How Drawing is Taught in Chinese Infant Schools

The benefits of drawing for children are wide‐ranging but are likely to be mediated by the art curriculum and other governmental guidance to teachers relevant to drawing/art. Furthermore, such statutory regulations vary between cultures, and therefore curricula represent an important influence on the cultural differences found in children's drawings. Previous articles on the teaching of drawing in Chinese schools have commented upon the emphasis placed on children copying from adult drawing models. However, a new art curriculum was implemented in Chinese infant schools (3–6‐year‐olds) in 2002, still in operation today, which instead places an emphasis on the children's enjoyment of drawing through making creative and expressive pictures from their imagination. This article describes the key objectives stated in the Chinese art curricula for infant schools. We also present an interview with a Chinese infant school teacher in which she provided in detail how the curriculum is typically applied to the teaching of drawing. The interview also provided some background context to why the curriculum was changed and to its delivery. The article comments on the pedagogical practices adopted, and comparisons are made with Western art education and, in particular, to the teaching of drawing/art in England for the same age group. Finally, we consider what implications the Chinese approach has for the ‘non‐interventionist’ approach to young children's drawing/art that is frequently found in Western art education.     

A Decline in Drawing Ability?

This research surveys changing attitudes to drawing pedagogy, in the context of digitisation, moves toward student‐centred learning in art & design higher education, and anecdotal reports of declining competence. Based on student, teacher and examiner’s experiences, it has been possible to gain insights into how drawing instruction has changed over the past generation. This article examines the attitudes, values and concerns of students and educators regarding drawing instruction. The study reveals that, in the UK, drawing skills are considered to be gradually declining, while traditional notions of skill are called into question. Drawing as a means of visual recording, representation and communication remains valued, although no longer essential as it once was; drawing to augment thought process is increasingly recognised as an integral skill which enables innovation. The latter is rarely ‘taught’ but relies on core competencies that many lecturers fear are being eroded. Increasing value is placed on drawing ‘as process’, as provision is moving towards individualised instruction requiring students to work independently. While new technologies are a factor, this article re‐frames the issue as an imbalance between creative outcomes and creative process, with a disparity between school and university levels. This article calls for a renewed emphasis on ‘drawing as process’ as preparation for university, and for further consideration of the core competencies underpinning the use of drawing as a tool of thought, and how these might be standardised.     

Discourse and Practice in the Art Curriculum and the Production of the Pupil as a Subject

The development of enquiry into language this century has implications for pedagogy. This development concerns the transition from viewing language as a transparent medium, identifying an external objective reality, to a view in which language constitutes reality as we understand it. The paper begins by outlining some contemporary theoretical developments concerning the ‘productive’ or material nature of discourse. The paper shows how particular curriculum practices in art can be viewed as discursive sites which perpetuate particular discourses in which the pupil as art practitioner is produced. By focusing upon drawing practices the paper shows that the notion of ‘ability’ does not refer to some absolute skill possessed by pupils, but to particular ideological interpretations through which ability is conferred. However, such interpretations do provide us with stable forms which allow us to act as if they were absolute. Such interpretational states reveal the circular structure of interpretational practices such as evaluation and assessment. The paper shows how the reflexive nature of hermeneutic analysis can be helpful in providing a suitable space for reflection when such interpretational states break down during the practice of teaching art. By analysing a series of pupil's drawings the paper discusses how our interpretational discourses identify the pupil's ability and constitute the pupil as a subject in the ait curriculum. The paper forms part of a larger body of work in which the author is exploring how different practices in the art curriculum constitute discursive fields within which pupils as subjects are produced.     

农村儿童线描画校本课程开发策略——以重庆市复兴镇中心校为例

农村儿童线描画传承农耕文化的智慧,有着乡情的惆怅、泥土的芳香,质朴的线条通过朴实的堆叠、稚嫩的重复呈现美的韵律。重庆市北碚区复兴镇中心校是一所偏远的农村小学,为了突破学校素质教育的瓶颈,践行新课程理念,解决特色师资匮乏和特色学校建设等问题,而依托西南大学课程研究中心和美术学院,以复兴农村线描画为载体,以平行线为造型语言,以签字笔和打印纸为创作媒材,实现教师能教、学生易学,探究出复兴农村儿童线描画校本课程的开发途径,让农村孩子受到良好的艺术教育,从而促进学生素质的全面发展和人格健全,提高农村美术教师课程开发的执行力和自身的专业成长,对农村学校以开发与实施校本课程来推进艺术教育,实现教育均衡发展有一定的参考价值。     

