Artists in the Academy: Curriculum and Instruction

Harwood, Eve

doi:10.1007/978-1-4020-3052-9_19

Cited by 19 publications

(16 citation statements)

References 34 publications

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“…In the context of higher arts education, a further dimension of teachers' professional practice is foregrounded. Harwood (2007) argues that the working reality for staff is that their first loyalties are to their creative lives as artists and then to their development as teachers and to their scholarship on their art (323). From the British conservatoire context, Porter (1998) tells us that these 'teacher-performers' have a strong focus on the music profession where their main career lies.…”

Section: Performance Teachers As Professionalsmentioning

confidence: 99%

Performance teachers' identity and professional knowledge in advanced music teaching

Triantafyllaki

2010

Music Education Research

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This paper explores the interrelationship between performance teachers' professional identity and the various forms of professional knowledge they bring to their work. The data derive from an ethnographic case study conducted across a period of 12 weeks in each of two distinct music training institutions in Greece Á a University Music Department and a Conservatoire. A total of 28 teachers participated in the study across institutions (Conservatoire, n 018; Music Department, n 010) and within each institutional sample four teachers were observed during their teaching and performing practices. Institutional documents provided contextual information. Findings showed that performance teachers drew on different forms of professional knowledge in their teaching practice in accordance with the construction of the more valued identity in their workplace as either a teacher or a performer. Also evident was that a particular identity and forms of professional knowledge were foregrounded at the point where teacher and performer identities met or separated. The development of a new type of professionalism at the interface where performer and teacher identities meet thereby empowering teachers to take on roles and responsibilities that would extend their professional stories of self is discussed.

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Section: Performance Teachers As Professionalsmentioning

confidence: 99%

Performance teachers' identity and professional knowledge in advanced music teaching

Triantafyllaki

2010

Music Education Research

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“…Many agree that there is little uniformity of pattern across the variety of art curricula today (such as Elkins 2001;Dallow 2003;Harwood 2007), so that attempting to typify current art curricula becomes an impossible, if not redundant, task. One of the reasons for contemporary curricular values in art education evidencing little consensus is an ontological/ epistemological problem at the heart of art curricula.…”

Section: Espoused Theories Of Fine Art Curriculamentioning

confidence: 99%

“…One of the reasons for contemporary curricular values in art education evidencing little consensus is an ontological/ epistemological problem at the heart of art curricula. Whilst many established disciplines are concerned with determining what remains within the canon or content of the course or its pedagogical objectives, visual arts is concerned with defining art itself (Baldacchino, 2008;Harwood, 2007). Art education's approach to traditions can be visualised across a continuum, with absolutism on one end (which is where music may be placed), and relativism on the other (which is where visual art may be placed) (Elkins 2001;Harwood 2007).…”

Section: Espoused Theories Of Fine Art Curriculamentioning

confidence: 99%

“…Whilst many established disciplines are concerned with determining what remains within the canon or content of the course or its pedagogical objectives, visual arts is concerned with defining art itself (Baldacchino, 2008;Harwood, 2007). Art education's approach to traditions can be visualised across a continuum, with absolutism on one end (which is where music may be placed), and relativism on the other (which is where visual art may be placed) (Elkins 2001;Harwood 2007). Absolutism as the conservation of tradition holds that there is a generalisable canon, a standpoint critiqued for its modernist attempts at homogeneity and grand narrative style.…”

Section: Espoused Theories Of Fine Art Curriculamentioning

confidence: 99%

“…The master-apprentice discursive positions involve elements of the 'deference' an inferior subordinate displays to acknowledge the formal status of his/her superior (Webster 2005). An effective means for acculturating students, this mimetic teaching tradition has been criticized for absenting student voice and aspirations (Harwood 2007). Despite this, the construction of studio supervisor-student as a master-apprentice dynamic is still prevalent in art education.…”

Section: Focusing On the Referential Framework Of Assessment Practicesmentioning

confidence: 99%

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The paradox of ‘teaching’ transformation in fine art studio practice: Assessment in the South African context

Belluigi

2014

International Journal of Education Through Art

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Underpinned by an awareness that education systems inherently maintain the status quo, this article explores a paradox at the heart of fine art studio teaching, learning and assessment in the postcolonial context of South Africa. The content of most current curricula evidences a concern with power, and the politics and problematics of representation. As such, encouragement of student engagement around and negotiation of notions of transformation, critical dialogue and identity is espoused. However, in the article it is argued that current approaches to assessment often unquestioningly replicate inherited systems, and in so doing, unwittingly reproduce systems of cultural capital that may be non-transformatory and non-pluralistic. Thus, because of the way assessment is practiced, that which is taught may be radically different from that which is experienced and thereby learnt in the studio.

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Tracing Arts-Based Methods in Higher Education

Chemi

2017

Arts-Based Methods and Organizational Learning

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translation, reprinting, reuse of illustrations, recitation, broadcasting, reproduction on microfilms or in any other physical way, and transmission or information storage and retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology now known or hereafter developed. The use of general descriptive names, registered names, trademarks, service marks, etc. in this publication does not imply, even in the absence of a specific statement, that such names are exempt from the relevant protective laws and regulations and therefore free for general use. The publisher, the authors and the editors are safe to assume that the advice and information in this book are believed to be true and accurate at the date of publication. Neither the publisher nor the authors or the editors give a warranty, express or implied, with respect to the material contained herein or for any errors or omissions that may have been made. The publisher remains neutral with regard to jurisdictional claims in published maps and institutional affiliations.

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Artists in the Academy: Curriculum and Instruction

Cited by 19 publications

References 34 publications

Performance teachers' identity and professional knowledge in advanced music teaching

Performance teachers' identity and professional knowledge in advanced music teaching

The paradox of ‘teaching’ transformation in fine art studio practice: Assessment in the South African context

Tracing Arts-Based Methods in Higher Education

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