A Rationale for Requiring Philosophy of Education in Preservice Teacher Programs

Belle, Jeffrey T. La; Belknap, Gabrielle

doi:10.1177/0022057418782326

Cited by 2 publications

(2 citation statements)

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“…It is a familiar story: art educators at different levels complain about the reductionist pursuit of measurable outcomes and a general narrowing of curriculum that discourage experimentation and conform to narrow definitions of success. In the broader field of educational studies and teacher education programmes, a key casualty of this instrumentalist approach has been philosophy of education, often perceived as a field with little exchange value (Roberts 2015) that is sometimes replaced either by the social sciences or more market‐driven courses in teacher education degrees (LaBelle & Belknap 2017). While there are indications that scholarship in philosophy of education has been on the rise for some time, it is equally if not more evident that the field has been waning at an institutional level, with a general decrease in positions related to philosophy of education and the foundations of education within Higher Education Institutions (Biesta 2014).…”

Section: Introduction: Learning the Opaquementioning

confidence: 99%

mentioning

confidence: 99%

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Like Drifting Sand Dunes: Noisy Lessons in a Porous Field

Vella

2024

Int J Art Design Ed

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This paper argues that the teaching of art in Higher Educational Institutions is inherently paradoxical. Informed by the transgressive and interdisciplinary qualities of contemporary artistic practices, education nevertheless is often made to fit into a reductionist, outcome‐oriented and individualistic discourse. Taking a weeklong workshop at the Nida Art Colony in Lithuania as a practical axis for its reflections on the fluid nature of art education, the paper discusses possibilities of extending beyond pedagogical, political, human/nonhuman and other borders and treating ‘noise’ and other ‘interferences’ as opportunities for transgression and dialogue. This workshop with students from the Vilnius Academy of Arts took place in September 2022, at a time characterised by the Russia–Ukraine war. Nida's proximity to Russia's exclave Kaliningrad, its location on the narrow Curonian Spit, and its immediate environment characterised by woods and sand dunes provide this paper with a setting for a discussion about a variety of borders: territorial borders, border pedagogies, perceived borders between human and nonhuman entities, between land and sea, and so on. Borders are described as dominant indicators of power and distinction, while educational standards and instruments of measurement often replicate similar distinctions between the known and the unfamiliar. Yet, borders can also be shifted while new connections and dialogues across real and conceptual borders can be forged in a porous process that is predisposed towards flexible scenarios characterised by the ‘not‐yet’. The surrounding forest and wetlands and huge drifting sand dunes in Nida become analogies for the changing structure of the workshop, silently yet overpoweringly advocating for a mutable pedagogy. Analysed through the work of various contemporary artists, this nonhuman intrusion into a pedagogical and creative experience is both undefined and vulnerable, unlike the preordained structures of attainment targets often associated with contemporary schooling.

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Section: Introduction: Learning the Opaquementioning

confidence: 99%

mentioning

confidence: 99%