scholarly journals Mapping of sexist violence in Valencia (Spain)

2020 ◽  
Vol 1 (2) ◽  
pp. 27-49
Author(s):  
Amparo Alonso Sanz
Keyword(s):  
Secondary Education ◽  
Art Education ◽  
Visual Arts ◽  
Affect Theory ◽  
Human Geography ◽  
Public Debates ◽  
Urban Safety ◽  
The City

This article examines the ways in which issues of women’s safety in public spacesmight be integrated into artistic practices in art education from an intersectional and queer review of gender in the city. It considers the contributions from human geography, feminism and affect theory, trying to incorporate all of those perspectives into a pedagogical proposal. The first part of the article introduces the main issues to be explored, acknowledging them in the context of recent public debates in Spain that were related to gender and urban safety. The second part presents the results of a participatory, ephemeral, vindictive and artistic action developed with students of amaster’s degree in Secondary Education Teaching in the specialty of visual arts at theUniversity of Valencia: An action of mapping the sexist violence in Valencia. Lastly, the article concludes with the presentation of emotional and educational profits gained by used practices.

An urban walk as a teaching strategy and investigative instrument in art education

2019 ◽  
Vol 8 (3) ◽  
pp. 215-229
Author(s):  
Rafaèle Genet-Verney ◽  
Ricardo Marín-Viadel ◽  
Antonio Fernández-Morillas
Keyword(s):  
Art Education ◽  
Visual Arts ◽  
Teaching Practice ◽  
Teaching Strategy ◽  
Research Field ◽  
Artistic Practice ◽  
Artistic Creation ◽  
Aesthetic Results ◽  
The City ◽  
Educative Experiences

Abstract This article explores interactions among three topics: the city, visual arts and education, all interconnected through an urban and artistic practice of walking. This reflection is carried out in three fields of thought: education, investigation and artistic creation. On an educative level, one questions how a path through the city can be a strategy for art education learning. In the research field, thanks to analysis of artistic and urbanism methodologies applied to the city, research is carried out using walking maps as tools of art and urban planning investigation. On an artistic level, aesthetic results are desired from the investigation as a result of teaching practice designed to be a creative reflection on the city. We analysed current tendencies in art education through the use of the walking path around the city and investigation using maps. We present the three educative experiences validating the use of urban walks as pedagogic strategies and instruments of investigation.

scholarly journals Lower Case Truth: Bridging Affect Theory and Arts-Based Education Research to Explore Color as Affect

2021 ◽  
Vol 20 ◽  
pp. 160940692199891
Author(s):  
Ellie Haberl
Keyword(s):  
Education Research ◽  
Visual Arts ◽  
Lived Experiences ◽  
Affect Theory ◽  
Western United States ◽  
Visual Method ◽  
School Practice ◽  
Lower Case ◽  
Project Participants ◽  
Grade Classroom

As education researchers increase our focus on affect as a crucial dimension of school practice and pedagogy, we also have the responsibility of taking up the paradoxical nature of seeking to represent and analyze moments of feeling that, by their very nature, evade our understanding. This article explores the question of attending to affect in education research by drawing on research conducted in a seventh grade classroom in a mid-sized city in the western United States, where students were explicitly invited to ground argumentative writing in lived experiences that were significant to them, including those experiences often deemed difficult and thus saturated with affective intensities. Invited to use visual arts-based methods of representing the felt dimension of the project, participants used both color and abstract design as a method for representing the complexity of these affective intensities. The author makes an argument for this visual method of representation that invites students to illustrate their affective experience in ways that maintain its complex, contrasting and often non-linguistic nature.

Visual Arts, Representations and Interventions in Contemporary China

2018 ◽  
Keyword(s):  
Urban Space ◽  
Visual Arts ◽  
Cultural Production ◽  
Mainland China ◽  
Social Changes ◽  
Power Structures ◽  
Cultural Activism ◽  
Political Issues ◽  
Wide Range ◽  
The City

This edited volume provides a multifaceted investigation of the dynamic interrelations between visual arts and urbanization in contemporary Mainland China with a focus on unseen representations and urban interventions brought about by the transformations of the urban space and the various problems associated with it. Through a wide range of illuminating case studies, the authors demonstrate how innovative artistic and creative practices initiated by various stakeholders not only raise critical awareness on socio-political issues of Chinese urbanization but also actively reshape the urban living spaces. The formation of new collaborations, agencies, aesthetics and cultural production sites facilitate diverse forms of cultural activism as they challenge the dominant ways of interpreting social changes and encourage civic participation in the production of alternative meanings in and of the city. Their significance lies in their potential to question current values and power structures as well as to foster new subjectivities for disparate individuals and social groups.

