‘Core Subjects’ Policy and Arts Education for the Rich

What happens to art education when the national school curriculum in Israel follows a ‘core subjects’ policy? Allocating only two hours for all five art subjects (visual arts, music, drama, dance and cinematic arts) that remain outside the core curriculum increases the social‐economic gap between children whose parents can fund their art education privately and children whose parents cannot afford this. This also has worrying consequences for art teachers (most of them women) deprived of job security.     

What's Happening to Photography?

This is the first public output of the joint Arts Council/University of Portsmouth research project into photography teaching in GNVQ Art and Design and Media Communications and Production. It reports principally from various contacts and interviews in the first six months of the project and from the results of a questionnaire survey of art and design lecturers involved in GNVQ. The paper suggests that the increasing significance of photography in artistic cultural and social practices is not adequately reflected in formal education. It describes a variety of aims and practices in those institutions involved in GNYQ, although we have found little collaboration between art and design and media courses. In some art and design courses, photography functions mainly as an aid to research and preparatory work, elsewhere we found lecturers willing to describe it as ‘an art form in its own right’ or as a ‘fundamental part’ of the art and design curriculum. We report on the resource implications of offering substantial photography courses. some preliminary findings about the kinds of students studying art and design GNVQ, and the perceived value of official publications. The question of choosing ‘A’ level or GNVQ is raised, as is the issue of progression. We have found expectations that GNVQs will become a regular route into HE although their currency is not yet clear. Although we report difficulties with GNVQs in art and design, and more specifically with photography, we also record comments which indicate some reasons for optimism.     

Young People,Photography and Engagement

Over ten years research into photography and education has been undertaken at Birmingham Institute of Art and Design in collaboration with the Arts Council of England, West Midlands Arts, and local community photography agencies. A range of case studies were undertaken to explore how young people used photography, particularly in self‐empowerment. These ranged from students in Further Education challenging concepts of visual stereotypes of disability, young lesbian, gay and bisexual people constructing their own website, and individuals and groups creating and modifying their own images in a shopping centre. A democratic action research methodology was developed to enable the young people to establish their own agenda and generate standards for evaluating their work. A particular feature of the later research was a self‐reflective journal that was shared between the researcher and everyone engaged in the project. This resource has considerable potential in photography and elsewhere in art and design education.     

Young black women curate visual arts e-portfolios: negotiating digital disciplined identities,infrastructural inequality and public visibility

ABSTRACT

Despite the growing importance of digital portfolios for justifying creative work and study opportunities, little is known about arts students’ creative appropriation of online portfolios in secondary school. In particular, there is a research gap concerning the challenges that young black women face when curating portfolios as visual arts students. This paper describes the key challenges that three such government school students negotiated when taught to creatively appropriate an online portfolio software for curating showcase visual arts e-portfolios: In formal contexts, art students’ e-portfolios are strongly shaped by assimilatory norms. Visual arts students who want to develop portfolios that follow local or global crafts and fandoms must negotiate their low status in, or complete exclusion from, the national syllabus. Students in under-resourced school and home settings may already be using other online portfolio solutions that suit their purposes better than the particular software prescribed in arts lessons. Online portfolios are public by default and young women negotiated this risk by using pseudonymous self-presentations. Each student's classroom practices were also constrained by a technology selected for its minimalist exhibition aesthetic. Students curated showcase exhibitions, but the prescribed service did not facilitate a wider exploration of contemporary digital practices.     

浅谈少儿摄影的特点及教学

少儿摄影作为摄影的一个门类，既有和其它摄影相同的共性，又有其独特的个性。少儿摄影的特性表现为真实性、趣味性、审美性和丰富性。开展少儿摄影活动有助于少年儿童养成观察生活、思考生活的习惯，有助于少儿人格的健全发展。     

广告摄影课程改革探析

文章主要对目前国内艺术设计专业摄影课程教学中经常出现的问题进行分析,提出了应该把摄影课程作为一门综合性的学科课程进行研究,改进摄影课程的教学内容,引导学生从实际、实用的角度学习、思考与实践。活学活用,这样才能令学生产生学习兴趣,从而提高教学质量。     

Teaching Visual Literacy - Some Reflections on the Term

The statutory Order for art in the national curriculum identifies visual literacy as an essential aim of contemporary art education. In the Order visual literacy is located in the second attainment target. This paper suggests that, since the concept of literacy embraces reading and writing, the term visual literacy might be more usefully employed as an overarching concept embracing both attainment targets. This suggestion draws upon some of the extensive work carried out into literacy within the discipline of English. Further, the paper suggests that the ambition of the Order for art must be weighed against the dominant practices of art and design education and asks whether a curriculum which centres on painting and drawing can realistically be considered to be providing an adequate education for visual literacy in the 1990s.     

