Reflective Practices in Arts Education: 5 (Landscapes: the Arts, Aesthetics, and Education)

Reflective teaching in the creative arts
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Boud, D. Studies in Higher Education 23 2 , Burnard, P. In: Burnard P. Dordrecht: Springer.

Studies in Philosophical Realism in Art, Design and Education

Clegg, S. Reflective Practice: International and Multidisciplinary Perspectives. Dewey, J. Masachusetts: DC Heath and Company:. Eisner, E. Journal of Curriculum and Supervision. Eraut, M. Studies in Continuing Education. Gibbs, G. James, A. Art, Design and Communication in Higher Education. Kreber, C. Higher Education. McCardle, K. Moon, J. Abingdon, UK: Routledge Falmer.

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Orr, S. Journal of Writing in Creative Practice. London: Routledge.

Schon, D. London: Basic Books. Shreeve, A. International Journal of Art and Design Education. York-Barr, J.

You are commenting using your WordPress. There have been more pictures taken this decade than in a century since its creation. The class will cover the fundamentals of the digital camera, the Photoshop application for image enhancement, and using the Epson photo printer to produce images on inkjet paper. We will review the multiple functions of digital cameras and how to apply this to creative image making. Through weekly presentations, we will familiarize ourselves with color, composition and thematic approaches.

Students will also be introduced to contemporary photographers as we apply ourselves to our own unique vision. Please bring your camera to first class. Exploration of basic photographic techniques and their application to learning in a variety of educational environments.

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This lesson plan seminar aims to provide structure, format and context to the development of lesson, acknowledging the pedagogical purviews essential to good art teaching. Lecture and discussion topics are linked to extensions of other courses as a way for students to grasp the interrelatedness of their course studies. Students will learn aspects of image production, including recording, digitization, basic editing and final output. Tools and technologies addressed in the course include camcorders, I-pads, I-phones, animation cameras and diverse software I-movie, I-stop motion, video-apps, and basic Final Cut Pro.

Throughout the course, attention will also be given to issues of media literacy in art education as well as applications to teaching in studio art contexts.

Connecting Art and Education - Wolf Brinkman - TEDxCoolsingel

Permission of instructor required. Professional activities in the field under faculty supervision. Required of art teacher certification majors.

Reflective Practices in Arts Education - Google книги

Involves observations in schools of various types; videotaping of contrasting teaching styles and curricular approaches; analysis of perceptual, artistic, and societal assumptions implicit within programs observed. For majors only. A variety of supervised teaching experiences , supplemented by conferences, evaluation, and seminars. The student teacher completes hours in each placement observing, assisting, teaching, and evaluating. Mandatory for those seeking state certification in art in New York State and other states.

A variety of supervised teaching experiences K-6 supplemented by conferences, evaluation, and seminars. Required of those seeking state certification in New York State and other states. This course explores research methods and methodologies grounded in the practices, theories, and contexts of the visual arts. Content includes examining current research paradigms, with a focus on art-based educational research and engaging with research as a visualizing practice. Students learn the basics of research, learn how to assess and recognize methodologies, and explore ways of creating and representing knowledge visually.

Required for M. Drawing from life, students learn strategies to generate lines, vary their marks, see and draw negative space, light, shadows, shapes, zones and compositions. We reframe our knowledge and habits to in order to see the raw sensory details needed to draw. New observation, concentration, creativity, and idea generation skills will be developed. Almost half the semester is figure drawing from a model -- gesture, volume, and portraiture. All levels welcomed. One class at a museum or gallery.

Artists capable of independent endeavor share their ideas and work in critiques and discussions and undertake advanced artistic problems suggested by the instructor or of their own devising. An examination of new technologies, materials, concepts, attitudes, both in their current forms as well as future applications.

Reflective Practices in Arts Education

Participants will investigate a personal topic through field experience, hands-on demonstration, observation, readings and lectures. Permission of Instructor Required. This studio-based course is designed to assist students to continue exploring the diverse possibilities and various processes of using paint, painting media, digital media and tools to explore and construct painting languages, conceptual frameworks, and personal expressions. This class both addresses the intimidation of figure drawing and lays out a number of different practical strategies for tackling it.

The class is open to students who have experience drawing and those who are beginners. This course will enable students to design, implement, and evaluate curricula in higher art education. It will address how the teaching, learning, and making of art has changed and how this affects curriculum design in theory and practice.

Two questions will be assessed. What do students of art need to learn in order to grow and become successful in their profession? What do teachers need to know about their students in order to facilitate versatile and strong educators? The course will provide participants with an introduction to historical and contemporary debates that frame art education and contemporary art practices. It will examine philosophical perspectives on art, the place of philosophical thinking in studio teaching, and models of reflective practices in art pedagogy.

