Anti-Bullying
Community and art: creative education fostering resilience through art
While creativity is discussed as a core competence for talented people around the world in the twenty-first century, its exhibition is determined by one’s character. Creativity and character education, therefore, should not be considered as separate matters, but the systematically related matters, and exhibition of creativity, can be carried away by character. The purpose of this study is to apply community-based education through art to elementary school students in an effort to enable the learners to experience the cultural facilities of their community and to cultivate their creativity and personality, thus fostering resilience in the face of the trauma of school violence.
Technology in the Classroom
The Computer Delusion Todd Oppenheimer
There is no good evidence that most uses of computers significantly improve teaching and learning, yet school districts are cutting programs -- music, art, physical education -- that enrich children's lives to make room for this dubious nostrum, and the Clinton Administration has embraced the goal of "computers in every classroom" with credulous and costly enthusiasm
THE ROLE OF TECHNOLOGY IN THE 21ST CENTURY ART ROOM By David Diehl
How are art teachers today utilizing computer technology in the classroom and what role do they feel it should serve in art education? The purpose of this study was to explore how elementary art educators in North Carolina schools are integrating computer technology into instructional delivery. The answers to these questions may provide art educators with more effective strategies for infusing computer technology into future classroom instruction.
Online Education
K–8 Virtual Schools: A Glimpse Into the Future
Mickey Revenaugh States and school districts are finding that virtual public schools can meet the needs of young students. All of these students are participating in an emerging trend in public education: virtual schooling for grades K–8. Although online university courses have become commonplace and high school students barely bat an eye at the notion of supplementing their schedules with an online calculus or PE class, students in full-time virtual public elementary and middle school programs are still on the frontier.
Online Education: The Relationship Between the Perceptions of Online High School Teachers Compared to Traditional Classroom Teachers Regarding the Visual Arts
The incorporation of the arts as an academic subject in the high school distance education delivery method is being reinvented as something new. Most of the current research is focused on college courses. Online high school curricula are most often placed in research studies as an afterthought. Perceptions of faculty members from high schools with traditional instructional delivery models as well as public online schools concerning online education as it relates to the arts in 5 different areas was the focus of this research; mentor, delivery method, satisfaction, student learning, and curriculum.
Teens in high school who have or are at-risk of dropping out of school confront a number of educational challenges. One of these challenges is the restricted mobility students face in school. Mobile media offers the potential to engage with art curricula inside or outside of the classroom. It also offers new ways of thinking about the role of mobility in learning and improving students’ sense of agency. In this study, we present our research with at-risk youth, who typically associated traditional schooling with a low sense of personal agency and spatial constraints. To judge by their responses (visual and verbal) to our mobile media visual art curriculum, the physical mobility afforded by mobile technology heightened their sense of agency and opened them to the possibility that learning might be a positive experience, and that they might want to be at school
Teaching Art in the Modern World
New School Art Styles: The Project of Art Education
Olivia Gude. Explore new strategies for making meaning in art projects, breaking free from traditional molds, and employing a variety of aesthetic strategies. Though the field of art education increasingly advocates for the importance of having clear criteria for judging the quality of a student’s arts learning, we have not yet been as thorough and rigorous with ourselves in articulating the necessary qualities of the basic building block of visual arts curriculum— the art project. Perhaps the assumption that visual arts education will be project-based (unfortunately often translated in actual practice as product-based) has been so dominant and unquestioned, the field has not adequately theorized the structures, uses, varieties, and sequencing of these projects as an educational form
A Multiple Case Study Examining Elementary School Art, Music and Physical Education Teachers’ Perceptions, Attitudes and Beliefs Related to Interdisciplinary Teaching Practice
by
Ashley J. Coudriet
B.F.A., University of Massachusetts, 2001
M.S., Central Connecticut State University, 2004
K-12 public school reform in the United States over the last decade has increased educational
accountability in reading and math and touted the importance of students’ acquisition of a 21st
century skill set. Non-tested content areas, such as art, music and physical education have
struggled to maintain their position within the curriculum. In many cases, art, music and physical
education teachers have been asked to integrate content from the tested content areas of reading
and math or to engage in pedagogical approaches that foster 21st century skills like
communication, collaboration, critical thinking, and creativity.
A time-honored and pervasive tradition has taken root in art classrooms. It goes like this: The art teacher plans experiences, often called “visual problems” (Vieth, 1999, p. 4), for pupils to execute. Students are then encouraged to “solve” these problems in their own way, but the end result, more often than not, is predetermined. Art teachers may contend that these assignments are open-ended and produce diverse results. And while variations on the theme are noticeable, it is an exaggeration to claim that each piece is unique. When hung together as a class set, sometimes even the studentartists who produced the work have trouble detecting which piece is “theirs.” Upon closer inspection, the artwork may in fact be recognizable as belonging to one particular artist. Unfortunately, that artist is the teacher. How can art projects, envisioned and designed by the teacher with predictable results, possibly nurture the kind of creative thinking considered essential for students to thrive in the 21st century?
Using Wikis in the Art Classroom
It is not about teaching! It is not about delivering motivational and instructional presentations using the latest technological tools. It has never been about directly teaching content. It has never been about the education profession. It has never been abut the latest and greatest technological teaching presentation tools and innovation. It is about learning and it it solely about the learner. It has always been about helping students learn and helping them learn more effectively.
The purpose of this article is to explore what and how art educators can negotiate with this digital world that is full of creative inventions, energies, and forces, rather than regarding these new technologies as a detrimental part of contemporary pop and visual culture.
New modes of everyday communication—textual, visual, audio and video—are already part of almost every high school and college student’s social life. But can such social networking principles be effective in an educational setting?