Visual Culture Art Education: Why, What and How

Duncum, Paul

doi:10.1111/1468-5949.00292

Cited by 78 publications

(38 citation statements)

References 13 publications

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“…By emphasising and examining the role of art in children's lives, instead of just looking for the aesthetic value of works of art, the project aspires to foster self-exploration and develop reflective social practices, beliefs and values that children feel close to or regard as being of great influence (Duncum,1996(Duncum, , 2002Freedman & Stuhr, 2004).…”

Section: Objectives and Methodologymentioning

confidence: 99%

Artists as Inviting Personalities for Self-Exploration and Social Learning at School

Ioannidou¹

2022

Humanities Today: Proceedings

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In today's increasingly fast-paced societies, undergoing reformation in the aging schooling systems in order to prepare children to subdue the high amounts of pressure and stress and lead productive lives seems to be moving slowly, compared to the unexpected rhythms of the socio-economic changes. In that context a programme has been created at the School of Primary Education, based on the belief that art shouldn't rest only in the frame, but become itself a frame of the children's experiences, a means for self-exploration, enhancing at the same time social learning and cultural responsiveness in schools. At current stage we explore whether and how artists as inviting personalities can become an example to children for building their own identity, while opening widely the borders of relating effectively to others or to life's varied phenomena, as they learn how to communicate the subtleties of who they really are and what they believe in ways that words usually fail to fully capture. Children are asked to choose as a self-companion through their school year an artist, who greatly benefited from the arts' unique power as a tool for shedding light on his/her self-knowledge and for overcoming difficulties as well as a means of fostering meaningful connections with his/her social and cultural environment. Curricular goals and learning units are approached by adapting innovative and effective teaching practices through the arts, based on the life and work of the artists children have chosen.

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Section: Objectives and Methodologymentioning

confidence: 99%

Artists as Inviting Personalities for Self-Exploration and Social Learning at School

Ioannidou¹

2022

Humanities Today: Proceedings

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“…Extolling the values of formal aesthetics, canonical artworks and traditional techniques from the primary art classroom onward, DBAE represents an attempt to restore an aura of academic legitimacy to the study of art. DBAE has fallen somewhat out of favour (coincident with losing its financial support from the Getty Foundation over twenty years ago), evidenced in the scholarly backlash against DBAE that accompanied the rise of ‘visual culture’ in art education (Manley‐Delacruz & Dunn ; Duncum , ; Efland ; Freedman & Stuhr ; Tavin ; Walling ; Wilson ). While some ideas have been repackaged with the label of ‘aesthetic education’, the movement's original clarity has dissipated.…”

Section: Reconsidering Discipline‐based Art Educationmentioning

confidence: 99%

Art Education and the Moral Injunction to be Oneself

Stabler¹

2017

Int J Art Design Ed

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A primary function of schooling is to impart moral discipline, and art education distills this role to its core imperative of mandated pleasure, summarised by Jacques Lacan as the ‘will to enjoy’. This manifests in the insistence that, despite producing similar outcomes, students come to recognise themselves as unique and creative. In the twentieth century, art education in the USA has developed methods for extracting supposedly intimate personal expressions from young people, albeit without demanding the technical versatility, historical knowledge and critical reflection required of mature artists – the exception to this, despite its many flaws, being so‐called Discipline‐Based Art Education, or DBAE. In this article, I begin with reflections on the untapped potential of DBAE to relate to contemporary art practices. My ideas on moral instruction are expanded upon in the second section, when I undertake a ‘backwards’ history of British and American art education, in which the ideal of art class as a site of intrinsic and authentic meaning‐making is challenged by the functional requirements of education. My last section takes up a critique of critical pedagogy, in which I use the example of a project my high school students did about Michael Jackson to challenge ways in which trauma and pleasure are seen by critical pedagogues as features of experience that conflict fatally with the educational ends of individualist autonomy.

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“…Podemos partir de la existencia de unos objetos o entornos que nos identifican culturalmente, pero el patrimonio es creado, no se trata de algo dado por las culturas establecidas, sino de procesos en construcción y configuración desde la revisión de los significados y la recuperación de identidades que las culturas a veces han dejado de lado en la construcción de los saberes disciplinares. Incluso el mismo patrimonio material objetual histórico y artístico basado en las bellas artes y el entorno como conjunto monumental debe ser revisado desde la reconstrucción de los significados como se ha demostrado en los enfoques educativos multiculturales (Efland, Freeman y Stuhr, 1996) y de la cultura visual en particular (Hernández, 1997;Duncum, 2002). El concepto de la educación como transmisión de contenidos con los cambios culturales y sociales propiciados por la sociedad de la información y las nuevas formas de producción del conocimiento, se presenta como práctica trasnochada, aunque estas experiencias educativas se siguen reproduciendo habitualmente en no pocos contextos patrimoniales.…”

Section: El Patrimonio Como Concepto En Relación Con La Identidadunclassified

Patrimonio e Identidad en la Investigación Educativa Basada en las Artes desde un Enfoque Multimodal

Alvarez-Rodríguez

Bajardi

2016

Arte Individ. Soc.

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Recibido: 31de enero de 2015 Aprobado: 4 de julio de 2015 ResumenEste artículo describe dos experiencias de investigación de nuestro grupo interconectadas, la primera desarrollada durante el año 2007 a través del proyecto internacional CALVINO del Programa Cultura 2000 de la Unión Europea, y la segunda implementada durante el año 2014 en el marco del Proyecto Investigación e Innovación en Secundaria en Andalucía (PIIISA). Ambos proyectos tienen en común el eje temático de la identidad a partir de una idea de patrimonio y el hecho de haber puesto en práctica metodologías de investigación basadas en las artes visuales con un enfoque multimodal. Desde estos dos puntos de anclaje relativos a la temática (qué) y a la metodología (cómo) analizamos lo acontecido para obtener conclusiones relevantes que, por una parte, pongan en valor estas prácticas significativas y, por otra, aporten nuestra experiencia para futuras propuestas de investigación en el ámbito temático y/o metodológico. Palabras clave: patrimonio, identidad, investigación educativa basada en las artes, investigación multimodal, proyectos de investigación basados en las artes, autoetnografía. AbstractThis paper describes two interconnected and related research experiences, the first one developed in 2007 was the CALVINO Project by the Culture 2000 Program of the European Union, and the second one was implemented during 2014 as part of Research an Innovation Project in Secondary Education in Andalusia (PIIISA). Both projects have in common the topic of identity from an idea of heritage and the fact that in both cases has been implemented art-based research methodologies within a multimodal approach. From these two anchor points about the subject matter (what) and the methodology (how) we analyze them to obtain relevant conclusions that, on the one hand, value these significant practical and, on other hand, provide expertise for future research proposals following the same topic and/or methodology.

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Visual Culture Art Education: Why, What and How

Cited by 78 publications

References 13 publications

Artists as Inviting Personalities for Self-Exploration and Social Learning at School

Artists as Inviting Personalities for Self-Exploration and Social Learning at School

Art Education and the Moral Injunction to be Oneself

Patrimonio e Identidad en la Investigación Educativa Basada en las Artes desde un Enfoque Multimodal

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