Envisioning the Future: Working toward Sustainability in Fine Art Education

Fine art education provides students with opportunities to acquire knowledge and skills to respond creatively to their experience of society and culture. Fostering creative ways of knowing, thinking and doing requires studio learning conditions that promote the exploration of embodied perceptions, material sensibilities and conceptual ideas that are provisional, socially constructed and ever changing. Traditionally, art schools provided these conditions unchallenged because they were autonomous. Since the 1980s, however, art schools have been integrated into the academy, and face increasing pressure to meet the institutional demands of being in a university. Some argue this changed status means the academy, with its research and pedagogic traditions, is actually straitjacketing creativity. Furthermore, contemporary art practice has changed as artists are increasingly experimenting with interdisciplinary modes of working. This article discusses a two‐year major change initiative, undertaken within an urban Australian art school, designed to respond to this complex set of changed circumstances. It considers ways to address institutional compliance and viability demands while maintaining deeply held values about how to foster creativity in undergraduate students. The outcome is a new organising structure and renewed curriculum for the largest programme offering in the school: the fine art undergraduate degree. Educational renewal is conceptualised as a creative process and the approach to change is thus adapted from creative research methodologies. By treating pedagogy and curriculum design as a creative process, this change initiative, rather than straitjacketing creativity, has re‐envisioned an epistemological framework for undergraduate fine art that will sustain creativity education into the future.     

Social Expectations and Workplace Challenges: Teaching Artists in Korean Schools

Social interest in art integration for curriculum enrichment and innovation, particularly at the turn of the century, has promoted extensive institutional partnerships between cultural organisations and public schools in many countries. Stimulated by social demands for innovative educational practices, these institutional partnerships have increased the numbers of teaching artists sent to schools. These artists are expected to contribute to the development of students’ creative imaginations by providing learning opportunities beyond conventional classroom practices. However, the extent to which teaching artists are able to develop creatively within their socially expected roles remains unclear, especially considering the marginal status of the arts in formal education settings. A recent survey‐ and interview‐based study conducted by the present author in South Korea demonstrated that teaching artists in schools find the structured educational system often limits the scope of their classroom practice. This article reviews the teaching artists’ concerns and needs identified in the study context and discusses ways to support their professional development and expand the roles of institutions in improving the quality of their teaching practice. The discussion also examines historical and socio‐political factors that have influenced the persisting challenges of structural issues inherited in the Teaching Artists in Schools Program in South Korea to provide suggestions for more sustainable and instructive collaborations.     

The Relevance of Art Education and the Education of the Nigerian Child: Implications for the Universal Basic Education Policy

This article examines relevant government policy documents on education and culture and discovers that Nigerian education authorities do not ‘discriminate’ against art and culture in its articulation of educational policies per se, but lack of administrative machinery or political will has resulted in the deprivation of the Nigerian child in the process of creative activity in early childhood development. The article argues that lack of creative ability in our educational products is perhaps a major setback in the nation's quest for industrial and technological development. In this article a new art curriculum for elementary schools is. advocated as a means of engaging the young child in order to attain functional educational skills necessary in the world of work.     

新形势下做好艺术院校学生辅导员工作思路探究

辅导员是高校开展大学生思想政治教育的骨干力量,是学生思想政治教育工作第一线的组织者和教育者,是大学生健康成长的指导者和引路人,在提高学生思想政治和科学文化素质、维护校园稳定、加强校园文化建设、培养学生创新实践能力等方面作用尤为重要。与综合类大学学生相比,艺术院校学生在思想观念、价值取向、行为方式等方面又有不同特点,因此,艺术院校学生辅导员工作必须以科学发展观为指导,立足实际,创新思路,改进方法,不断提高自身素质,努力探索出适合艺术类大学生思想政治教育工作的新模式。     

‘Wicked Problems’ and the Work of the School

As communities respond to challenges, threats and opportunities, organisations are changing in significant ways — new organisational designs, new communities of practice, new skills and new forms of human capital are sought. Yet K-12 school systems appear to be permanently failing organisations, not changing despite being shrouded by the rhetoric of change and entrapped in the competing expectations of different stakeholders. Using the idea of creative design and innovation as the cornerstone for learning and a focus on wicked problems for authentic audiences for the work of students and teachers, this article explores the opportunity of such a change and the barriers to enactment. Case examples are given of problem-based learning with design at the heart of the learning process and an analysis of schools as permanently failing organisations is provided. Since the human capital needs of the 21st century require different skills from those of the last century, this approach is seen as essential. It demands a transformation of our schools, not continuous improvement.     