Anatomical Sciences Education Vol. 4, Issue 5, 2011 Cover Image

Drawing session from an art and anatomy workshop for medical students at the University of Texas Health Science Center at San Antonio and art students at the University of Texas at San Antonio. A current trend in medical education is to integrate aspects of the humanities into the medical school curriculum. In this issue of ASE, Dr. Charleen Moore and her colleagues describe an art and anatomy workshop that uses drawing exercises to increase observational skills, to foster the development of humanistic sensitivities, and to emphasize the emotional aspects of dealing with mortality. (Photograph by Penelope Borchers).     

An exploration of primary school teachers' understanding of art and the place of art in the primary school curriculum

Some research within developmental psychology shows a slow period of development in children's expressive drawings during the primary school years. Developmental researchers suggest that ‘educational factors’ could contribute to this dip in development but have not explored these factors. This study explores links between educational policy – in terms of the English National Curriculum – and the development of expression in child art. A Foucauldian style analysis of interviews is presented which investigates how ten primary school teachers working in two Staffordshire schools approach art. A specific concern is to explore how different understandings of art and teaching practices are shaped and managed by the curriculum. This allows links between the demands of the curriculum and the observed dip in expressive drawing development to be investigated.     

A Critical Reading of the National Curriculum for Art in the Light of Contemporary Theories of Subjectivity

In this paper I show how pupils become visible as pedagogic subjects in the art curriculum. With reference to the work of Foucault and Lacan I theorise how pupils’ subjectivities, or identities, are formed within discursive practices which constitute the art curriculum. A critical reading of practice is presented as it is conceived in the English National Curriculum for Art orders and the School Curriculum and Assessment Authority’s document, Exemplification of Standards, in order to show how pupils’ abilities are constructed and regulated. I argue that these documents are underpinned by an inadequate understanding of practice and assessment, which fails to acknowledge the difference and legitimacy of pupils’ semiotic/representational strategies. I proceed to offer some thoughts for reconceptualising the art curriculum by employing the term ‘difference’. My purpose is to highlight the need to develop a curriculum which offers a more inclusive space for practice, a space which is not driven by normative assessment frameworks, but which celebrates difference in practice and vigorous enquiry.     

Supporting Pupils with Dyspraxia in the Visual Arts Does Drawing from Observation Function as an Official and Discriminatory Discourse?

This article examines the demands that pupils with dyspraxia may face when engaging with the secondary art and design curriculum in a mainstream secondary school. It explores the possibility that there is an exclusive approach to art and design, prioritising a formalist approach to the teaching of specific skills and mastery of techniques, and considers the implications that this may have for such pupils. Specific attention is paid to the role of observational drawing and the demands that this may make for pupils with dyspraxia. The article will explore existing guidance offered for subject‐based practitioners and aims to contextualise this within the current debates on art and design education and the recollections of individual experiences of art and design. It will outline the hypothesis that pupils with dyspraxia may be one group of pupils amongst many for whom their art and design experience does not offer an inclusive experience, and it seeks to question the existence of a hierarchy of practice and its subsequent relevance.     

An Analysis of the Presentation of Art in the British Primary School Curriculum and its Implications for Teaching

This article presents an analysis of the way art is conceptualised in the British primary school curriculum and provides an historical framework that maps an evolution of ideas that have shaped the way art is presented in the modern day primary curriculum. In order to achieve this a Foucauldian style genealogical analysis is utilised to trace the discourses (systems of meaning) surrounding the nature of children's artistic development and how these discourses are used in the present day British primary curriculum to construe art in different ways. The analysis in this article is threefold. It explores the presentation of art in the curriculum as (1) an expressive subject, (2) a skills based subject, (3) a subject which focuses on art history and art appreciation. Second, the teaching positions associated with each approach are identified as follows (a) the facilitator, (b) the expert and (c) the philosopher; as well as the issues teachers face when adopting these positions. Third, attention is given to how these theoretical principles might be linked to practice. In so doing this article contributes to the debate surrounding the value of art in the primary curriculum and the way in which the curriculum serves to shape teaching practice.     

