scholarly journals Re-conceptualizing the Jordanian Art Education Curricula: Suggested Entries for Teaching Discipline-Based Art Education Theory

2019 ◽  
Vol 11 (2) ◽  
pp. 26
Author(s):  
Bassam Al-Radaideh ◽  
Raed Al-Share ◽  
Asem Obidat
Keyword(s):  
Art Education ◽  
Art Criticism ◽  
Artistic Production ◽  
Teaching History ◽  
History Of Art ◽  
Education Theory ◽  
History Of ◽  
Essential Knowledge ◽  
And Function ◽  
Role And Function

The curricula of art education in the elementary and secondary schools of Jordan is limited to teaching technical skills for making art, and students did not receive tangibleeducation about history of art, aesthetic, and critical aspects of art. This study identified the theory of Discipline-Based Art Education (DBAE) and its significance in teaching art, and it provided suggestions for teaching history of art, criticism, aesthetic and artistic production. Furthermore, the study justified the possibility of implementing the DBAE approach in Jordan art education curricula. The research revealed that DBAE theory improved and elevated art education to a new level because the four disciplinary content area played a significant role in the development of essential knowledge and skills in the art such as developing the creativity, appreciation, understanding and learning about the role and function of art in human civilization. The study recommends to include the components of DBAE to art education instruction in Jordanian curricula.

Cultivating Taste, Creating the Modern Subject: Sawt el-Fannan and Art Criticism in 1950s Egypt

2008 ◽  
Vol 42 (1-2) ◽  
pp. 26-31 ◽  
Author(s):  
Dina A. Ramadan
Keyword(s):  
Art Criticism ◽  
Fine Arts ◽  
Departure Point ◽  
Artistic Production ◽  
Modern Subject ◽  
Art Scene ◽  
History Of ◽  
Great Sense ◽  
And Function ◽  
The Voice

This paper is born of two somewhat separate but interrelated concerns: the oft-repeated assertion that there exists no history of art criticism in Egypt, and the greatly felt “absence” of an archive, an organized system of collecting and cataloguing dedicated to the fine arts in Egypt. It is with these two concerns in mind that I propose we approach the journal Sawt el-Fannan (The Voice of the Artist), for it was in response to these perceived shortcomings that this publication—a self-proclaimed pioneer in the field of Egyptian art criticism–was first produced in 1950. Despite the thriving Egyptian art scene of the time (or what is repeatedly referred to by journal contributors as al-nahda al-fanniyya al-haditha), such a movement was seen to lack a certain credibility and effectiveness, of being in danger of a short life in the absence of the appropriate reflection, recording, and documentation. In other words, the establishment of Sawt el-Fannan took place with a great sense of urgency on the part of contributors that reflects much of what was seen to be at stake in the existence of a modern art scene in Egypt. Therefore a close examination of the editorial vision behind Sawt el-Fannan is an important departure point for understanding the ways in which art criticism was being imagined during this period. By delineating the parameters of what Sawt el-Fannan considered to be this field known as “art criticism” or al-naqd al-fanni, we can begin to identify some of the functions it was expected to fulfill, and by extension, begin to address the place and function of art in Egypt at the time. I want to suggest that through its expansive understanding of its field, Sawt el-Fannan produces a complicated and multi-faceted relationship between artistic production and art criticism, one in which its role is both reflective and productive. As will become apparent, the notion of “taste” or al-hassa al-dhawqiyya is central to the objectives of Sawt el-Fannan; what such a publication is ultimately invested in are the wider discourses involved in cultivating a bourgeois artistic awareness and aesthetic sensibilities, what Bourdieu would call cultural competence, as part of the larger project of constructing the modern subject in Egypt.

scholarly journals National education theory journal “Art and Education”: 20th anniversary

2017 ◽  
pp. 51-53
Author(s):  
V. V. Rahozina
Keyword(s):  
Visual Culture ◽  
Art Education ◽  
National Education ◽  
Aesthetic Development ◽  
History Of Art ◽  
The World ◽  
Education Theory ◽  
History Of ◽  
20Th Anniversary ◽  
Insight Into

We present the national education theory journal “Art and Education”. The journal publishes materials on problems of the theory and history of art education, of the theory and methodology of education, and on methods of instruction in music, fine art and visual culture. We emphasize the uniqueness of this artisticpedagogical record, the only Ukrainian journal on art education, artistic and aesthetic development, one in which Ukrainian and foreign scientists and practical educators provide insight into the achievements of the pedagogy of art and the experience of art education in Ukraine and other countries of the world. We trace the stages of the journal’s development since its establishment and articulate its achievements over its 20-year existence.

A History of Art Education: Intellectual and Social Currents in Teaching the Visual Arts

1991 ◽  
Vol 31 (1) ◽  
pp. 168
Author(s):  
Mary Ann Stankiewicz ◽  
Arthur D. Efland
Keyword(s):  
Art Education ◽  
Visual Arts ◽  
History Of Art ◽  
History Of

Rewriting or Reaffirming the Canon? Critical Readings of Exhibition History – Editorial

2015 ◽  
Vol 1 ◽  
Author(s):  
Linda Boersma ◽  
Patrick van Rossem
Keyword(s):  
Twentieth Century ◽  
Art History ◽  
Public Realm ◽  
The Public ◽  
Artistic Production ◽  
Exhibition History ◽  
History Of Art ◽  
History Of

In 2010, Afterall Publishers launched a series of exhibition histories wholly devoted to the study of landmark exhibitions.[1] The aim was to examine art in the context of its presentation in the public realm. In this way, research into art history shifted from the artistic production of one individual artist to the context of the presentation, and to the position, views, and convictions of the curator. In the introduction to the book, published in 2007 with its contextually pertinent title, Harald Szeemann: Individual Methodology, Florence Derieux stated: “It is now widely accepted that the art history of the second half of the twentieth century is no longer a history of artworks, but a history of exhibitions.”[2] Not everyone agrees with this, however. For example, art historian Julian Myers justifiably criticized this statement when he wrote that the history of art and exhibitions are inextricably linked.

A Social History of Art and Public Art Education in Quebec: The 1960s

1990 ◽  
Vol 31 (4) ◽  
pp. 226 ◽  
Author(s):  
Suzanne Lemerise ◽  
Francine Couture ◽  
Käthe Roth ◽  
Kathe Roth
Keyword(s):  
Art Education ◽  
Social History ◽  
Public Art ◽  
History Of Art ◽  
History Of ◽  
The 1960S

Arthur Efland's "A History of Art Education"

1991 ◽  
Vol 25 (2) ◽  
pp. 38 ◽  
Author(s):  
Henry J. Perkinson
Keyword(s):  
Art Education ◽  
History Of Art ◽  
History Of

A History of Art Education: Intellectual and Social Currents in Teaching the Visual Arts

1991 ◽  
Vol 33 (1) ◽  
pp. 59
Author(s):  
Kerry Freedman ◽  
A. Efland ◽  
D. Soucy ◽  
M. A. Stankiewicz
Keyword(s):  
Art Education ◽  
Visual Arts ◽  
History Of Art ◽  
History Of
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