Creativity in the Bronze Age: Bringing Archaeological Research into Contemporary Craft Teaching and Learning through a Live Project

The CinBA Live Project sought to engage students of contemporary craft courses in the UK with Bronze Age creativity. We aimed to explore the ways in which the creativity inherent in prehistoric craft may be used as inspiration in contemporary making. It simultaneously offered institutions a unique opportunity to offer a practice‐led, research‐based live project which was distinct to those generally known to be available to art and design institutions. It offered a different experience within this established pedagogical model in art and design education by using the Bronze Age as a source of inspiration for creative practice through practice‐based research in contemporary craft within the framework of an international academic research project, and suggesting new roles for the interpretation of the prehistoric past through creative work. This article reports on the CinBA Live Project. It outlines the context of the opportunity, details our methods of facilitation, describes the activities undertaken by the students and considers the outputs and post‐project impact of the activity.     

SOAP in practice: learning outcomes of a cross‐institutional innovation project conducted by teachers,student teachers,and teacher educators

This paper reports on a case study investigating learning outcomes at the individual and organisational level of a cross‐institutional innovation project based on the SOAP approach. SOAP integrates Schooling of teachers, Organisational development of schools, Action‐ and development‐oriented research, and Professional development of teachers. The innovation project was aimed at combining teachers, student teachers, and teacher educators in an alliance to design and develop new competence‐based vocational educational arrangements for pupils. An inductive qualitative analysis of 37 semi‐structured interviews among the participants revealed seven main categories of individual learning outcomes: attitudes, project design and management, collaboration, action theory, teaching practice, educational principles, and developments within secondary vocational education. Three main categories of organisational learning outcomes were identified: institution‐level learning, project‐level learning, and combining institution‐level and project‐level learning. A tension was identified between the participants’ individual interests in learning and personal development, and the need for organisational learning aimed at improving organisational processes.     

Facilitating Place-Based Learning in Outdoor Informal Environments with Mobile Computers

This paper advocates for place-based education to guide research and design for mobile computers used in outdoor informal environments (e.g., backyards, nature centers and parks). By bringing together research on place-based education with research on location awareness, we developed three design guidelines to support learners to develop robust science-related understandings within local communities. The three empirically- derived design guidelines are: (1) Facilitate participation in disciplinary conversations and practices within personally-relevant places, (2) Amplifying observations to see the disciplinary-relevant aspects of a place, and (3) Extending experiences through exploring new perspectives, representations, conversations, or knowledge artifacts. Last, we link theory to practice by illustrating how the three guidelines were applied in one outdoor science learning project called Tree Investigators.     

School Art Education: Mourning the Past and Opening a Future

This article begins with a brief summary of the findings of a recent research project that surveyed the content of the art curriculum in a selection of English secondary schools. The research findings suggest a particular construction of pedagogised subjects and objects rooted in ideas of technical ability and skill underpinned by a transmission model of teaching and learning. Drawing upon psychoanalytic and social theory reasons for passionate attachments to such curriculum identities are proposed, when in the wider world of art practice such identities were abandoned long ago. Working with the notion of the subordination of teaching to learning and the difficulties of initiating curriculum practices within increasingly complex social contexts, the article argues for learning through art to be viewed as a productive practice of meaning‐making within the life‐worlds of students. The term, ‘encounters of learning’ is employed to sketch a pedagogical quest in which an ethics of learning remains faithful to the truth of the learning event for the student.     

Teaching and Learning How to Create in Schools of Art and Design

This article describes the studio model—a cultural model of teaching and learning found in U.S. professional schools of art and design. The studio model includes the pedagogical beliefs held by professors and the pedagogical practices they use to guide students in learning how to create. This cultural model emerged from an ethnographic study of two professional schools of art and design. A total of 38 professors from a total of 15 art disciplines and design disciplines were interviewed and their studio classes were observed. A grounded theory analysis was used to allow the studio model to emerge from audio recordings of interviews and video recordings of studio classes. The model was then validated by 16 different professors at six additional art and design schools. The studio model was found to be general across art and design disciplines and at all eight institutions. The central concept of the studio model is the creative process, with three clusters of emergent themes: learning outcomes associated with the creative process, project assignments that scaffold mastery of the creative process, and classroom practices that guide students through the creative process.     

Agency and Social Construction: Practice of the Self in Art and Design

Learning in the arts has the potential to be a co‐constructive means of inquiry for students, which enables experience of the self in relation to practice. This research explores a practice‐based investigation of agency as self‐definition, amid normative social constructions of the subject. The focus for data analysis is a project taught to BTEC Level 2 Art and Design students in a deprived area of North London (2010–12). A dialogue is presented between the implications for Sartre's theory of free‐will and a Foucauldian critique of social construction. Applications for this comparative theory are discussed here as a form of resistance to the compression of learning identities in art and design, and across the curriculum. This is an approach which encourages emancipated self‐representation, acknowledging cultural diversity, for a discursive environment viable at all levels of study. In exploring the data, a positioning of free‐will with social responsibility is identified as an inclusive forum for creative understanding, and the tolerance of difference.     

