Objectives of art education: The impact of time

Lanier, Vincent

doi:10.1080/01619567509538012

Cited by 13 publications

(8 citation statements)

References 10 publications

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“…In the period before the Renaissance in the West, art was envisaged as a means to develop the fine character of a person, sharpen aesthetic perception, or to develop good taste. Art education was largely based on skill training and acquisition of art knowledge [24], [25].…”

Section: Cultural Significance Of the Teaching Conceptionsmentioning

confidence: 99%

Conceptions of Teaching Art Held by Secondary School Art Teachers

Lam¹,

Kember

2004

curric teach

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Research into teachers' conceptions of teaching can be justified in that deep seated beliefs impact upon the way teachers teach and influence the learning approaches of their students. This study examined conceptions of teaching art, through interviews with 18 secondary school art teachers in Hong Kong. The analysis resulted in a two-level characterisation of conceptions under broad essentialist and contextualist orientations. There were four subordinate conception categories, namely moral development in art and aesthetic development in art under the essentialist orientation, and intellectual development through art, and expression and therapy through art as sub-categories of the contextualist orientation. The categories were defined and delimited by six dimensions. The categories were seen as clearly distinguishable but related, though not hierarchically. There was no evidence of the category scheme being culturally specific, as the majority of the teachers held beliefs which were not consistent with the traditional manner of Chinese painting. Abstract JADE 23.3 ©NSEAD 2004 Conceptions of teaching artThere has been a considerable amount of research into teachers' beliefs or conceptions of teaching [1][2][3][4][5]. Part of the justification is that the conceptions have a strong influence on how teachers teach. The topic has been of particular interest when reform has been on the agenda as deep seated beliefs can be hard to change, and so can be an important factor in determining whether reforms are successfully implemented. Teachers can be successful change agents but can also be obstacles for change when the proposed reform challenges their conceptions of teaching [6][7][8][9].In higher education conceptions of teaching have been found to be largely independent of discipline. A review of thirteen studies [10], each of which encompassed a range of disciplines, found that category schemes could be synthesised into a common model with two broad over-arching orientations towards either teachercentred / content-oriented or student-centred / learning-oriented conceptions. The teacher-and student-centred distinctions have also been commonly found in school teachers' conceptions.There have been few empirical studies of conceptions of teaching art. Chapman [11] researched 27 prospective teachers who were majoring in art education and confirmed four hypothesised conceptions, namely, the personalist, idealist, experimentalist and realist. The result can be explained by the teacher-or studentcentred terminology with the former two characterised as student-oriented conceptions and the remainder more teacher-directed. Apple [12] conducted a large sample survey of general teachers' attitudes towards art. There were positive indications of attitudes in three areas of significance, i.e. individual, societal, and instructional. The results suggest that teachers may carry more than one belief in teaching, as suggested by Pajaras [13].As there are multiple contrasting potential frameworks, derived from theory, for teachers' beliefs...

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Section: Cultural Significance Of the Teaching Conceptionsmentioning

confidence: 99%

Conceptions of Teaching Art Held by Secondary School Art Teachers

Lam¹,

Kember

2004

curric teach

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“…He distinguishes between a neurotic experience and an artistic expression. Art as therapy has through a number o f curricula reforms been a core objective in art education (Freedman & Popkewitz, 1985;Lancaster, 1982;Lanier, 1975).…”

Section: Zimbabwe Journal O F Educational Researchmentioning

confidence: 99%

“…This view has resulted in creativity and aesthetics being considered key constructs in core objectives o f art education through the various art curricula reforms (Lanier, 1975;Freedman & Popkewitz, 1985;Lewis, 1974;Till, 1971). Lanier (1975) views creative power as an endowed domain in every human including the mentally retarded. A child is bom intuitively aware and responsive to design elements such as form, rhythm and harmony (Lancaster, 1982).…”

Section: Introductionmentioning

confidence: 99%

Deconstructing visual imagery by the mentally retarded: Implications for methodology theory

Mamvuto

2007

Zimbabwe Journal of Educational Research

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“…The experience of creativity it can offer has been one of them, although not always the main one and not always meaning quite the same at all times (Lanier, 1975;Fleming, 2008). A study of nineteen countries' aims of art education, including those of Europe, Asia, the Americas, and Africa, has shown that governments increasingly see value in creativity (Sharp and Le Métais, 2000) and UNESCO (2006) argues that it provides an opportunity to develop each person's creative potential and cultivate a sense of creativity and a fertile imagination.…”

Section: Introductionmentioning

confidence: 99%

“…A study of nineteen countries' aims of art education, including those of Europe, Asia, the Americas, and Africa, has shown that governments increasingly see value in creativity (Sharp and Le Métais, 2000) and UNESCO (2006) argues that it provides an opportunity to develop each person's creative potential and cultivate a sense of creativity and a fertile imagination. The value of these is in their ability to empower that person by enabling an informed participation in cultural and artistic activities (Eisner, 1965(Eisner, , 2002Lanier, 1975;Shillito et al 2008). The opportunity art offers to explore possibilities, exercise imagination and self-expression and resist cultural homogeneity can also be seen as fostering democratic behaviours (Siegesmund, 1998), at least as this is defined in the West.…”

Section: Introductionmentioning

confidence: 99%