A Comparative Study of Further Education Staff Attitudes to Multi-cultural and Racist Reforms in Art and Design Education

My initial interest in multi-cultural art education coupled with a wish to promote more cultural equality was inspired by my two years teaching experience in Kenya, Africa. The contrast of cultures gave me an objective view of my own culture on my return home and I found that I had not only changed as a person as a result, but wanted to continue that change, which gave me the motivation to become a research student, whilst lecturing. As a lecturer in and around the Bristol area it came to my notice through informal conversations with my colleagues at work that they held quite racist views. This I felt was a very insular way of viewing the world when global communications were very efficient and wide spread. In view of this, I chose to investigate to what extent Further Education staff in art and design were racist, and to consider how that might affect students' performance in terms of self-esteem, achievement and assessment. I took a psychodynamic approach to the interview schedule which was based on my experience and training as an art therapist, as well as an artist-sculptor and lecturer, and used Race Awareness Training (RAT), and specific criteria to base and analyse the data collected during the research. An interpretative paradigm was used in the final analysis and evaluation of this small scale study. The qualitative methodology used was felt to be more applicable to a personal approach because it gained clearer and more honest information in this sensitive field.     

An Autoethnographical Study of Culture,Power, Identity and Art Education in Post‐Colonial South Korea

This article reflects my experiences of learning art in the 1970s and 1980s and my teaching career in school art education in twenty‐first century South Korea. This autobiographical reflection shows how I have struggled with my identity as an art teacher in the post‐colonial context of Western influences on Korean society since World War II. There has been greater tension and a greater struggle for different values, practices and identities when new values and practices have been introduced into the particular socio‐cultural context of South Korea. My struggles with particular kinds of pedagogic identity valued within the rapidly changing political, economic and cultural context of Western influences on Korean art education demonstrate the hidden structural mechanism of the relationship between culture, power and identity in the post‐colonial world of globalisation. This study as an autoethnographical research provides critical insights into how identities are produced by pedagogic discourses and practices of art education that are constructed through the specific systems of practice and language which transmit and regulate such identities and values.     

中学美术校本课程中壮族图腾文化的融入

在校本课程中融合多民族文化,使当地民间美术资源与美术教育融为一体具有重要意义。而广西壮族的图腾文化是我国独特的少数民族文化资源,拥有丰富的文化价值,能帮助学生提高审美素质。因此,开发与应用民族传统资源是美术校本课程中必不可少的一环。     

Community‐Based Art Education in China: Practices,Issues and Challenges

Art educators have been promoting Community‐Based Art Education (CBAE) in schools in order to enhance students’ sense of socio‐cultural identity and contextual learning about local art and culture. It cannot only bridge the gap between the students’ daily lives and the communities and art, but can also enhance their inquiry, discovery and meaning‐making abilities. In China, the community‐based approach plays a significant role in the National Standards for Visual Arts, and Chinese art educators have been applying CBAE in school art education for decades. However, Western art educators are still unfamiliar with the issues, practices and challenges related to CBAE in China owing to language constraints. In light of the above, this article aims to initiate a dialogue between Western and Chinese CBAE researchers through discourse and discussions on the main issues related to CBAE in Chinese art education. It outlines current practices of, and issues related to, CBAE from the perspective of Chinese art education. It also discusses the three major challenges to the implementation of CBAE in China, namely the conflict between indigenous knowledge and official knowledge in the school art curriculum, lack of motivation among teachers, and neglect of context in the practice of local art in schools. It is hoped that this article it will enrich our overall knowledge of CBAE and contribute to the understanding of CBAE from a global perspective.     

Nurturing Relationships And Honouring Responsibilities: A Pacific Perspective

This essay contributes a Pacific Islands perspective to the global discussion of “Living Together: Education and Intercultural Dialogue”. Through poetry and prose, this essay traces the impact of the Tongan concept of vaa (values/valued relationships) on learning and language. By invoking UNESCO’s mandate to build peace through education, the concept of vaa is shown to be a key to promoting peace. The challenges and prospects of nurturing peace through international cooperation in education are discussed with examples drawn from the Pacific. Specifically, Tonga’s social and linguistic histories provide avenues for interpreting Pacific educational ideals in relation to Western concepts of knowing and learning. Reflection on cultural literacy in the Pacific context raises deeper questions about the role of educators when working interculturally. Lessons to be learned include the oft-quoted maxim that educators must first learn about their own culture before learning about others’, and before imposing their own pedagogies and curricula on others’ education systems.     

