A Structure of Discipline Concepts for DBAE

Greer, W. Dwaine

doi:10.2307/1320301

Cited by 13 publications

(5 citation statements)

References 8 publications

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“…Discipline-based art education (Greer, 1987) could be a vital part of middle school curriculum. However, curriculum planners will need to analyze how aesthetics, criticism, history, and production can be put in a frame of reference so both students and teachers are comfortable with including them in the curriculum.…”

Section: Results Of the Ethnographic Interviewsmentioning

confidence: 99%

Three Views of Middle School Art Curriculum

Anglin¹

1993

Studies in Art Education

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Section: Results Of the Ethnographic Interviewsmentioning

confidence: 99%

Three Views of Middle School Art Curriculum

Anglin¹

1993

Studies in Art Education

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“…A. D. Gilbert (2016) reflects this in her framework of 21 st century learning skills, whereby she argues that the 4C's of creativity, critical thinking, communication and collaboration are inherent in music curricula. In visual arts specifically, the United States introduced art criticism into curricula in the 1970s, and particularly in the 1980s with the advent of Discipline Based Art Education (DBAE) (Eisner 1990;Greer 1987). DBAE advocated for students to be involved in studio practice as artists, but to also develop knowledge in art history and skills to critique art through critical discourse (Eisner 1990;Greer 1987).…”

Section: Responding In the Curriculum: Developing 21 St Century Learnmentioning

confidence: 99%

“…In visual arts specifically, the United States introduced art criticism into curricula in the 1970s, and particularly in the 1980s with the advent of Discipline Based Art Education (DBAE) (Eisner 1990;Greer 1987). DBAE advocated for students to be involved in studio practice as artists, but to also develop knowledge in art history and skills to critique art through critical discourse (Eisner 1990;Greer 1987). DBAE shaped education in many countries, including the United Kingdom and Australia's decision to introduce art criticism into curricula (Boughton 1989;McKeon 2002).…”

Section: Responding In the Curriculum: Developing 21 St Century Learnmentioning

confidence: 99%

The development of a student engagement instrument for the responding strand in visual arts

Morris

2018

Aust. Educ. Res.

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The 'responding' strand of the Australian visual arts curriculum promotes 21 st century learning skills through students' analytical engagement with artworks and artists. Assessing students' experiences and engagement is one strategy to improve teaching and learning in responding. However, there are no validated, subject-specific student engagement instruments for teachers to use. This study sought to develop a student self-report diagnostic instrument that provides information on past experiences with visual arts and factors affecting both cognitive and psychological engagement, with implications for improving teaching and learning. The instrument was piloted with 266 Year 10 to 12 students, as responding has an approximate 50% assessment weighting in the Australian visual arts course for senior school students. This paper reports on the exploratory and confirmatory factor analyses conducted in the development of the instrument. It adds to the body of knowledge on developing engagement instruments, recognising that student engagement in secondary education is context-dependent.

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“…The latter view is similar to the educational idea of 'education through art' suggested by Read [1958] in the 1940s in UK and the 1950s elsewhere. There is a recent concern with the disciplines of art learning which puts more emphasis on systematic inquiry, [Greer, 1987] and its influence has penetrated into the new art curriculum of Hong Kong. This prevailing trend can be defined as 'education in art', alongside the term 'education through art' of Read.…”

Section: The Grouping Of Concepts: Teaching In or Through Artmentioning

confidence: 99%

Secondary School Art Teachers' Concepts of Teaching in Hong Kong

Lam¹

2000

Journal of Art & Design Education

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Recently, there has been considerable concern among art educators and cultural policy makers to promote art education in Hong Kong. The launch of the new curriculum of a discipline‐based character in 1996 generated debate in the art education circle of Hong Kong. There were diverse opinions on the rationale for teaching art. Concern was expressed about the present constraints of art teaching related to teachers' ability and school administration poses another important issue that seems to inhibit further developments. This paper reports part of the findings of a study on art teachers' concepts of teaching. It explores the concepts of about 20 secondary art teachers in Hong Kong. Several categories of teaching are derived from interviews: aesthetic development, moral development, intellectual development, expression and therapy, and intellectual and aesthetic development. A scheme is developed which can be used to analyze teachers' concepts as education in or through art on a continuum from subject to learner centred.

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A Structure of Discipline Concepts for DBAE

Cited by 13 publications

References 8 publications

Three Views of Middle School Art Curriculum

Three Views of Middle School Art Curriculum

The development of a student engagement instrument for the responding strand in visual arts

Secondary School Art Teachers' Concepts of Teaching in Hong Kong

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