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How can we authentically develop a child’s creativity through an “artistic workshop”?

Maeda, Shigeru;

Article:

Through the first decade of the 21st century, “artistic” workshops that adopt the Interactive Appreciation Method proposed by Amelia Arenas, who worked at MoMA as specialized staff for the Museum Education Program from 1984 to 1996, prevailed in elementary art education in Japan. These workshops were timely for both elementary schools that have been led to utilize local art museums by newly revised “Curriculum Guidance” and for art museums that have been impelled to increase their visitors. However, despite a title that uses “artistic,” we can see from a basic aesthetic point of view that these workshops contain a problematic point in regard to their way of proceeding with dialogue between teacher and student, but this problematic point has been overlooked, at least in Japan.

Article:

Palavras-chave: Workshop, aesthetic communication, appreciation education,

Palavras-chave: ,

DOI: 10.5151/edupro-aivcipe-29

Referências bibliográficas
  • [1] Arenas, Amelia (2001). From Image to Mind – Reflections on the Relationship Between Art and Public. Trans. by Tetsuo Kinoshita, Tokyo: Tankosha Publishing (originally written in English for Japanese edition and I translated in English for this presentation, because original English text was not available).
  • [2] Anon. (2000a). “Training of Specialized Stuffs for Education Program in Art Museum”. DOME, vol. 48, pp.19-26 (originally entitled and written in Japanese and I translated in English for this presentation).
  • [3] Anon. (2000b). “Subject, Goal, and Method of Education Program in Art Museum”. DOME, vol. 48, pp.14-16 (originally entitled and written in Japanese and I translated in Japanese for this presentation).
  • [4] Anon. (2000c). “Art Museums, Schools, and Communities”. DOME, vol. 48, pp.9-12 (originally entitled and written in Japanese and I translated in Japanese for this presentation).
  • [5] Bain, Alexander (1879). Education as a Science. London: Keagan Paul, Trench, Trubner (1896).
  • [6] Curriculum Guidelines are all accessible on the website of the Japanese Ministry of Education, Culture, Sports, Science and Technology (URL: http://www.nier.go.jp/guideline/), but in Japanese.
  • [7] Chimako, Maeda (1992). “Guggenheim Museum Exhibition by reproductive paintings”. DOME, vol. 1, pp.16-17 (originally entitled and written in Japanese and I translated in English for this presentation).
  • [8] Hirschfeld, Neal (2009). “Teaching Cops to See”. Smithsonian Magazine, 2009 oct. [Consult. 2010-8-8]. Disponible en Andlt;URL: http://www.smithsonianmag.com/arts-culture/Teaching-Cops-to-See.htmlAndgt;.
  • [9] Kant, Immanuel (1790). Critique of Judgement. Trans. by James Creed Meredith, Oxford Andamp; New York: Oxford University Press (2007).
  • [10] Rousseau, J. J. (1761). Emile. Trans. by Barbara Foxley, London: J. M. Dent Andamp; Sons (1957).
  • [11] Yasuo, Kamon (1993). “Art museums and I”. DOME, vol.7, pp.2-8 (originally entitled and written in Japanese and I translated in Japanese for this presentation).
Como citar:

Maeda, Shigeru; "How can we authentically develop a child’s creativity through an “artistic workshop”?", p. 147-152 . In: Barbosa, Helena; Quental, Joana [Eds]. Proceedings of the 2nd International Conference of Art, Illustration and Visual Culture in Infant and Primary Education. São Paulo: Blucher, 2015.
ISSN 2318-695X, ISBN: 978-989-98185-0-7
DOI 10.5151/edupro-aivcipe-29

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