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

More documents

Recommendations

Info

FROM PSYCHOLOGY TO SEMIOTICS From a scholarly viewpoint, Uppslagbok i bildanalys [Encyclopaedia of Picture Analy sis] published in 1985 and edited by Peter Cornell et al., represents the high-water mark of the studies made by the teacher staff at the department. In Bilden i det post moderna samhället [The Picture in Postmodern Society] 1989, Nordström applied his semiotic concepts to a compre hensive study of artworks, mass media and children’s pictures. A few years later he elaborated his view of children’s pictures in the bilingual book Barns bildspråk – Child ren’s Pictorial Language, written in collaboration with a few Nordic col leagues (Hansson et al., 1991). In the project Rum Relation Retorik [Room Relation Rhetoric], published in 1996, Nordström is the mentor of a new generation of art educators with scholarly ambitions. The aim of the project is the same as that of most other projects at the Department of art education since Nordström became its director and (from 1989 to 1996) a professor; the aim is “to investigate the communica tive qualities of the picture, to draw attention to its grammar and to develop picture theory and picture analysis” (Nordström, 1996, p. 9). The 1994 school curriculum The revolt by the students of art education in the late 1960s was not an isolated event. All over the Western World, including Sweden, young people protested against established autho ri ties and ideologies that were considered false or oppressive. Seldom, however, did these actions have such an immediate and far-reaching effect in school as in the case of art edu ca tion in Sweden. Although, for example, visual communica tion was debated in Germa ny at about the same time, that concept never caused such a radical change in the curricula for the comprehen sive school that the term paradigm shift would be adequate. The support of radical changes cannot be explained by the Zeit geist alone or by the per sua sive power of individuals. The new paradigm also met the interest of art teach ers to in crease their professional status. By defining art as a counter balance to general educa tion, the old paradigm ascribed an emanicipatory role to the art teacher. In addition to offer ing another powerful rhetoric, the new paradigm expanded the territory of art educa tion. It served to protect the art subject from reduc tions in the timetable, especially on the lower secondary level (Broady, 1986). Here there was a severe com pe ti tion with teachers of language arts about certain parts that either for merly belong ed to Drawing (picture analysis) or were new additions to the curriculum (film, television and other media of visual communica tion). Studying of how media may effect consumers was a topic that might have NORDIC VISUAL ARTS EDUCATION IN TRANSITION 45
FROM PSYCHOLOGY TO SEMIOTICS been taken over by home econo mics. The broad er orienta tion of the new subject, Pictorial Studies, may explain why art edu cation in the lower secondary school in Sweden has a stronger position on the timetable than in most other countries. In the 1994 Compulsory School Curriculum (Lpo 94) the art world is paid slightly more attention than in Lgr 80, but the main focus is still on a wider concept of visual communication, including modern media (with computer graphics as a new addition) used for multiple pur poses. The negative tone in which commer cial pic tur es and the influence of media was formerly dis cussed has been changed. As a sign of continuity, the parallel between vi sual arts and language arts is even more elaborated than before. The five ob ligatory parts (see above) have disappeared and been replaced by certain basic goals that every body shall be given the opportunity of achieving. For students in grade 9 the fol low ing goals are mandatory: The student shall - have developed her ability to produce pictures by means of different techniques, - be able to use her own pictures as well as those of others for different purposes, - be able to interpret, analyse, and critically examine different types of pictures, including moving ones, and - have knowledge about the role of pictures in culture and society and be familiar with some prom inent visual artists. (Lpo 94, p. 13) These goals roughly correspond to what was formerly called Visual Production, Visual Com mu nication, Picture Analy sis, and Aesthetic Orientation. But they give, in their gen eral formu lations, more freedom to the teacher. The section that was called Image & Envir onment does not appear in this set of goals. On the other hand, in the Lpo 94, both envir onmental and media issues are re gar ded as cross-dis ciplinary by na ture. Visual arts in national evaluations In analysing the discourse on Swedish art education, I have used the term para digm shifts, indicating that patterns of thought, aims, principal parts, and meth ods have been radi cally transformed from one time to the other. The evidence, however, is offi cial documents such as curricula for the compulsory school, i.e. the primary and lower-sec ondary levels of schooling. The reader is justified in asking to what extent these do cu ments affected practice. That is, what happened when the new ideas were con fron ted by teachers, students and working conditions in ordinary schools 46 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 and 28: ISSUES IN VISUAL ARTS EDUCATION Pic
Page 29 and 30: ISSUES IN VISUAL ARTS EDUCATION dis
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: FROM PSYCHOLOGY TO SEMIOTICS Pictur
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 81 and 82: BETWEEN VISUAL ARTS AND VISUAL CULT
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?