scholarly journals Contextualizing Aesthetics as Social Engagement for Teacher Education

2020 ◽  
Vol 12 (1) ◽  
Author(s):  
Adam I Attwood
Keyword(s):  
Teacher Education ◽  
Visual Arts ◽  
Social Engagement ◽  
Historical Development ◽  
Fine Arts ◽  
Content Areas ◽  
The Arts ◽  
Arts Teachers ◽  
Meta Analyses ◽  
K 12

Aesthetics is a type of literacy; however, it has been missing in generalist meta-analyses of teacher education. This article adds to the literature by synthesizing aesthetics theory, especially for implications of the historical development of ideas related to visual arts and aesthetics broadly defined for inclusive teacher preparation that promotes social engagement. Various viewpoints are explored in this article for contextualizing the field of aesthetics education as it relates to the preparation of generalist K–12 teachers who are not training to be fine arts teachers. With context, generalist K–12 teachers can be equipped to integrate the arts across other content areas.

Integrating STEM with Music

2021 ◽  
Author(s):  
Shawna Longo ◽  
Zachary Gates
Keyword(s):  
Digital Media ◽  
Stem Learning ◽  
Positive Direction ◽  
Content Areas ◽  
Media Arts ◽  
Science Technology ◽  
The Arts ◽  
Mixed Messages ◽  
K 12 ◽  
Creativity And Innovation

This book explores how science, technology, engineering, and mathematics (or STEM) initiatives are becoming more common in our educational system while depicting what it means to teach not only the students of today, but the citizens of tomorrow. This resource will provide 15 fully-developed and classroom-vetted instructional plans with assessments that are aligned to articulate learning from kindergarten through grade 12. With these instructional lessons and adaptations for K-12 music and STEM classes, pre-service educators, in-service educators, and administrators can better understand and immediately use tools for planning, assessing, and the practical integrating of STEM with Music. The arts, which includes music, visual art, dance, theater, and digital/media arts, bring creativity and innovation to the forefront in STEM learning. STEM learning can move teachers of the arts in a positive direction, but there are mixed messages about what that means and looks like. Many natural connections can be made between science, technology, engineering, math, and music. Twenty-first century learning skills and career-ready practices are framed so that the creativity and innovation necessary to succeed in STEM content areas and careers can be directly addressed by the educational community. The connection that is made between STEM content areas and music stimulates inquiry, dialogue, and critical thinking.

scholarly journals When STEM leads to the Rest: A Reflection on STEM as the HUB for Curriculum Integration

2017 ◽  
Vol 1 (2) ◽  
pp. 35-38
Author(s):  
Douglas Price
Keyword(s):  
Social Studies ◽  
Language Arts ◽  
Curriculum Integration ◽  
Journal Article ◽  
Content Delivery ◽  
Focal Points ◽  
Content Areas ◽  
The Arts ◽  
Subject Areas ◽  
K 12

Within this journal article, I seek to promote K-12 educators to think consciously and cognitively of their subject areas on how STEM can be initiator of content-delivery. STEM is still fresh within the confines of the traditional K-12 education field, and many are seeking to understand its relation to the real world as well as other subject areas. Within this article, I seek to prove how STEM steeps itself throughout three other content areas often separated: Language Arts, Social Studies, and the Arts. If we as educators as to enhance and entice our students to think intrinsically and deeply about their learning, it is important that we search to understand how STEM can derive to and from these inherent content focal points.

scholarly journals This time without ‘feeling’: Children’s intuitive theories of art as a logical basis for learning progression in visual arts

2021 ◽  
Author(s):  
Karen Maras
Keyword(s):  
Visual Arts ◽  
Epistemological Beliefs ◽  
Practical Reasoning ◽  
Australian Curriculum ◽  
Logical Basis ◽  
Empirically Supported ◽  
The Arts ◽  
Experiential Process ◽  
The Subject ◽  
K 12

Learning in Visual Arts has traditionally been framed as an experiential process in which feeling and intuition complement the development of aesthetic knowledge. However, while art can be about feelings and processes that develop students’ expressive capacities, the complexity of art understanding and thinking extends beyond this narrow common-sense assumption. I argue that this assumption, which is represented in the Australian Curriculum: The Arts (ACARA, 2015), and even more firmly resonates in recent proposals for the revision of this curriculum (ACARA, 2021), obfuscates the conceptual and theoretical bases on which students make progress in art understanding. This paper examines the proposition that art understanding emerges progressively and can be described in conceptual terms, the basis of which can be identified in empirical research on the emergence of children’s intuitive theories of art. This paper examines how selected studies articulate the cognitive grounds on which students’ ontologies of art and epistemological beliefs are represented in their reasoning about art over time. It is argued that an empirically supported conception of learning anchored in students’ cognitive development in art that recognises the theoretical commitments underscoring their conceptual and practical reasoning in visual arts practices K–12 provides a logical basis for articulating progression in the subject.

