Art‐Based Action Research for Art Education in the North

This article introduces the art‐based action research (ABAR) methodology as part of the international discussion of art‐based educational research (ABER). The participatory and dialogical approach of ABAR was inspired by a consideration of the pressure for change in art education stemming from the practices of relational and dialogical contemporary art. The need for ABAR as a tool of culturally decolonising, sustainable art education research was identified in multidisciplinary collaboration with the University of Lapland's (UoL) northern and circumpolar network. The methodology was developed collaboratively by a group of art educators and researchers at UoL to support the artist/teacher/researcher with professional skills for seeking solutions to recognised problems and to promote future actions and aspirations in the changing North and Arctic. This article describes how ABAR has been used in school projects, in doctoral theses and finally in a development project with an impact on regional development in the North. These examples show how art education developed through the ABAR method has supported decolonisation, revitalisation and cultural sustainability in schools, communities and businesses.     

论魏源思想在中西文化对话中的文化意义

文章试从文化的视角，将魏源“经世致用”、“变古”与“师夷长技”、“势变道不变”等思想观念，置于近代中西文化对话语境中进行思考，以揭示魏源思想在中西文化对话中的文化意义。     

第三部门与文化对话

文化对话不仅是推动多边合作顺利进行,而且也是各个国家推出自己的价值观、打造"软实力"的有效途径。文化对话的最终目标是实现市民社会之间的相互理解,市民社会是文化对话的主体,因此,介于国家和社会之间的第三部门,在调动和组织社会力量推动文化对话和交流方面也发挥着不容忽视的作用。本文从与政府部门和私人组织相对比的角度,探讨为什么第三部门在文化对话领域能够发挥独特的优势作用,以及如何保障其独特作用的有效发挥。     

文化人类学视野下的大学文化与艺术教育

在文化人类学视野的观照下,大学文化是一种具有相对自足性的特定场域,它是经过历史、文化的长期积淀而形成的,具有延续性、传统性、感染性和创生性等特征。作为大学文化的典型表现和有效表意实践方式,艺术教育成了当前大学文化内涵丰富的重要内容和实践建设的主要途径。它一方面对于提升大学文化品格起着人文精神的作用,另一方面对于凸显大学文化、实践大学文化起着具体的操作和表达功能。在这样一种文化人类学整体关联视角的考察下,大学文化与艺术教育形成了特殊的关系状态,以一种文化遗产的方式共同作用于精神成人、传承文化和创新文化。     

教育领域不同文化间的对话:比较教育的角色

本文倡导通过不同文化间的对话来促进国际领域教育家、实践者和哲学家们在一起分享彼此的知识、智慧,维护世界和平,促进相互理解.本文概述作者从事不同文化间对话的一些经验,然后探讨比较教育学术界对理解全球化时代文化传统和教育的影响,指出教育交流有赖于技术和市场经济的推动,也需要本土的、边缘文化群体以及贫困国家的参与,这些群体或因国家资源贫乏而无法跟上全球化的发展进程.世界比较教育学会联合会应该在保持文化的完整性,减少不同文化间冲突中发挥重要作用.     

Arts‐Based Educational Research in Museums: ‘Art for Learning Art’, an A/r/tographic Mediation

This article discusses forms of arts‐based mediation in museums that use creation as the primary tool in the learning process. We present four mediation experiences based on the arts‐based teaching methodologies promoted by the project ‘Art for Learning Art’. These experiences have been developed in four museums: the Centre Pompidou Málaga, the State Russian Museum in Málaga and the Espai d'Art Contemponeo [Center of contemporary art] in Castellón in Spain and the Modern Art Murilo Mendes Museum of Minas Gerais in Brazil. Four experiences in three cities of two countries that work in a methodology which involves participative and collaborative visitor connections with the works exhibited using arts‐based strategies. In all cases, the artistic works of the exhibitions are the conceptual basis for mediation proposals that are offered to the public in order to encourage participation. We link the aesthetic experience as the origin of the mediation process in two fundamental aspects: creation and appreciation. In the act of creative appreciation, most art education objectives are met. The actions and processes are directed by collaborative and contemporary creation strategies around two axes: museum educator‐artists in training and visitors‐artists as learners. In the four experiences that we present here, this confluence takes place. The four events have been adapted to the conditions of the place, public and art exhibitions, contributing new approaches to the model that has been promoted from the University of Granada since 2013.     