多元文化背景下的幼儿美术课程研究

幼儿美术教育从某种意义上讲就是一种文化教育,在多元文化背景下的幼儿美术课程,呈现开放性和发展性特点,本着"立足民族、面向世界"的基本原则,本文试图探索一条将幼儿美术教育与幼儿因整体课程相结合途径,统整幼儿因、家庭、社会各方面的教育资源,引导幼儿与民间艺术、经典艺术、视觉文化对话,通过与多元艺术的对话,引导幼儿关注艺术与生活、艺术与社会文化背景的关系,帮助他们了解人类不同文化之间的相似性及其独特性,使他们学会分享共同的文化,容纳和接受不同的文化。     

Something old,something new,something borrowed,and something Froebel? The development of origami in early childhood education in Japan

ABSTRACT

This study examines how origami has been implemented, practised, and developed in the early childhood education of Japan over the past 140 years. Historically speaking, paper-folding has been part of Japanese symbolic art, craft culture, and religious ceremonial artefacts since paper and paper-folding techniques were first imported from China during the seventh century. By the eighteenth century, paper-folding provided a form of mass entertainment in Japanese society. During the 1870s, paper-folding was dramatically transformed into a pedagogical tool within Japanese kindergartens after Friedrich Froebel’s (1782–1852) kindergarten system and its curriculum was transferred to Japan from the West. “Papier-Falten” (paper-folding) comprised an element of Froebel’s Occupations – which was a series of handiwork activities – in his kindergarten curriculum, whereby various folding techniques and models were derived from European traditional paper-folding and introduced into a Japanese kindergarten curriculum that was associated with the concept of Froebel’s kindergarten. Particularly seen in early childhood education in Japan, what we now call origami developed as a new form of paper-folding. This gradually emerged through the marriage of Western (German) and Eastern (Japanese) paper-folding cultures. The study highlights the benefits and uniqueness of cultural transmission and transformation when developing origami in early childhood education in Japan.     

Performance,culture and the sociology of education

The article takes as its starting point my recent ethnography of the Welsh National Opera Company, and the forthcoming monograph Everyday Arias: making opera work. In the course of that work I revisited the theme of performance: the ethnography of performance and the performance of ethnography. I discuss briefly the everyday work of the opera producer and director in the rehearsal studio and in the theatre. I suggest that despite the pervasive nature of 'performance' in contemporary sociology and anthropology, we have remarkably few studies of performances themselves. Performances by directors and performers are complex interactions, in which cultural forms, vocabularies of motive, emotional and cognitive frames of interpretation are explored by the participants. The director displays many parallels with the pedagogue. Both are preoccupied with eliciting and evaluating the performances of others. More generally, we ought to expand the sociology of education to take greater account of a wide range of cultural settings. Sociologists of education could learn much about instruction and learning by paying more attention to masterclasses in music and the visual arts, the work of cultural entrepreneurs such as impresarios, artistic education such as choir schools and conservatoires, and similar environments. Furthermore, the sociology of education could and should benefit from a more thorough engagement with contemporary sociologies of art and culture. While the sociology of culture has become central to many aspects of current sociological research and theorising, the sociology of education seems oddly peripheral to mainstream cultural analysis. It is surely not necessary to identify the sociology of education in narrowly institutional terms and to restrict the research gaze primarily to institutions and settings that are narrowly and commonsensically 'educational' in nature.     

Visual culture and critical pedagogy: from theory to practice

ABSTRACT

This article presents an educational approach that merges ideas of critical pedagogy with those of visual culture. According to this approach – termed visual critical pedagogy – art is an integral part of the textures of society and culture and their manifold and complex visual expressions, including the more controversial and subversive among them. It objects to locking art and visual culture in art departments, and to restricting art history to a formalist analysis of ‘masterpieces’ – which represent primarily the Western art market and its underlying politics. It likewise rejects the conception of art history as the history of artists and art movements – a conservative approach still prevalent in many academic institutions. Integrating critical pedagogy with visual culture provides fertile ground for an educational practice within art classes and beyond them. Visual critical pedagogy is formulated using the concepts exposure, deciphering, representation and visibility, shared by both critical pedagogy and visual culture. These are discussed in the context of educational projects and activities planned and implemented by Jewish and Arab students enrolled in an education-through-art program in an academic college in northern Israel.     

