An Analysis of the Political Complexion of the 1835/6 Select Committee on Arts and Manufactures

The 1835/6 Select Committee on Arts and Manufactures is generally acknowledged as being the key political event in the establishment of a system of public art and design education in Britain. The immediate outcome of its deliberations was the opening of the Normal School of Design in London in 1837 followed by the steady expansion of the system over the course of the nineteenth century, with art schools being opened in most major towns and cities throughout the country. The Minutes and Report from this Select Committee therefore represent the most important primary source for historians seeking rationales for the introduction of governmentally funded art and design education in Britain. Despite this, the workings of this Select Committee remains under‐researched in a number of important directions. This article sets out to look at one of these ‐ namely, the politicians who sat on the 1835/6 Select Committee on Arts and Manufactures.     

The arts in the Aotearoa New Zealand Curriculum: challenges for educating teachers in contemporary conditions

In this paper, preliminary comments are made about The Arts in the New Zealand Curriculum document questioning its framing of the arts ‘disciplines’. The notion of the ‘the arts’, which appears to take its meaning from the generic term ‘art’ that directs us to class together music, painting, visual art, dance and other diverse activities, is examined. The idea of ‘literacies’ in the arts is questioned, as well as the ideological nature of representing the arts as ‘essential skills’. Suggestions are made concerning the identity and role of educators in the arts areas of the curriculum. I then take strands within the Arts curriculum document (‘Communicating and interpreting in the arts’ and ‘The arts in context’) and scrutinize these in terms of the possibilities for a critical interpretation of pedagogy and what I believe to be our obligations as teacher educators within a pre-service programme in university setting.     

Teachers,Arts Practice and Pedagogy

What are possible overlaps between arts practice and school pedagogy? How is teacher subjectivity and pedagogy affected when teachers engage with arts practice, in particular, theatre practices? We draw on research conducted into the Learning Performance Network (LPN), a project that involved school teachers working with the Royal Shakespeare Company and the University of Warwick. The aim of the commissioned research was to look at the effects on teacher development, focusing on the active rehearsal room pedagogic techniques and ensemble methods of exploring Shakespearean text and performance. The practices of working as an ensemble through rehearsal room pedagogy were central to the LPN. Our interest is in looking for possible shifts in teachers’ subjectivity, their self-perception. What affordances, limitations, accommodations and tensions are experienced by the teachers in transposing work from the rehearsal room to the classroom? We draw on a range of cultural theories that provide complementary perspectives on aspects of subjectivity; these include Vygotskian approaches to the psychology of art and acting. Raymond Williams’s work on the ‘dramatized society’ and Jacques Rancière’s work on spectatorship and pedagogy. Data in the form of excerpts from field notes, taken in an introductory workshop where teachers worked with theatre practitioners, and from transcribed interviews with participants in the project are used to provide evidence of shifts in perspective, self-perception and pedagogic practice.     

Art Animates: Ideas Inspired by a University-Sponsored Summer Arts Academy for Middle and High School Students

ABSTRACT

Art can provide a vehicle for animating learning. Teachers bring ideas to life through curriculum, while artists realize their ideas through images, often translating between forms, media and spaces. This paper describes the context, content and format of a residential Summer Arts Academy for gifted and talented middle and high school students, held on a university campus. In 2013, the theme of the visual art program at the Summer Arts Academy was animation, which linked to the summer exhibition at the local art museum. Collaborations among university faculty, public school teachers, community artists, and art museum and gallery staff have potential to animate learning for students, while stimulating additional forms of public engagement.     

Developing the characteristic spirit of publicly managed schools in a more secular and pluralist Ireland

This discussion paper considers the identification and definition of the ‘characteristic spirit’ of publicly managed schools in the Republic of Ireland. Some international approaches to values in publicly funded schools are introduced along with relevant contextual aspects of Irish education including the cultural diversity and secularisation of modern Irish society. The Irish Education Act (1998) gives ultimate responsibility for school values and ‘characteristic spirit’ to the school ‘patron’, a role legally separate from that of school ownership and school management. The underlying values of privately managed faith-based schools are well established. However, the ‘characteristic spirit’ of publicly managed Education and Training Board schools remains largely undeveloped. Appropriate responses to this challenge are identified and discussed.     