The goal is to introduce students of art and art education to seminal discussions in the field, to facilitate learning through critical thinking, and to help students develop their own philosophies of art in education. An introduction to the roles and functions of museum education departments.

Attention is given to the realities of actual institutions and to what might be possible. Required seminar for Ed. An examination of the role of visual culture in contemporary life, employing experiences from art works, museums, galleries and alternative spaces, readings, and discussion. An introduction to the art museum as an educational institution: its spaces, history, and mission. Students are sensitized to the necessity of making change in the 21st century museum, and are encouraged to develop a critically reflective and empathetic practice.

Further studies of ceramics with an emphasis on individual projects on an advanced level. Educational aspects and personal expression in the medium along with marketing opportunities for the professional craftsperson will be discussed. Where human experience is central to a study and particularly where both experience and perception are 'under the microscope' and inductive, an interpretive approach is warranted through qualitative methods.

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The research design type is a case study as it constitutes a 'bounded' study of students' written responses in a specific discipline over a specific period of time Cohen et al. In this research, the phenomenon of interest was students' written feedback pertaining to their experiences and perceptions when engaged in work-integrated activities during school experience. Students spend an extended period of time at schools where they are involved with both teaching and reflection under the supervision of a mentor teacher. In the research analysis students' responses about their experiences were analysed through a critical lens in an attempt to address social issues that may have arisen Henning et al.

Thirty per cent of students' writings were selected randomly from a total of students ensuring that an unbiased sample was selected Cohen et al. Institutional ethics clearance was obtained for the study. This included all participants' right to privacy and confidentiality.

Qualitative data was analysed by means of thematic content analysis in order to explain the experiences of pre-service teachers when implementing teaching strategies that they had found to be captivating in lectures.

Aesthetic Development Stage Model and Descriptions

owimejokev.ga: Reflective Practices in Arts Education (Landscapes: the Arts, Aesthetics, and Education) (): Pamela Burnard, Sarah Hennessy . Landscapes: the Arts, Aesthetics, and Education This book is focused on the role of reflective practice, as a source and resource for teaching and learning.

Data was coded, resulting in the grouping of evidence and labelling of ideas so that they reflected increasingly broader perspectives Clark and Cresswell, Students were asked to reflect on the following with regard to their teaching during practice sessions: First, they were asked to refer to a teaching strategy used in any of their lectures at the university that had captivated them and to provide a brief outline of this strategy and its effectiveness in enhancing their understanding of the content that was taught.

Next they were asked to apply this same teaching strategy in a lesson that they taught during their school visit, followed by a critical reflection of its success in the classroom. The following themes that emerged in our findings are discussed below: aesthetic teaching strategies; constructing knowledge; nurturing social competences and encouraging innovative talents.

From our analysis, we noted that the teaching strategies that students had referred to as captivating in their lectures were all learner-centred. One of the reasons that the students provided in support of the selected teaching strategies being captivating was knowledge construction. Students' justification for describing their learning experiences in the lecture as captivating was that these experiences contributed to their having a deeper understanding of the content knowledge that was taught at lectures.

Such justification permeated through all of the above teaching strategies.

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Students were constructing knowledge about the content by exchanging ideas amongst fellow students within the group. Pre-service teachers' perceptions seem to be in agreement with the views of Konklin who argued that the intention between the aesthetic processes is to link the subject matter and to help in the understanding and appreciation of subject matter. The students indicated that they learnt better from other students as it was sometimes difficult to understand certain difficult concepts when taught by the lecturer.

Concepts which are sometimes taught by lecturers in abstract language are explained by students in everyday language. This view echoes those of scholars such as Muller who indicated that the codified language used to present academic knowledge in lectures is different from the language of everyday discourse used by students.

As such, student teachers find it difficult to understand academic knowledge presented by teacher educators. Students who found class discussions enjoyable commented positively about the use of videos, slides, pictures, movie clips or case studies using real life scenarios as a valuable tool to start the discussion. This approach provided the base upon which new knowledge could be built, it captivated the students' attention and set the scene for a productive class discussion. The students also commented that the content knowledge displayed by the lecturers was very deep which enabled the lecturers to steer the discussion in a direction that allowed for students to think very critically about issues relevant to the lecture.

The positives of applying these methods in the classroom were that they also encouraged student teachers to think more critically about issues that were being taught and to evaluate their own ideas against insights provided by students. The students found that the learners in their class were very interested in the lesson especially when it was relevant to their own lives and particular circumstances.

It encouraged both the student teacher and the learners in the classroom to reflect. Using media as an aid in the selected strategy helped students to remain focused on the outcomes of the lesson and generated greater discussion and questioning. Content knowledge was also enhanced as they observed learners explaining to each other in their mother tongue. It also enhanced teaching and learning as this teaching strategy enabled the student teacher to identify students within groups who were struggling with concepts.