How Art Education Can Contribute to the Globalisation of Culture

This paper begins by defining globalisation and discussing the major issues that globalisation raises in the cultural sphere. This includes the relationships of global culture to national and local cultures, the disorientation caused by the compression of time and space, the characterisation of global culture as Americanisation, and the consumer orientation of global culture. The paper then examines the ways in which art education can contribute to these changing social dynamics. These include a celebration of place, addressing heritage and tourist issues, creating hybrid works, discussing commercial choices, examining one-world images, and creating with one-world technologies.     

NGO Art Education

How is art education being put to use today? To explore this provocation, I read between the lines of teaching for civic literacy through visual arts education in the United States as mandated by the Partnership for 21^st Century Skills. I consider an art education of social practice's utility within this mandate. In order to accomplish this, I describe artist Rick Lowe's Trans.lation: Vickery Meadow social sculpture project and then analyse this through a service aesthetics’ lens and neoliberal motives. In the process of overlaying social practice within the Partnership for 21st Century Skills as a model for visual arts and citizenship education toward globally competent graduates, I articulate the possible limitations of such micro‐utopian ventures for art education that amount to NGO‐esque art, making the case that these efforts, while facilitating a feeling of civic engagement, only further intensify the depoliticisation of art education acting as a form of Rancière's better police in reasserting the neoliberal status quo. I sound a cautionary note about such a pragmatic turn risking the exacerbation of our collective interpassivity through aligning art education too closely to our apparent use value for late capitalism.     

A critical scholar’s journey in China: A brief Freirean analysis of insider–outsider tensions

As a full-time foreign faculty member in the Chinese Normal university system for the past five years, I analyze the contested terrain of being a critical, Freirean educator/researcher as an insider and outsider of Chinese and Western academic systems and societies overall. This autobiographical analysis is within the contexts of China’s academic focus on raising their global higher education rankings, along with self-reflectivity of my own multiple, often-conflicting identities and Western-centric Orientalism, theorized by Edward Said, in my legitimization of academic work. The following themes are analyzed through critical and Freirean frameworks: pursuit for top rankings coinciding and conflicting with scholarship breadth and depth, academic freedom, and politics of education; constructs of “harmony” that grounds teaching and research; and select pedagogical commonalities and differences between the East, the Global South, and the West. The article delves into preconceptions, including my own, on what is “worthy” academics from China, “the East”, “the West”, and the “Global South” with self-reflectivity of problematizing such terminology that covers such immense diversity in all aspects of contexts, including education which underscores the very problems with rankings, especially global rankings which are often Western-centric. All themes will be analyzed within my own, conflicting insider-ness and outsider-ness.     

Asian lifelong learning in the context of a global knowledge economy: A task re-visited

This article revisits and reinterprets my previous paper. It is a snapshot of the lifelong learning system building in selected Asian countries, reflected in the mirror of the Asian Financial Crisis in the 1997s and the aftermath of that event. I reconsidered the arguments (1) the economic recession had delivered a global dimension of lifelong learning to the re-shaping of the local education system beyond local attributes; (2) and that the divergent tradition of adult education in this context was to meet the global market standards. Additionally, (3) I tried to further the discussion about the relationship between global forces and the lifelong learning system in the context of a knowledge economy, but with a number of different approaches. I argued that the lifelong learning system under the global forces of capitalism, as per the Asian experience in the 2000s, can be apart of a knowledge economy itself, not a tool of it, and in this sense, a knowledge economy sets the conditions of a lifelong learning system as an embryo of its attributes.     

A comparativist’s predicaments of writing about ‘other’ education: a self-reflective,critical review of studies of Japanese education

This self-reflexive essay teases out the predicaments that I have encountered through my past publishing experience, while situating them in a critical review of the existing English-language studies of Japanese education. Drawing on postcolonial theoretical insights and recent critical sociology of academic knowledge production, I use my personal experience as a starting point to identify the particular discursive structure of comparative education that constrains the articulation of ‘other’ education in the field. My critical review of comparative studies of Japanese education demonstrates that many of them, including my own, unreflexively accept the subject positions offered by this discursive condition and thus further constrain space for those who write in English about ‘other’ education and Japanese education in particular. In conclusion, I discuss recent studies of Japanese education that partially address the dilemmas raised in this paper and the wider implications of this study for the field of comparative education.     

