scholarly journals The Influence of Artist in Schools (AiS) Program and the ARCS Motivational Model on Students’ Creativity and Motivation in Visual Art

2019 ◽  
Vol 14 (20) ◽  
pp. 149
Author(s):  
Wan Juria Emeih Wahed ◽  
Abdul Halim bin Husain ◽  
Wan Juliana Emeih Wahed ◽  
Patricia Pawa Pitil
Keyword(s):  
Secondary Schools ◽  
Case Studies ◽  
Visual Arts ◽  
Arts Education ◽  
Visual Art ◽  
Peninsular Malaysia ◽  
Behavioral Changes ◽  
Motivational Model ◽  
Depth Interviews

The word ‘education’ comes from the Greek word ‘educare’ which means carrying out the potentials stored in the children's psyche to be guided in order for them to grow. It involves the dissemination of information or knowledge to, and acceptance by, a student which results in the receiver’s behavioral changes. The “Artist in Schools” (AiS) program was initiated by the researchers and became the platform for the collaboration between schools and artists aimed at increasing the students’ motivation in arts education. It encompasses the sharing of knowledge and experiences between the two groups. This paper is aimed at analyzing the students’ creativity and motivation in visual art by using the ARCS Motivational Model. Using the multi-case studies, nine secondary schools from Peninsular Malaysia were selected as the sample of the study. In-depth interviews, observation, and analysis of related documents were applied. The data were presented narratively. The result revealed that AiS was significantly functional and instrumental in enhancing and encouraging the level of creativity and motivation of the students in visual arts. This study may give a great impact on the students’ development specifically in the learning of visual arts.

scholarly journals Co to znaczy być artystą/artystką?

2017 ◽  
Vol 61 (1) ◽  
pp. 71-99
Author(s):  
Marek Krajewski ◽  
Filip Schmidt
Keyword(s):  
Visual Arts ◽  
Visual Art ◽  
Fine Arts ◽  
Nationwide Survey ◽  
Social World ◽  
Decision Makers ◽  
The Social ◽  
The Common ◽  
Artistic Career ◽  
Depth Interviews

Who is an artist? Questions over how to define this role divided the makers of the project The Invisible Visual: Visual Art in Poland—Its State, Role, and Significance. The authors’ sources of data were the results of a nationwide survey, a survey of graduates of the Polish Academy of Fine Arts in the years 1975–2011, and in-depth interviews with seventy individuals in the field of visual arts. The authors were able to establish, first, that persons working in the art field give different definitions from those beyond its bounds; second, that artists, decision-makers, curators, and critics try to defend the sense and autonomy of their activities against ways of thinking and acting that are typical of other areas of the social world (while they are themselves engaged in disputes over who has a right to call him- or herself an artist and what is and isn’t good art); and third, being an artist is marked by a difficult-to-cross boundary, as is shown by the common necessity of supplementing artistic work by other sources of income and the high risk of failure in an artistic career.

Negotiating Disruption in Visual Arts Education

2011 ◽  
pp. 135-146
Author(s):  
Jennifer Elsden-Clifton
Keyword(s):  
Secondary Schools ◽  
Visual Arts ◽  
Arts Education ◽  
School Context ◽  
School Community ◽  
Art Teachers ◽  
Social Practices ◽  
Visual Arts Education ◽  
Cultural Codes ◽  
General School

The visual arts has a long tradition of providing a space for artists to take up disruptive practices such a, challenging what is known, questioning and exploiting cultural codes, and providing alternative social practices. This chapter is interested in how visual arts students take up these disruptive possibilities within the complexity of secondary schools; a space historically characterised by hierarchal power, surveillance, and institutionalized structure. This chapter draws upon interviews with art teachers to examine the discourses surrounding their observations of ‘disruptive’ art created in their classrooms. In particular, the author focuses on the stories of two students who through their artwork explored and transgressed normalised notions of sexualities and bodies, which was signalled to be problematic within the school context by the teachers. This discussion explores how teachers, students, and the general school community respond and negotiate the tension and discomfort that can arise from ‘disruptive’ art.

scholarly journals The MOTIVATIONAL IMPACT OF VISUAL ARTS EDUCATION THROUGH THE 'ARTISTS IN SCHOOLS' (AIS) COLLABORATION PROGRAM AMONG SECONDARY SCHOOL STUDENTS IN MALAYSIA