Cultivating the Critical Mind in Art

This article raises the problem of how to teach and research the critical and historical study on an A level art course. I have recently completed my doctoral study on this area of the art curriculum, which was conducted during the period of change to all post sixteen qualifications after the 1996 Dearing report. In this article I show how personal and critical knowledge was a necessary part of the practical investigation and helped to foster inquiry learning among my two research groups of sixth form students. The experience has given me renewed hope that students are able to problematise meaning in art and communicate what values and positions they adopt in the course of their investigations into the work of others.     

Responding to children's drawings

This article aims to explore the issues that face primary school teachers when responding to children's drawings. Assessment in art and design is an ongoing concern for teachers with limited experience and confidence in the area and, although children's drawings continue to be a focus of much research, the question of what it is that teachers say to young children that has a positive impact on the development of their drawing is under-explored. The article aims to identify the components of what constitutes children's competence in observational drawing through a detailed analysis of a drawing made by a 6-year-old child. Connections between the teaching of drawing and the teaching of literacy are highlighted, and the article concludes that children who are able make confident representations of the visual world are better placed to express their own ideas, thoughts and experiences through art.     

‘Being’ a critical multicultural pedagogue in the art education classroom

Art educators continuously struggle to understand what multiculturalism ‘looks like’ in the art classroom. This has resulted in multicultural art education becoming superficial, in which art teachers guide students through art projects like creating African masks, Native American dream catchers, Aboriginal totems, and sand paintings, all without communicating the context of the art. This type of multiculturalism essentializes cultures, and builds Western, myopic narratives about groups of people, specifically about their ‘Art’. Critical multiculturalism is a power-focused upgrade of multiculturalism that calls for a critique of power and demands recognition that racism and other discriminations are enmeshed in the fabric of our social order. Teaching through a critical multiculturalism framework helps teachers dismantle Western, normalized narratives and produce counter-hegemonic curriculum that contextualizes culture and reveals its fluidity. In this article, the author shares a teacher action research study in which she describes what critical multiculturalism looks like in her art education classroom. The study focuses on ‘being’ a critically multicultural educator versus ‘doing’ critical multiculturalism. Such a position counters the idea that critical multiculturalism is a thing to complete, but instead is an ongoing process that rests on specific ways of thinking and considering the classroom, curriculum, and students.     

Making art invisible: visual education and the cultural stagnation of neo-liberal rationality

The popularity of visual literacy may have resulted, in part, from some school authorities rushing the process of determining school curriculum. This article argues that the haste is reflective of pressure placed on educational discourse to conform to neo-liberal reforms of the sector, and is not the result of a careful and complex debate within the education community. In Australia, such reform has contributed to the erosion of visual art as a discrete subject in the general curriculum. The article accounts for the fact that the lack of careful debate may be due to art educators rehearsing tired arguments for retaining the place occupied by visual art, which smack of sentimentality. The author examines the conceptualisation of visual art at a cultural and theoretical level, and argues that by considering the function art has traditionally played in relation to conceptions of human subjectivity, we may disclose the marginalisation of visual art as a signal of much larger threats to political and economic structures in democratic society. The article considers whether the absorption of ‘art’ within a broader preference for visual communication, graphic design, or design and technology, is symptomatic of a long-term cultural stagnation.     

Practice into Pedagogy into Practice: Collaborative Postcards from Hong Kong

A collaborative postcard project completed by 22 students as part of a drawing course conducted at a university in Hong Kong is introduced. The project entailed inviting students into an art practice in which the author was herself engaged as a practitioner as well as a researcher. After introducing the educational context in which the project took place, the author provides an account – informed by ‘participant‐observer’ feedback from students – of how the project unfolded and was experienced. In the second section of the article the creative and pedagogic efficacy of the project is considered with reference to the experience‐centred and dialogic principles expressed in the educational philosophies of John Dewey, Simone Weil, Hannah Arendt and Paulo Freire. The third section draws on insights from scholars working in a range of disciplines – cultural history, anthropology, sociology and psychology – to argue that a particular set of organisational and collaborative dynamics catalysed students’ levels of engagement, creativity and motivation. The article argues that the collaborative postcard project is an example of an experience‐centred and practice‐based pedagogy that is founded on dialogue, mutual generosity and experimental play, and engenders in students the ‘quality of mental process’ that is, for John Dewey, ‘the measure of educative growth’.     

