Arts education and writing as research and pedagogic practice: Critical perspectives in higher education or how we became the teachers yet to come
01 Oct 2020-Art, Design and Communication in Higher Education (Intellect)-Vol. 19, Iss: 2, pp 185-201
TL;DR: In this article, the authors analyse the process of conceptual appropriation and curricular development over four consecutive years of this experience, in relation to both the pair of teachers and the students.
Abstract: Based on the educative proposal of Dennis Atkinson, this article discusses the written practices of two teachers who lecture for a Ph.D. in art education. The goal is to analyse the process of conceptual appropriation and curricular development over four consecutive years of this experience,
in relation to both the pair of teachers and the students. Using a hybrid methodology, which combines autoethnography, self-study and the narratives of the teachers and the students, writing emerges as the main focus of the research, as it is an essential work instrument of the classroom,
of the teachers’ personal reflection, and at the same time a spring that provides sources and means for its own analysis. It is through writing that one explores the appropriation of concepts as diverse as pedagogy of the event, real learning, intra-relation and intra-action, which leads
to the process in which the teachers end up becoming the teachers yet to come.
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Book Chapter•
01 Jan 2019
4 citations
TL;DR: Cardography is an invented designation based on a/r/tography, as a creative living research methodology that uses cards as a device for a visual inquiry, considering that each book's page is a card to be written or drawn (digital or paper), documenting the dialogic process during each research workshop as discussed by the authors.
Abstract: This article is supported by the author’s experience through a methodology created during her Ph.D. thesis ‘The experience of book’s place at the university’, also during COVID-19 restrictions. The student transformed public presentations into collaborative research workshops, where new interrelations and concepts occurred rooted in arts-based research methodologies, exploring art and education, in its scope. Cardography is an invented designation based on a/r/tography, as a creative living research methodology that uses cards as a device for a visual inquiry, considering that each book’s page is a card to be written or drawn (digital or paper), documenting the dialogic process during each research workshop. The research result contemplates an artistic object, which is displayed afterwards in university and art exhibitions. The reader is invited to follow a fil rouge alignment, inspired by a book structure, reflecting upon concepts and research methods not yet implemented at the art education doctoral course. © 2021 Intellect Ltd
2 citations
Book Chapter•
01 Jul 2018
1 citations
TL;DR: A collaborative narrative of three elements from the Group Study on Participatory and Artistic Processes in Research and Education (GEPPAIE), composed of researchers in academic and professional development (professors, doctoral and master's students in education areas) is described in this paper.
Abstract: This article sets up a collaborative narrative of three elements from the Group Study on Participatory and Artistic Processes in Research and Education (GEPPAIE), composed of researchers in academic and professional development (professors, doctoral and master's students in Education areas). It begins with a question: how have we experienced, as a higher education study group, our meeting spaces for the production of emancipatory knowledge about research, especially about arts-based research? This question unfolds into others and drives us to what has already been produced collectively, but also boosts the new writings and reflections in this text. It is also part of Ana Serra Rocha's PhD, focused on the problematization of The book’s experience as a place of epistemological reflection in artistic education, aiming at a broader reflection in the field of artistic education and in doctoral studies. It speculates on the participatory processes of collaborative creation and on some issues that have been debated at GEPPAIE, namely of a relational and methodological nature, with a view to (des/re)construction of knowledge and its forms of written and visual representation.
1 citations
TL;DR: In this article , the authors defined the nature of poly-artistic competence in specialists of art and pedagogical direction specialists and defined the methodical conditions of its formation, embracing the updating of the educational process, use of interactive technologies and methods of personality-oriented learning, the introduction of integration of different levels, etc.
Abstract: The relevance of the initiated research is determined by a few dominating challenges of modern art and pedagogical education. In particular, these are the interaction between the participants in the educational process, given the spread of the pandemic; insufficient development of ways to form the professional competence in students of art and pedagogical specialties; the inertia of art and pedagogical education and, as a consequence, the slow introduction of innovations in higher education; the insufficient reflection of the principles of poly-arts education in art and pedagogical studies.
The nature of poly-arts competence in specialists of art and pedagogical direction specialists has been redefined and adjusted. This competence is interpreted as an integral professional quality of personality. The methodical conditions of its formation have been outlined, embracing the updating of the educational process, use of interactive technologies and methods of personality-oriented learning, the introduction of integration of different levels, etc. Neuropedagogical prerequisites of formation of poly-artistic competence for students of art and pedagogical directions are defined. We have also identified interrelated and complementary aspects of poly-artistic competence (cognitive, reflexive, methodological and procedural), as well as directions of their development.
