游戏化:幼儿艺术教育的应然追求

游戏是幼儿最喜爱的活动。游戏与艺术有着天然的联系,两者相互包含对方的因素。游戏与艺术的天然联系使得通过游戏化的艺术教育活动来促进幼儿艺术能力发展成为幼儿艺术教育的应然追求。游戏化的幼儿艺术教育活动是指教师通过设置或营造特定的氛围与情境。使幼儿能自愿依照一定的规则,在轻松愉快的游戏氛围中体验与表现艺术,从而形成一定艺术能力的艺术教育活动。依据幼儿的审美心理发展特点,在幼儿园艺术教育活动中,教师可以运用联觉、体验、情境和形式转换等游戏化的艺术教育活动策略。     

德育与艺术教育的内在浸融刍议

德育与艺术教育不论在目的、内容、形式、手段诸方面都存在着相互融通、相辅相成的内在浸融关系,因而使得二者同时兼具理论与实践上的同构性.德育与艺术教育的内在浸融主要表现为:德育需要艺术的滋养,艺术也需要道德的支撑:艺术审美既是道德人生完成的手段,又是道德人所追求的最高目标;道德与艺术这两种文化意念本身也渗透着相互浸融的内在...     

高职院校艺术教育的发展现状及对策

当前,我国高等职业艺术教育改革不断向纵深发展,为避免教育资源与人才浪费,高职艺术教育进入了一个调整时期。本文在对当前我国高职艺术教育发展中出现的有关问题进行分析的基础上,提出了促进高职艺术教育健康发展、科学发展的一些对策。     

论潘天寿艺术教育思想及其当代启示

潘天寿先生是现代中国画教学的主要奠基人。"为人生"而艺术,"中西绘画拉开距离"的艺术主张,是其艺术教育思想的精髓,是其一生艺术教育活动和创作实践的结晶,是其典范人格和民族人文精神的集中体现。潘天寿先生视教育为自己的终身职业,将画画视为副业,而这往往为潘天寿研究者所忽视。正视和弘扬潘天寿的艺术教育思想,对当今艺术教育的改革与发展具有重要的借鉴和指导意义。     

Desperate Journeys

At a time of endemic xenophobia some artists have attempted to resist this trend by depicting its damaging consequences, revealing the inequalities that fuel its disfigurement of human relations and result in mass human displacement. Paul Dash's recent paintings of refugees attempting dangerous and degrading sea crossings are the main subject of this article, and these works are discussed in the context of his negative educational experiences as a child, and his salvation through painting in the sanctuary of his school's art room. This school experience and the trajectory of his artistic career are contextualised by the current marginalisation of the arts in the curriculum and the increasing scarcity of critical and creative approaches to education.     

试论美术教育中的情感体验

美术是情感艺术，美术学科蕴含着丰富的情感教育内涵，对提高学生的审美情趣、完善学生的人格修养、陶冶学生的情操等都有着不可忽视的作用。通过对美术表现情感特质的揭示，强调情感教育是美术教育的生命所在，情感体验是美术教育不可忽视的重要目标，美术学科应特别注重对人的情感的研究与探索。论文提出了实现这一目标的基本途径：创设最佳的教学情境，引导情感投入；构建积极乐观的心理环境，促进情感交流；利用美术作品的美感效应，获得情感体验；鼓励大胆的艺术创造实践，推动情感升华。     

Being an Artist Teacher: A Liberating Identity?

Education as a liberating and democratic process remains an aim and belief in discourses within the field and beyond. The arts also have a tradition in which ‘artistic freedom’ is valued even if what constitutes artistic freedom is contested. In this article an educational discourse in which dialogue is considered a means to personal and collective liberation through education is highlighted and related to ‘artistic freedom’ and the dual roles of artist and teacher, in which learners and teachers are encouraged to contribute to and change culture as well as study and absorb it. Conceptualisations of the artist teacher and professional development and practices associated with these are considered to open up creative possibilities for art teachers without undermining other positive aspects of identity as a teacher and practitioner.     

Pedagogy Without Pedagogy: Dancing with Living,Knowing and Morale

This article takes its retrospective lead from the oppressive schooling years during the Chinese Cultural Revolution to reflect on the educational significance of artistic activities through considering aesthetic virtues and moral agency cultivated in these activities. Describing an unconventional educational milieu where schooling was deliberately ‘dismantled’, I emphasize the important role that artistic endeavours can play in building a person’s aesthetic strength and moral power to overcome the adversity of life, hence for the fuller human development. By blending philosophical discussion with historical manifestation, I stress the less articulated educational discourse that makes dance relevant to the educational formation of epistemic virtues and moral sensibilities. Joining in the emerging efforts to improving the worlds of schools, curricula, and pedagogies, I argue that the contingent integration of different histories, life conditions, and social and cultural discourses are ‘transformative’ sites for pedagogy. Thus, I seek to shed historically fresh light on the ways of thinking of schooling, education, and the arts for hope and possibility to ultimately argue for ways that can speak to the diversity of global societies today.     

