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Art Curriculum (art + curriculum)

Distribution by Scientific Domains
Education83%

Selected Abstracts

Multimedia in the Art Curriculum: Crossing Boundaries

INTERNATIONAL JOURNAL OF ART & DESIGN EDUCATION, Issue 3 2001
Steve Long
Art educators, like those in other areas of the curriculum, are under pressure from various directions to use digital technology in the classroom. Whilst some of this pressure is politically motivated I believe there are also what could be described as more legitimate educational reasons for using computers; what is lacking at this stage is a coherent body of knowledge amongst art educators as to what happens when we do use them. This article focuses on a development project which took place last year in a secondary school involving a Year 10 class in the use of multimedia software. The project was collaborative in nature and was carried out by Miles Jefcoate, an art teacher at Beacon Community College in East Sussex, a group of Year 10 students at Beacon and myself as a member of the teaching team on the Art and Design PGCE course at the University of Brighton. Supported by research funding from the University, the school was provided with multimedia software which was installed into its computer network. The design and delivery of the students' project was undertaken by Miles whilst I evaluated the impact of the digital technology on the learning taking place, with an emphasis on how Miles and the students experienced and evaluated their activities. [source]

Towards a New Art Curriculum: Reflections on Pot Fillers and Fire Lighters

INTERNATIONAL JOURNAL OF ART & DESIGN EDUCATION, Issue 1 2000
Gordon Bell
This contribution is derived from an address presented to the NSEAD Annual Conference (1999),Towards a New Arts Education' in association with Bretton Hall, a specialist institution for the arts and education, to mark the 50th anniversary of its Foundation in September 1949. [1] An analysis of the role of art and design education is set in the context of an arts related curriculum and the case for an interdependent, teachable and accessible programme is outlined. Proposals for the maintenance and development of a future for arts education is tested against certain key questions and a theory of ,good teaching' in the arts [source]

Local Heroes, Narrative Worlds and the Imagination: The Making of a Moral Curriculum Through Experiential Narratives

CURRICULUM INQUIRY, Issue 1 2008
CAROLA CONLE
ABSTRACT Concern about the impact of narrative worlds and their heroes offered by the media prompted research on encounters with moral models in experiential, narrative curricula. Researchers tracked the extension of a mandated Language Arts curriculum on "heroes" through the experiential narratives of four local heroes chosen collaboratively by teacher, students and researcher. They also elicited and analyzed responses from students to these narrative presentations in order to explore how students understood the narrative worlds presented to them. Instead of focusing on the personalities of the speakers, the researchers considered the experiential stories, and the moments of narrative encounter they offered, as the sources of immediate moral impact. However, this impact, it is suggested, did not adhere to a particular narrative in an undifferentiated manner. Instead, effects varied according to what a particular student brought to the encounter and how he or she was able to experience it. Material from two students' responses illustrates how they brought their own personal and socio-cultural contexts to the encounter, activating existing dispositions and reinforcing inclinations to behave in certain ways. There was some evidence that the students reconstructed the meaning of events in their lives, were able to interpret their environment in new ways, and constructed visions of possible futures based on this curricular experience. [source]

School Art Education: Mourning the Past and Opening a Future

INTERNATIONAL JOURNAL OF ART & DESIGN EDUCATION, Issue 1 2006
Dennis Atkinson
This article begins with a brief summary of the findings of a recent research project that surveyed the content of the art curriculum in a selection of English secondary schools. The research findings suggest a particular construction of pedagogised subjects and objects rooted in ideas of technical ability and skill underpinned by a transmission model of teaching and learning. Drawing upon psychoanalytic and social theory reasons for passionate attachments to such curriculum identities are proposed, when in the wider world of art practice such identities were abandoned long ago. Working with the notion of the subordination of teaching to learning and the difficulties of initiating curriculum practices within increasingly complex social contexts, the article argues for learning through art to be viewed as a productive practice of meaning-making within the life-worlds of students. The term, ,encounters of learning' is employed to sketch a pedagogical quest in which an ethics of learning remains faithful to the truth of the learning event for the student. [source]

Art & Design:The Rhetoric and the Practice

INTERNATIONAL JOURNAL OF ART & DESIGN EDUCATION, Issue 1 2000
John Bowden
In this paper I will outline what I perceive to be the current context in which Art and Design activities operate in Primary and Secondary Schools in England. I will argue that significant advances in the teaching of the subject in the last two decades are being threatened, particularly in the primary sector, due to the impact of a number of factors, including the new ,standards' agenda, and constraints arising from limitations in resources, teaching expertise and deployment, and the effects of assessment. The under achievement of boys will be considered in relation to some observations on differentiation in the subject at Secondary level. The paper will suggest that the attempts by teachers to offer an art curriculum that covers all aspects of artistic activity has led to a superficiality of experience for pupils, and therefore a ,depth' rather than a breadth approach to art curriculum planning is now necessary. The variable impact of Critical Studies activities will be considered, including that of Artists in Schools, and I will suggest that there is an opportunity to extend current art practice encouraging greater risk-taking, through an open-ended problem-solving approach, and a development of work which celebrates pupils' own cultures and interests. [source]

Project English: Lessons From Curriculum Reform Past

LINGUISTICS & LANGUAGE COMPASS (ELECTRONIC), Issue 6 2007
Wayne O'Neil
Project English was born in 1962, a late addition to the curriculum reform movement in the USA that grew out of the Cold War race to dominate outer space. The Oregon Curriculum Study Center, one of the initial 12 Project English centers, took as its goal the complete reformation of the secondary-school language arts curriculum and the education of its teachers. During its 6-year run, the Oregon Curriculum Study Center produced a new secondary-school curriculum in grammar, rhetoric, and literature, the result of collaborative work between the teachers in the field and members of the University of Oregon English Department. Examining the Oregon Curriculum Study Center's work on the grammar component of the curriculum, this article describes the pedagogical (Socratic) and theoretical (transformational) bases of this component, its content, and its development, and offers some lessons to be learned in the context of explaining why this attempt to replace the old grammar with a new one ultimately failed, the result of both internal contradictions and of external forces beyond the Oregon Curriculum Study Center's control. [source]