传统文化在现代设计中的延伸

通过研究现代艺术设计与传统文化之间关系,发现外国的学者对我们自己常常忽略的传统文化与艺术如此流连忘返……艺术是需要不断创新的,但是,我们也决不能因为要创新,而对传统文化一概加以否定。创新,对传统文化与艺术而言,是扬弃,不是否定!如果割裂了传统文化与现代艺术设计的联系,那么,现代艺术与设计也将黯然失色,甚至会自我窒息而亡。     

Intercultural Education and the Professional Knowledge of Teachers

The theme is the in‐service training of teachers, but it may be that the ideas apply equally to pre‐service work. The concerns are professional rather than academic: the aim is to find ways of changing, and of improving, what teachers do in schools. In order to effect such change we require models of the ways in which teachers make decisions about practice; we also need to find models which will be relevant to our own practice as teachers of teachers. This paper seeks to set out a model of professional knowledge and to explore ways in which that model might help towards an understanding of some of the processes involved in courses for teachers on intercultural issues.     

5x5x5=Creativity: Art as a Transformative Practice

The purpose of this article is to share ideas from 5x5x5=creativity, a research initiative established in Bath (UK) in 2000, with the aim of developing and embedding a creative and reflective pedagogy in schools and early years settings. 5x5x5=creativity research, in partnership with schools, educators, artists, creative professionals, mentors and cultural centres, aims to raise the aspirations and improve the life chances of children and young people as creative learners. In our research we want to develop creative reflective practice and influence systemic educational change. This research defends the special role of the arts in developing a more flexible concept of education through curiosity and creativity, together with the capacity for the arts for allows ‘possibility thinking’ through a creative and critical pedagogy. In this article we analyse the impact of the artists’ involvement on the development of a creative, reflective pedagogy in schools. As both artists and educators we believe it is necessary to challenge current orthodoxies and establish creative and critical thinking at the heart of learning for both children and adults.     

The cost of performance? Students' learning about acting as change agents in their schools

This paper explores how performance culture could affect students' learning about, and disposition towards, acting as organisational change agents in schools. This is based on findings from an initiative aimed to enable students to experience acting as change agents on an aspect of the school's culture that concerned them. The initiative was informed by contemporary practice and concerns in the field of student voice, and worked with a systemic action research approach focused on organisational dynamics. This research found that students' understanding of, and disposition towards doing, organisational change, seemed to be affected by how their internalisation of performance culture mediated with their concern to maintain their organisational status. Based on the theory of organisational socialisation, it argues that this may lead to a learnt inhibition towards doing organisational change in students who struggle with their organisational status in schools.     

民办学校的知识管理探讨

民办学校知识管理就是综合运用民办学校组织所具有的内外教育资源，通过建立基于学校政务和职能的知识挖掘和知识共享体系，以最大化对知识及有知识的教职员工的尊重，最大化学校知识的价值，从而提高民办学校适应市场的应变能力和创新能力，保持并提升学校的核心特色力的一场管理文化变革。在实际管理运作中，它强调学校知识文化的创新价值，借助于学校知识经营策略，达到整体上对知识的管理带动民办学校的繁荣发展。     

试论中国少数民族的美术特点

我国是一个多民族国家,除汉族以外,有五十五个民族.大多数的少数民族都有各自悠久的历史文化,尤其是各民族的富有创造性的艺术品更是灿烂多姿,成为我们民族文化艺术的宝贵财富.少数民族美术在中国美术发展中占有重要的地位,也是世界文化艺术的重要组成部分.     