A History of Art Education: Intellectual and Social Currents in Teaching the Visual Arts

1991 ◽  
Vol 31 (1) ◽  
pp. 168
Author(s):  
Mary Ann Stankiewicz ◽  
Arthur D. Efland
Keyword(s):  
Art Education ◽  
Visual Arts ◽  
History Of Art ◽  
History Of

scholarly journals PELAKSANAAN PEMBELAJARAN SENI DRAMA SEJAK USIA DINI

Imaji ◽  
2015 ◽  
Vol 4 (1) ◽  
Author(s):  
Sumaryadi
Keyword(s):  
Art Education ◽  
Visual Arts ◽  
Language Use ◽  
Human Life ◽  
Conflict Setting ◽  
Technical Staff ◽  
The Third ◽  
Space And Time ◽  
Art Performance

Regarding the implementation of art education in schools, it is seen that art performance education is put in the third position after visual arts and literature. Among other forms of art performance, drama’s position is under music and dance. Drama is a performance delineating human life, which is acted on stage in front of public. The story generally has conflicts, performed through movements, actions and dialogs. Drama needs introducing to children. The attempts to introduce drama to children should be done as early as possible since the early ages have appropriate space and time, which are strategic to implant basic values in children. Related to this, there are at least two things to be put into consideration. The first is related to literature and the second to art performance. The former covers the determination of theme, synopsis, characters and characterization, plot, dramatic conflict, setting and language use. The latter includes script writing, directing, producer, technical staff, players, and audience. Keywords: art education, drama, early ages

scholarly journals Por una muerte digna para la educación artística

2020 ◽  
pp. 9
Author(s):  
Ricard Huerta ◽  
Ricardo Domínguez
Keyword(s):  
Art Education ◽  
Visual Arts ◽  
School Curriculum ◽  
Health Prevention ◽  
Human Breath ◽  
Global Pandemic ◽  
Palabras Clave ◽  
El Sistema ◽  
The Government ◽  
New Education

Resumen: El año 2020 ha estado marcado por una pandemia global causante de una situación extraña e impredecible a nivel planetario. Todos los países del mundo se encuentran en procesos de prevención sanitaria contra la COVID-19, un virus que ataca agresivamente el sistema inmunológico de las personas. Intentar llevar a cabo cualquier actividad supone un riesgo de contagio, ya que el coronavirus se propaga sobre todo a través del aliento humano, lo cual ha supuesto la irrupción de nuevos hábitos cotidianos, como usar siempre la mascarilla, o no poder reunirse con otra gente para celebraciones y eventos, ni tampoco dar clase en el aula. Inmersos en esta tesitura, desfavorable para cualquier intento de normalidad educativa, en el caso de la educación artística padecemos doblemente esta penosa realidad. En la coyuntura española, iniciábamos el año presentando una serie de alegaciones a la nueva ley de educación que el gobierno quiere aprobar (LOMLOE), una ley que prácticamente elimina las artes visuales del currículum escolar. También en otros países se está evidenciando un retroceso constante en materia de educación artística. Si el coronavirus está impulsando la práctica de las artes mediante el uso de tecnologías digitales, y la sociedad reivindica más enseñanzas en materia de prevención, salud, inclusión, igualdad, diversidad y lenguajes tecnológicos emergentes, deberíamos atender a estas necesidades que requiere el nuevo escenario educativo y vital. Ante tales evidencias, apostamos por una muerte digna de nuestra especialidad, tal y como la entendíamos hasta ahora, valorando que este derecho a la eutanasia supone el nacimiento de un concepto renovado de la educación artística, algo que deberemos abordar como prioridad y de manera inmediata.  Palabras clave: arte, educación artística, pandemia, formación de profesorado, coronavirus.  Abstract: This year 2020 has marked by a global pandemic that causes a strange and unpredictable situation at the planetary level. All countries are in health prevention processes due to COVID-19, a virus that attacks the immune system. Trying to do any activity poses a risk of contagion, since the coronavirus spreads especially through human breath, which has led to the invasion of new daily habits, such as leaving the house with a mask, or not being able to meet other people for celebrations and events, or to teach in the classroom. Immersed in this unfavorable situation for any educational normality, in the case of artistic education we suffer doubly from this painful reality. In Spain, we started the year presenting a series of complaints to the new education law that the government wants to pass (LOMLOE), a law that practically eliminates the visual arts from the school curriculum. Also in other countries, there is a constant decline in Art Education as curricular teaching. If the coronavirus is promoting the use of digital technologies, and society claims the teachings on prevention, health, inclusion, equality, diversity and emerging technological languages, we should attend to the needs required by the new educational and vital scenario. Faced with such evidence, we are committed to a death worthy of our specialty, as we understood it until now, understanding that this right to euthanasia implies the birth of a renewed concept of artistic education, something that we must do immediately as a priority.  Keywords: Art, Art Education, Pandemic, Teacher Training, Coronavirus.

scholarly journals Votive altars: domestic signals to inhabit the Sacred

2019 ◽  
Vol 2 (3) ◽  
pp. 31
Author(s):  
Claudio Gambardella ◽  
Valentina Sapio
Keyword(s):  
Visual Arts ◽  
Word Meaning ◽  
Living Space ◽  
Mediterranean Countries ◽  
Catholic Religion ◽  
The Matrix ◽  
Human World ◽  
The Mediterranean ◽  
The City ◽  
Over Time