The pre-service teachers reflected that they needed to be very familiar with the content taught in order for them to be able to facilitate each of these strategies successfully. They had to have a strong grounding in the content knowledge being taught as it requires constant effort to ensure that students remain focused and to clarify any misconceptions about the topic.

Listening to learners in the classroom was also identified as an important strategy by which to lead learners through questioning to think more deeply about issues. However, some pre-service teachers experienced difficulties in applying aesthetic strategies such as group work in large classes, and they acknowledged that they still needed to improve their content knowledge when managing class discussions.

Students' reflections on the use of this method were that it generated much excitement in the class. They indicated that maintaining discipline could become very problematic for a pre-service teacher in such a situation, as suggested by the following response from one of the participants: 'Getting excited; made it difficult for me to think straight; did not know what to do when the class got too noisy. They focused on the learning that was taking place and realised that the 'noise' was actually a positive indication that knowledge was being constructed through the different exchange of voices in the classroom.

The next theme was building social skills, which included listening skills, freedom to express oneself, and the ability to debate. These skills contributed towards developing feelings of appreciation and the personal satisfaction of being heard. The pre-service students also indicated that it improved their confidence as it was not so intimidating to contribute towards discussions in small groups as in the presence of the entire class.

Developing these social competences not only encouraged a deeper level of understanding of the content but also an understanding of others. It promoted an understanding of students from different backgrounds as it fostered closer interaction among students within the group.

Pre-service teachers observed that constructivist approaches to learning contributed towards building social skills amongst learners as they found that it encouraged co-operation and participation among group members. Pre-service teachers observed that quiet learners became more involved in the discussion. They also got to know the learners in the classroom better. When both pre-service teachers and learners used enjoyable strategies in the classroom, a better understanding and greater appreciation were fostered among the learners.

At the same time, it provided an opportunity for the teacher to gain an understanding of the learners through a different lens, the lens of aesthetic engagement. The pre-service students experienced some frustrations in using these methods. In some cases problems arose making it difficult to implement the teaching strategy. Some of the problems were ill-discipline and poor time management. However, the students displayed innovativeness in attempting to address these issues.

For example, they adapted the approach to suit the age group of the learners in the class by using visual aids such as pictures and models to enhance the group discussion. To prevent a few learners from dominating the group discussion, one student rolled up a sheet of paper to represent a microphone and moved this around the group with the instruction that learners in the group were only allowed to speak if they were in possession of the 'mike'. Another student adapted the group discussion to minimize discipline problems and got students to write their views on paper, similar to the quiet round robin method according to which one student starts the discussion, passes the paper to the next to add their comments, thus ensuring that they do not repeat views.

All students' voices are heard, but silently. The students who participated in this research had to reflect by putting on two different thinking caps. The first was reflecting as a student on a lecture that they perceived as captivating; the second was reflecting as a student teacher on their own classroom practices when applying the same teaching strategy that they found captivating in their lectures. In analysing the above responses holistically, we discovered that the pre-service teachers' responses regarding enjoyment of the aesthetic teaching methods in lectures seemed to correlate with what they believed their learners experienced in the class.

Pre-service teachers had first-hand experiences with the very strategies that they then applied in the classrooms during their school visits. Therefore, they were aware of the possible outcomes in their own classroom practices and were able to compare the successes of their classroom teaching strategies to their own learning experiences.

Drawing on such positive prior experiences can provide opportunities for pre-service teachers to expand on or explore other creative avenues for teaching and learning as they are already familiar with how the strategy is used and the values it brings to learning. While they recognised the value of using such a strategy in teaching and learning, they also acknowledged the importance of content knowledge, planning and management that is involved to ensure that both teaching and learning are experienced aesthetically. The pre-service teachers were able to see the link between all the elements that need to be considered for a lesson to be successful.

Success in this study was measured by both the teachers' and the learners' enjoyment of the lesson. The fact that the pre-service students could reach this level of critical reflection signalled that using aesthetics as a tool enabled students to experiment with teaching strategies so as to extend the boundaries of learning for themselves and the learners in the class.

We aimed to use aesthetics as a lens that our pre-service students could use to experiment with a teaching strategy that they had identified. The findings indicated the positive influence of aesthetically enjoyable and engaging teaching strategies on pre-service students' understanding of content knowledge taught in lectures. Reports by pre-service students regarding their application of these strategies at schools during their school experience were equally positive.

It was evident that their personal, first-hand experiences with the selected strategy had made it possible for them to reflect critically before, during and after the lesson. It is recommended that for effective teaching to take place, pre-service teachers need to take 'full account of the multi-dimensional cultural world of the learner' and therefore adopt a multi-dimensional approach that includes aesthetics in their practice.

We believe that using the lens of aesthetic engagement to judge the success of teaching and learning can be the answer to teaching for lifelong skills and not just for examinations and tests.