Boy Trouble: Some Problems Resulting from ‘Gendered’ Representation of Glasgow’s Culture in the Education of Women Artists and Designers

This essay is written as Glasgow celebrates its (unilaterally - nominated ) year as UK City of Visual Arts and anticipates its year as UK City of Design and Architecture in 1999. In it I will suggest that women's participation in art and design (education) in Glasgow can be read as both problematic and political, pioneering and yet historically and currently contingent on ‘binary oppositions’     

Silicon startup schools: technocracy,algorithmic imaginaries and venture philanthropy in corporate education reform

Technology companies are investing billions of dollars in educational technology, but also creating their own alternative schools. This article traces the emergence of four prototypical ‘silicon startup schools’ as exemplars of a technocratic mode of corporatized education reform: IBM’s P-TECH, part of its Smarter Cities program; AltSchool, a chain of schools based on ‘makerspaces’ established by a former Google executive; Kahn Lab School, a new ‘experimental’ school launched by the founder of the online Kahn Academy; and XQ Super School Project, a ‘crowdsourcing’ project to redesign American high schools funded philanthropically by the wife of Steve Jobs of Apple. Startup schools are analysed as prototype educational institutions that originate in the culture, discourse and ideals of Silicon Valley venture capital and startup culture, and that are intended to relocate its practices to the whole social, technical, political and economic infrastructure of schooling. These new schools are being designed as scalable technical platforms; funded by commercial ‘venture philanthropy’ sources; and staffed and managed by executives and engineers from some of Silicon Valley’s most successful startups and web companies. Together, they constitute a powerful shared ‘algorithmic imaginary’ that seeks to ‘disrupt’ public schooling through the technocratic expertise of Silicon Valley venture philanthropists.     

Art School Building: the Old/New Chelsea

In the wake of the recent demolition of the 1965 Chelsea School of Art building on Manresa Road in London, this article seeks to explore the relationship between art school architecture and art school pedagogy. Research on art school buildings, both national and international, and British art school education of the 1960s, is brought to bear, on the former ‘New School of Art in Chelsea’ building. In addition to an account of how this building came about, drawn from archival records and interviews with architects and former Chelsea students and staff, the correlation of utopianist values in post‐war British society, modernist architecture and higher education in art is examined. The reports of the National Advisory Council on Art Education (NACAE), which, in the 1960s, ushered in fundamental changes to British art education, are touched upon, and an account of the building design developed between art educationalists (including Chelsea Principal Lawrence Gowing and Chairman of the NACAE William Coldstream) and architects of the London County Council, is given. Photographs of the building, in the 1960s and during its demolition in 2010, are included. In addition to a historical account and case‐study, and despite the difficulties inherent, art school building is approached as an imaginative and socio‐political gesture, as a utopian act; ‘art school building’ in both senses (‘building’ as a verb and as a noun).     

Pedagogies for the ‘Dis‐engaged’: Diverse Experiences of the Young People’s Arts Award Programme

Art education is often praised for its engaging programmes and inclusive pedagogies, with many initiatives created with the intention of widening access for those who are deemed to be lacking. This article investigates one such programme – the young people’s Arts Award, which is a nationally recognised qualification for young people aged 11–25. I call upon a range of pedagogies in order to critique the Arts Award within the context of informal and alternative education settings in the United Kingdom. Drawing on a 12‐month ethnographic study, the research was conducted across five diverse programmes which included youth work projects and alternative provision. I present two cases – ‘learning to be an artist’ and ‘learning to behave’ – which demonstrate a hierarchy of pedagogy in the application of this programme across these particular contexts. Artists’ Signature Pedagogies are used as an analytical framework to explore the affordances of working with artists through the programme. Further, I engage with the Pedagogy of Poverty to demonstrate that young people who were classified as ‘dis‐engaged’ were more likely to receive lower quality programmes, low‐level work and over‐regulated teaching. I argue that despite changes to the ways that young people access art education, there continues to be unequal opportunities. This finding is significant for not only creative practitioners and youth arts workers, but also arts education policy makers and programmers.     

Sending children to school ‘back home’: Multiple moralities of Punjabi Sikh parents in Britain

This article explores how Punjabi Sikh parents in Britain try to produce ‘good children’ through moral reasoning about their schooling. Parents compare schooling in Britain with India and sometimes wonder about sending their children to school ‘back home’, in the hope of immersing them in Indian culture, traditions and language. The ethnographic material comes from a study of Indian Punjabi transnationalism involving fieldwork in the West Midlands and 72 interviews with parents, grandparents and young people. I first explore the views of parents and grandparents who advocate sending children to school in India. Then, focusing on two mothers, I explore the moral dilemmas that resulted from sending their children ‘back home’. The article demonstrates the value of Zigon’s theories on moral pluralism, and explores dynamics of gender, generation and class.     

