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This article discusses the effects of combining online technologies and face-to-face teaching in secondary school visual arts courses. The study found that the experimental group, which received online learning and face-to-face instruction, had higher visual arts achievements and attitudes compared to the control group. The article emphasizes the importance of integrating technology and different teaching approaches to enhance students' learning outcomes in visual arts education. It also highlights the benefits of combining online and face-to-face teaching, such as increased student satisfaction and participation. The text concludes by suggesting the need for more research on the use of online activities in visual arts courses and the development of teachers' online learning skills. Additionally, the document provides a list of references and citations for further research on online learning, technology integration, and the impact of the COVID-19 pandemic on education. [Extracted from the article]

In this article, I ask what becoming a sustainable visual arts teacher might look like, and how a sustainable teaching practice might be created. The problem for education, and teachers’ becoming, is that formal schooling presumes how life should be lived there, how the assemblage of learning should be composed and the prescribed identities of humans and objects. This article aims to explore visual arts teachers’ becoming as a relational and entangled process. A Deleuze and Guttarian framework for thinking about the becoming(‐teacher) involves relational and differentiated co‐becoming that fold, unfold and refold in the process of becoming. The research questions of this article explore the potentials of the concept of becoming animal to activate and facilitate thinking differently about visual arts teachers’becoming. By mapping the academic degree project of one visual arts teacher student, this research investigates how multiple lines of becoming a visual arts teacher change and intermingle through the degree project. The results shows that animal becoming creates new sensitivities, dilating one's perception as a teacher. Sustainable teacher becoming involves the balancing (cat‐)act of not only following molar lines of the curriculum, or the idols of pedagogy, but also making the curriculum come alive through molecular cat‐becoming. Becoming cat means opposing administrative burdens and showing one's claws, as well as developing agility to find new ways of thinking, acting, resting, and finding space for playful inventiveness as a teacher. [ABSTRACT FROM AUTHOR]

This article reports on research focused on a visual arts education course offered during a primary teacher training in Chile. It was driven by the increasing cultural diversity in Chilean schools, the potential of art education to respond to this context and the limited space that this field has in the national curriculum, an issue that is replicated in most teachers' training programmes. Intercultural and students' cultural funds of knowledge theories informed a framework that was implemented in the investigated course to strengthen pre‐service teachers' cultural identity and the adoption of culturally inclusive practices. Through focus groups with the students and analysis of their visual journals, the research explored whether the course impacted their perception of visual arts education, and their cultural identities. Through a/r/tography, an arts‐based methodology that articulates art, research and education, the study presents the students' voices and imagery, testimonies that contributed to reassess the space given to art education in primary schools and teacher training programmes. [ABSTRACT FROM AUTHOR]

The proliferation of Web 2.0 tools in visual arts education has ushered in multifaceted learning environments that cater to diverse sensory experiences. Among these tools, Canva for Education application stands out, offering an array of visual assets, content, and templates for diverse design endeavors. This tool not only augments learning experiences but also enhances creativity by piquing students' engagement through its myriad features. Nonetheless, the efficacy of such a tool is augmented when intertwined with active learning methodologies in pedagogical settings. Specifically, when Canva for Education is embedded within a collaborative learning framework, it fosters a distinct learning milieu, promoting peer-to-peer interactions. In this paper, activities that can be implemented in collaborative groups with Canva for Education application in middle school visual arts class were introduced. These activities were prepared within the framework of the objectives related to the use of technology in visual arts curriculum in Türkiye. Within the scope of this study, products developed with different design types are presented to guide teachers. It is thought that these activities will provide insights for practitioners and students on the use of Canva for Education. [ABSTRACT FROM AUTHOR]