Of Mice and Manga: Comics and Graphic Novels in Art Education

A justification for the inclusion of graphic comic art in post-14 art education following the development of graphic novels in Europe, Japan and the USA. in recent years. The case is based on the visual dynamics of the medium and the potential for a critical realism which can be exploited in students’ studio practice and research. Particular attention is given to the Holocaust novel Maus and selected Japanese ‘Manga’ comics which have made an impact in the west, such as Barefoot Gen and Adolf. The article analyses the various innovative visual forms that these graphic novels utilise and considers their effectiveness as a vehicle for practice and research in the institutional art curriculum.     

浅议林风眠画的艺术特色

林风眠通过吸收东西方文化的精华和人类文明的优秀成果来实现中国绘画的现代转型。力图在中西艺术相调和的基础上重塑民族文化精神。为中国绘画寻找到了一条走向现代的途径,实现了中国绘画的现代视觉革命,开创了一条中国当代艺术发展的可行道路,而这一切,全体现在其卓有特色的绘画作品中。     

Art Education for Life

In this paper I argue that art is a search for meaning, and should be taught and learned in that context. The immediate goal is to understand ourselves and others better, allowing more intelligent and meaningful action in the arena of life. Toward that end, I suggest that the social agenda of art education, in a world that is both increasingly interdependent and turbulent, can be the construction of community through personal, group–centred, and cross–cultural understandings approached through art. I examine traditionalism, modernism, postmodernism, and contemporary visual culture for content and strategies to serve the purposes of art for life, and construct the outline of a model for instruction utilizing those concerns. Finally, I make a case that thematically mining and creating art works, performances, and visual culture for aesthetic significance that ultimately frames, forms and enhances meaning is the primary strategy for this construction of community, not in the tribal sense, but universally.     

Becoming artist,becoming educated,becoming undone: toward a nomadic perspective of college student identity development

In this article, I place my ethnographic project among undergraduate university art students and their professor in dialog with Rosi Braidotti’s figuration of the nomadic subject and her reflections on the importance of creating theoretical alternatives for mapping the embedded and embodied social positions that we inhabit. As educational interlocutors, college students must negotiate expectations and categorizations about age-appropriate relations, career paths, and identity passageways, which are always already framed by Western psychological development discourses. Interested in loosening the grip of these closure-seeking and normalizing discursive practices, I argue for a revision of identity development grounded in a nomadic theory of the subject and engage my data through an alternative analytic of arts-informed assemblage in light of Braidotti’s ideas. In so doing, I uphold my feminist commitment to do theory as both critique and creativity, bringing into view poetic-enough writing and imagery as a response to the question how is it to be in the process of becoming?     

In my life: youth stories and poems on HIV/AIDS: towards a new literacy in the age of AIDS

This article comes out of an HIV and AIDS prevention and education project with young people in two townships in the Western Cape of South Africa. As part of that project, a small anthology—In my life: youth stories and poems on HIV/AIDS—was produced and distributed locally as well as in several districts in other provinces. The avid consumption of In my life by local youth in Khayelitsha and Atlantis but also as far away as Durban in KwaZulu‐Natal speaks to the power of a youth‐to‐youth connection. In the article I examine some of the ways in which literacy is changing in the age of AIDS in an area of the world which has been ravaged by the AIDS pandemic.     

Duodji: A New Step for Art Education

In this article, I intend briefly to present some views of how cultural expressions can be used as a basis of artistic education of an indigenous people in a particular area. In the past 30 years, indigenous peoples have demanded that their cultural expressions (and knowledge) be included in higher education; to achieve this, they have applied diverse strategies. This integration is, however, a complex process, as universities or institutions of higher education often have to follow national programmes and regulations concerning higher education. Nevertheless, many indigenous peoples have attempted, in their regions, to create art programmes for higher education, often as part of another art programme, or as an independent programme. The case that I use in the presentation is based on my work at Sámi allaskuvla/the Sámi University College in Guovdageaidnu (Kautokeino) in the Sámi area of Norway. The main question here is: How and under what conditions is it possible to launch higher art education that has duodji as its foundation? A key question is what the significance of the overall discourse and praxis that has emerged and developed in indigenous societies is when it is transferred to higher education.