Stimulating Prewriting Skills with the Help of Pictorial Images

Increasingly, children who start school have already acquired basic reading and writing skills provided by their parents or preschool teachers. However, even if we choose to accept the fact that by teaching preschool children how to read and write parents wish to help them integrate successfully into the school environment and methods of work, we still need to emphasize that certain activities are not in balance with the needs, abilities, and potentials of a preschool child. At the same time some other possibilities are not being used enough (e.g., visual art). The present research introduces this aspect and presents training prewriting skills based on visual art activities given that visual art represents one of the primary media that every child spontaneously uses in his or her preschool years.     

Photo-Booklets for English Language Learning: Incorporating Visual Communication into Early Childhood Teacher Preparation

Teachers can integrate discussion and writing about photographs into the early childhood curriculum to build speaking, reading, and writing skills in any language. Although little available research focuses on photography and early childhood education as related specifically to English Language Learners, several current teacher resources do focus on uses of photography in classrooms for young children. What is lacking, however, is substantial reference to the planned use of language along with image creation through photography for the language development of English Language Learners (ELLs) in the early childhood classroom. Teacher training, too, devotes insufficient attention to either visual literacy or visual communication. This article provides a discussion of the role of the visual in English language development as a basis for a sample photography project that can be incorporated into a course for pre-service teachers in methods of teaching ELLs. Pre-service teachers thus experience the project first-hand in terms of image creation and the planning of appropriate content, language, and visual literacy objectives. The resulting visual products then function as teaching resources themselves; however, effective visual learning for ELLs requires that teachers possess such an informed understanding of the techniques that structure and assist language development.     

Fly's Eye View: Introducing Young Children to Digital Art through Virtual Reality

This paper describes ‘Fly’s Eye View', a project devised and directed by David Smith and supported by a grant from the UK Techniquest Pantechnicon Millennium Awards (intended to help bridge the gap in public perception between science and art). ‘Fly’s Eye View' was specifically aimed at young children, aged 7–11 years (Key Stage Two of the UK National Curriculum). The project used a low-level VR fly-by system to represent a garden scene as it might be experienced by a dragonfly. The analogy between the mosaic visual ‘perception’ of insects and image representation in computer systems allowed some interesting explorations into what may be involved in ‘seeing’. This analogy was used as the starting point for a series of exploratory activities using digital art work. The paper reviews the outcomes of the project and discusses their possible significance in the context of current approaches to art education and the stimulation of creative thinking in young children.     

Learning to be an Art Educator: Student Teachers’ Attitudes to Art and Art Education

Visual Art educators are keenly aware of the significant contribution art can make to the growth and development of young children as it provides unique opportunities for personal expression and creativity. However, while it is acknowledged that art contributes to the development of the whole child, the link between thought and practice is often tenuous. Hence the question needs to be asked, what do student teachers really think about art and art education. This longitudinal study aimed at an exploration of student teachers prior experiences, existing knowledge, beliefs, attitudes, perceptions and interest in the visual arts. One hundred and ten B.Ed. (Primary) students enrolled in two compulsory Visual Arts Education units of study were surveyed in March 1999 and then in October 2001 to ascertain how they interpreted the term visual arts; how this related to visual arts education (if, in fact it did); where they would position visual arts amongst the other five key learning areas of the primary curriculum; and ultimately how they felt about the prospect of teaching visual arts in a primary school context. The findings of the research revealed a number of significant differences between the initial data (March 1999) and the final data (October 2001).     

Getting more from getting out: increasing achievement in literacy and science through ecological fieldwork

This paper demonstrates the positive impact of learning through ecological fieldwork upon children's ability to write, and to write about science. Specifically we have carried out a relatively large-scale study (involving 379 children aged 9–11 years from 8 primary schools in North East England) comparing intervention classes (involved in fieldwork) and comparison classes (no fieldwork). Pre-intervention assessments revealed no differences between classes in mean literacy scores; post-intervention assessments revealed that significantly higher literacy scores were achieved by children who had carried out fieldwork (girls consistently outperformed boys in all classes). Intervention class children achieved higher scores in science (ecology) assessments than their comparison class peers before and after the intervention. We suggest that this may be an effect of these children thinking as scientists throughout the project. Our work confirms that a child-centred outdoor learning experience focused upon science can result in learning benefits across the wider curriculum.     