Copyright of Revista Interuniversitaria de Formación del Profesorado is the property of Asociacion Universitaria de Formacion del Profesorado (AUFOP) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Objective: This study aims to identify the challenges related to Teaching Methods that have affected in this field. Methods: This research was conducted using the descriptive-analytical method. Documentary method was used to investigate the issue and qualitative analysis method was used in data analysis. After the initial review, 14 articles were selected and systematically reviewed. The information was gathered through the use of library and internet research in order to answer the research question. Results: Visual arts teaching in Iran higher education system is now confronting issues, which are related to such things as effective methods to improve students' learning, the role of students' background, professor knowledge, the educational goal, professor-student relationship. Conclusion: The solution can be found in the traditional methods of art education in Iran and the teacher is considered an important element. It is also suggested that the challenges related to teaching methods be re-examined and in addition to consider art education in the West, traditional art education methods in Iran should also be paid attention to. It is also necessary for professors to be aware of their role in solving the challenges of teaching methods in visual arts education. [ABSTRACT FROM AUTHOR]

This article has its origins in the work of an International Society for Education through Art (InSEA) focus group formed in 2020 to respond to a UNESCO consultation on the 'future(s)' of education. The membership of the group spanned four continents and we met online during 2020, a period when most of the world was in lockdown due to the global COVID-19 pandemic. The group reflected and envisioned possible social, cultural, economic and environmental challenges in future and focused on how the visual arts can meet these challenges. Our focus group looked into the crystal ball and tried to imagine the circumstances in which education through art may take place in future. We imagined how knowledge, learning and education might shape the future of humanity. In short, we addressed how the collective purposes of education may change including what, how and where we learn. [ABSTRACT FROM AUTHOR]

Collaboration continues to be a growing focus of teaching, learning and research in university art departments. We are also witnessing a turn towards ecological and multispecies approaches in contemporary arts practice and education across the university sector and creative industries. In this revisitation of our earlier work, we ask how the transition into ecological understandings of collaboration might disrupt and reorientate humanist ontologies of visual arts education in the university. We draw on posthumanist and new materialist theories to reconceptualize collaboration in ways that are responsive to the ecological entanglements that comprise a work of art under current climatological and biodiversity crises. From there we develop a cartographic analysis of collaborative works of art in the making, drawing on a year-long participatory study with third-year undergraduate art students. In the final section we revisit our proposition for 'becoming a work of art' through more-than-human collaboration and explore the implications of this concept for speculative pedagogic practice and curriculum making in arts education. [ABSTRACT FROM AUTHOR]

This study takes its point of departure from a nationwide project called Visual Storytelling and the Art of Reading Images carried out in Sweden between 2019–2020. This national project, implemented by Läsrörelsen (The Reading Movement Association), aimed to develop the professionalism of educators and visual art teachers by offering an in-service training day to enhance their competence in visual storytelling and image interpretation. The aim of our study, which uses material from the project, is to contribute knowledge regarding the role of visual culture and visual strategies in school, particularly in visual arts education. The role of visual culture in education is to develop a critical perspective on images and cultural ways of seeing and making images. This approach involves focusing on the global and digital visual culture of young people’s daily lives and working on societal issues. Through teaching and learning how to analyse and discuss contemporary, complex images with others, as well as expressing oneself and communicating through image making, the use of visual strategies can bring pupil’s different opinions, thoughts, and feelings to the fore. [ABSTRACT FROM AUTHOR]

The aim of this research is to determine the validity and reliability of a rubric developed to evaluate three-dimensional studies made under the influence of literary works in visual arts education practices. The research was conducted on 27 fifth grade students studying at a secondary school in Diyarbakır in the 2019-2020 academic year. The rubric items developed in the research were evaluated by three field experts. In the validity study of the scale, it was seen that the content validity ratio (CVR) values ranged between .80 and 1.00 and the content validity ındex (CGI) value was .91. proved to be appropriate. The Cronbach Alpha coefficient of the rubric for evaluating the three-dimensional studies of students on literary works was determined as .81. The Kendall fit test (w=.89, p<.05) result was high among the three raters who scored the rubric. This showed that there was a very good agreement between the raters. As a result, it can be stated that the developed rubric is a valid and reliable measurement tool. [ABSTRACT FROM AUTHOR]