“Sacred” is an Indo-European word meaning “separate”. The Sacred, therefore, [. . . is] a quality that is inherent in that which has relation and contact with powers that man, not being able to dominate, perceives as superior to himself, and as such attributable to a dimension [. . . ] thought however as ”separate” and ”other” with respect to the human world » Galimberti, (2000). The so-called votive altar, autonomous or attached to a major building often present in the Mediterranean countries, belong to the dimension of the Sacred.Votive altars - present in an old neighborhood of peasant origin in the suburbs of Naples called Ponticelli - are almost always placed in the interstices between street and courtyard (a self-built residential typology modeled over time by the inhabitants and which often forms the matrix of many neighborhoods popular Neapolitan). They keep and exhibit little sculptures and drawings of Jesus, Madonnas, and Saints of the Catholic religion, mixed with ancestors portraits and photos of relatives dead of the inhabitants, drawing on the ancient domestic cult of the Romans of Lari and Penati; it is certainly not a consciously cultured reference, but a mysterious ”feeling” that is common among primitive and popular cultures and that unravels through the centuries unscathed. Placed at the entrance of the living space, the altar expresses the sign of a difference, of a territorial change, separates ”ours” from ”yours”, welcomes, does not reject, but marks an open and inclusive threshold.With the paper, we want to study this phenomenon of ”primitive” culture and not regulated by laws, a mix of diffuse sacredness and popular magic, deepening the ”design” aspects of it, building an abacus in which to highlight potential and free references to the visual arts of these ”design works without designers”, and finding out new signs of the Sacred in the City in our time.

Blockade of Leningrad in the visual arts

2020 ◽  
pp. 51-58
Author(s):  
S. T. Makhlina ◽  
Keyword(s):  
Visual Arts ◽  
Civic Duty ◽  
Soviet Art ◽  
Great Patriotic War ◽  
History Of ◽  
The City ◽  
Propaganda Posters

In the history of wars, humanity has more than once met with the blockade of cities of one of the belligerent countries. The blockade of Leningrad introduced a new page in the history of mankind. The artists who lived in the city during the blockade did not stop their work, understanding it as their civic duty, contributing to confronting the enemy and giving hope to achieve victory. Every day on the streets of Leningrad there were propaganda posters, caricatures of enemies, which were created by graphic artists, painters and sculptors. The works created by them entered the treasury of Soviet art and represent its golden fund. Despite all the difficulties of life in the besieged city, exhibitions were organized in it. The years of the Great Patriotic War inscribed a special page in the history of Soviet art, reflected the life of Leningraders in the besieged city and their struggle for victory over the enemy.

Of Bliss and Blushing: Cities and Affect in Katherine Mansfield and Jean Rhys

2019 ◽  
pp. 163-180
Author(s):  
Andrew Thacker
Keyword(s):  
Affect Theory ◽  
Jean Rhys ◽  
Cultural Institutions ◽  
Katherine Mansfield ◽  
French Writer ◽  
The City ◽  
Shakespeare And Company

This paper explores the significance of Katherine Mansfield and Jean Rhys as colonial outsiders in the modernist metropolis of Paris. The paper draws upon a number of ideas from contemporary affect theory (such as work on the idea of shame) to present an original account of how, in texts such as ‘Je ne parle pas français’ and ‘Feuille d’Album’ (Mansfield) and Quartet (Rhys), both writers responded, in differing ways, to the moods of the modernist spaces of the city. It also discusses the importance of their engagement with the cultural institutions of modernism in Paris, such as that of Sylvia Beach’s bookshop, Shakespeare and Company, and explores their shared connections to the French writer Francis Carco.

Wenger, Susanne (1915–2009)

2018 ◽  
Author(s):  
Peter Probst
Keyword(s):  
Art Education ◽  
Graphic Design ◽  
Severe Illness ◽  
Local School ◽  
Western History ◽  
History Of ◽  
The University ◽  
The City ◽  
Exclusive Focus ◽  
Applied Arts

Susanne Wenger was an Austrian artist and an instrumental figure in the history of Nigerian modernism. Born on July 4, 1915 in the city of Graz, Austria, Wenger first attended the local School of Applied Arts before she moved to Vienna to continue her art education, first at the School of Graphic Design and then, from 1933 to 1935, at the Academy of Art. Like other students, Wenger’s interest was in contemporary post-secessionist movements. The few works remaining from Wenger’s Viennese phase exemplify different styles ranging from pencil studies of plants and animal bodies, executed with an almost photographic precision, to expressionistic and cubist paintings, to surrealist crayon drawings. After the war she moved from Vienna to Paris, where she met editor Ulli Beier (1922–2011). The encounter with Beier marked a profound and lasting shift in Wenger’s life. The two fell in love and decided to spend the next years in Nigeria, where he got a job as a lecturer at the University of Ibandan. What they thought would be an adventure became a confrontation with the colonial reality. The colonial curriculum had an exclusive focus on Western history and culture. Interaction between Nigerians and members of the British faculty hardly existed. While Beier reacted to the colonial reality by seeking refuge in the newly established extramural department, which allowed him to work outside the campus, Wenger’s response was more private and personal. After a severe illness, she embarked on a journey—both spiritual and artistic—which resulted in the so-called "Osogbo experiment."

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