The problem-based learning (PBL) approach was implemented as a treatment for higher education visual arts students over one semester to examine its effect on the creative thinking and critical thinking disposition of these students. PBL had a significant effect on creative thinking, but critical thinking disposition was affected to a lesser degree. One possible reason for this result is that in this study, open structures were used for learning activities as a nonroutine problem-solving process to develop creative thinking. Accordingly, the results of this study indicate that PBL can help students with nonroutine problem-solving processes by maintaining uncertainty and enhancing creative thinking. However, a similar conclusion could not be reached for critical thinking disposition. Therefore, future studies regarding critical thinking disposition and the PBL approach should be conducted.
This article discusses the role of images in archaeological disciplines and the contribution that graphic sciences can make to research in this subject area. In archaeology, and not only, ‘visualization’ differs significantly from the more commonly used noun ‘representation.’ In this sense, archaeological visualization is a practice of reconstructing and understanding the past rather than documenting and representing only the material remains that have come down to us. From archaeological drawing to virtual reality, numerous techniques and tools from the graphic sciences are applied in archaeology. Some of these can now be ascribed to the disciplinary tools, while others fall outside the specific skills of the archaeologist and require interaction with the disciplines deputed to visualization and, thus, with the graphic sciences. In order to better understand the difference between visualization and representation in archaeology, the article uses prenuragic altar of Monte d’Accoddi as a case study to focus on the creation of different graphic-visual products starting from the same model, in order to demonstrate the role of different graphic artefacts.
Si bien es cierto que la proximidad temporal impide valoraciones definitivas, se puede afirmar que en 2008 emergió una política emancipadora a escala planetaria que tuvo su momento culminante en 2011. Esta emergencia supuso, en el ámbito de lo urbano, la intensificación de la relación entre arquitectos, sociólogos, artistas, y los propios vecinos así como la incorporación de prácticas colaborativas y asamblearias provenientes de los movimientos de base en la construcción de los procesos de regeneración urbana, como respuesya a la acentuación de la crisis del capitalismo neoliberal.
El presente artículo ejemplificará este modus operandi en el Comboi a la Fresca, encuentro de la red Arquitecturas Colectivas que tuvo lugar en Valencia en 2011. Se parte de la idea de que las micropolíticas emancipadoras que se dieron lugar en Valencia, lejos de caer en el olvido por ser producto de un estado de ensoñación, articularon una dinámica de transformación subjetiva construida desde el cuestionamiento de las propias prácticas.
The purpose of the research is to identify relevant narratives in the work of directors-authors of Middle Eastern cinema and its functioning in the space of international film festivals. Research methodology. The analytical method was used to develop the topic, which is necessary for studying the art history and cultural aspects of the problem. The researcher used the techniques of systematisation and generalisation, which came in handy for arguing the originality of the phenomenon of film directing in Middle Eastern countries, its place in modern culture-creating processes, as well as the determination of objective regularities that characterise directing practices in the contemporary intercultural space. A cross-cultural method was also applied, which contributed to identifying the peculiarities of the presentation of films by Middle Eastern directors at international film festivals. The cultural approach determined the generalised socio-cultural orientation of the research on the cinematography of Middle Eastern countries. The scientific novelty of the research lies in the fact that the problem of intercultural cooperation in the production and distribution of films in Middle Eastern countries in the context of the functioning of international support programs became the subject of a particular study for the first time; the work of filmmakers whose films were created as international projects and presented at international film festivals is singled out and characterised; the practicality of using the systematic method in the study of new narratives of films of the Middle Eastern region is proven. Conclusions. Familiarisation with the materials presented in the article expands the arsenal of knowledge about the specifics of the content and distribution of films by Middle Eastern directors within the framework of intercultural projects. It enables their use in educational courses on the theory and history of culture, cinema and directing.
