The creative artistic portfolio and reporting by art education students on their student teaching
Povzetek
Ustvarjalni umetniški portfolijo in poročilo o študentski pedagoški praksi študentov likovne pedagogike. Za študij likovne pedagogike je značilna dvojnost umetniško izraznih in pedagoških vsebin. Poudarjena je pomembnost kakovostnega prepletanje obojega. V raziskavi se osredinjamo na vprašanje, kako je moč povezati ustvarjalni portfolijo in poročilo strnjene pedagoške prakse. Z uporabo kvalitativne metodologije smo ugotovili, da uporabljeni tako imenovani ustvarjalno-pedagoški model (UP) pozitivno
vpliva na motivacijo študentov za delo in omogoča globljo introspekcijo. Ugotovili smo tudi, da so se pri delu študenti v veliki meri naslanjali na principe sodobne umetnosti, kot so sopostavljanje, simbolika, performans,
telesna umetnost in avtoportret (selfie).
Prenosi
Literatura
Addison, N. (2010). Developing creative potential: Learning through embodied practices, in N. Addison, L. Burgess, J. Steers and J. Trowell (Eds.), Understanding Art Education, pp. 43–66. London and New York: Routledge.
Baume, D., and Yorke, M. (2002). The Reliability of Assessment by Portfolio on a Course to Develop and Accredit Teachers in Higher Education. Studies in Higher Education, 27(1), pp. 7–25.
Beishuizen, J., Van Boxel, P., Banyard, P., Twiner, A., Vermeij, H., and Underwood, J. (2006). The Introduction of Portfolios in Higher Education: A Comparative Study in the UK and the Netherlands. European Journal of education, 41(3-4), pp. 491–508.
Blaikie, F., Schőnau D., and Steers J. (2004). Preparing for Portfolio assessment in Art and Design: a Study of the Opinions and Experiences of Existing Secondary School Students in Canada, England and The Netherlands. Journal of Art & Design Education. 23(3), pp. 302–315.
Boughton, D. (2004). Assessing Art Learning in Changing Contexts: high-Stakes Accountability, International Standards and Changing Conceptions of Artistic Development. In: Eisner, E. W., & Day, M. D. (Eds.). 2004. Handbook of Research and Policy in Art Education, pp.585–605. Mahway, NJ; London: Lawrence Erlbaum Associates, Publishers.
Burns, C. W. (1999). Teaching Portfolios and the Evaluation of Teaching in Higher Education: Confident Claims, Questionable Research Support. Studies in Educational Evaluation, 25(2), pp. 131–142.
Delacruz, E., Bales, S. (2010). Creating History, Telling Stories, and Making Special: Portfolios, Scrapbooks, and Sketchbooks. Art Education, 63(1), pp. 33–39.
Dorn, C. M., Sabol, F. R. (2006). The Effectiveness and Use of Digital Portfolios for the Assessment of Art Performances in Selected Secondary Schools. Studies in Art Education: A Journal of Issues and Research in Art Education, 47(4) pp. 344–362.
Driscoll, K. (2007). E-Portfolios. SchoolArts: The Art Education Magazine for Teachers, 107(2), pp. 55–58.
Duh, M., Kljajič, A., Bratina, T. (2018). Monitoring the effectiveness of registration and identification of the gifted pupils in primary schools. In: Herzog, J. (Ed.). Challenges of Working with Gifted Pupils in European School Systems, 61-82. Hamburg: Verlag Dr. Kovač.
Duh, M. (2016). Developing art appreciation in students of education from different European countries. The new educational review, 45 (3) pp.113–123.
Dysthe, O., & Engelsen, K. S. (2011). Portfolio Practices in Higher Education in Norway in an International Perspective: Macro-, Meso- and Micro-Level Influences. Assessment & Evaluation in Higher Education, 36(1) pp. 63–79.
Galbraith, L., & Grauer K. (2004). State of the Field: Demographics and Art Teacher Education. In: Eisner, E. W., & Day, M. D. (Eds.). 2004. Handbook of Research and Policy in Art Education, 415–437. Mahway, NJ; London: Lawrence Erlbaum Associates, Publishers.
Günzel, A. K. (2015) Hanne Darboven. Kunstforum International, 237, pp. 349–350.
Herzog, J. (2015). Model organizacije pedagoške prakse na elementarni stopnji izobraževanja z vidika pedagoških pristopov pri likovni umetnosti. Maribor: Pedagoška fakulteta, Znanstveni inštitut.
Hickman, R. (2007). Visual Art as a Vehicle for Educational Research. International Journal of Art & Design Education, 26(3), pp. 314–324.
Hope, S. (2004). Art Education in a World of Cross-Purposes. In: Eisner, E. W., & Day, M. D. (Eds.). 2004. Handbook of Research and Policy in Art Education, 93-113. Mahway, NJ; London: Lawrence Erlbaum Associates, Publishers.
Klenowski, V., Askew, S. & Carnell, E. (2006). Portfolios for learning, assessment and professional development in higher education. Assessment & Evaluation in Higher Education, 31(3), 267-286. Retrieved 9 April 2019 from http://web.a.ebscohost.com.ezproxy.lib.ukm.si/ehost/pdfviewer/pdfviewer?sid=58e5f571-6aa7-48a2-b3ebfde17b6968cb%40sessionmgr4002&vid=2&hid=4204
Love, T., & Cooper, T. (2004). Designing Online Information Systems for Portfolio-based Assessment: Design Criteria and Heuristics. Journal of Information Technology Education, 3, pp. 1–17. Retrieved 9 April 2019 from http://jite.org/documents/Vol3/v3p065-081-127.pdf
Madeja, S., S. (2004). Alternative Assessment Strategies for Schools. Arts Education Policy Review, 105(5) p. 3.