This article describes and examines an Ohio State University graduate-level college teaching course that was created to address a range of intersecting questions about navigating higher education teaching and learning, research, and service. The course is required for all new graduate students in the Arts Administration, Education & Policy Department. Literature on mentoring and the voices of graduate students who took the course are synthesized to address the duality of being both a student and an instructor, academia's daily challenges, and how such reflections and experiences impact personal and professional career development. Using self-study as a methodology, the authors begin with contextual information on their involvement with the course and a genealogy of the course's development, followed by a narrative analysis to examine student feedback on the course goals. We conclude with suggestions on how other higher education visual arts departments or visual arts colleges might develop similar offerings. [ABSTRACT FROM AUTHOR]

Copyright of Inonu University Journal of the Faculty of Education (INUJFE) is the property of Inonu University Journal of the Faculty of Education and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Cumhuriyet International Journal of Education is the property of Cumhuriyet University, Faculty of Education and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Apotheke is the property of Universidade do Estado de Santa Catarina and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This study takes its point of departure from a nationwide project called Visual Storytelling and the Art of Reading Images carried out in Sweden between 2019–2020. This national project, implemented by Läsrörelsen (The Reading Movement Association), aimed to develop the professionalism of educators and visual art teachers by offering an in-service training day to enhance their competence in visual storytelling and image interpretation. The aim of our study, which uses material from the project, is to contribute knowledge regarding the role of visual culture and visual strategies in school, particularly in visual arts education. The role of visual culture in education is to develop a critical perspective on images and cultural ways of seeing and making images. This approach involves focusing on the global and digital visual culture of young people’s daily lives and working on societal issues. Through teaching and learning how to analyse and discuss contemporary, complex images with others, as well as expressing oneself and communicating through image making, the use of visual strategies can bring pupil’s different opinions, thoughts, and feelings to the fore.

Copyright of Buca Faculty of Education Journal / Buca Egitim Fakültesi Dergisi is the property of Buca Faculty of Education Journal and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Bu araştırmada, Deneysel Sanat Atölyesi dersinde, farklı sanat disiplinlerinde öğrenimini tamamlamış öğrencilerin (lisansüstü) Anadolu Kültürü’nün önemli figürlerinden biri olan Yunus Emre’nin evrensel fikirlerini görsel sanatların diliyle nasıl yorumladığını ortaya koymak amaçlanmıştır. Bu amaç doğrultusunda yerel içerikten hareketle sanatsal üretim sürecinin nasıl gerçekleştiği, farklı disiplinlerde çalışan katılımcıların görsel ifade sürecinde nasıl etkileşim kurduğu, alanına özgü araç, gereç ve malzemenin nasıl kullanıldığı ve yerel içeriğin farklı disiplinlerin etkileşimi konusunda rolünün ne olduğu sorularına yanıt aranmıştır. Nitel araştırmanın durum çalışması deseni ile yürütülen araştırma derslere davet edilen 5 konuk sanatçı ve 12 öğrencinin katılımıyla gerçekleştirilmiştir. Araştırmada gözlem, yarı yapılandırılmış görüşme, araştırmacı ve katılımcı günlükleri, katılımcı çalışmaları ve ders video kayıtlarıyla toplanan veriler tümevarımsal analiz ile çözümlenmiştir. Araştırmada katılımcıların uygulama sürecinde kendi alanlarından yola çıktıkları, temayı deneyimleriyle ilişkilendirerek deneysel araştırmalarla çalıştıkları diğer yandan da deneysel çalışmayı simge kullanımına ve malzemeye indirgedikleri ortaya çıkmıştır. Katılımcıların uygulama sürecinde kendi alanının kalıplarının dışına çıkmakta zorlandıkları görülmüştür. Yeni bir şey söyleme, yeni olanı arama çabasının, katılımcıları estetik sorgulamaya yönlendirdiği, diğer yandan da bu durumun onların uygulamaya başlamalarını zorlaştırdığı ortaya çıkmıştır. Araştırmada disiplinlerarası bir içerikle katılımcıların malzeme ve teknik kullanımında denemelere olanak tanınması sonucunda farklı perspektifler geliştirmeye katkı sağlandığı söylenebilir. Ayrıca araştırmanın çeşitli sanatçı ve sanat yapımlarıyla karşılaşmalar yaratarak katılımcıları sanatın anlamı üzerine yeniden düşünme, estetik değeri sorgulama, sanat tarihi bilgisini sınama gibi konular üzerinde düşünmeye ve araştırmaya davet ettiği söylenebilir.

