visual Arts Curriculum

The Arts in the New Zealand Curriculum draft, was launched by the Hon. Dr. Nick Smith, then Education Minister, on 12 May, 1999. It states that; “Dance, drama, music and the visual arts develop the artistic and aesthetic dimensions of human experience. They contribute to our intellectual ability and to our social, cultural, and spiritual understandings. They are an essential element of daily living and of lifelong learning” (Foley, Hong & Thwaites, 1998, p. 8). Despite its promises, the Visual Arts component of the draft curriculum is struggling to meet the “intellectual...social, cultural and spiritual....” needs of New Zealand students and teachers. The aim of this paper is to identify the criteria needed to teach visual arts in New Zealand and decide if the draft document meets these criteria.

The Visible Curriculum

2018 ◽  
Author(s):  
Eva-Marie Stern ◽  
Shelley Wall
Keyword(s):  
Medical Education ◽  
Visual Arts ◽  
Personal Growth ◽  
Interpersonal Skills ◽  
Medical Training ◽  
Art Making ◽  
Learning Modalities ◽  
Cognitive Work ◽  
Teaching Learning ◽  
Embodied Practice

The visible curriculum is a term for engagement with the visual arts in medical education. The purposes of having medical trainees view and respond to artworks have been framed in various ways: to sharpen technical abilities, to foster cognitive and interpersonal skills, and to promote personal growth. Art-making, as an embodied practice, activates skills essential to medical care which go beyond words and beyond cognitive work. This chapter summarizes current visual teaching/learning modalities used in medical training, considers the importance of art-making in addition to art observation, suggests differences in approach between undergraduate and residency training, and offers some practical examples of visual arts-based sessions for training and reflection.

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