Music as a tool for environmental education and advocacy: artistic perspectives from musicians of the Playlist for the Planet

Environmental education is a key tool in humanity’s efforts to address environmental issues. The arts can help provide some of the affective components of environmental education – emotions, values, and motivations driving pro-environmental behavior. As one of the arts, music can captivate, entertain, and create a sense of community. Using non-probabilistic purposive sampling, we interviewed a cohort of environmentally aware musicians with the goal of understanding their mental constructions around the role of music in environmental education and advocacy. A constant comparative coding method was used to code the interviews. The analysis revealed four artistic and five quality dimensions that the participants considered when sharing their pro-environmental values through their music. The four artistic dimensions emerged as continua representing ranges of choice regarding how a musician might create and deliver an environment-related song. The five quality dimensions emerged as recommendations for effectiveness of messaging through art that is perceived as authentic.     

自然即艺术:自然主义教育学的三种历史形态及其追求

自然主义教育学以"自然"的不同内涵而有不同历史形态。亚里士多德、夸美纽斯与卢梭为其代表人物。亚里士多德的自然主义教育,以人的潜能为自然,以城邦需要为其补缀,是古雅典自由教育反省的结果;他对教育艺术和良善生活艺术统一的追求,为自然主义教育学定下基调,但具有泛灵论的思维特点。夸美纽斯的自然教育,以改善宗教社会为目的,以外在世界为自然,并以其规训教育艺术,使教育世俗化成为可能,具有经验论特点。卢梭以人的内在自然为自然,提出自然教育概念,并上升其为教育本体;其教育一般方法的旨趣为教育艺术提供了余地;自然主义教育是其契约国家的教化工具,它使教育研究直面人本身,但具有机械论特点。自然教育学的历史形态反映教育科学思维发展的历史性;其共时性,在于追求教育艺术和良善生活的统一。     

英国高校通识教育的发展历程、经验及启示

通识教育是发源于欧洲的一种高等教育思想。英国高校的通识教育在其发展历程中逐步完善,最终形成了以崇尚人文主义传统的教育理念、专业教育通识化的课程设置、师生交互式的个性化教学实践形式为一体的通识教育样式。聚焦于当前我国高等教育的发展现状,通识教育已成为全面提升大学生综合素养不可或缺的一个重要选择。英国高校通识教育对我国的启示是,构建符合我国优秀文化传统的通识教育理念;建立专业教育与通识教育相融合的课程体系;提升高校教师通识教育能力;实行智力训练和能力培养的教育方法。     

Sensors,programming and devices in Art Education sessions. One case in the context of primary education / Sensores,programación y dispositivos en sesiones de Educación Artística. Un caso en el contexto de Educación Primaria

The pedagogical integration of computing is interesting in educational contexts based on the contributions of Seymour Papert and Wing’s concept of computational thinking. Integrating arts in education can lead to the design of activities using Scratch combined with devices. The main goal is to evaluate the integration of computational thinking in art education making use of technological resources, sensor cards and minicomputers, with a student-centred pedagogical approach. This research assesses the results of a control group of 35 students and an experimental group of 109 students in four different schools, using Mann-Whitney’s U-test for independent samples assessing ‘Active Learning’, ‘computational concepts’ and ‘fun’ scales. Applying data triangulation, and consistent with design-based research, the results of interviews and focus groups reinforced the results obtained in the aforementioned test, providing validity to the study. There are advantages regarding student interest, motivation and commitment related to programming technologies in art and education, particularly pedagogical sessions with music. Handling devices, sensors and Raspberry Pi provides participating students with a factor of commitment and enthusiasm, with significant improvements. Working with coding and devices brings an additional advantage in the development of computational thinking and digital competence. The results show an increase in creativity and artistic competence related to the ability to create music from the activities and technological resources described in the technological intervention.     

学校实践性艺术教育探索

艺术教育是提升学生综合素质的有效方式。多年来,西安市铁一中学遵循艺术教育规律,围绕艺术课程、课外艺术实践、校园文化交流的内容结构,突出艺术团队以点带面的教育载体,不断探索艺术实践活动课程化的发展方式。学校以传承中华优秀文化和地方传统艺术为主线,强调通过丰富多元的实践活动和多样的艺术教育载体,以艺术表现水平和校园文化氛围相融合,形成了具有良好文化营养的校园环境,有效地提升了学生的艺术素养。     