2019 ◽  
Vol 4 (1) ◽  
pp. 94-97
Author(s):  
WAN JULIANA EMEIH Juliana WAHED
Keyword(s):  
Secondary School ◽  
Conceptual Framework ◽  
Case Studies ◽  
Research Design ◽  
Visual Arts ◽  
Visual Art ◽  
Secondary School Students ◽  
School Students ◽  
Visual Arts Education ◽  
The Impact

The aim of the paper is to highlight some of the findings on the study on the impact of the 'Artist in Schools' (AiS) collaboration on the motivation of students of selected secondary schools in Malaysia in visual art education. AiS is aimed at establishing a collaboration between the students of nine schools and nine Malaysian artists in order to share their experiences, skills, and knowledge consecutively. The research design of multi-case studies or multisite studies was selected and Keller’s ARCS Motivational Theory has been used for assessment purposes and as the main conceptual framework. The open-ended questionnaires were distributed to obtain the data of the students’ motivation, and the collaboration between the AiS program and the students.

scholarly journals Challences Facing Tutors in the Teaching of Visual Arts Education in National Teacher Colleges in Uganda

2021 ◽  
Vol 10 (4) ◽  
pp. 51
Author(s):  
Julius Ssegantebuka ◽  
Timothy Tebenkana ◽  
Ritah Edopu ◽  
Patrick Sserunjogi ◽  
John Bosco Kanuge
Keyword(s):  
Visual Arts ◽  
Arts Education ◽  
Visual Art ◽  
Teaching And Learning ◽  
Teaching Resources ◽  
Visual Arts Education ◽  
Short Period ◽  
Teacher Colleges ◽  
Arts Teachers ◽  
The Many

The study examined the challenges faced by tutors in the teaching of the visual arts education (VAE) in national teachers’ colleges (NTCs) in Uganda. The study adopted a qualitative approach where tutors’ and pre-service visual arts teachers’ (PVATs) views about the challenges facing them in the teaching and learning in visual arts were expressed. Data were collected from two pur­posively selected NTCs, and ten tutors. Yet, the 48 second year PVATs who participated in this study, were randomly selected from the many who were available. The researchers used interviews, document reviews and focus group discussions to collect data. The findings show that the challenges facing tutors in the teaching of visual arts have a great impact on what PVATs learn. Some visual art disciplines have too much content to be covered within a short period of two years. There is a general lack of teaching resources, such as art materials, tools and equipment, textbooks, and inadequate teaching space. The researchers recommended the reduction of the content of some visual art disciplines to fit the available time; provide art materials, tools and equipment as well as adequate teaching space which would allow the use of more appropriate teaching methods which would avail tutors with the opportunity to perform to their expectations in visual arts teaching.

scholarly journals Visual Arts Education for Young Children In Aotearoa New Zealand

2017 ◽  
Vol 41 (4) ◽  
pp. 50 ◽  
Author(s):  
Lisa Terreni
Keyword(s):  
Early Childhood ◽  
New Zealand ◽  
Art Education ◽  
Visual Arts ◽  
Arts Education ◽  
Visual Art ◽  
Early Childhood Curriculum ◽  
Visual Arts Education ◽  
Learning And Teaching ◽  
Aotearoa New Zealand

<div class="page" title="Page 1"><div class="section"><div class="layoutArea"><div class="column"><p><span>Visual art education plays a significant role in fostering </span><span>young children’s learning, thinking, and communicating. </span><span>In New Zealand, approaches to early childhood visual </span><span>art education have developed in response to international educational theories and trends, which, over the years, have often resulted in changes to pedagogy and practice in this domain. Currently, the national early childhood curriculum Te </span><span>Whāriki includes references to visual art education in many </span><span>of its learning strands. Whilst the curriculum has a strong sociocultural orientation to learning and teaching, approaches to early childhood visual art education are diverse. A brief historical overview of early childhood visual arts education in </span><span>New Zealand is presented and, to conclude, three examples of </span><span>current, innovative art projects are discussed. </span></p></div></div></div></div>

scholarly journals Curriculum, Assessment and Pedagogy: How These Dimensions are Enriching Visual Arts Education for Ethnically Diverse Students in New Zealand Secondary Schools