Mara Rúbia de Almeida Colli, Helena de Ornellas Sivieri Pereira
O presente artigo busca apresentar uma trama metodológica de narrativas teóricas para um “A/R/TograFormar” permanente em arte/educação, ou seja, teorias que deram sustentação ao desenvolvimento da formação permanente de arte/educadores(as) da Educação Básica de Uberlândia/MG. As ações formativas foram realizadas no “Ateliê de Formação em Arte/educação”, lócus da ação interventiva ligada à pesquisa-ação em desenvolvimento na tese de doutorado em andamento no Programa de Pós-graduação em Educação da Universidade Federal do Triângulo Mineiro – UFTM, sob o título “A/R/TograFormar: diálogos entre arte/educação, processo de criação e formação permanente docente”. Como formadora e formante do Ateliê de Formação em Arte/educação, promovemos ações práticas, leituras e estudos teóricos/imagéticos de obras de arte, ancoradas nas questões teórico-práticas da pesquisa em arte, e nas perspectivas metodológicas do meio como ponto zero, da abordagem triangular, da a/r/tografia, da pesquisa-ação interventiva e de metodologias ativas que culminaram na criação de “Narrativas Imagéticas”. A trama metodológica contribuiu para que a professora, artista, pesquisadora e formadora (propositora) encontrasse caminhos metodológicos para um “A/R/tograFormar” no processo formativo permanente para professores(as) arte/educadores(as) atuantes.
This study evaluates the effects of the Mathematics, Arts , and Creativity in Education (MACE) program on students’ ability in geometry and visual arts in the upper grades of elementary school. The program consisted of a lesson series for fourth, fifth, and sixth grade students in which geometry and visual arts were integrated, alongside with a professional development program for teachers. A quasi-experimental study was conducted in which three groups of teachers and their classes were investigated. One group of teachers taught the lesson series and followed a professional development program ( n = 36), one group of teachers only taught the lesson series ( n = 36), and a comparison group taught a series of traditional geometry lessons from mathematical textbooks ( n = 43). A geometrical ability, creativity, and vocabulary test and a visual arts assignment were used in a pre- and post-measurements to test the effects of the MACE program. Results showed that students who received the MACE lesson series improved more than students who received regular geometry lessons only in geometrical aspects perceived in a visual artwork. Regarding students’ understanding and explanation of geometrical phenomena and geometrical creative thinking, all students improved, but no differences between the groups were found, which implies that on these aspects the MACE program was as effective as the comparison group that received a more traditional form of geometry education.
A growing movement to integrate the arts and humanities into health professions education is afoot. While educators may easily conceive how arts-based teaching can improve clinically relevant skills such as observation and critical thinking, they may not realize it also has the potential to transform learners in myriad ways beyond sharpening these fundamental skills. In this article, the authors review how visual arts–based education can promote clinical excellence by enhancing communication and interpersonal skills, professionalism and humanism, diagnostic acumen and clinical reasoning, and passion for clinical medicine. They describe the most widely studied visual arts–based education method, Visual Thinking Strategies, in detail as an exemplar of how arts-based pedagogy can help health care professionals strive for and ultimately achieve clinical excellence.
The aim of this study is to examine the prospective visual arts teachers' innovation skills and their attitudes towards computer-assisted teaching in terms of demographic and school factors. In this context, using comparative relational research model; the students' attitudes towards innovation skills and computer assisted teaching were examined with a comparative approach. The study group of this research consists of 305 visual arts teacher candidates studying at Dicle University, Anadolu University, Mersin University, Necmettin Erbakan University and Marmara University. Attitude scale and innovation skills scales were used to collect data. According to the analysis of the data, it was seen that visual arts teacher candidates' perceptions of innovation skills and their attitudes towards computer aided teaching are high. In addition, significant differences were found in computer aided teaching attitudes and innovation skills according to faculty type, grade level and gender. Finally, significant relationships were found between innovation skills and entrepreneurship perception.