Medical student burnout is becoming increasingly common. The Art of Seeing is a visual arts elective at one US medical school. The purpose of this study was to determine the effect of this course on attributes that are foundational to wellbeing: mindfulness, self-awareness, and stress. A total of 40 students participated in this study from 2019 through 2021. Fifteen students participated in the pre-pandemic, in-person course, and 25 students participated in the post-pandemic, virtual course. Pre and post-tests included open-ended responses to works of art, which were coded for themes, and standardized scales: mindful attention awareness scale (MAAS), situational self-awareness scale (SSAS), and perceived stress questionnaire (PSQ). The students had statistically significant improvements on the MAAS (p <.01), the SSAS (p <.01), and the PSQ (p = 0.046). Improvements in the MAAS and the SSAS did not depend on class format. Students also demonstrated increased focus on the present moment, emotional awareness, and creative expression in the post test free responses. This course significantly improved mindfulness, self-awareness, and stress levels in medical students, and can be used to help enhance wellbeing and mitigate burnout in this population, both in-person and virtually. [ABSTRACT FROM AUTHOR]

Copyright of Journal of Theory & Practice in Education (JTPE) / Eğitimde Kuram ve Uygulama is the property of Journal of Theory & Practice in Education and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of E-International Journal of Educational Research is the property of E-International Journal of Educational Research and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Anadolu University Journal of Education Faculty (AUJEF) is the property of Anadolu Universitesi Egitim Fakultesi Dergisi and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of International Journal of Education Technology & Scientific Researches is the property of Ayse Burcu Ulusoy and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

How a witnessed period will be remembered and forgotten depends on the conceptualization of experiences in the memory, with the contribution of images/representations. While evaluating this period with recollections during and after it, it is considered important to read the images as plural and to make sense of the experiences with these readings in order to develop multiple perspectives within the functioning of the dominant thought of the period. Therefore, it is thought that the inclusion of culturally sensitive education in visual arts teaching will contribute to the development of students' ability to think that people's perspectives can be diverse, develop empathy, notice stereotypes, and respect differences while evaluating their situations. While visual arts practices are being facilitated for students in expressing experiences, they also have features that activate critical thinking in questioning and generating meaning. In this research, it is aimed to try to provide sixth-grade students with the multiple perspectives which is one of the principles of global education, through art. Action research was employed to conduct the research. In action research process, the framework plan, which is organized according to the six-week course curriculum, is applied and the course process was observed by a committee of experts through video recordings. Inductive analysis was performed in the research. The findings of the research are explained under the headings of recognizing different perspectives, questioning prejudice, and searching for ways of visual expression. [ABSTRACT FROM AUTHOR]

Copyright of International Journal of Fine Arts Education Research (UGSEAD) is the property of Turkish Educational Research Association (TERA) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Through an ethnomethodological and dialogical encounter with Australian classrooms in the lived experience of two visual art (va) educators, the authors seek to learn how working between online and studio learning approaches shaped teacher perceptions of student learning during the outbreak of covid-19 in 2020 and 2021. The research has two phases. Phase 1 sees the two va educators create learning narratives. These narratives, reported in summary in the article, through both material and digital form became the baseline data. In Phase 2 these themes were reworked as conversational questions. These questions then became the stimulus for a critical reflective online video conversation between the two va educators. The resulting discussion around the borderlines looks beyond specific apps, platforms, or products that the teachers used, their successes and failures and examines the digital, non-digital, material, social relations and pedagogical realities and futures that may or may be possible in the context of the postdigital va secondary classroom. These educators have had little time to assess the shift from a strong and well researched studio-pedagogy to their virtual creative learning futures. The challenges of this shift are revealed through their personal experiences. [ABSTRACT FROM AUTHOR]