Toward Islamization of the Non-Visual Arts

1989 ◽  
Vol 6 (1) ◽  
pp. 125-134
Author(s):  
Rasha Al Disuqi
Keyword(s):  
Present State ◽  
Visual Arts ◽  
Literary Theory ◽  
Recent Article ◽  
Fine Arts ◽  
Islamic Art ◽  
The Arts ◽  
Large Numbers ◽  
Sayyid Qutb ◽  
Poetic Expression

In his recent article, "Religious Fascism and Art," Dr. Sa'ad al Din Ibrahimconcludes with these words addressed to all scholars in the visual and nonvisualarts field: "Those who have the 'Islamic alternative or aJtematives'let them be obliged, if they truly believe in the existence of refined standardsfor aesthetic creativity different from those available, (let them) endeavorto present these refinements to society. They have endeavored and succeededin recent years in presenting alternatives in economic institutions, servicesand investments, which attracted large numbers . . . why do they not dothe same in the arts field?"Frantic endeavors at lslarnizing the non-visual arts have reached a highpointat the present time. These endeavors are primarily due to the realization ofthe grave effect art has on shaping morals and channeling, or swaying themin certain directions, and to its easy accessibility to, and profound effect on,emotion and intellect. Many contemporary Islamistsi have found some basisfor Literary theory but have not arrived at one grounded in the Qur'an andthe Sunnah with a view leading to Islamization of the non-visual arts (literature)and the fine arts as a whole. Although this discussion does not present atheory, it attempts to draw attention to crucial issues which may invite furtherendeavors for the Islamization of these artistic disciplines.The Present State Of The Arts And Islamic ResearchContributionsThe problem oflabeling all kinds of written material "literature," is itselfindicative of the obliterated sense of refinement needed in the existing nonvisualarts. Literature, such as drama, fiction, poetry, and even criticismhas been called, among its specialists, "art." But because it has not livedup to refined artistic standards, it has prompted many scholars to center theirdiscussions on the quality and value present in the different existing genres.At several points in history similar attempts have existed: al Asma'i (d.215 A.H./830 A.D.), Muhammad Ahmad Tabatba (d. 322 A.H./933 A.O.),al ·Amidi (d. 370 A.H./980 A.D.), al Farabi (d. 339 A.H./950 A.O.), andal Jurjani (d. 392 A.H./1001 A.O.) have concentrated their efforts on qualityof style, rhetoric, and means of expression in the work of art. In literaryCriticism: Roots and Methodology, Sayyid Qutb initiated a return to theQur'an and the Hadith as sources, by analyzing emotive values of the work,exploring the nature of Islamic art, describing its characteristics and its basicemergence from Islamic 'aqidah. Similarly, in Experiments in PracticalCriticism, al Qabsi touches on the Prophet's (SAAS) viewpoint of poetryand the legitimacy of poetic expression. In analyzing the significance of thework as a human product, it was learned that human expression, related firstand foremost to the human being, has not been explored. We must, then,first find the basis for such a theory in the Qur'an and the Sunnah in order ...

The Western Australian Art and Crafts Superintendents’ advocacy for years k-12 Visual Arts in education

2016 ◽  
Vol 45 (1) ◽  
pp. 115-130
Author(s):  
Geoffrey William Lummis ◽  
Julia Elizabeth Morris ◽  
Graeme Lock
Keyword(s):  
Teacher Education ◽  
Visual Arts ◽  
Primary Schools ◽  
Arts Education ◽  
Content Type ◽  
Visual Arts Education ◽  
History Of ◽  
Specialist Teachers ◽  
K 12 ◽  
Western Australian

Purpose – The purpose of this paper is to record Visual Arts education in Western Australia (WA) as it underwent significant change between 1967 and 1987, in administration, policy, curriculum and professional development. Design/methodology/approach – A narrative inquiry approach was utilized to produce a collective recount of primary Visual Arts teacher education, based on 17 interviews with significant advocates and contributors to WA Visual Arts education during the aforementioned period. Findings – This paper underscores the history of the role of Western Australian Superintendents of Art and Crafts and the emergence of Visual Arts specialist teachers in primary schools, from the successful establishment of a specialist secondary Visual Arts program at Applecross Senior High School, to the mentoring of generalist primary teachers into a specialist role, as well as the development and implementation of a new Kindergarten through to Year 7 Art and Crafts Syllabus. It also discusses the disestablishment of the WA Education Department’s Art and Crafts Branch (1987). Originality/value – The history of primary Visual Arts specialists and advocacy for Visual Arts in WA has not been previously recorded. This history demonstrates the high quality of past Visual Arts education in WA, and questions current trends in pre-service teacher education and Visual Arts education in primary schools.