Art Education and the Moral Injunction to be Oneself

A primary function of schooling is to impart moral discipline, and art education distills this role to its core imperative of mandated pleasure, summarised by Jacques Lacan as the ‘will to enjoy’. This manifests in the insistence that, despite producing similar outcomes, students come to recognise themselves as unique and creative. In the twentieth century, art education in the USA has developed methods for extracting supposedly intimate personal expressions from young people, albeit without demanding the technical versatility, historical knowledge and critical reflection required of mature artists – the exception to this, despite its many flaws, being so‐called Discipline‐Based Art Education, or DBAE. In this article, I begin with reflections on the untapped potential of DBAE to relate to contemporary art practices. My ideas on moral instruction are expanded upon in the second section, when I undertake a ‘backwards’ history of British and American art education, in which the ideal of art class as a site of intrinsic and authentic meaning‐making is challenged by the functional requirements of education. My last section takes up a critique of critical pedagogy, in which I use the example of a project my high school students did about Michael Jackson to challenge ways in which trauma and pleasure are seen by critical pedagogues as features of experience that conflict fatally with the educational ends of individualist autonomy.     

Aesthetic experience and creativity in arts education: Ehrenzweig and the primal syncretistic perception of the child

The pertinence and worth of arts in Quebec primary schools vary considerably from one institution and school administration to another. In this paper it is argued that well-integrated arts education would bring a large array of pedagogical benefits to students, not the least of which is the preservation and the development of aesthetic perception and creativity. Actually, teachers can rely on the syncretistic and amodal perception of the young child, a learning mode that is analogous to the aesthetic experience and fostered by art practices. The paper draws notably on Ehrenzweig and Winnicott to advocate that the school, through arts education, should preserve and make use of this precious perceptive faculty, and temper the educational bias that largely favours the logical or analytical mode of the child. It advocates for an essential developmental balance between the child’s intuitive and analytical faculties, a healthy equilibrium that arts education has the potential to instil. Children and society both have much to gain from the school’s fostering of arts education and aesthetic perception: children from their balanced development and society from future creative citizens’ contributions.     

Educating Art in a Globalizing World. The University of Ideas: A Sociological Case‐study

In 1999, the Italian Arte Povera artist Michelangelo Pistoletto and other artists laid the foundations of The University of Ideas (UNIDEE), an exceptional international artist‐in‐residence programme with a strong ideological foundation. As a sociologist of culture I had the opportunity to do research in the huge organization for a month by doing participant observation, in‐depth interviews and discourse analysis. In this article the educational programme of UNIDEE is interpreted in sociological terms. First of all it will be contextualized in the artistic work of Michelangelo Pistoletto through his concept of the mirror and his a‐modern idea of ‘The Minus Artist’. In the second part Pistoletto's artistic, political and economic movement Cittadellarte, in which UNIDEE is based, will be described. Finally UNIDEE will be analysed as a model for art education on the border of modernity attempting to redefine the position of art and of the artist in a globalizing world.     

延安文艺的现代性选择

延安文艺有选择性地接受了现代性的不同构成层面,它接受了作为社会-历史层面的现代性,拒绝了作为美学概念的现代性。在线性时间意识的推动下,延安文艺表现出强烈的创新精神,在艺术内容、艺术形式和艺术生产方式等方面进行了一系列变革。这种求新的精神正是中国现代文学追求现代性的一贯动力。在创新实践中,延安文艺既挑战了现代性的某些原则,又回应了现代性的悖论。     

现代传媒理念下的艺术展览策划

从现代传媒与艺术展览的关系角度审视艺术作品展览的策划理念,主要表现在艺术展览的艺术性和现代性两大环节,艺术展览的艺术性和现代性的创新与发展承担着引领和指导作用。艺术展览除具有较高的艺术性之外,还要用现代化的传媒形式对展览的艺术性加以传播、宣传、推广。将艺术信息和作品形式通过多维空间及互联网数字技术传递给受众者,使受众者对艺术从认识到深层次领悟,从而提高受众者的审美水平。     

基础教育阶段开展艺术教育的价值论析

传统教育注重智力和学科能力的发展,缺乏情感态度与价值观及人格的养成,就连艺术教育也是以技能和专业知识为目标而缺少审美、情感和人文内容。基础教育实际存在不同程度忽略甚至否认艺术教育的重大价值的倾向。近年来教育科学研究的重大发现,使人们重新认识和审视艺术教育的价值。在教育教学中渗透艺术性、融合艺术形式,特别是通过综合性的艺术教育模式,能使学生的人格、智力、人文素养等方面得到整合发展。     

Living drawing: Aesthetic teaching for moral artists

With its inherent attributes such as qualitative immediacy, imaginativeness, and embodiment, John Dewey’s concept of aesthetic experience makes a difference in moral education, in the ways of empathetic moral perception, moral reasoning, and moral action. If it matters then how can we help students gain aesthetic experience? By analyzing teacher Ho-Chul Lee’s approach to teaching drawing, called living drawing, this question is examined in terms of aesthetic style of teacher and teaching, and the aesthetic educational environment. This article will provide insights into how living drawing as an approach promotes aesthetic experiences and how it influences students’ moral experiences.