2019 ◽  
Vol 3 (3) ◽  
pp. p311
Author(s):  
Jill Smith
Keyword(s):  
Secondary Schools ◽  
Visual Arts ◽  
Arts Education ◽  
Ethnically Diverse ◽  
Art Teachers ◽  
Pedagogical Practices ◽  
Diverse Students ◽  
Visual Arts Education ◽  
Curriculum Assessment ◽  
Assessment Policies

This article reports on findings from two complementary research projects conducted in Auckland, New Zealand’s largest city. Both projects were motivated by changing demographic statistics from a largely European-ethnic student population in secondary schools in the past, to an ethnically diverse one in the present. Each project focused upon the nature of New Zealand’s national curriculum and assessment policies for visual arts education, and the pedagogical practices of art teachers. European-ethnic art teachers comprise the majority in secondary schools, thus the research in 2015 centred on how these teachers are working alongside ethnically diverse students. Given that there is a growing population of Asian-ethnic students in secondary schools, the follow-up project in 2018 focused on how art teachers of Asian ethnicity are supporting these students to engage in experiences that express their cultural identities. The findings provide evidence of how art teachers are using the curriculum, assessment policies and culturally responsive pedagogies to enrich the nature of visual arts education for students of all ethnicities in secondary schools in this country. The findings are exemplified through the ‘voices’ of a sample of art teachers, and ‘artworks’ by 15-18 year old students which encapsulate the role of images as a powerful form of data.

scholarly journals The Educating Role of Visual Arts

2016 ◽  
Vol 15 (1) ◽  
Author(s):  
Sandra Palhares - University of Minho
Keyword(s):  
Art Education ◽  
Contemporary Art ◽  
Visual Arts ◽  
Community Involvement ◽  
Arts Education ◽  
Visual Art ◽  
Creative Thinking ◽  
Visual Arts Education ◽  
Active Player ◽  
Wide Range

This article discusses contemporary visual arts education current changes. Visual Arts Education is frequently underestimated by most European Curriculum which often gave and still gives priority to other knowledge areas. Nevertheless, culture industries like museums and a wide range of culture and social organizations are doing the opposite, leading visual art education to an increasingly dissemination, even if it is always less than we all expect. This article also focus on a current shift and which seems to be a kind of paradox: visual art education services from alternative culture institutions are becoming integrated on school activities. By recognizing Visual Art Education Value, culture institutions are trying to develop different approaches in order to engage visual arts with communities. By informing and promoting creative thinking, they are trying to reach community involvement and, consequently, breaking down barriers when necessary. In a more and more globalized world, it is urgent to rethink culture, ethnical, social, economical and political diversities and here is where visual arts education can become a more active player. Art always allowed man to create different worlds in our world as Nelson Goodman affirmed. By creating new worlds, art offers possibilities on new world perspectives and therefore it also might make possible a great miracle, which is the possibility of changing into a better world! Isn´t that what next Documenta 14 is doing? Documenta 14, Kassel, considered the world's largest and most prestigious exhibition of contemporary art, will be held in Athens, Greece, and Kassel, Germany, under the following theme: Learning from Athens. Both - visual art education and contemporary art - seem to share this wish and determination in changing to a better world by implicating local, national and international community. And Art always seemed to be a great `educator´ throughout mankind history.

scholarly journals ZOULIKHA BOUABDELLAH VISUAL ART AND CONTEMPORARY CALLIGRAPHY IN MODERN ALGERIA

2019 ◽  
Vol 4 (1) ◽  
Author(s):  
M. Fyza Ghaniya ◽  
Suranta Suranta
Keyword(s):  
Qualitative Methods ◽  
Visual Arts ◽  
Visual Art ◽  
The State ◽  
Art And Culture ◽  
Religious Concept ◽  
Modern Era ◽  
Depth Interviews ◽  
Art Experts

This study discusses the development of traditional poles that influence modern visual arts based on Aljazair culture, from conservative cultures under Ottoman influence to become Liberals after the French colonization brought to the Modern era. The majority of previous studies only discussed descriptive art variations in Algerian culture or only included elements of art in Algeria. This study uses qualitative methods, data collected by in-depth interviews with Visual Art experts at the best institutions in Indonesia and literature studies on art and culture in Algeria. This paper does not encourage artists to violate Islamic rules in their work. However, this study shows that there are artists who come out of Islamic rules to achieve certain goals and are not taboo in art. The paper concludes that a religious concept that is applied in a state principle does not make and guarantee that all members of the entire community line are fully conservative and obedient to the conservative rules in the state or legislation that must be obeyed in that country.

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