Copyright of Mehmet Akif Ersoy University Journal of Education Faculty is the property of Mehmet Akif Ersoy Universitesi Egitim Fakultesi Dergisi and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The aim of present study is to decide the effect of Visual Arts Education delivered with the activities developed as a part of STEAM approach, which is based on the integration of Art into the disciplines of Science, Technology, Engineering and Mathematics, on the attitude towards the disciplines that constitute this approach. Views upon STEM approach also are identified. This study, which was carried out in a public school based in a central district city in the Western Black Sea region of Turkey, lasted 6 weeks as a part of the Visual Arts course. There are 48 students studying in 6th grade as for research sample, 25 of which are experimental and 23 are control group. Embedded mixed design, one of the mixed design types was used in the study. Quantitative data were obtained with STEAM Attitude Scale using a quasi-experimental design with pretest-posttest control group. In qualitative terms, data was collected by semi-structured interviews on the basis of case study. STEAM Attitude Scale data were analyzed by dependent / independent groups t test and ANCOVA. Content analysis was used for analysing the semi-structured interview form data. When the research findings were examined, a significant difference was found in favor of the post-test between the experimental group STEAM Attitude Scale pre-test-post-test mean scores. As a result of the analysis of the post-test scores of the experimental and control groups, a significant difference was found in favor of the experimental group. With the STEAM approach, it has been concluded that visual arts education leads to an increase in individuals' attitudes towards the Science, Technology, Engineering, Art and Mathematics disciplines that form STEAM. When the interview findings were examined, it was found that the positive opinions of the experimental group regarding the process carried out with the STEAM approach were intense. Based upon the findings, it has been determined that the application has a helpful effect on the development of attitude towards STEAM disciplines. Suggestions have been made to researchers and program makers to clarify the framework of the STEAM approach and to enrich the application examples. [ABSTRACT FROM AUTHOR]

In recent decades, the collection of visual art paintings is large, digitized, and available for public uses that are rapidly growing. The development of multi-media systems is needed due to the huge amount of digitized artwork collections for retrieving and archiving this large-scale data. This multimedia system benefits from high-level tasks and has an essential step for measuring the similarity of visual between the artistic items. For modeling the similarities between the artworks or paintings, it is essential to extract useful features of visual paintings and propose the best approach for learning these similarity metrics. The infield of visual arts education, knowing the similarities and features, makes education more attractive by enhancing cognitive development in students. In this paper, the detailed visual features are listed, and the similarity measurement between the paintings is optimized by the Sparse Metric Learning-based Kernel Regression (KR-SML). A classification model is developed using hybrid SVM-ANN for semantic-level understanding to predict painting’s genre, artist, and style. Furthermore, the Human-Computer Interaction (HCI) based formulation model is built to analyze the proposed technique. The simulation results show that the proposed model is better in terms of performance than other existing techniques.

Copyright of Erzincan University Journal of Education Faculty / Erzincan Üniversitesi Egitim Fakültesi Dergisi is the property of Erzincan University Faculty of Education Journal and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Projects assisting Aboriginal youth to acquire attributes for effective learning require community or elder mentoring, to ensure learning about culture and history will connect with the skills of the planned project. A Koorie art class at a secondary college in north eastern Victoria, Australia, relies on the positive attributes of mentoring in guiding young students to understand themselves as well as learn skills in Aboriginal art-making. The aim of this article is to discuss the positive attributes of the Koorie artist, since these attributes are crucial to the success of the program. A qualitative study of interviews with class teachers, a deputy principal, a Koorie artist, and students was undertaken as part of a larger project. Participants articulated the essential and positive attributes needed for a Koorie artist or mentor. This article helps understand what particular interpersonal skills, specific knowledge and applied skills are necessary for such a learning project. [ABSTRACT FROM AUTHOR]

The purpose of this study is to review the effect of a "love"-themed interdisciplinary visual arts education in a primary school's 5th grade class on the way students express the concept of "love" through different representations (drawing and verbal). A random pattern with a final test group had been used during the quantitative part of the mixed model study and a phenomenology pattern was used for the qualitative part. The practical part of the study was performed in a public middle school in Diyarbakır during the 2014-2015 academic year. The study group consisted of a total of 52 students, 26 from the experimental and 26 from the control group. Product evaluation form (holistic rubric) was used to collect quantitative data, and student drawings and worksheets were used to collect qualitative data. While a t-test was applied for the independent groups in the analysis of quantitative data, a content analysis was performed in the analysis of qualitative data. Based on the findings, the product evaluation averages of the experimental group in which the "love" theme was handled interdisciplinary were significantly different from the product evaluation averages of the control group in favour of the experimental group. Document analysis was applied to the drawings and worksheets of the experimental group students. As a result of the analysis, the themes were listed as values, nature, human, object, animal, living place, vehicle, from the most repeated to the least. [ABSTRACT FROM AUTHOR]