高校艺术设计专业“课题制教学”模式探讨

“课题制教学”是二种全新的更有效的课堂教学组织形式。与传统高校教学模式相比,“课题制教学”提倡把社会课题引入高校艺术设计专业课堂,让学生在学校参与社会实践,使学生能将所学理论、技能与实践相结合,从而培养学生动手和动脑能力、观察能力、适应能力等综合应用能力,更好地解决高校艺术设计教育与社会脱节的问题。     

Learning in the visual arts and the worldviews of young children

This paper reports a research study into the effects of rich, sustained visual arts instruction on 103 inner city 9‐year‐olds in two major US cities. We use the lenses of social learning theory, theories of motivation and self‐efficacy, and recent research on artistic thinking to investigate the programs' effects on children's self‐beliefs and creative thinking. The study enlisted a pre–post measure, treatment‐comparison group design along with structured observations of participant and comparison group classrooms. The arts students made significant comparative gains on a self‐efficacy scale and on an ‘originality’ subscale of a standard creativity test. These effects are attributed to children's engagement in art and to the social organization of instruction including reinforcing peer and student–adult relationships. Relationships between self‐efficacy beliefs and tendencies to think originally are explored.     

A Shared Place of Discovery and Creativity: Practices of Contemporary Art and Design Pedagogy

This article is based on a project that explored the practices of art and design beginning teachers (BTs) working with learners in a post‐age‐16 context. The aim of the project was to: explore contemporary art and design practices; explore the concept of artist teacher learner researcher; enable beginning teachers to collaborate with post‐age‐16 pupils and develop new approaches and strategies to art and design pedagogy. Through practices that blurred learner‐teacher identities a dialectical pedagogy emerged and a collaborative community of practice developed, all enabled through a renegotiation and reconceptualising of places of learning. The beginning teachers also started to construct their artist teacher identities, understand what it means to practise as an artist teacher in the classroom, understand the impact of these practices on teaching and learning and develop new learning and teaching methods. This project demonstrates the possibilities of these practices for contemporary art and design pedagogy and also how these practices can endure and be sustainable for this community of beginning teachers in the current cultural, social and political contexts of education.     

Self‐Reflexivity and the Creative Voice: Issues of Transgression Identified with Participant Ethnographic Research in Art and Design Education

This article shares my experience as a doctoral student researching within the domain of art and design education. This is a professional doctorate bringing together my experience as an educator and that of researcher where boundaries between education and social science research disciplines cross. My research paradigm is situated within critical theory. It is an interpretive hermeneutic study where I am cast as a participant ethnographer. At the time of writing I wanted to make known the issues and tensions that I encountered with research protocols, such as permissions mechanisms and ethical gatekeepers. These tensions I still perceive as confining, but more significantly, I realise that knowing and understanding research methodology is key to achieving creative and unpredictable research practice. This article is, therefore, focused on my journey to discover a research methodology that enables me to use a creative voice. By this I mean a method by which I can develop a writing style that articulates my practice that enables me in the construction and reporting of my research analysis to fully capitalise on my reflexive self. I have referenced papers produced by others at the time of writing their doctoral thesis and have found this enlightening. This is my contribution.     

艺术设计基础理论课程“研究型”教学模式

针对艺术设计基础理论课程教学中存在的问题,提出构建"研究型"教学模式,并对其教改实施情况及成效进行了阐述。实践证明,该模式的实施在提升学生的创新思维、创新能力和实践能力等方面发挥了有效作用,有利于增强高等院校艺术设计人才的综合竞争力,打造差异化、特色化教育品牌。     

Arts practice as method,urban spaces and intra-active faiths

ABSTRACT

This paper examines the research design for an arts-based interfaith research project that is intended to build relationships between children from different faiths and to increase research participants’ understandings of faiths other than their own. The project is funded as an Australian Research Council Future Fellowship called Early Start Arts to Counter Radicalization and has a mixed method approach that brings arts-based workshop groups for children together with focus groups for parents. Early findings demonstrate the utility of art for developing a sense of belonging and self-worth in children and clearly show ways in which art facilitates comment on complex social issues even from primary school age. The nature of such socially engaged arts-based research means it must be developed or, at the least, refined, through engagement with community and social context. As such, consideration of the urban environment that shapes the lives of the young research participants and their families forms part of the discussion undertaken.     

Toward a social pedagogy of classroom group work

In any classroom, pupils will be drawn together for many purposes and we can refer to such within classroom contexts as ‘groupings’. The teacher often creates these, and the way that they are set up, and how they are used for particular learning purposes. If the relationships between grouping size, interaction type and learning tasks in groups are planned strategically then learning experiences will be more effective. However, research suggests that the relationships between these elements are often unplanned and the ‘social pedagogic’ potential of classroom learning is therefore unrealised. In this paper we explore the notion of social pedagogy in relation to group work. It is argued that research and theory relevant to group work in classrooms is limited, and that a new approach, sensitive to group work under everyday classroom conditions is required. This paper identifies key features of a social pedagogy of classroom group work, which can inform effective group work in classrooms. It also describes the background to a current large scale UK project which has been set up to design with teachers a programme of high quality group work in classrooms at both primary and secondary phases.     

