Artistic Education And Pedagogical Perspective

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Artistic Education and Pedagogical Perspective

Introduction.

Silvia Cuffone, Coordinator of the Book Artistic Knowledge at School, argues that the Initial and Primary Education Program incorporated the area of artistic knowledge, because they consider that art contributes to the integral education of the student. To achieve this integrality, an education is needed that promotes “creative capacities, develop sensitivity, form reflective individuals. 

On the other hand, they mention that the area of artistic knowledge in the current program, unlike previous programs, has deep transformations ”that is, there is a hierarchy of this in the sense that it is no longer relegated, but is grantedAn equal treatment with respect to the other areas, which is a big difference with the previous program.

Developing.

It should be noted that the area of artistic knowledge is made up of different disciplines that are: visual arts, body expression, theater, literature and music. These disciplines are based on art as a cultural production, where it can only be understood in the context that emerged, for this reason the teacher acts as a "mediator between culture and the child", this allows expanding the field of interests and cultural references.

The general objectives proposed by the program for this area are:

  • Know and understand artistic knowledge through the appropriation of specific languages in which the arts are expressed in the diverse cultures.
  • Develop forms of awareness, appreciation, valuation and enjoyment before the different cultural objects and facts belonging to their own heritage and other peoples.

To carry out such objectives, critical and reflective teachers of their practices are needed, only in this way subjects will be formed with these characteristics. As expressed by the 2018 Initial and Primary Education Program regarding the topic that concerns us:

The different artistic manifestations have a constant presence in the environment and in the lives of people. We live in a society filtered by aesthetic references of all kinds that are present in our processes of socialization, identity construction and elaboration of ideas that we are contracting on the world and about ourselves … (Initial and Primary Education Program 2008: 70)

As the program mentions, art has completely invaded our daily lives, so the importance of also framing the educational institution in today’s society, postmodern, in artistic aspects within an area where freedom of expression is part of thedaily life.

Since ancient times art has been present throughout the lives of individuals. If we go back to the new school movement that has the maximum exponent of Dewey, where he proposes a pedagogy of action within the current called pragmatism. We find that there is “a close connection of the Fine Arts with everyday life. The idea of art would not have occurred to anyone if art were a thing away from the interests of life ”(Dewey, 2008: 8). Anyway, he mentions that art is not a copy identical to everyday life but reflects certain emotions and ideals of society.

In another order of ideas, Reina Reyes, argues that there are certain aspects within the education that has not been given the attention they require, such as artistic languages. Reyes expresses the importance of art to favor communication with the other, since art unites people, therefore fulfills a social function. Favors union not only from the intellectual point of view, but also from the affective.

We affirm that freeing being integrated, is achieved in the classroom and outside the classroom because we appreciate the values of an educational environment that has not been given the importance it really has: art in all its manifestations. As mentioned in Cuffone’s book (2013) mentioned above, current education cannot exist without art, and in that sense, the school must consider certain codes of artistic languages so that students critically understand the world thatsurround them, to be able to invent other possible worlds.

To reflect on art education, the concept of Charlot is interesting, about motivation. For the author, the fact that students are successful or failure in educational institutions, depends on whether or not they had an intellectual activity that allows them to build certain cognitive competences. The author argues that it is preferable to talk about mobilization instead of motivation, since motivation implies external action, something is sought. Instead, he argues that the idea of mobilization is related to motor and desire: the student is the one who mobilizes.

Charlot states that in order for the student to appropriate knowledge there are two conditions: the first is that the situation makes sense for the student and the second is the effective intellectual activity, to acquire knowledge, it is necessary, therefore, to participate in aintellectual activity, which means desire, and apply for the rules that this activity implies.

On the other hand, Eisner, considers that artistic learning occurs through the critical, productive and cultural dimensions since they act as organizers and reference frameworks of the proposals to develop. Between the student and the teacher a “trust and frankness relationship must be developed. The author argues that in the productive domain the teacher works as a model when there is a commitment to the creation of art in the classroom. 

In the critical domain, teachers propose models, seen from the educational point of view, when they show the class what a critic is, this is when they do the role of critics. Cultural domain is more complex, even so students can get an idea of what an individual does with art when they see and hear teachers relate the character of a specific work with their position in culture.

In addition, the author refers to the child in the basic school stage, to learn the educational socialization processes, that is, processes that have an important value for school and are rewarded. General rules established in the school, such as lifting your hand without talking, going to the bathroom and asking permission, staying in your seats, that is, what the author calls the rules of the rules of the game. When a teacher considers and tells the child that at the end of a job "you can do art", in this way the child learns that "art is a less important task than work", that is, they read the context because they do not havechoice but to do it. It is a survival mechanism.

Many times the teacher does not present the technical preparation he needs to address art in an educational way. Artistic objectives and programs "are so wide and abstract that no one knows what it really means". Teachers who are not specialized are often found in the dilemma of what to teach about art and how to obtain educational results from the activities they introduce into the classroom.

Conclusions.

As Cuffone and other authors express, it is important to mention that the most used school work modality in the area of artistic knowledge is the workshop. This work device proposes advantages such as flexibility for the use of different times and spaces. In this modality there is collectively, that is, it is not about doing, but by wanting to do, to build a work project, to put it into practice. All this constitutes a learning process.

According to the authors, another advantage of this device is that it enables a management of freedom in the educating;so that each child chooses their own work strategies and resolutions. The workshop must be understood as a pleasant activity;The student enjoys participating in him. Finally, they mention that the workshop should be thought of as a form of individual and collective development, because the role of students is promoted while group work is strengthened.              

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