In Swedish oral tradition, as well as in one example of Dalecarlian folk painting from the late 18th century, an invocation of twelve (occasionally fourteen) angels standing around the bed is evident from at least the 17th century. This invocation, while having taken on several different functions, has predominantly been used as a bedtime prayer but has also been sung during wakes in the home. It parallels numerous European angel prayers, the most famous of which is probably the German version Abends wenn ich schlafen geh, and can be traced to 14th-century ars moriendi practices. The prayer bears a striking resemblance to the Jewish Ashkenazic bedtime invocation of the four angels Michael, Gabriel, Raphael and Uriel, and the two prayers may either be the result of a genetic relationship through borrowing and appropriation or are the result of a shared Judæo-Christian oral prayer repertoire in mediaeval Europe. While the Christian angelic invocation, apart from its (most probably later) use as a bedtime prayer, focuses on death, the Jewish angelic invocation focusses on Divine mystical presence. The conservative development of angelic pictorial representation in mediaeval prayer practices through the early modern period points to the roots of certain 18th and 19th century folk art motifs and themes, and a shared Jewish and Christian heritage behind them.
Visual Arts provides a vital educational environment where future artists, designers and art historians explore the horizons of their own talents in an atmosphere of critical dialogue and professional art and design practice. Students learn and experience various media of animation, digital design, drawing, illustration, painting, photography and transmedia sculpture, all within the rich context of a research university. Learning is predicated on both an understanding of art and media theory, and on the practical knowledge of methods and materials used in making art and design today. Art history studies focus on historical knowledge integrated with critical writing and analysis.
One of the basic features of the modern educational system is manifested in the reversal of the transmissive (traditional) approach to learning and teaching to the transformational (modern) approach. The transmissive approach to learning and teaching is that one in which students adopt ready-made constructs of organised knowledge through passive acceptance of the facts mediated by the teacher. In contrast, in the transformational approach, the teacher encourages the student’s active participation through exploratory, problem-based learning, during which students gain much more of their potential than in traditionally conceived classes. Changing the obsolete pedagogical paradigm began with the development of contemporary (cognitivist and constructivist) pedagogical theories. According to the constructivist theories of learning, individuals develop their knowledge of the world based on their own experiences and reflection of these experiences. Learning is the result of cognitive constructs based on individual experience and (pre)knowledge gained during the social interaction determined by the culture in which individuals live. Interpretative activity in the constructing of understanding is particularly emphasised in visual arts education. In this paper, the main determinants of constructivism and constructivist theories in the context of the educational process are elaborated. The main principles of constructivist-based teaching of visual arts are interpreted related to other contemporary teaching strategies and approaches such as active learning, learning through problem-solving, and interactive approach to learning and teaching of visual arts. The teacher’s role is also discussed, whose approach, awareness of the student’s pre-knowledge, and capacity for meaningful communication with students, greatly influence the success of the students’ adoption, understanding and interpretation of visual arts contents. The present paper aims to highlight certain elements of the constructivist teaching theories because their understanding and application in the teaching process can help achieve better learning outcomes, specifically students’ better ability to use visual arts knowledge in everyday life.
Visual arts provisions are central to children’s holistic, play-based learning, yet the visual arts self-efficacy beliefs and subject content knowledge of early childhood educators influence pedagogical choices. When early childhood educators lack the visual arts confidence, skills, and knowledge required to effectively support children’s visual arts learning and engagement, children’s learning in the visual arts domain may be restricted; resulting in a negative cycle of influence whereby the next generation are denied their right to access visual languages. Qualitative case study research explored the visual arts beliefs and pedagogy of 12 degree qualified and vocationally trained early childhood educators. The conceptual framework, designed to to interpret and analyse the research data, aligns Dewey’s philosophies of democracy, education and art with the philosophy and visual arts praxis of the Reggio Emilia approach to early childhood education. The research findings suggest educator’s low visual arts self-efficacy beliefs develop during childhood and are not improved by pre-service training, resulting in limited visual arts skills and knowledge. The research participants’ visual arts pedagogy appeared to be strongly influenced by the experiential ‘baggage’ they carried into their pre-service training and practice contexts, by the participants’ theoretical beliefs about children’s development and by a range of divergent beliefs about the purposes of visual art in the early childhood context. Although training has the potential to broadly inform knowledge and practice, this study suggests that unless limiting visual arts self-efficacy beliefs are disrupted by constructivist theoretical knowledge and combined with practical skills and knowledge, the visual arts curriculum offered to children may be significantly compromised.
G. Strohbehn, Stephanie J. K. Hoffman, Molly Tokaz
et al.