Teaching creativity in art and design studio classes: A systematic literature review

It is increasingly important for educators to help students develop as creative individuals, and to prepare graduates to think creatively at work, in personal life, and in society. Many countries are working to transform schooling to lead to creative learning outcomes. And yet, very little is known about how to teach for creativity. This review was motivated by the belief that effective models of creative teaching and learning would be found in art and design educational practice. The goal of this systematic review is to synthesize empirical studies of the pedagogy used in art and design studio classes, from early years to university. A keyword search, followed by a filter using inclusion criteria, identified 65 peer-reviewed journal articles. A grounded theory analysis of these 65 articles identified eleven themes characterizing art and design pedagogy, grouped in three clusters: Pedagogical practices (5 themes), learning outcomes (4 themes), and assessment (2 themes).     

Developing Design through a Creative Problem‐Solving Process: A Group Community Art Project

For the past few years, creativity has gradually become an important element in the national cultivation of talent in Taiwan. Although traditionally art education is closely linked with creativity, the academic research on general art education is very insufficient. Therefore, the goal of this research is to investigate how creativity could be cultivated in curriculum planning for general art education at technology universities as well as what students’ learning process was when they participated in a course's creative activity. The research applied the theory and steps of creative problem‐solving (CPS) on a general art course to design a group practical activity combining with the local community. This involved converting the steps of creative problem‐solving into different stages of group design activities with the goal of constructing a design process equivalent to the process of problem‐solving. The main research results revealed that students could experience the problem‐solving process through group design activities and develop their divergent and convergent thinking at the same time. Moreover, the cooperative learning model is the most appropriate teaching strategy for students from non‐art‐related departments when cultivating their creativity.     

关于《住宅空间设计》课程教学的思考

《住宅空间设计》是我院环艺设计专业的一门主课程,针对本专业的培养要求和环境艺术设计专业的特性,本课程的教学要突出实践技能的培养,使学生通过课堂学习和项目实训熟练地掌握室内家居设计的过程和创意表现的专业技能。本文主要针对《住宅空间设计》教学过程中存在的问题提出个人的建议与观点。     

项目教学法在“版式设计”课程中的应用

项目教学法是一种以学生自主探索为基础,将实际项目工作作为主要教学内容,采用科学研究及实践方法,促进学生主动接受知识的教学方式。采用项目教学法进行"版式设计"课程教学,将项目的基本理念和操作方法应用于教学,有利于实现理论与实践的有机结合,充分调动学生学习的积极性和创造性。     

艺术设计专业应用型人才培养模式的探索

培养学以致用、服务于社会主义市场经济建设的人才,是艺术设计专业应用型人才的培养目标。而艺术设计教育的现状却不容乐观,存在着指导思想不明确、办学方针的偏差、教育投入的严重不足等问题。在这种状况下培养出来的学生,与社会用人单位的需求存在着较大的差距,同时用人单位也存在着用人误区。因此不得不认真思考艺术设计类应用型人才的培养方法问题。要针对现代学生的特点,帮助学生建立自信心,培养学生以自我为核心的独立思考、综合运作能力和综合素质,让学生顺利掌握艺术设计专业的学习方法和现代设计的创新思维方式,学会逆向思维,练就精湛的手上功夫,不拘一格地出招,才会在设计创意上有重大突破,成长为受市场欢迎的设计人才。     

A Conceptualisation of Emotion within Art and Design Education: A Creative,Learning and Product‐Orientated Triadic Schema

There is a resurgence of interest in the powerful concept of emotion in current educational policy and practice. This article calls for the recognition and conceptualisation of a triadic schema for theorising the location of emotion within a creative educational experience. The schema represents emotion within three domains within current practice: Person, Process and Product. The principal focus of the article is pupils aged 5‐16 and consideration is given to the application of the conceptualised schema within art and design education as represented by the national curriculum statement of importance. The central hypothesis of the work is that greater recognition of an emotional dimension within a triadic schema ‐ developing emotional capacity in students to engage in a creative process (person); stimulating emotional engagement through appropriate learning contexts (process) and facilitating the emotional interfacing with outcomes (product) ‐ will help conceptualise the powerful interrelationship between emotion, creativity and learning. Based upon an extensive synthesised literature review a schema, developed through abductive reasoning and grounded theory, ultimately conceptualises the overarching theme of emotion within a creative, learning and product‐orientated experience within the primary and secondary stages of England's education system.     

自组织理论视角下高职院校产学研协同创新模式的研究与实践

高职院校设计实践教学系统是一项复杂的社会系统,在产学研协同创新平台基础上,利用暑期开展的教学实践：暑期创意营,借助科学的理论方法进行研究。自组织理论无疑是一个较为科学的研究视角,其中的耗散结构理论、协同动力学、混沌理论很好地解释了社会（教学）系统从无序到有序、从低级到高级、从非组织向自组织的演化过程。在“开放、非平衡态、非线性作用、协同动力”环境下组织的“暑期创意营”教学无疑有效地承载了复合型高职院校艺术设计人才的培养,协同学生、教师、学校和企业的创新及发展。