高校推广非物质文化遗产保护教育的路径研究

对于有着悠久历史、文化资源丰富多彩的中国来说,非物质文化遗产的保护既是机遇又是挑战。学校教育对文化传承具有重要的意义,高校教育在非物质文化遗产的保护中发挥着无可比拟的作用。但是调查发现,高校对非物质文化遗产保护的教育重视程度不够,教育资源匮乏,师资力量相对薄弱,大学生对非物质文化遗产的认知度普遍不高。由此可见,在高校进行非物质文化遗产保护教育推广是一项复杂长期的工程,它需要学校、教师、学生和社会的共同努力。     

非遗艺术融入高职眼镜设计专业教学的研究*--以瓯塑为例

瓯塑是浙江省级非物质文化遗产项目。浙江工贸职业技术学院眼镜设计专业通过人才培养方案、课程设置、课堂教学以及学生实践等多种方式将瓯塑等非遗艺术引入专业教学中。在教学过程中,采用搜集元素、访谈艺人、专题设计等方式结合非遗艺术,开拓学生的设计思维,提升其设计素养和设计能力,为今后学生从事眼镜设计这一行业打下坚实基础。     

敦煌莫高窟:见证佛教的荣光与世界文化遗产

文章从佛陀认可的审美创意着手,阐述了佛教艺术形式的发展与演变情况,进而揭示了作为佛教艺术宝库和世界文化遗产的敦煌莫高窟的重要价值。     

基于开放教育的边疆地区民族文化多元化传承模式设计

边疆地区民族文化传承在文化中心主义时代和以学校作为文化传承主渠道的环境里,面临边缘化、商业化和传承方式乏力的困境。开放教育充分利用先进的媒体技术和系统传播优势,开发适合民族学习者学习的民族文化资源,并把民族文化学习延伸到传统学校教育较少到达的边疆民族地区,以丰富的传播手段让民族文化传承回归教育、回归生活,为边疆民族地区各年龄阶段的学习者提供持续的和多元化的民族文化教育。     

高校艺术教育作为保护与发展非物质文化遗产的有效途径研究

把非物质文化遗产的内容纳入教育体系,建立系统、科学、合理的教育机制,将教育导入非物质文化遗产保护和发展之域,从教育的视野去研究非物质文化遗产的保护和发展问题,是我国非物质文化遗产保护和发展的必然要求和重要途径。     

谈高职艺术院校非物质文化遗产研究

加强非物质文化遗产研究是高职艺术教育的一部分,是文化建设发展的一部分,也是教育大学生爱国爱乡以及加强校园文化建设的需要。非物质文化遗产研究要围绕已批准的非物质文化遗产名录体系、非物质文化遗产的传承、学院层面的优秀非物质文化遗产传承人和传统剧目。非物质文化遗产研究基地建设要抓好资料、人才、科研三个环节。总之,要充分发挥高职艺术教育的优势,把高职艺术院校非物质文化遗产研究做好、做扎实。     

The Project ‘Art for Learning Art’ in Contemporary Art Museums

Projection‐based augmented reality and virtual reality are used in a visual arts‐based educational project in contemporary art museums from an a/r/tographic perspective. The project ‘Art for Learning Art’ (in Spanish, Arte para aprender arte), at the Museo CajaGRANADA in Granada (Spain) has been developed in collaboration with the University of Granada since 2013. We have employed creative, educational and research methodologies inspired by exhibited works in art museums to encourage visual feedback of visitors participating in collaborative installations. Two such experiences also were produced at the Tate Liverpool Gallery and Museum in March 2018; utilising the methodology of mediation through projection‐based augmented reality and virtual reality, which introduces facets of visual and physical experience that alter the whole experience for the museum's public. By putting on virtual reality headsets, and playing with physical movements, we generate images and change the projections in the museum using projection‐based augmented reality to disrupt the way the public typically moves in the museum. The purpose of the developed interrelations with artworks in the Museo CajaGRANADA and the Tate Liverpool Gallery and Museum was to create collaborative digital images by playing with select artworks exhibited in the museums’ collections. We use this kind of mediation in art museums to develop a visual understanding to provoke learning about art through art creation in a contemporary way. The results are extraordinary as images; they are collaborative artworks, which connect visually with the artworks in the exhibition.     