Transaction and transformation at Trinity: private sponsorship,core values and Christian ethos at England's most improved academy

The Academies Programme in England, whereby new schools may be privately sponsored and managed but publicly funded, has expanded rapidly with over 200 academies already open before 2010 and many more likely given the education policies promoted by Michael Gove as Conservative Secretary of State for Education. A significant number of academies are sponsored by Christian organisations and this article draws upon the author's recent case study of Trinity Academy which has both a business sponsor and a Christian ethos. Trinity Academy, which is located at the heart of a former mining community in South Yorkshire and serves a social priority area with a history of educational underachievement, was designated ‘England's Most Improved Academy’ and the ‘Most Improved School in Yorkshire and Humberside’ just prior to the commencement of the research. In this article the contribution made by Trinity is assessed and the perspectives of sponsor, school leaders, teachers and 14‐year‐olds are evaluated. The concept of the ‘transaction’ to indicate exchange and interdependence informs both research design and analysis. The nature and quality of transactions between those who ‘author’ the authorised ‘texts’ of school life and the young people and teachers who ‘read’ and respond to these value‐laden ‘texts’ at Trinity Academy are reported. The conclusion is drawn that transactions between Trinity Academy's students, its ‘secular’ core values and its Christian ethos, and also between the public and private sectors, have supported an innovation in schooling that has transformed the opportunities and life‐chances of young people. Transactions such as those at Trinity are advocated as an ethical and socially just means of bringing about transformation in educational attainment while providing moral education that fosters autonomy and critical thinking.     

The social field(s) of arts education today: living vulnerability in neo-liberal times

The arts are often seen as peripheral to the ‘real business’ of school and schooling. While this has been the case for some time now, the increasing pressures of high-stakes testing and ever-more draconian public funding schemes (particularly in the wake of 9/11) have created something of a ‘perfect storm’ for those working in the arts. Arts proponents today live and operate within a culture of scarcity, having to justify their increasingly marginalized vocations while competing for continually shrinking resources. The result is an often deep-bodied sense of vulnerability, one which saturates the social field (both micro and macro) of arts education in ways not often publicly acknowledged. In this article, I explore this notion of ‘vulnerability’ as a framework for understanding qualitative data which emerged from a three-year arts and education project I conducted in a large, northeast city in the USA beginning in 2003. In so doing, I look to open up a broader discussion about the oft-ignored intersection(s) between the material and aesthetic in arts and education – a discussion which is sober about the future of such work in times of economic scarcity and conservative retrenchment.     

Theorising systemic change: learning from the academisation project in England

The research reported in this article contributes new understandings of systemic change by studying the form of system redesign known in England as academisation. The data illuminate tensions within the neoliberal policy complex that are surfaced in a single secondary school. Although several studies have described academy conversions retrospectively, there has been little research that both analyses the complex month-by-month realities of decision-making and investigates the changing views of policy actors. Drawing on data from documents, observations and interviews, we argue for academisation to be understood, not as a policy or a complex of policies, but as system redesign. Academisation is not simply a legal process: a school can be academised without officially becoming an academy. The new knowledge from this research speaks to a global audience, because the political, economic and cultural processes on which it reports are under scrutiny in other systems with experiments in school autonomy as a form of publicly funded but ‘independent’ schooling.     

略论教育学派的建构

教育学派的建构有赖于多方面条件的成熟,虽然近代教育学派在西方诞生以后,议论纷呈,学派蜂起,但传到中国的近百年历史中,却尚未形成中国教育学派。当前教育界某种建构教育党派尝试有待历史的检验。     

对“传统工艺美术专业”设置的一点想法

＂传统工艺美术＂课程的设置,有助于培养特色专业,重塑＂艺术兴学＂的理念,打造出符合时代需求的多层次、多元化艺术教育新模式。     

‘But when are they going to produce some artwork?’ Against Pastiche: Issue‐Based Art and Authorship within the Key Stage 3 Curriculum