Copyright of Journal of Kirsehir Education Faculty is the property of Journal of Kirsehir Education Faculty and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Bu araştırmanın amacı öz düzenlemeli öğrenme yaklaşımının görsel sanatlar öğretmeni adaylarının sanat eleştirisi dersine yönelik akademik başarılarına ve kalıcılığa etkisini incelemektir. Nicel araştırma yöntemlerinden deneysel yöntemin ön test son test kontrol gruplu yarı deneysel modeli ile gerçekleştirilen araştırmanın çalışma grubunu, 2014-2015 Güz Döneminde, Atatürk Üniversitesi Kazım Karabekir Eğitim Fakültesi Resim İş Eğitimi Ana Bilim Dalı’nda öğrenim gören 38 öğretmen adayı oluşturmaktadır. Araştırmada öz düzenlemeli öğrenmenin görsel sanatlar öğretmeni adaylarının akademik başarılarına etkisini kontrol etmek için akademik başarı testi kullanılmıştır. Dersler deney grubunda öz düzenlemeli öğrenme yaklaşımına uygun olarak, kontrol grubuna ise sunuş yoluyla öğrenme yaklaşımına dayalı olarak işlenmiştir. Verilerin analizinde SPSS 19 Paket Programı kullanılmıştır. Non-parametrik verilerin toplanması için "İlişkisiz Ölçümler İçin Mann Whitney U-Testi", öntest-sontest, son test- kalıcılık puanlarını karşılaştırmak için non-parametrik istatistik tekniklerinden "İlişkili Ölçümler İçin Wilcoxon İşaretli Sıralar Testi" kullanılmıştır. Araştırma bulgularına göre; deney ve kontrol gruplarının son test puanlarına bakıldığında her iki öğrenme ortamında da akademik başarıda belli bir artış gözlenmiştir. Deney grubu ile kontrol grubu son test puanları karşılaştırıldığında; deney grubundakilerin akademik başarılarının kontrol grubundakilere göre daha yüksek olduğu görülmektedir. Bu bulgu; öz düzenlemeye dayalı öğretimin daha etkili bir öğrenme ortamı sağladığını ve öğrencilerin akademik başarılarını arttırmada daha etkili olduğunu göstermektedir. Ayrıca; deney ve kontrol gruplarının kalıcılık puanlarına bakıldığında her iki öğrenme ortamında da yapılan öğretimin kalıcılığını sürdürdüğü görülmüştür. Deney grubu ile kontrol grubu kalıcılık puanları karşılaştırıldığında; deney grubunun kalıcılık puanları kontrol grubuna göre daha yüksektir. Araştırma sonuçlarına dayanarak; öz düzenlemeli öğrenme yaklaşımının öğretmen adaylarının akademik başarılarına ve sanat eleştirisi dersi tutumlarına olumlu yönde etki ettiği söylenebilir.

One of the basic features of the modern educational system is manifested in the reversal of the transmissive (traditional) approach to learning and teaching to the transformational (modern) approach. The transmissive approach to learning and teaching is that one in which students adopt ready-made constructs of organised knowledge through passive acceptance of the facts mediated by the teacher. In contrast, in the transformational approach, the teacher encourages the student’s active participation through exploratory, problem-based learning, during which students gain much more of their potential than in traditionally conceived classes. Changing the obsolete pedagogical paradigm began with the development of contemporary (cognitivist and constructivist) pedagogical theories. According to the constructivist theories of learning, individuals develop their knowledge of the world based on their own experiences and reflection of these experiences. Learning is the result of cognitive constructs based on individual experience and (pre)knowledge gained during the social interaction determined by the culture in which individuals live. Interpretative activity in the constructing of understanding is particularly emphasised in visual arts education. In this paper, the main determinants of constructivism and constructivist theories in the context of the educational process are elaborated. The main principles of constructivist-based teaching of visual arts are interpreted related to other contemporary teaching strategies and approaches such as active learning, learning through problem-solving, and interactive approach to learning and teaching of visual arts. The teacher’s role is also discussed, whose approach, awareness of the student’s pre-knowledge, and capacity for meaningful communication with students, greatly influence the success of the students’ adoption, understanding and interpretation of visual arts contents. The present paper aims to highlight certain elements of the constructivist teaching theories because their understanding and application in the teaching process can help achieve better learning outcomes, specifically students’ better ability to use visual arts knowledge in everyday life.