scholarly journals 5. Study of Arts Teachers’ Vision on Supporting “Artistic Talent”

2017 ◽  
Vol 14 (1) ◽  
pp. 271-276
Author(s):  
Ona Ionica Anghel
Keyword(s):  
Music Education ◽  
Visual Arts ◽  
Opinion Poll ◽  
Ministry Of Education ◽  
Educational Strategies ◽  
Item Questionnaire ◽  
The Arts ◽  
Arts Teachers ◽  
Special Children ◽  
Artistic Talent

Abstract The purpose of this study is to find out the arts teachers’ opinion regarding the three issues related to the strategies aimed to support pupils with artistic talent: what is? who supports? how do they support? the artistic talent. Three goals lead us to this aim: to sketch the profile of the pupils with artistic talent, depending on their conduct and needs; the identification of the activities to support these special children; the identification of the extent to which different institutions get involved in supporting the pupils with artistic talent. To achieve these goals, we used the opinion poll as a research method and the created instrument was represented by a five-item questionnaire - four of them requiring open answers and one for closed answers. A total of 29 teachers of visual arts and music education, theoretical and interpretive, were selected for this study. The obtained results brought us close to the image that the teachers have on the artistic talent phenomenon. According to the teachers, the artistic talent is visible if we pay attention to four fields: creativity, passion, harnessing talent, specific skills. Meeting the needs (material, emotional support, socialization with peers, recognition of their talent) can be sources of shaping the educational strategies to support pupils with artistic talent by the main responsible institutions - the Ministry of Education, inspectorates, schools, NGOs.

scholarly journals FORMAS DA POTÊNCIA E ESTADOS ARTÍSTICOS NA FORMAÇÃO INICIAL E NA DOCÊNCIA EM ARTES VISUAIS

2020 ◽  
Vol 27 (3) ◽  
pp. 226
Author(s):  
Carmen Lúcia Capra ◽  
Luciana Gruppelli Loponte
Keyword(s):  
Teacher Education ◽  
Visual Arts ◽  
Philosophy Of Art ◽  
Art Practices ◽  
Arts Teachers ◽  
Formación Docente

RESUMO: O texto parte de modos de relacionar-se com a arte, manifestados por professoras de artes visuais, seguindo com uma reflexão sobre as posições de professores em formação e em exercício em relação à arte. Apresenta uma reunião ensaística de ideias que fornecem meios para pensar as relações produzidas com a arte desde a formação docente inicial, como o caráter biográfico que compõe o estudo e as práticas de arte no curso de licenciatura. É feita uma argumentação sobre conceitos da filosofia, da filosofia da arte e da educação, como verdade e potência, por exemplo, a fim de elaborar contribuições para a formação docente em artes visuais. Ao final, em lugar de tomar como verdades exemplares as práticas legitimadas pelo campo artístico, defende-se que a docência possa adotar existências artísticas na forma da sua própria potência.Palavras-chave: Licenciatura. Artes Visuais. Potência. Verdade.FORMS OF POTENCY AND ARTISTIC STATES IN TEACHER EDUCATION AND TEACHING IN VISUAL ARTSAbstractThe text goes towards the ways to get related to art, these manifested by visual arts teachers, followed by a reflection about the positions of teachers under formation and those who are exercising their teaching concerning arts. It presents an essayistic meeting of ideas that provide means to think about the relations produced with art since the initial teaching formation, as the biographical character that composes the study and the art practices in the undergraduate course. An argument is made about concepts of philosophy, philosophy of art, and education, such as truth and potency, for example, in order to make contributions to teacher education in the visual arts. In the end, instead of taking as exemplary truths the practices legitimized by the artistic field, it is argued that teaching can adopt artistic existences in the form of its own power.Keywords: Licentiate Degree. Visual Arts. Pontency. Truth.FORMAS DE LA POTENCIA Y ESTADOS ARTÍSTICOS EN LA FORMACIÓN INICIAL Y NA DOCENCIA EN ARTES VISUALESResumenEl texto parte de formas de relacionarse con el arte, manifestadas por profesores de artes visuales, y luego con una reflexión sobre las posiciones de los profesores en formación y en la ejercicio en relación con el arte. Presenta una reunión de ensayos de ideas que proveen medios para pensar sobre las relaciones producidas con el arte desde la formación docente inicial, como el carácter biográfico que compone el estudio y las prácticas artísticas en el curso de licenciatura. Se discute acerca de los conceptos de filosofia, filosofia del arte y la educación, como la verdade y la pontencialidad,por ejemplo,para hacer contribuciones a la formación del profesorado em las artes visuales. Al final, em lugar de tomar como verdades ejemplares las prácticas legitimadas por el campo artístico, se argumenta que la enseñanza puede adoptar existencias artísticas em la forma de su propio poder.Palabras clave: Licenciatura. Artes visuales. Potencia. Verdad. 