May, H., O´Donoghue, D. & Irwin R. (2014). Performing an intervention in the space between art and art education, International Journal of Education through Art, 10(2), pp. 163–177, doi:10.1386/eta.10.2.163_1
O'Donoghue, D. (2009). Predicting Performance in Art College: How Useful are the Entry Portfolio and Other Variables in Explaining Variance in First Year Marks? International Journal of Art & Design Education, 28(1) pp. 82–106. http://web.a.ebscohost.com.ezproxy.lib.ukm.si/ehost/pdfviewer/pdfviewer?sid=fa1be948-bec1-4c3e-b150-0c1a8777b6f8%40sessionmgr4003&vid=1&hid=4106 28. 4. 2014.
O'Donoghue, D. (2011). Has the Art College Entry Portfolio Outlived Its Usefulness as a Method of Selecting Students in an Age of Relational, Collective and Collaborative Art Practice? International Journal of Education & the Arts, 12(3). http://files.eric.ed.gov/fulltext/EJ937-064.pdf 28. 4. 2014.
de Eça, M. T. (2005). Using Portfolios for External Assessment: An Experiment in Portugal. International Journal of Art & Design Education, 24(2) pp. 209–218.
Perez-Martin, F. (2017). The influence of non-formal artistic and Creative Activities in Multicultural Educational contexts. Journal of Elementary Education, 10(2-3) pp. 221–234.
Powell, T. (2013). The Importance of Assessment: How Portfolios Can Impact Students' Self-Efficacy and Comprehension in an Online Graphic Design Course. Online Submission. http://files.eric.ed.gov/fulltext/ED543853.pdf Retrieved: 28. 4. 2014.
Sabol, R., F. (2004). An Overview of Art Teacher Recruitment, Certification, and Retention. In: Eisner, E. W., & Day, M. D. (Eds.). 2004. Handbook of Research and Policy in Art Education 523–551. Mahway, NJ; London: Lawrence Erlbaum Associates, Publishers.
Slovenian Elementary School Visual Arts Curricula (2011) /online/. Retrieved 5th February 2016 from http://www.mizs.gov.si/fileadmin/mizs.gov.si/pageuploads/podrocje/os/prenovljeni_UN/UN_likovna_vzgoja.pdf
Smith, R. A. (2004). Aesthetic Education: Questions and Issues. In: Eisner, E. W., & Day, M. D. (Eds.). 2004. Handbook of Research and Policy in Art Education 163-185. Mahway, NJ; London: Lawrence Erlbaum Associates, Publishers.
Stone, B. A. (1998). Problems, pitfalls, and benefits of portfolios. Teacher Education Quarterly, pp. 105–114. http://www.teqjournal.org/backvols/1998/25_1/1998v25n110.PDF
Sternberg, R. J., & Lubart, T. I. (1999). Concept of creativity: Prospects and paradigms. In R. J., Sternberg (Ed.), Handbook of Creativity 3-15. Cambridge: Cambridge University Press.
Suominen, A. (2006), Writing with photographs writing self: Using artistic methods in the investigation of identity, International Journal of Education through Art 2(2), pp. 139–156, doi:10.1386/etar.2.2.139/1
Taggart, G., Whitby, K. & Sharp, C. (2004). Curriculum and Progression in the Arts: An International Study. Final report (International Review of Curriculum and Assessment Frameworks Project). London: Qualifications and Curriculum Authority. http://www.nfer.ac.uk/what-wedo/information-and-reviews/inca/CurriculumprogressionintheArts.pdf
Thompson, C. M., & Hardiman, G. (1991). The status of art education programmes in higher education. Visual Arts Research, 17(2), 72–80.
Unrath, K. A., Nordlund, C. Y. (2009). Postcard Moments: Significant Moments in Teaching. Visual Art Research, 35 (1). pp 91–105.
Walker J., D. (1998). Process Portfolios as a Means for Formative and Summative Evaluation of Student Work in the Visual Arts. Paper presented at the Annual Meeting of the Mid-Western Educational Research Association (Chicago, IL, October 14–17, 1998).
Weinlich, W. (2018). The contribution of Art Education to Educational Transition. Journal of Elementary Education, 11(3) pp. 251–268.
Zawacki-Richter, O., Hanft, A., & Baecker, E. M. (2011). Validation of competencies in E-portfolios: A Qualitative Analysis. International Review of Research in Open and Distance Learning, 12(1), pp. 42-60. http://files.eric.ed.gov/fulltext/EJ913867.pdf
Zupančič, T. (2006). Metoda likovno-pedagoškega procesa. Ljubljana: Zavod Republike Slovenije za šolstvo.
Zupančič, T. (2015) A happy marriage of art and pedagogy through the mediation of the creative portfolio. In Â. Saldanha (Ed.), Risks and opportunities for visual arts education in Europe = Riscos e oportunidades para a educação das artes visuais na Europa. Lisboa: APECV, pp.630–632. http://www.insea.org/docs/inseapublications/proceedings/procedingsInSEAEuropeancongressLisbon2015.pdf.
Zupančič, T. (2018). The role of contemporary art educator from international perspective – Teacher, performer or something in between? In: P. M. Rabensteiner, O. Holz, & M. Michielsen (Eds.). Teacher Education, Sustainability and Development, 197–206. Wien: LIT Verlag.
Copyright (c) 2020 University of Maribor
To delo je licencirano pod Creative Commons Priznanje avtorstva 4.0 mednarodno licenco.