An Art Enrichment Project for Eight to Ten Year Olds in the Ordinary Classroom

The definition of enrichment, embedded in the literature on the subject, means taking children above and beyond their every day learning experience by providing for a short time an unusually challenging environment that will uncover and strengthen talent. The author is a practising teacher who recently did some classroom-based action research examining the effects of immersing mixed ability eight-to ten-year olds in a range of differentiated art experience over an intensive two day period. Three separate projects were undertaken, although only one – a design project – can be discussed here in detail. This involved the author working alongside a class teacher in order to provide `hands on’ InSET experience and help develop confidence in art teaching. Some enrichment art activities were specifically planned requiring children to think and analyse in depth. These were available to all children who selected them but were also targeted to children who in the opinion of their teachers already showed some interest, talent and commitment to art. The other art activities on offer provided a stimulating general art experience but not a high level of cognitive challenge. This paper explores the purpose and design of the research, and offers some conclusions based on a variety of interview and photographic data.     

Irish primary school children's definitions of ‘geography’

This research reviews a sample of fifth-class children's definitions of geography. It was carried out after the publication of the Revised Primary School Curriculum (1999) but before any staff development had taken place for the implementation of this curriculum. Since the data was collected, staff development for the 1999 curriculum in geography has been timetabled for the 2005–2006 school year.

The data collected revealed most children had a clear idea what geography was, with the majority of children (97.3%) referring to one or more aspects of geography. Over half the children defined geography as being about themes and places. A clear emphasis on the learning of place names and fact learning came through in definitions. There were limited references to learning key ideas or concepts. Skills, with the exception of ‘maps’, were mentioned by few children. No child mentioned fieldwork. The definitions written by the children tended to reflect geography topics they had covered in school textbooks. The findings suggest areas of the 1999 curriculum that will be new to teachers and children and point to the challenges for the implementation of the curriculum.     

Potential teaching model for applying novel approaches of renewed Estonian national curriculum into visual art classes in primary school

In 2010, the renewed national curriculum was legislated in Estonia. Major changes include a new list of cross-curricular topics, increased importance of integration and specification of the components of the art learning process. In this situation, the question arises – how to fully implement the challenges of the renewed curriculum in primary school visual art classes. One possibility is to use a consistent teaching model. This article gives an overview of such model as applied during an action research project, analysing the participation and involvement of the pupils and their study experiences.     

学前阶段视觉障碍儿童的课程编制与应用

本研究依据相关课程理论,参考国内外出版的发展量表,编制《学前阶段视觉障碍课程》,并运用此课程对一学前视障班级进行学前检测、教学监测、学后评估,经过一年的实践检验,研究者认为:本课程为一线教师提供了一个比较系统、完整的学前视障知识框架,能有效地指导教学,但同时也存在着一些问题。     

Breadth and Balance? The Impact of the National Literacy and Numeracy Strategies on Art in the Primary School

This paper presents the findings of a small-scale qualitative research enquiry into some of the effects on the primary school art curriculum of the introduction of the National Literacy and Numeracy Strategies in 1988 and 1999. Five art curriculum co-ordinators and an additional part time specialist art teacher, drawn from five inner city primary schools in two London boroughs, were the subject of a semi-structured interview designed to elicit data on the broad changes in primary art education. Key external factors were the introduction of the Art National Curriculum in 1992, its subsequent development and its current condition during a period of ‘relaxation’ of the Orders, following the government's introduction of the Literacy and Numeracy Strategies. Little official attention has been given to other, perhaps unintended, outcomes of the latter strategy across the curriculum. This study gives an insight into the experience and perceptions of some of those carrying the responsibility for leadership of art in school in the primary phase.     

Making Meaningful: Intention in Children's Art Making

Children's art work has often been the subject of study by researchers seeking to gain insight into the role of art making in children's learning and development. However, rarely are children's own explanations of their art making used to inform these studies. Children's perceptions of their own art making are important for research and practice in art education, because their artistic experiences and motivations determine how they will engage in and respond to art making activities. This study used ethnographic methods to learn about the art making that took place over the course of one year in an elementary school art room, and to gain insight into the students' experiences and perceptions of art‐making activity. Data were analysed using a socio‐cultural framework. By asking children why they made art and exploring children's own explanations of their art making, this study reveals some of the important intentions that children bring to their artistic activity, and some of the ways that children make meaning through art making.