关于高职学前专业美术课程建设的思考

根据多年的教学实验和调查研究,结合高职学前教育实际,对高职学前教育专业美术课程建设提出了从培养学生创意儿童画能力、教学能力、动手能力和环境创设能力四个方面入手进行的课程整合调整,并对四方面课程必修课和选修课设置分别提出了相应的建议。     

Learning to Be: The Modelling of Art and Design Practice in University Art and Design Teaching

Learning to be an artist or designer is a complex process of becoming. Much of the early phase of ‘learning to be’ occurs during the time emerging artists and designers are students in university art/design programmes, both undergraduate and postgraduate. Recent research reveals that a critical role in assisting students in their maturing identities as artists and designers is played by artist/designer‐academics teaching in university art and design programmes. By maintaining active art/design practices and drawing from these in their teaching, artist/designer‐academics model professional practice to students. Witnessing and interacting with such modelling is part of the process of students learning the shared discourses, views and practices of the art or design worlds to which they aspire to belong. The modelling of professional practice is critical to an artist or designer's ‘learning to be’ experience because it enables students to access the tacit and nuanced behaviours, languages and cultures that constitute contemporary art or design practice. This article outlines findings from a recent Australian study revealing the role of professional practice modelling in university art/design teaching. It highlights the centrality of professional practice modelling to artist/designer‐academics in their beliefs and approaches to teaching their academic disciplines. In critically exploring the research data and findings this article describes the role that modelling of practice plays and how it comprises a core part of the value that artist/designer‐academic participants contribute to the teaching of art/design education.     

Drawing in Perspective: Scottish Art and Design Teachers Discuss Drawing

What are the main purposes of drawing in the secondary art and design curriculum? What are Scottish art teachers' views on the role and function of drawing? How is drawing taught in Scottish schools? These three broad questions formed the basis of the research reported in this article. The small‐scale study, carried out between June 2002 and June 2004 will, the authors hope, be of interest to art educators seeking to explore the teaching of drawing as a key component of art and design education. In this article, we report on the background to the study, the place of drawing in Scottish art education, the methodology used, discuss some of the respondents' comments and conclude with some reflections and thoughts for future study.     

Integrating Writing into the Early Childhood Curriculum: A Frame for Intentional and Meaningful Writing Experiences

Despite the importance of early writing development to children’s school success, research documents that early childhood teachers spend little time actively supporting children’s writing development in preschool classrooms. This article provides a framework for integrating writing experiences across the early childhood curriculum. Practical examples are given regarding how writing opportunities can be incorporated into existing activities and play settings. The metaphor of backgrounding and foregrounding writing experiences is used to illustrate ways that teachers can set writing rich environments and activities in a manner that makes it easier for teachers to bring these experiences into everyday learning opportunities. Attention is given to how teachers can bring writing to the foreground of the curriculum by drawing attention to writing materials, making natural connections with children’s interest and play, and scaffolding children’s early writing attempts and experiences.     

The NSEAD Survey Report 2015–16: Political Reflections from Two Art and Design Educators

In 2015 the (UK) National Society for Education in Art and Design (NSEAD) conducted their biggest and most comprehensive survey to date with art and design educators. Some 1,191 teachers and lecturers employed in early years to further education settings across England and Wales responded to the survey, which aimed to capture how government policy since 2010 has affected art and design education. Four key areas were examined: curriculum provision; value given to the subject within the school community; professional development opportunities; and well‐being and workload. The results are troubling, indicating a systemic marginalisation of art and design across all sectors, evident in a reduction in choice, provision and curriculum time, and evidence of falling standards in student attainment at primary to secondary transfer. We supported the NSEAD with constructing the survey and writing the report and in this article we utilise the Survey Report to fuel a broader discussion about our concerns regarding the demise of art and design education. Value is identified as an essential theme and we posit that our subject, largely due to neoliberalist policy, is currently perceived as a ‘bimbo’: attractive, but unintelligent and frivolous. In this article we pay particular attention to the value of art and design education from a political perspective, challenging narrow government agendas.     

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.