In the contemporary process of teaching fine arts, the students’ own creative expression and art appreciation are used to encourage learners towards both perception and reception; consequently, the evaluation and internalisation of works of art play an equally important role. In art education practice, we manage to provide adequate incentives and are able to follow incentives for artistic expression, but pay less attention to developing art appreciation. This research presents the results of a study that monitored the development of art appreciation abilities among 9- and 10-year-old students (4th and 5th grades; n = 2794) in Slovenian primary schools. The level of art appreciation abilities was rather average, but was more developed among older students and girls. In monitoring the school stratum, we did, however, notice a statistically significant difference regarding perception, whereby students in urban schools performed better than their peers in suburban schools.

Copyright of Educacao e Pesquisa is the property of Faculdade de Educacao da Universidade de Sao Paulo and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Journal of Kirsehir Education Faculty is the property of Journal of Kirsehir Education Faculty and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Journal of Faculty of Educational Sciences is the property of Ankara University, Faculty of Educational Sciences and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

It is necessary to consider an examination that causes our interests, attitudes and behaviors towards art and makes the creation and consumption of art meaningful and understandable from different perspectives. The interaction between the elements of social structure and art is one of the areas that can be addressed in this sense. This situation requires a shift to a sociological point of view because it contains theoretical bases that will enable the examination. One of the theoretical structures that will enable a sociological examination is Pierre Bourdieu's concept of habitus. The concept of habitus represents our habits, tendencies, appreciations, etc. While thinking about our artistic tendencies, appreciations, behaviors and predispositions, the role and decisiveness of habitus emerge as an approach that we can use in theory. This study aims to try to explain the concept of habitus, which is mentioned with sociologist Pierre Bourdieu, in the context of Visual Arts Education. The research was created based on the literature review. Within the scope of the literature, the theoretical foundations of the concept of habitus have been explained and summarized, and the basic characteristics of habitus have been interpreted through art and visual arts education. Based on the findings of the research, the concept of habitus has emerged as a theoretical approach that will help art education researchers to make sense of artistic and educational behaviors and encourage them to think deeper about the subject. [ABSTRACT FROM AUTHOR]

This study aimed to examine TPACK (Technology, Pedagogy and Content Knowledge) competencies of pre-service visual arts teachers. Based on the descriptive and comparative survey model, TPACK competencies of pre-service visual arts teachers were compared on variables of gender, year of study and academic achievement. The participants of the study were 253 pre-service teachers studying in department of visual arts in Education Faculties of Atatürk, Karadeniz Teknik, Mersin and Necmettin Erbakan Universities. TPACK Competencies Scale was used to collect research data. The findings showed that TPACK competencies of pre-service visual arts teachers were low in terms of technology knowledge, but high in content knowledge. In addition, their TPACK competencies vary based on gender, year of study and academic achievement. [ABSTRACT FROM AUTHOR]

