论新课程背景下中小学美术教师的专业化发展

我国新一轮课程改革对教师的专业化发展提出了更高的要求。“如何促进教师的专业化发展”已成为人们关注的焦点。美术课程改革的成败取决于中小学美术教师的专业化发展。文章从教师专业化发展的内涵出发,针对中小学美术教师专业化发展的现状和问题,提出了促进中小学美术教师教师专业化发展的有效途径。     

对师专油画教学的一点思考

师专的美术专业主要是培养中小学美术教师,教学目的是提升中小学美术师资队伍的审美知识结构,美术教学在全面素质教育的培养上有着不可替代的作用。师专油画教学要取得好的效果,必须突出师范性,并立足于强调素质教育,以提高审美认知能力作为重点。     

Radical Artists & Art Students versus Management & Bureaucracy during the 1970s

This paper is an account of the impact of Conceptual art and art theory upon art students, studio tutors and managers during the 1970s in certain British art schools. The impact on students resulted in a shift away from the making of physical artefacts to the production of writings and magazines. It also problematised ‘the visual’ and encouraged critiques of art and the art education system. Some tutors responsible for art theory courses were dismissed and some students became politicised and attacked those in charge of art schools and polytechnics. Managers disciplined the students and, in some instances, failed and expelled them. William Furlong and Bruce McLean were two London based artists who responded to the ever‐increasing bureaucracy of art colleges by mounting a parodic performance.     

基于新课标理念的中小学艺术课程统整

课程统整是新课标理念下中小学艺术课程设计与实施的重要方式和途径。新课标理念下的中小学艺术课程统整具有促进课程有机融合,达成艺术核心素养提升;充分发挥主观能动性,持续优化艺术教师课程执行力;合理调动课程系统要素,助推艺术课程系统高效运行几方面的价值定位。基于新课标新理念的中小学艺术课程统整,需遵循“适应性专业知识”、艺术学科高阶思维和课程系统协同育人的逻辑。达成中小学艺术课程的有效统整、推进中小学艺术课程有效实施,需要采取以下三个方面的策略：明晰新课标理念,增强艺术课程统整意识;依据新课标课程整合取向,绘制中小学艺术课程统整框架;协同教师发展,提升艺术教师课程统整执行力。     

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.     

Opportunities and Challenges in Collaborative Reform Practice: School–Community Partnerships through Art in Korean Schools

The Korean government’s policy toward art in schools and educational autonomy has recently undergone major directional changes, with the Ministry of Education (MOE) encouraging individual schools to find their own ways to become more self‐regenerating, especially by developing community partnerships through art. This recently published policy direction has the potential to challenge traditional school practice as it demands an initiative role of schools and the active involvement of teachers in building partnerships with local communities. Concerned about the impact of the new school art policy on practice, this article attempts to clarify the opportunities and challenges involved in the expected collaborative reform practice by examining the outcomes reported by pilot schools based on their first year of implementing the new school art policy. To this end, this article first identifies the distinctive aspects of the new policy from previous studies on school–community partnerships developed in Korea over the past decade. This is followed by an identification of practical issues and needs by reviewing the outcomes of recent survey results on the perceptions of teachers who participated in conventional school–community partnership programmes. These results will be compared to the problems found in the outcomes reported by pilot schools. Findings will be discussed to assess implications and provide suggestions. This contextual analysis of practitioners’ responses to new art‐based collaborative reform practices developing in Korea may contribute to an expansion of international discussions about educational reform through art.     

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。     

加强公共艺术教育 完善中职课程结构

当前中职学校公共艺术教育的边缘化现状令人堪忧,中职学校重专业教育而轻艺术教育是违背素质教育的做法。其实,公共艺术教育的作用与意义是显而易见的,不但不妨碍各专业课的教学,反而有助于单一、枯燥的专业课的学习。公共艺术教育课程的设置以音乐、美术欣赏课为主,基础绘画技巧、乐理知识、观摩活动等为辅。要加强中等职业学校公共艺术教育、完善中职课程结构。学校培育创新人才,必须进一步深化艺术教育,严肃认真地组织实施《中等职业学校公共艺术课程教学大纲》,切实满足学生日益增长的精神文化需求。     

对当前高师美术教育专业重技能轻理论的思考

当前高师美术教育专业存在重技能轻理论的现象,美术理论没有得到应有的重视,给高师美术教育带来了长期的负效应,影响了对基础教育和中、高等学校美术师资的培养。因此在重技能的同时,应加强美术理论学习。     

上海市高中阶段学校艺术教育现状的调查研究

中小学艺术教育改革是中国基础教育改革的重要方面,本调查研究选取了闵行三中和南洋中学,对学生和教师进行访谈和问卷调查。研究表明,影视艺术和音乐最受学生欢迎;上海高中生普遍在幼年受过艺术培训,但坚持到现在的不多;艺术课能缓解学生沉重的高考压力。通过实验教学,对高中艺术教育的教学目的、教学方法、教学内容以及师生互动的方式进行了反思和讨论,并提出了对高中艺术教材的设想和对艺术教师素养的思考。     

