Research in Visual Arts Education - The National Society for ...

More documents

Recommendations

Info

ISSUES IN VISUAL ARTS EDUCATION In 1976, Arthur Efland published a classic paper called “The School Art Style: A Functional Analysis”. The school art style had remained essentially the same since the 1920s and though it did not exist anywhere else except in schools, it was spread throughout the world. No other art style had nearly as many practioners or as strong social support. Still, the school art style did not seem to be a tool for teaching children anything about art beyond the school, though this surely was its recognized manifest function. However, schools also have latent functions (Merton, 1957), which go unrecognized even by those who carry out these functions. Efland speculated that one of the functions of the school art style was to provide behaviours and products that “have the look” of a liberal, humane, and creative education while, in fact, Art was used as a therapy, minimizing the psychological costs of the deadening routine of school life. The demand for such a counterbalance may explain why efforts to make art education more rigorous and intellectually challenging, e.g. by introducing art criticism or history, met with resistance. The last thing that many art teachers felt they could do, was to make Art another academic discipline. Art was supposed to be fun, which could be accomplished by using easy materials like coloured paper and paints, a range of subjects and themes to remind the children of what they were supposed to do, a prohibition against copying, or even looking at other art. The popularity of the method was enhanced by the fact that it made few professional demands on the teacher. They only had to follow the Austrian “inventor” of the school art style, Franz Cizek, when he said about his method: “All I do is take the lid off, when most teachers clamp it on”. Discourse analyses Thirty years later in a discourse analysis of how teachers and head teachers describe the Swedish compulsory school and its aesthetic activities, Monica Lindgren (2006) arrived at similar conclusions. Aesthetic activities are described in terms of their functions, notably the therapeutic one, and in terms of what the “normal” child is supposed to do, rather than to know or understand. Lindgren summarizes: “It is taken for granted that children should ‘have fun’ in connection with aesthetic activities, since other (‘academic’) activities in school are regarded as less ‘fun’ (p. 140).” This discourse on the pleasurable aesthetics has previously been observed, and questioned, as a foundation for arts education by Swedish researchers such as Jan Thavenius (2004) and Tomas Saar (2005). What teachers and head teachers did not talk about, in Lindgren’s study, turned out to be the academic contents of various art NORDIC VISUAL ARTS EDUCATION IN TRANSITION 27
ISSUES IN VISUAL ARTS EDUCATION disciplines. Analyses as those by Efland and Lindgren, like other theoretical approaches to visual arts education, do not tell the professional what to do, but they may help her to make more informed choices, by gaining a deeper understanding of what she actually does and why. Visual ethnography Visual culture and visual ethnography (often under the umbrella of cultural studies) are the markers of contemporary art education in the Nordic countries. Rather than being regarded as an aspect of the knowledge base for visual arts education, visual culture is often looked upon as its framework, thus reducing art, media, design and other visual domains into sub-disciplines. Billy Ehn and Orvar Löfgren (2001) confess to a pragmatic approach to cultural studies: Previously we asked ourselves: “How does this make sense How should we interpret, read, go beyond the visible”. Today we would prefer to add: “How does this phenomenon affect us What consequences will this idea or routine have, how does it turn our attention and organize our practice”. With questions like that, the analyses will focus on emotion and action as well as language and thought. The point is to put different perspectives on cultural analysis side-by-side, to vary between approaches and entry points. (…) When you change spectacles and look at the world through different theoretical lenses, something will emerge in sharp relief, while other things will pass out of our sight and become blurred (p. 14). In an introduction to visual ethnography, Patrik Aspers, Paul Feuhrer and Árni Sverresson (2004) argue that photographs, more than other pictures, are about everyday life; everyone can produce them and they exist everywhere. Thus, studied critically, they may inform us about how people live. There are two ways in which social scientists approach the visual: the first is – like Aspers et al. (op. cit.) – to collect existing visual artefacts and to investigate their production, uses and interpretations; the second is to manufacture visual artefacts as part of the process of doing research. A study by Ulla Lind and Gunnar Åsén (1999) of students’ pictures of school as an arena for knowing and peer relationships illustrate the latter approach. Pat Thomson (2007) provides an excellent, up-to-date resource on the methodological, ethical, representational and theoretical issues surrounding the promising field of “visual” or “image-based” research with children and young people. 28 NORDIC VISUAL ARTS EDUCATION IN TRANSITION