Copyright of Cumhuriyet International Journal of Education is the property of Cumhuriyet University, Faculty of Education and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In Slovenia, teachers of the school subject visual arts (implemented at the primary level by primary school teachers and at secondary level by fine visual arts teachers) play a significant role in planning and implementing visual arts tasks with preservation concepts. With these activities, they can raise awareness of cultural heritage meaning, strengthening the nation’s cultural identity. Pupils should develop into active and responsible citizens who are able to understand heritage problems in general and express their sensitivity and respect for their cultural heritage and its preservation. The main purpose of this paper is to identify the teachers’ preconceptions about the preservation of architecture in the Slovenian countryside and the implementation of heritage preservation concepts in visual arts teaching. Altogether, 125 teachers from Slovenia participated in this study. The research revealed the teachers’ preconceptions regarding some problems in the Slovenian countryside, as well as sufficient awareness of the importance of the implementation in heritage preservation concepts in visual arts activities, according to contemporary professional guidelines. Teachers’ preconceptions reveal a lack of some basic knowledge of preservation concepts, which lead us to compare the results with the current guidelines. It can be concluded that greater emphasis should be placed on developing training programmes for teachers with specific preservation concepts and didactic materials for students in the field of preservation education with the aim of developing the students’ positive and responsible attitudes to those problems. More heritage preservation education content should be incorporated into pre- and in-service teachers’ education, and teachers should develop competences to implement these topics into their teaching.

This article presents a discussion about primary school visual arts education from the point of view of social sustainability and in the context of teacher education in Finland. The study focuses on the student teachers’ understanding and pedagogic thinking of the equality construction in visual arts. In this case study the research data comprises the learning portfolios of student teachers (N=25) from the visual arts teaching course at the University of Helsinki in which they designed and carried out pedagogical workshops of visual arts to promote equality. The data were examined with the methods of qualitative content analysis. In this context, the student teachers found engaging elements in the aims and practices of visual arts to be the way to enhance equality. Visual arts education was found to offer a functional space for enhancing the agency, social skills and values needed in a sustainable future.

The widespread use of visual arts in fields such as business, engineering, finance, applied sciences, industrial design has also increased the disciplinary academic work on this association. The research discussed here reports the observations in the Visual Arts Workshop conducted on teacher development techniques in an analytical approach. Within the scope of TÜ TA 4007 Science Festivals Support Program, this field study related to Teacher Development activities carried out by Esenler District National Education Directorate was aimed to contribute teachers to develop their professional skills in their fields through visual arts education. In this way, it would be ensured that the educator would gain self-confidence through visual arts education, increase the awareness of the importance of taking the time through this education, and realize his personal motivation in all areas of his life. The aim of this study was to provide the trainers with the help of visual arts to provide their students with more professional, cultural and social development. At the beginning of the study, it is envisaged that trainers will be able to use the outcomes of the workshop they participate in the theoretical evaluation and professional practice by improving their skills in their professional fields and improving the quality of their education. In addition, this study investigates whether visual arts contributes to the overall education curriculum. The subjects included in the sampling are eight teachers who work in different disciplines at the first-middle level in the Esenler region. The instructors from these different fields (class, english, mathematics) received a training program which was prepared in advance in the four-day visual arts workshop. Thus, the contributions that can be made by using visual arts to the curriculum used in different disciplines have been investigated. In this study, the learning technique was applied to the participants according to the applied working method. The study answers the question of how visual art education has an impact on the professional and cultural development of the subjects in the context of the obtained data. In addition, an answer to the question of what the contribution of visual arts is in the teacher development activities is sought. The study also explores whether the personal competences of the instructors are linked to innate creativity or skills acquired through work. What is the ratio of these two elements in the context of creativity? The search for answers to such questions was the sub objectives of the study. The answer to these questions is discussed in the conclusion section.

In visual arts education, specific competences pertain to having knowledge from the theory and praxis of visual arts and the teaching methodology of visual arts. The goal of this research was to examine the opinions of 231 students of graduate teacher studies and 143 in-service primary school teachers about the importance of specific competences in the visual arts, as well as the level of achieving the stated competences during studies. The frequency of teachers attending various forms of professional training in the visual arts was also examined. Two questionnaires were designed for the research. The data obtained with the questionnaires were processed at the level of descriptive and inferential statistics. A Wilcoxon Signed Ranks Test was used to compare the differences in the arithmetic means between the perception of importance and the perception of possessing the competences between these two groups. The research has shown the existence of a statistically significant difference between the self-assessment about the importance of specific competences in the visual arts, and the self-assessment of having these competences, both with students of the Croatian faculties of teacher education and primary school teachers. The results also have shown the insufficient presence of teachers’ further professional training in the visual arts area.