Ideas and issues based contemporary art is often seen as something to be avoided in schools, as the controversial subjects that it broaches are often perceived as problematic and inappropriate. However, by censoring education, it can be seen that educators are missing vital opportunities to confront the relevant personal, social, political and cultural issues that shape young peoples' lives in our postmodern, contemporary society. This article reflects on the experiences of an artist/teacher gained through the Recreating Landscapes (Illuminate Project), which aimed to utilise LeWitt's concept of the ideas ‘machine’ to broaden the way that Key Stage 3 art is taught and explore student voice. The construct of the teacher as giver of knowledge was challenged, informed by Barthes' work on the deconstruction of the modernist concept of Authorship. Issues were derived from a pupil voice workshop and the ownership of response to this stimulus belonged to the students. The aim was to challenge mimetic, technical achievement often favoured in ‘traditional’ school art pedagogy, allowing ideas and discussion to be the lynchpin, shifting away from the emphasis commonly placed on outcomes. Through this practice it was hoped that the ‘landscape’ of the learning environment would be recreated: a discursive setting where issues perceived as ‘challenging’ could be broached in a supportive environment, enabled by a reconsidered, culturally relevant pedagogy.     

A Critical Pedagogy of Ineffability: Identity,education and the secret life of whatever

Abstract

In this article I bring Giorgio Agamben’s notion of ‘whatever singularity’ into critical pedagogy. I take as my starting point the role of identity within critical pedagogy. I call upon Butler to sketch the debates around the mobilization of identity for political purposes and, conceding the contingent necessity of identity, then suggest that whatever singularity can be helpful in moving critical pedagogy from an emancipatory to a liberatory project (a distinction I take from Marx). To articulate whatever singularity I situate the concept within the work in which it appears, and then take a detour into Agamben’s general philosophical project. I propose that, for critical pedagogy to take whatever singularity seriously, it must uphold a respect for the ineffability of being, which entails in part the suspension of dialogue. To help flesh out what I mean by this proposal, I turn to a fragment of Lyotard’s philosophy and his critique of democracy. I conclude by addressing a pressing ontological critique of Agamben, which leads me to argue for a materialist appropriation of the figure of whatever singularity, one that is held in tension with ontological concerns of identity.     

论思想政治教育学的逻辑起点

学科逻辑起点的界定与单一理论逻辑起点的界定是不同的,只有清楚学科逻辑起点的界定标准才便于从纷繁复杂的学科概念中找到该学科的逻辑起点。将“现实的人”作为思想政治教育学的逻辑起点理由在于,“现实的人”是对思想政治教育学范畴领域的高度抽象,是思想政治教育学生发的历史起点,是导引着思想政治教育学主题的基础概念,是规定思想政治教育学理论的核心概念。     

The Limits of Theory in Art Education

The last forty years have seen substantial and dramatic changes in the thinking about education in art. Changes have taken place in art itself and there have been incredible social, political and economic upheavals. All this has led to an enlarged view of art education. It has given rise to the need for greater dialogue and debate. In more recent years, there have been more concentrated and focussed efforts to establish art curricula and standards of accomplishment for art education. In England, there has been the introduction of the National Curriculum and in the USA there has been the development of the National Standards for Arts Education. In both countries there have been numerous efforts at national or state, local and school levels aimed at assessing what students’ `know and are able to do’ in the arts. The role of theory in art education is of some importance. It is through theory that a systematic accounting can be constructed that explains and makes consistent the individual critiques of what is going on in classrooms, schools, committees and the nation-at-large. The paper discusses developments in England and the United States with regard to the theoretical development of curricula and the means for evaluation in art education. It also outlines and discusses the `limits of theory in art education’. It is not opposed to theory; rather it is posited that preoccupations with theory should not over-ride the importance of maintaining a multiplicity of competing (or emerging) meanings. It is argued that theories should inform and illuminate actions rather than place arbitrary limits upon them.     

从“学科立场”到“学派立场”——论中国教育学的学派意识及其实践路向

通过学派建设促进学科发展是新时代的必然要求。21世纪需要更加关注教育学的学派建设。教育学的学科建设主要靠“立论”,教育学的学派建设主要靠“实证”。真正的教育学学派是在实践中“做”出来的,而不是在书斋里“论”出来的。教育学的学派意识及其实践路向,凸显出教育学研究者以及整个教育学科的主体性,是教育学作为一门自立、自为、成熟学科的重要标志。