I would like to ask how best practice models affect education in general and aesthetic-artistic subjects in particular.
How far should good practice examples go, and what are their advantages and disadvantages? Is it not also necessary to provide worst practice examples (and to do so in a VALUING way, but in an appreciative dialogue)? In my mind, this would be a DISCUSSED AND MODERATED PRACTICE, so to speak, with kind of reviews and comments, where a (meta-)discussion can take place, which is often missing and necessary, especially in the present time.
More often than not, especially after the Pisa debate, the mapping of competences in all subjects is demanded. In order to maintain an entitlement in the subject canon, this naturally also forces aesthetic-artistic subjects to present their fields of competence. That competences analogous to those in language subjects for learning to write and read in artistic subjects in the form of visual literacy. (cf. Mollenhauer, 1989, 1990). But a mere working off of visual literacy tasks would destroy the aesthetic subject concept. The personal factor of being human would be undermined and a capacity for enjoyment or even a practical artistic ability to create and express would never be created.
Quality arts education can produce positive learning outcomes, such as creating positive attitudes to learning, developing a greater sense of personal and cultural identity, and fostering more creative and imaginative ways of thinking in young children (Bamford, 2006; Eisner, 2002; Robinson, 2001).
The special quality of art education learning processes is that bodily-sensual learning processes in their references to perception, imagination and representation in reception and practice not only become more accurately describable, but also visible in the literal sense of the word (Krautz, 2015)
Through practical action, the experience of values is trained, thoughts and feelings are expressed and "personal wills are realised" (ibid.), as well as one's own point of view is taken. A confrontation with the ideas of others takes place. This experience leads to a development towards openness and tolerance (Piecha).
Art lessons have to be diverse, heterogeneous and unusual, they have to leave well-trodden paths and go individual ways in order to be able to take new, not yet known sustainable paths in the future (in addition, the importance of the Sustainable Development goals that go hand in hand with value education).
Aesthetic competence gained from sensory experience represents another form of knowledge. In the competence grid, free space must be created for individual, experimental and non 'functional' spaces of experience. Art education prepares for future requirements that do not exist today or are even unknown. These competences are thus competences on a meta-level and thus indispensable. (Weinlich, 2020)
Although the question of aesthetic competences cannot be answered here, I would like to ask how best practice models affect education in general and aesthetic-artistic subjects in particular.
Best practice models are also copied in the economy with and without success.
Forming models of quality arts education in the early years of primary school can also be a highly problematic task. (The Challenges of Implementing Primary Arts Education: What Our Teachers Say, Frances Anne Alter, Terrence Neville Hays, Rebecca O’Hara)
The question is, how can possibilities be created in this sensitive field, not to provide templates, but models as inspiration. How far should good practice examples go, and what are their advantages and disadvantages? Is it not also necessary to provide worst practice examples (and to do so in a VALUING way, but in an appreciative dialogue)? In my mind, this would be a DISCUSSED AND MODERATED PRACTICE, so to speak, with kind of reviews and comments, where a (meta-)discussion can take place, which is often missing and necessary, especially in the present time.
Peace, mercy, and blessings of God be upon you ... and after I am very interested in arts and education, knowing that I have a bad mistake in writing on paper
Hello
Yo0u can find on the Internet a few visits online to museums. It is a good practice to teach.
Best regards
Ph.D Ingrid García
Thank you very much for this suggestion.
Online Museums are a nice possiblity to take a journey around the world in this times. Eg. https://artsandculture.google.com/story/10-museums-you-can-explore-right-here-right-now/igKSKBBnEBSGKg
I used Poly of google to produce or let produce students tours at cultural places or creative city walks with additional information eg. qr codes, 3d objects...
eg. https://poly.google.com/view/8-Y8Z9QDGke
Poly is discontinued, so looking for active museum educational tools.
Other cool tool is artive.com (it is used for example at the albertina in vienna) or ZapWorks. Those AR Tools we use for making for example artworks (work consideration or practical student work) interactive. So everyone who has installed this app on his/her mobile device and opens the app - can see through the app camera loading the interactive content (like video, gifs, aso.) and sees the world around like usual (augmented reality).
An nice example form an artist here: https://www.kalwaltart.com/blog/2019/08/04/augmented-reality-with-nft-technology/
If you have installed the app (Artivive – Apps bei Google Play or https://apps.apple.com/at/app/artivive/id1188737494) you can see the moving...
Here more information: https://www.youtube.com/watch?v=2SsJ3ufP_bc
Maybe best practice in my area of interest in the combination of digital and analogue media.... Thinking about how get with this best practice to a DISCUSSED AND MODERATED PRACTICE... What do you think? Does anybody has suggestions? Thank you very much
Peace, mercy, and blessings of God be upon you ... and after I am very interested in arts and education, knowing that I have a bad mistake in writing on paper
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