Page 1 and 2: NORDIC VISUAL ARTS EDUCATION IN TRA
Page 3 and 4: Nordic Visual Arts Education in Tra
Page 5 and 6: CONTENTS ENGLISH SUMMARY ..........
Page 8: ENGLISH SUMMARY This review of Nord
Page 11 and 12: INTRODUCTION The present report had
Page 13 and 14: INTRODUCTION Developing and cherish
Page 15 and 16: ISSUES IN VISUAL ARTS EDUCATION in
Page 17 and 18: ISSUES IN VISUAL ARTS EDUCATION The
Page 19 and 20: ISSUES IN VISUAL ARTS EDUCATION The
Page 21 and 22: ISSUES IN VISUAL ARTS EDUCATION Art
Page 23 and 24: ISSUES IN VISUAL ARTS EDUCATION Mul
Page 25 and 26: ISSUES IN VISUAL ARTS EDUCATION (Å
Page 27: ISSUES IN VISUAL ARTS EDUCATION Pic
Page 31 and 32: ISSUES IN VISUAL ARTS EDUCATION Thi
Page 33 and 34: ISSUES IN VISUAL ARTS EDUCATION Eis
Page 35 and 36: ISSUES IN VISUAL ARTS EDUCATION Nor
Page 37 and 38: FROM PSYCHOLOGY TO SEMIOTICS Swedis
Page 39 and 40: FROM PSYCHOLOGY TO SEMIOTICS Goës
Page 41 and 42: FROM PSYCHOLOGY TO SEMIOTICS the Lg
Page 43 and 44: FROM PSYCHOLOGY TO SEMIOTICS but, r
Page 45 and 46: FROM PSYCHOLOGY TO SEMIOTICS Pictur
Page 47 and 48: FROM PSYCHOLOGY TO SEMIOTICS been t
Page 49 and 50: FROM PSYCHOLOGY TO SEMIOTICS techni
Page 51 and 52: FROM PSYCHOLOGY TO SEMIOTICS Hansso
Page 53 and 54: MEDIATED ACTION AND AESTHETIC LEARN
Page 79 and 80:
MEDIATED ACTION AND AESTHETIC LEARN
Page 81 and 82:
BETWEEN VISUAL ARTS AND VISUAL CULT
Page 83 and 84:
Page 85 and 86:
Page 87 and 88:
Page 89 and 90:
Page 91 and 92:
Page 93 and 94:
Page 95 and 96:
Page 97 and 98:
MULTICULTURALISM AND ARTS-BASED RES
Page 99 and 100:
Page 101 and 102:
Page 103 and 104:
Page 105 and 106:
Page 107 and 108:
Page 109 and 110:
Page 111 and 112:
Page 113 and 114:
Page 115 and 116:
MULTIFACETED APPROACH TO VISUAL ART
Page 117 and 118:
Page 119 and 120:
Page 121 and 122:
Page 123 and 124:
Page 125 and 126:
Page 127 and 128:
Page 129 and 130:
ART, DESIGN AND ENVIRONMENTAL PARTI
Page 131 and 132:
Page 133 and 134:
Page 135 and 136:
Page 137 and 138:
Page 139 and 140:
Page 141 and 142:
Page 143 and 144:
Page 145 and 146:
Page 147 and 148:
APPENDIX 1 Swedish Publications 199
Page 149 and 150:
APPENDIX 1 Vipsjö, Lars (2005). De
Page 151 and 152:
APPENDIX 1 Lindberg, Stefan F. (200
Page 153 and 154:
APPENDIX 1 Sundin, Bertil (2003). E
Page 155 and 156:
APPENDIX 1 Lindström, Lars (2005).
Page 157 and 158:
APPENDIX 1 Becker, Karin (2004). Pe
Page 159 and 160:
APPENDIX 1 Jammeh, Lena (1998). Bil
Page 161 and 162:
APPENDIX 2 Danish Publications 1995
Page 163 and 164:
APPENDIX 2 Illeris, Helene (1999).
Page 165 and 166:
APPENDIX 2 Flensborg, Ingelise (200
Page 167 and 168:
APPENDIX 2 Sørensen, Birgitte Holm
Page 169 and 170:
APPENDIX 2 Flensborg, Ingelise (200
Page 171 and 172:
APPENDIX 2 Illeris, Helene (2002).
Page 173 and 174:
APPENDIX 2 Pedersen, Kristian (1998
Page 175 and 176:
APPENDIX 3 Finnish Publications 199
Page 177 and 178:
Licentiate theses APPENDIX 3 Bilund
Page 179 and 180:
APPENDIX 3 Karppinen, Seija, Puurul
Page 181 and 182:
Chapters APPENDIX 3 Ahoniemi, Pirkk
Page 183 and 184:
APPENDIX 3 Kairavuori, Seija (2002)
Page 185 and 186:
APPENDIX 3 Linko, Maaria (2003). Th
Page 187 and 188:
APPENDIX 3 Pääjoki, Tarja (2006).
Page 189 and 190:
APPENDIX 3 Saarnivaara, Marjatta (2
Page 191 and 192:
APPENDIX 3 Vanhatapio, Tuula (2006)
Page 193 and 194:
APPENDIX 3 Paatela-Nieminen, Martin
Page 195 and 196:
APPENDIX 3 Hassi, Marjatta, Heinima
Page 197 and 198:
Books APPENDIX 4 Arnarsdóttir, Hr
Page 199 and 200:
APPENDIX 5 Norwegian Publications 1
Page 201 and 202:
APPENDIX 5 Digranes, Ingvild (2006)
Page 203 and 204:
APPENDIX 5 Melbye, Ella (2003). Hov
Page 205 and 206:
APPENDIX 5 Borgen, Jorunn Spord (20
Page 207 and 208:
APPENDIX 5 Gulliksen, Marte (2001).
Page 209 and 210:
APPENDIX 5 Nielsen, Liv Merete (200
Page 211 and 212:
APPENDIX 5 Borgen, Jorunn Spord (20
Page 213 and 214:
APPENDIX 5 Hohr, Hansjörg (1996).
Page 215 and 216:
APPENDIX 5 Aakre, Bjørn & Kjosavik
Page 217:
The Committee for Educational Scien
show all

Research in Visual Arts Education - The National Society for ...

You also want an ePaper? Increase the reach of your titles

Delete template?

Save as template?