沧州武术校本课程开发的现状调查与分析

以沧州辖区的30多所学校为调查对象,运用问卷调查法、访谈法,分析目前沦州区域武术校本课程开发建设中取得的成绩和存在的问题,并剖析其原因,探寻解决问题的对策,旨在为推动沧州区域武术校本课程又快又好地发展提供有益的参考．     

Teaching Now with the Living: A Dialogue with Teachers Investigating Contemporary Art Practices

The Education Departments of Tate Modern and Goldsmiths College collaborated with a group of teachers to find out what they understood by the term ‘contemporary art’ and to discover the conditions that enable contemporary art practices in the classroom. We explored questions with eleven teachers, from both primary and secondary schools, during the Autumn of 2004. Although the cultural/ethnic context of the schools the teachers worked within was diverse, they shared a commitment to working with contemporary art in the classroom and exploring new pedagogies in this field. Their engagement with contemporary art and their revealing and compelling experiences are documented, contextualized and summarized. Samples of the discussions form the substance of this article. This is preceded by an analysis of the success of socially‐orientated contemporary art in the wider global context and its contrast with the omission of these practices in many schools. Conclusions have been tentatively drawn about how the curriculum may be better served by the use of contemporary art, as well as the means by which new learning methods may be facilitated.     

西方至上主义美学与中国禅画艺术

西文现代艺术中的至上主义美学与中国传统禅画艺术虽然是在不同的文化背景下形成的艺术流派．但是通过对它们在顿悟性、否定性、超越性、本体论、简洁性等五个方面的分析与比较,发现至上主义艺术与禅画在审美情趣与追求上有着许多相同之处,它们都希望去寻求纯正超然的美的本质。     

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.     

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.     

School Art — What's in it?

In 2003/4 NFER undertook a study of the content of the art curriculum in secondary schools in England on behalf of the Arts Council England (ACE) and Tate Galleries [1]. In 18 schools, eight of which were identified as engaged with contemporary art practice (referred to throughout the article as the CAP schools), 54 art teachers were asked to describe the content of their most recently completed art module. ‘Content’ was taken as: the media and materials in which pupils worked; the artistic and cultural references used to support the teaching; the skills taught; and the thinking processes used. They were also questioned about the factors that influenced their choice of curriculum content and the aims that guided their choice of content. Most of the teachers (excluding the heads of department) were asked which of a set of six art images they would include in their teaching, and the reasons for their decisions. Teachers in the CAP schools were also asked to explain why they chose to include contemporary art. The findings revealed substantial differences between the two cohorts of schools, not all of which were related to the inclusion of contemporary art practice. A preoccupation with the teaching of skills was more apparent in the randomly selected schools, which also drew very heavily on the early twentieth century for their artistic references. Unsurprisingly, the CAP schools drew heavily on contemporary references, but included many from other periods, cited twice as many references overall, and had a generally more eclectic view of the purposes of teaching art.     

试析19世纪末20世纪初中国学校美术教育

中国传统美术一直是以私相授受为主要的传承方式，且流派繁多，风格明显。19世纪末20世纪初，随着两学东渐，欧洲美术教育模式亦传入中国，为中国美术教育开辟了新纪元。美术课程首先进入中小学课堂，美术师资的匮乏使师范美术教育的开始成为必然，而学校专业美术教育的正是在这两的基础上发展起来的。本就19世纪末20世纪初中国美术教育初期的发展脉络进行了梳理与简要分析。     

浅谈提高中小学美术教育质量的有效措施

为促进中小学美术教育质量的提升,作者以《浅谈提高中小学美术教育质量的有效措施》为课题,从中小学美术教育现状入手,对其进行了全方位、深层次地剖析,并在此基础上全面而深入地探究了提高中小学美术教育质量的有效措施,给出了具有代表性的个人建议。     

校本培训与中小学艺术类学科教师专业成长研究

从中小学校艺术教育的地位与作用出发,分析中小学艺术类学科教师专业发展现状,挖掘中小学校艺术类学科教师专业成长的特殊需求,分析校本培训与中小学校艺术教师专业成长的关系,探寻在校本培训中促进艺术教师专业成长的有效路径。     

农村职业美术教育的成功实践--以浙江缙云工艺美术学校为例

农村职业美术教育面临改革与发展的机遇。浙江缙云工艺美术学校实施的“教产结合”模式是一条经济效益与社会效益双丰收的发展路子。其主要特征有:学校与企业融合的办学模式,学生与工人融合的管理模式,教学与生产融合的教学模式。“教产结合”办学模式的成功实践启示我们:农村职业美术教育只有不断地改革教育思想、教育观念和传统的教学模式,走符合农村环境和教育需求的路子,才能在激烈竞争形势下立于不败之地,保证农村美术教育持续稳定地发展。