Abstract:This article considers the background and provisions of the New Secondary Curriculum in England. Attention is drawn to the extent of the policy changes by comparing the ten‐year old demands of the Swift & Steers ‘Manifesto for art in schools’ (1999) with the new legislation and guidance. In particular, while there is strong support for overdue recognition of the importance of creativity in the curriculum it is argued that its inclusion remains problematic because the ‘risky thinking’ involved will be difficult… Show more
“…John Steers (, 128) says that ‘creative pupils need creative teachers with the confidence to take creative risks’.…”
Section: What Was the Artist Teacher Project?mentioning
confidence: 99%
“…Moreover, according to Thomas (, 65), the teacher's role is important in the quality of performance made by their pupils, and that ‘creativity is a kind of social reasoning translated between art teacher and student in the cultural context of the art classroom’. In contrast, Steers (, 130) lists the range of characteristics, capacities and abilities that some teachers find hard to accommodate ‘because they may be in conflict with the ethos of their schools, many of which place high value on conformity’ and, as one TT noted, I have come to realise that colleagues and pupils seem to work within a comfort zone. All of the work produced seems generic and of similar calibre.…”
The artist teacher project set out to facilitate trainee teachers’ creative practice and inform their critical pedagogy in the classroom. The approach outlined in this article encouraged them to consider predictable and formulaic practice, and to question, reflect upon and challenge orthodoxies in their teaching of art, craft and design. They critically appraised their practice within a community of reflective practitioners in critical presentations, and in their reflective writing, and discussed and debated the contradictory positions between what they explored in their individual practices as artists and that experienced in the classroom. This project highlighted how fundamental the critical presentations were because the peer‐review, feedback and support, facilitated dialogue in a creative, dynamic space and community of practice. These ‘crits’ also became a forum for airing frustrations and trying to come to terms with the re‐emergence of their artist identities while at the same time, having to suppress many of their convictions and ideals in order to conform to what they found on school placement.
“…John Steers (, 128) says that ‘creative pupils need creative teachers with the confidence to take creative risks’.…”
Section: What Was the Artist Teacher Project?mentioning
confidence: 99%
“…Moreover, according to Thomas (, 65), the teacher's role is important in the quality of performance made by their pupils, and that ‘creativity is a kind of social reasoning translated between art teacher and student in the cultural context of the art classroom’. In contrast, Steers (, 130) lists the range of characteristics, capacities and abilities that some teachers find hard to accommodate ‘because they may be in conflict with the ethos of their schools, many of which place high value on conformity’ and, as one TT noted, I have come to realise that colleagues and pupils seem to work within a comfort zone. All of the work produced seems generic and of similar calibre.…”
The artist teacher project set out to facilitate trainee teachers’ creative practice and inform their critical pedagogy in the classroom. The approach outlined in this article encouraged them to consider predictable and formulaic practice, and to question, reflect upon and challenge orthodoxies in their teaching of art, craft and design. They critically appraised their practice within a community of reflective practitioners in critical presentations, and in their reflective writing, and discussed and debated the contradictory positions between what they explored in their individual practices as artists and that experienced in the classroom. This project highlighted how fundamental the critical presentations were because the peer‐review, feedback and support, facilitated dialogue in a creative, dynamic space and community of practice. These ‘crits’ also became a forum for airing frustrations and trying to come to terms with the re‐emergence of their artist identities while at the same time, having to suppress many of their convictions and ideals in order to conform to what they found on school placement.
“…A tantárgy alkalmazkodott a 20. században eltűnő homogén korstílus kihívásaihoz, tananyagába egyaránt beleférnek Leonardo gondolatai, az akadémizmus és a közösségi háló informatikai alkalmazásai. Az új tantárgy az esztétikai minőséget másodlagosként határozza meg, újraértelmeződik az oktatás lényege: a hangsúly az alkotó folyamatra, az egyéni alkotóképességre, a kreatív vizuális nyelvhasználatra kerül, amely egyszerre tanulságos és katartikus az egyén számára (Csíkszentmihályi, 1988;Souza, 1998;Steers, 2009;Freedman, 2010, Harten, 1996. A vizuális kultúra műveltségterület oktatója a hagyományos képi nyelv megértése és használata mellett az önkifejezés egyre újabb útjait is tanítja.…”
Section: Az éRtékelés a Vizuális Nevelésbenunclassified
(Feuer, 2000;Bodóczky, 2009; Horányi, 2003; Kárpáti és Gaul, 2011). A vizuális kommunikáció folyamatosan és dinamikusan fejlődő diszciplína, kutatását tágas megközelítések, változó tartalmak jellemzik (Róka, 2002;Elkins, 2003;Jensen, 2003;Duchowski, 2007). Tudománnyá érése ma is folyik, kutatásának relevanciáját támasztja alá, hogy egyre nagyobb részt követel a közoktatásban és az egyetemi rendszerekben (Antik, 2010). Kepes (1979) A személyiség több rétegét megmozgató, értelmi és érzelmi folyamatokat, akaratlagos és önkéntelen reakciókat mozgásban tartó művészeti nevelés a 20. században egyre több kutatás tárgyává vált. A vizuális nevelés fogalma összefonódott az önkifejezéssel, az élményképzéssel és a kommunikációval. A harmincas években a művészettörténet és a lélektan elemezni kezdte a gyermekrajzokat, megjelentek az első, gyermekrajz fejlődését leíró tanulmányok (Paál, 1970; Mendelowitz, 1953;Kellogg, 1969). A hatvanas években a világ számos pontján megkezdődött a rajzkészség standardizált értékelése, melyhez a magyar kutatók is csatlakoztak (Gerő, 1973;Feuer, 2000;Kárpáti, 2001; Kárpáti és Gaul, 2011). Ezzel párhuzamosan elindultak a kutatások a
“…Creativity can be defined ‘variously as an act, a process, a concept, a strategy or even as an ideological tactic. … it exists on a continuum’ (Steers , 128). One of the primary goals of educators in creative fields such as design and arts is to develop confidence and competence in students so that they might flexibly, autonomously and resiliently move along this continuum.…”
This article reports on the findings of a study investigating creative risktaking behaviours of the commencing university students enrolled in three units across three disciplines: Interactive and Visual Design, Fashion Design, and Film, Screen and Animation. The study employs an action research methodology in order to help students develop confidence and competence in creative risk‐taking. Upon analysis from relevant literature three key provisions for the study are proposed, being: P1 An open and playful learning environment that encourages sharing and challenging multiple perspectives; P2 An adequate period of time for students to develop and revise creative concepts; and P3 Opportunities to assess their own performance in developing creative risk‐taking capacities. The study draws on the students’ written self‐reflections to identify the key challenges and opportunities in encouraging creative risk‐taking among first year students, which are challenges of collaboration; creative resilience and self‐efficacy; and balancing creativity with technical competency. The article suggests several ways that educators can encourage students to take creative risks within higher education in preparation for careers in the creative industries.
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