scholarly journals Toward Islamization of the Non-Visual Arts

1989 ◽  
Vol 6 (1) ◽  
pp. 125-134
Author(s):  
Rasha Al Disuqi
Keyword(s):  
Present State ◽  
Visual Arts ◽  
Literary Theory ◽  
Recent Article ◽  
Fine Arts ◽  
Economic Institutions ◽  
The Arts ◽  
Large Numbers

In his recent article, "Religious Fascism and Art," Dr. Sa'ad al DTn Ibrahimconcludes with these words addressed to all scholars in the visual and nonvisualarts field: "Those who have the 'Islamic alternative or aJtematives'let them be obliged, if they truly believe in the existence of refined standardsfor aesthetic creativity different from those available, (let them) endeavorto present these refinements to society. They have endeavored and succeededin recent years in presenting alternatives in economic institutions, servicesand investments, which attracted large numbers . . . why do they not dothe same in the arts field?"1Frantic endeavors at lslarnizing the non-visual arts have reached a highpointat the present time. These endeavors are primarily due to the realization ofthe grave effect art has on shaping morals and channeling, or swaying themin certain directions, and to its easy accessibility to, and profound effect on,emotion and intellect. Many contemporary Islamistsi have found some basisfor Literary theory but have not arrived at one grounded in the Qur'an andthe Sunnah with a view leading to Islamization of the non-visual arts (literature)and the fine arts as a whole. Although this discussion does not present atheory, it attempts to draw attention to crucial issues which may invite furtherendeavors for the Islamization of these artistic disciplines.The Present State Of The Arts And Islamic ResearchContributionsThe problem oflabeling all kinds of written material "literature," is itself ...

scholarly journals The Ingress Of World Artistic Experience In The Fine Arts Of The 1970s-1980s

2021 ◽  
Vol 03 (02) ◽  
pp. 198-202
Author(s):  
Khasanboy Umarjon Ugli Rakhimov ◽  
Keyword(s):  
Visual Arts ◽  
Fine Arts ◽  
Fine Art ◽  
Human Mind ◽  
Artistic Experience ◽  
Works Of Art ◽  
The Arts ◽  
History Of ◽  
The Individual

The work of writing discusses the history of Uzbek fine arts. It analyzes the different period works of art by Uzbek and Russian artists who lived in Uzbekistan. Fine art is one of the arts that quickly affects the human mind, arouses good feelings and enriches the spiritual world.At the same time, the visual arts are educators who contribute to the formation and development of the individual.

scholarly journals Prospective Teachers’ Views on Practitioner Teacher’s Attitude in Processes of Observation Made on Teaching Practice

2020 ◽  
Vol 13 (8) ◽  
pp. 29
Author(s):  
Gonca Erim ◽  
Alper Çetin
Keyword(s):  
Visual Arts ◽  
Prospective Teachers ◽  
Arts Education ◽  
Teaching Practice ◽  
Fine Arts ◽  
Theory And Practice ◽  
Visual Arts Education ◽  
Arts Teachers ◽  
Important Position ◽  
The Individual

Setting as the targeting the education of individuals in terms of intellectual, perceptual and emotional aspects as a whole places the visual arts education, which is one of the fields of education, at an important position. That is due to the fact that the individual who has aesthetical perception development through fine arts education learns how to perceive new forms and to view his/her environment and artistic structures from a different perspective. Thus, the individual makes progress in his/her intellectual endeavors, and also enhances his/her creativity and builds social habits in this connection. This importance attached to visual arts education demonstrates the necessity of raising qualified visual arts teachers. The fact that teaching is a profession which is perfected through the establishment of the link between theory and practice makes worth analyzing the process of teaching practice and attitudes and guiding behaviors of practitioner teacher who is placed at the closest position to the prospective teacher in this process. In this research, the focus was placed on attitudes which practitioner teachers were supposed to demonstrate in observation processes which played a crucial role in occupational development of prospective teachers during teaching practice. These attitudes were addressed in the framework of guiding behaviors which were supposed to be beneficial to prospective teachers in observation processes.

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