试论在创造思维的培养过程中美术教育所起的作用

我国的德、智、体、美、劳全面发展的教育方针，对创造思维的培养提出了更高的要求．美育作为美术教育的重要部分，有内容丰富、手段多样、普及性强等特点。本主要从破除“心理屏蔽”，克服旧习惯思维、掌握辩证思维、建立良好的创造氛围这四个方面，谈在创造思维的培养过程中美术教育所起的作用，为中小学教育工作进行这方面的理论和实践研究做引玉之砖。     

论创作方法——创作的方法

对于学艺术创作来说，使用什么创作方法是至关重要的问题。然而，关于创作方法，简直是人言言殊，莫衷一是。我们从创作方法概念的历史演变和内涵说明创作方法不是原则、精神、思潮、流派、风格、美学体系等，而只能实事求是地把创作方法理解为创作的方法；从系统论的角度看，创作方法就是作家艺术家所使用的艺术方法的体系、系统。     

Instructional systems design and public schools

A great deal has been written in the last several years about the use or lack of use of instructional systems design (ISD) in public schools. The general discussion has revolved around why ISD has not been accepted by public schools; why instructional design experts have not been hired by public school systems; and primarily what an educational technologist can do to change the situation. The focus of most discussions by educational technologists is: how can schools and teachers alter their practice to benefit from ISD? In this article, we maintain that one reason why ISD has not been adopted in schools is that there may not be a fit between the philosophies, needs, resources, and constraints of schools and the benefits of adopting ISD. We also argue that for ISD to have a significant influence in public schools, it must be accepted by teachers. The general question we ask in this paper is this: are we attempting to redesign schools and classrooms to accommodate our technologies with insufficient attention to the perceived needs of clients and to the consequences of adopting ISD? Our approach to answering this question was to search the literature to uncover perceived inconsistencies between ISD theory and practice on the one hand and teacher needs, wants, and practices on the other.     

农村中小学艺术课程资源之构建

我国贫困农村,特别是经济欠发达的中西部农村,经济条件相对比较落后,中小学需要较大经济投入的艺术课程资源相对匮乏.但这并意味着我国贫困农村中小学就缺乏艺术课程资源,只要我们具备认识艺术课程资源的慧眼,拓开思维,注意挖掘,教师、环境、活动等艺术课程资源在我国农村中小学比比皆是.     

高职艺术教育的文化创意引导研究

文化创意产业发展的核心是创意人才的支撑,高职院校承担着大量技能型创意人才的培养重任。建立起完善的高职院校文化创意人才培养引导机制,坚持文化素质培养与实践技能培养并重原则,是培养目艺术、技术、市场融为一体的高级复合型创意人才的重要保障。     

大学生创新精神与“问题意识”的培养

带着遗憾离世的钱学森老人六问总理"为什么现在我们的学校总是培养不出杰出人才?"的遗言使创新人才培养问题再次成为广大教育工作者和国人关注的重点。创新始于"问题",问题意识是培养学生创新精神的切入点,打造学生的问题意识是培养学生创新精神的关键所在,就培养学生"问题意识"的主要途径进行了探讨。     

透视高校美术史教学中的探究性学习

美术史是高等院校美术专业的一门必修理论课程,其宗旨是指导学生艺术创作实践、提高美术审美、培养创新意识和能力。文章从激发学生的探究兴趣和培养学生问题意识两方面讨论如何在美术史教学过程中,训练学生进行探究性学习。     

创造性批评:解说与解读

作为诗性文化重要组成部分的审美批评,同文学艺术实践一样拥有创造性。对这个问题有意无意的忽视导致审美批评的沦落。从诗性解释学来看,把握审美批评的创造性的关键,在于把握文本信息的“解说”与艺术语义的“解读”的区分。     

Through a Glass Darkly: The Teaching and Assessment of Drawing Skills in the UK Post‐16 Art & Design Curriculum

This article investigates the ways in which drawing is taught and assessed in post‐16 UK schools and colleges, with a particular focus on A Level art and design courses. Through an historical survey of the development of syllabi and assessment methods, it traces how the role of drawing in the curriculum has changed over the past sixty years. From a series of prescribed observational drawing exercises, the A level exam has evolved into a holistic exploration of each student’s creative process, and drawing is now seen mainly as an integral part of that process. The article demonstrates how the art history element of the syllabus has also been gradually integrated into practice, and thus into the drawing process itself. Questions are raised about how these changes have influenced the nature of the portfolios which students entering higher education bring to interview. In short, this article seeks to answer the question: do we now teach and assess observational drawing skills ‘through a glass darkly’, obscured by other considerations within the art educational curriculum?