Prospects for further research lie with the development of the methodological formation of poly-artistic competence for students in art and pedagogical specialties and the subsequent testing of its effectiveness in an actual educational process.
References
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TL;DR: This paper examined the expectations and interpretations of academic staff and students regarding undergraduate students' written assignments and suggested that implicit models that have generally been used to understand student writing do not adequately take account of the importance of issues of identity and the institutional relationships of power and authority that surround, and are embedded within, diverse student writing practices across the university.
Abstract: This article addresses the issue of student writing in higher education. It draws on the findings of an Economic and Social Research Council funded project which examined the contrasting expectations and interpretations of academic staff and students regarding undergraduate students' written assignments. It is suggested that the implicit models that have generally been used to understand student writing do not adequately take account of the importance of issues of identity and the institutional relationships of power and authority that surround, and are embedded within, diverse student writing practices across the university. A contrasting and therefore complementary perspective is used to present debates about ‘good˚s and ‘poor˚s student writing. The article outlines an ‘academic literacies˚s framework which can take account of the conflicting and contested nature of writing practices, and may therefore be more valuable for understanding student writing in today's higher education than tradition...
1,902 citations
TL;DR: In the first part of the essay, the author states that the "abyssal" cartographical lines that used to demarcate the Old and the New World during colonial times are still alive in the structure of modern occidental thought and remain constitutive of the political and cultural relations held by the contemporary world system.
Abstract: In the first part of the essay, the author states that the "abyssal" cartographical lines that used to demarcate the Old and the New World during colonial times are still alive in the structure of modern occidental thought and remain constitutive of the political and cultural relations held by the contemporary world system. Global social iniquity would thus be strictly related to global cognitive iniquity, in such a way that the struggle for a global social justice requires the construction of a "post-abyssal" thought.
587 citations
TL;DR: The authors consider three approaches to methodology in self-study research and clarify questions that arise for readers unfamiliar with this research genre, and consider three types of self-studies: self-love, self-identity, and self-motivation.
Abstract: Sharpening our approaches to methodology in self-study research can strengthen our work and clarify questions that arise for readers unfamiliar with this research genre. Our article considers three...
265 citations
TL;DR: Ruben A. Gaztambide-Fernandez as discussed by the authors uses a discursive approach to argue that mainstream arts in education scholarship and advocacy construes "the arts" as a definable naturalistic phenomenon that exists in the world and is available to be observed and measured.
Abstract: In this essay Ruben A. Gaztambide-Fernandez uses a discursive approach to argue that mainstream arts in education scholarship and advocacy construes “the arts” as a definable naturalistic phenomenon that exists in the world and is available to be observed and measured. In the course of his analysis, he examines how this construction is employed through what he calls the rhetoric of effects as part of the mainstream discourses used in arts in education research today. He describes how this positivistic rhetoric masks the complexity of those practices and processes associated with the arts, limiting the possibilities for productively employing such practices in education. In addition, he explores how discourses of the arts both arise out of and continually reify hierarchical conceptions of artistic practices in education and broader society. He concludes by proposing an alternative rhetoric of cultural production, arguing that moving toward this new way of understanding practices and processes of symbolic c...
130 citations
TL;DR: In this article, the authors explore the relationship between teaching and learning, both at a conceptual and at an existential level, and argue that teaching may not be the one and only option for teaching to aim for.
Abstract: In this paper I explore the relationship between teaching and learning. Whereas particularly in the English language the relationship between teaching and learning has become so intimate that it often looks as if ‘teaching and learning’ has become one word, I not only argue for the importance of keeping teaching and learning apart from each other, but also provide a number of arguments for suggesting that learning may not be the one and only option for teaching to aim for. I explore this idea through a discussion of the relationship between teaching and learning, both at a conceptual and at an existential level. I discuss the limitations of the language of learning as an educational language, point at the political work that is being done through the language of learning, and raise epistemological and existential questions about the identity of the learner, particularly with regard to the question what it means to be in and with the world in terms of learning as comprehension and sense making. Through this I seek to suggest that learning is only one possible aim for teaching and that the learner identity and the learning way of engaging with the world puts the learner in a very specific position vis-a-vis the world, one where the learner remains in the centre and the world appears as object for the learner’s acts of learning. That it is possible to teach without requesting from students that they learn, comprehend and make sense, is demonstrated through a brief account of a course in which students were explicitly asked to refrain from learning and were instead asked to adopt a concept. I show how this request opened up very different existential possibilities for the students and argue that if we value such existential possibilities, there may be good reasons for freeing teaching from learning.
88 citations