Students Online as Cultured Subjects: Prolegomena to Researching Multicultural Arts Courses on the Web

Lai, Alice; Ball, Eric L.

doi:10.1080/00393541.2004.11650066

Cited by 6 publications

(3 citation statements)

References 17 publications

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“…Exploring an online art appreciation course, Atkins et al (2004) questioned if virtual pedagogy has capacity to democratise the educational practices of teachers and students. EXPLORING ONLINE ART EDUCATION Lai and Ball (2004) and Hubard (2020) linked culturally relevant pedagogy to distance education and discussed how students could become cultural subjects while conducting asynchronous course activities. Focusing on virtual studio teaching, Quinn (2011) and May (2011) explored strategies to promote college students' collaborative activities.…”

Section: Practices Of Online Art Educationmentioning

confidence: 99%

Exploring online art education: Multi-institutional perspectives and practices

Song

Lim

2022

International Journal of Education Through Art

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How can art educators transmit their passion and enthusiasm for art teaching and learning to cultivate human potential in the virtual classroom? As a collective case study focusing on our online undergraduate courses, this research examines how two instructors used instructional methods and technologies, and how their students responded to their pedagogical endeavours. Qualitative content analysis was utilized. Virtual art classes can encourage students to look into themselves and become more aware of themselves. Communicating and feeling connected to others are critical for students in online settings. As demonstrated in our course design, connectivity between students and instructors can be facilitated through a multilayered structure, providing for more efficient communication. This study also found blurred boundaries between real and virtual learning environments. When we facilitate fluidity and conceptual flexibility as online art educators, digital technologies may expand our thinking and expression frameworks.

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Section: Practices Of Online Art Educationmentioning

confidence: 99%

Exploring online art education: Multi-institutional perspectives and practices

Song

Lim

2022

International Journal of Education Through Art

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“…Hansen B., Afacan Y., Demirbas D., Sheldon K. E., Ogut S. T., Gursoy H., Ball E. L., Lai A., Lobo G. P., Alvarez D., Carr-Chellman A. A., Sánchez C. B., DeVries Y. E. write about the problems of digitalisation of education, including the international aspect [4][5][6][7][8][9][10][11][12]. Educational constructions, principles, and basic concepts of traditional didactics are adapted to innovative processes in the educational environment.…”

Section: Introductionmentioning

confidence: 99%

RETRACTED: Digital didactics in the context of Bachelor’s education

Zakharova,

Lopatchenko

2024

BIO Web Conf.

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The article discusses the features of digital didactics as a neoplasm in didactics, provides a comparative analysis of the possibilities of digital and predigital didactics in bachelor’s education, the algorithm of the learning process from the standpoint of digital didactics, and the importance of the organisation of digital educational space. The subject of digital didactics is defined as managing the learning process and increasing the motivation of students to study in the digital educational environment, providing opportunities for self-development, education, and socialisation of bachelors. It is indicated that with the help of digital technologies, the learning process acquires an expansion of forms and methods of interaction with students due to individualisation, and the learning process becomes transparent at an early stage. Modification of the “packaging” of educational content in the digital educational space is described.

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“…To respond to societal and global changes in the 2000s, several art educators emphasized the arts of emerging subcultural groups (Chen, 2007;Manifold, 2009;Wu, 2016). Recently, many art educators have introduced contemporary methods such as online pedagogy, globalization, postmodern aspects, and writing and dialogue for cultural understanding (Lai & Ball, 2004;Desai, 2005;Millman, 2010). They have also collected new ideas, practical pedagogies, and rich resources in their anthologies Joo et al, 2011; to integrate multicultural art into contemporary classrooms.…”

Section: Introduction Teaching Chinese Arts and Culturementioning

confidence: 99%

Arts & Culture: Content, Context, and Pedagogy

2022

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In her village Zhang Yi Gui was known for embroidering traditional baby shoes. Embroidered flowers for girls and embroidered tigers for boys. Based on my experience in the United States (US) I did not expect to find such a large teaching collection of folk art associated with an art and design school. Over the course of my work in China I discovered other art and design schools, such as the Central Academy of Fine Art in Beijing, with similar teaching collections.Listening to Zhang Yi Gui's story I could not help but be cognizant that over the course of Zhang Yi Gui's life she witnessed multiple cultural, social, and political changes in China. Born not long after the abdication of the last Qing emperor, she saw the rise of the Communist party, the Japanese occupation of China from 1931 to 1945, a civil war, famine, the Cultural Revolution, and the global recognition of China's growing economic and cultural influence.From 2007 through 2019 I co-directed, with Kristin Congdon, a project associated with the documentation and interpretation of China's cultural heritage. This project, titled ChinaVine, had as its mission to educate English-speaking/reading children, youth, and adults about China's cultural heritage. This project, first initiated in partnership with Shandong University of Art and Design's Folk Art Research Institute, was based on a collaborative methodology, including extensive fieldwork, in which scholars in Art Education and Folklore from China and the US cocreated content for the project's website. It was within the context of this project that I met Zhang Yi Gui. The project would expand significantly over the next twelve years to include additional Chinese and US scholars engaged in collaborative field work in Beijing, Shanghai, Hangzhou; in rural Guizhou, Inner Mongolia, and Yunnan provinces; and the Garzê Tibetan Autonomous Prefecture in Sichuan province. The scholars associated with the project were careful to include examples from among China's fifty-six ethnic groups. While initially focused on the traditional arts such as embroidered shoes, papercuts, dough toys, puppets, kites, jewelry, clothing, paintings, and New Year woodblock prints, the project expanded to include contemporary art informed by tradition. In this regard extensive field work was conducted in the former farmers' village of Songzhuang, located east of Beijing, that was rapidly transforming into a contemporary artists village.

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Students Online as Cultured Subjects: Prolegomena to Researching Multicultural Arts Courses on the Web

Cited by 6 publications

References 17 publications

Exploring online art education: Multi-institutional perspectives and practices

Exploring online art education: Multi-institutional perspectives and practices

RETRACTED: Digital didactics in the context of Bachelor’s education

Arts & Culture: Content, Context, and Pedagogy

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