Arts exposure is associated with positive psychological constructs. To date, no randomized, controlled studies have integrated art into clinical medical education or measured its effects on positive psychological constructs or educational outcomes. In this study, we assessed the possibility and potential benefits of integrating visual arts education into a required internal medicine (IM) clinical clerkship. We conducted a controlled trial in an academic healthcare system with an affiliated art museum. IM students were assigned to one of three interventions: museum-based arts (n = 11), hospital-based arts (n = 10), or hospital-based conventional education (n = 13). Arts groups explored empathy, resilience, and compassion in works of art during facilitator-guided discussions. We assessed pre- and post-intervention measures of empathy, mindfulness, tolerance of ambiguity, and grit and tracked National Board of Medical Examiners IM shelf exam performance to capture changes in educational outcomes. Focus group discussions with participants in the arts-based interventions were performed at the study’s conclusion. Arts education was successfully integrated into a busy clinical clerkship in both hospital and art museum settings. Focus group participants reported increased implicit bias cognizance and time for reflection, but no significant differences in psychometric or educational outcomes were identified. While most students felt positively toward the experience; some experienced distress from missed clinical time. This pilot study demonstrates the feasibility of integrating visual arts education into the clerkship. Although observable quantitative differences in measures of positive psychological constructs and educational outcomes were not found, qualitative assessment suggested benefits as well as the feasibility of bringing fine arts instruction into the clinical space. A larger, multi-center study is warranted.
ABSTRACT Hong Kong, as a capitalist society, has an achievement-driven education system. Visual arts have become a marginalized learning area, especially in early childhood education. Although ‘art and creativity’ is one of the six learning domains for early childhood education in the kindergarten curriculum guide in Hong Kong, product-oriented and craft-based art activities are commonly practiced in kindergarten classrooms. This study observed 33 classrooms and interviewed 29 teachers for a total of 409 minutes to discuss issues surrounding the early childhood art curriculum in Hong Kong and the difficulties teachers face responding within the context. Through the triangulation of observations, interviews, and documentation analysis, the teachers indicated that they are facing a dilemma regarding teacher-directed and child-centred orientations towards teaching children visual arts. To sustain the ‘third space’ of early childhood visual arts education, three main areas are considered: (a) introducing visual arts as an alternative narrative in early childhood curriculum, (b) considering that children’s creative behaviours are performative, and (c) positioning teacher education in relation to the visual arts.
Aims: To report and summarise the effects of interventions using participatory visual arts activities in dementia research through a narrative synthesis systematic review. Methods: We searched four databases MEDLINE, EMBASE, PsycINFO and Applied Social Sciences Index & Abstracts (ASSIA). Of the 3263 records retrieved, 20 were included in this review. Quality was assessed with the Critical Appraisal Skills Programme (CASP) and the Downs and Black checklist. Results: The use of participatory visual arts has positive effects on cognition, social and psychological functioning of people with dementia, although the diversity of the studies provided inconsistent evidence of an overall positive effect. Participants evaluated the interventions as enjoyable and engaging. Conclusions: This review adds to previous work done by Deshmukh et al. and Windle et al. with a focus on studies that had participatory visual art-making activities made by people with dementia. The use of participatory arts may bring benefits for people with dementia. The heterogeneity of the interventions prevented generalisation of the results. Criteria associated with positive outcomes of the intervention are reported to aid on the design of participatory visual arts interventions for people with dementia. Future research in participatory arts should have a more detailed description of the methods and art interventions.
Abstract This article presents a discussion about primary school visual arts education from the point of view of social sustainability and in the context of teacher education in Finland. The study focuses on the student teachers’ understanding and pedagogic thinking of the equality construction in visual arts. In this case study the research data comprises the learning portfolios of student teachers (N=25) from the visual arts teaching course at the University of Helsinki in which they designed and carried out pedagogical workshops of visual arts to promote equality. The data were examined with the methods of qualitative content analysis. In this context, the student teachers found engaging elements in the aims and practices of visual arts to be the way to enhance equality. Visual arts education was found to offer a functional space for enhancing the agency, social skills and values needed in a sustainable future.