高校公共艺术教育与区域非物质文化遗产传承研究

公共艺术教育是普通高校人才培养的重要教学内容之一,但存在理念缺失、课程结构不合理、教学形式单一、缺少实践环节等问题。高校应结合区域非物质文化遗产保护的迫切需求,对公共艺术教育教学进行改革。树立非物质文化遗产滋养公共艺术教育、公共艺术教育承载非物质文化遗产传承保护的教育理念,合理构建非物质文化遗产的课程体系,加强非物质文化遗产教育教师队伍的建设,建立非物质文化遗产资源数据库,加强实践教学,搭建多向交流平台,将非物质文化遗产有机地融入高校公共艺术教育教学中。     

Interdisciplinary Research: Practising the In‐Between

This article will demonstrate that practice‐led photographic research offers an example of dialogical encounter. Through recourse to an outline of my own practice and the experience of completing a practice‐led doctoral thesis, the article will account for photographic practice and interdisciplinary research in terms of dialogism. This will demonstrate that visual research is a productive nexus: it does not simply concern itself with the products of creative practice, but is a generative space itself. The article will also discuss interdisciplinarity from a personal perspective on practice‐led research, which, over time, has developed into an interdisciplinary mode of working. The radical notion of the dialogical self will be considered with specific reference to interdisciplinarity and practice‐led research. The dialogical encounter will also be considered in relation to transformative learning encounters and what is at play in learning through practice, an encounter which places its protagonists at risk. However, far from being a negative state of affairs, this interstitial space in which the researcher/learner/teacher is lost and found is in fact a highly productive place in which to be.     

东北地区民间美术类非物质文化遗产的现状分析

东北地区在新石器时代早期就出现了石雕女像、陶塑等雕塑作品与彩陶艺术,到中期以后彩陶艺术达到了鼎盛时期,同时石雕、玉雕、骨雕等艺术较为发达,并且显示出地域上的文化特征。在西周以后,这里是农业民族、游牧民族、游猎民族交叉生息的地方,留下了丰富的美术类历史文化遗产和非物质文化遗产。近现代在传承古代遗产的基础上又有发展,几乎遍布整个白山黑水。从保存状况看,虽然已经颁布了各级民间美术类非物质文化遗产名录和传承人,但很多的遗产已经消失或处于濒危状态,急需调查、记录和保护。     

“非遗”之平远船灯艺术研究

平远船灯文化原型是渔民送顺治帝北渡汀江战风雨、搏急流而艰难摆渡的情形。其历史传承可划分为前舞台阶段和舞台阶段,尤其在后一阶段取得较大发展。其艺术特征是船与灯的精致结合,歌与舞的独特统一,以及具有客家山歌特色。平远船灯审美形态奇异,属于主流的审美文化。其形式革新多样统一,内容革新与时俱进且有家族相似的特点。遗产保护方面,平远船灯当复活首次革新时的形式;继承舞台表演和反映主流文化的优良传统,以建构专场音乐会为中心,拓展新的表演形式和内容。     

民族文化知识进课堂与发挥学校教育在保护和传承非物质文化遗产中的作用

随着经济全球化的快速发展,非物质文化遗产的传承和保护已经引起了全人类的普遍关注。虽然民族文化知识进校园与通过学校教育来传承和保护非物质文化遗产是一致的,但此项工作的落实还必须通过立法的途径才可得到全面的实施。具体的事例说明：立法手段是非物质文化遗产保护工作在学校教育中有效开展的重要保障。     

内蒙古表演艺术类非物质文化遗产旅游开发探析

内蒙古表演艺术类非物质文化遗产作为草原文化的艺术载体,是内蒙古旅游业发展的重要资源.分析和探究内蒙古表演艺术类非物质文化遗产的现状、旅游吸引力、旅游开发的作用和旅游开发的主要策略,对于促进内蒙古地区旅游业的发展,提升内蒙古旅游的文化内涵具有十分重要的意义.     

后现代道德教育对话的基本内涵

后现代道德教育的对话方式以关注个体价值与尊严为基本出发点,以倡导个人生命存在的价值平等性为基本原则,以谋求价值多元的社会成员之间的道德共识、共生共存的和谐状态为根本目的,对于启发和引导道德个体在教育情景中的自我发现与自主建构、改变目前道德教育的乏力现状以及培养受教育者的开放与创新意识等方面具有十分重要的理论价值.