Course guide of Teaching and Learning in the Visual and Plastic Arts (2561114)

It is considered advisable that the students of this subject have achieved a minimum level of visual and artistic literacy and are able to express themselves through visual and material means with different techniques and instruments and master the minimum elements of the different forms of artistic communication.

Visual arts as a form of knowledge: personal, social and cultural implications. Artistic development and learning process through the stages of graphic representation. Principles, theories and approaches in Visual Arts Education for elementary school. The curriculum in Visual Arts Education. Key elements for children’s visual, perceptive and creative development. Assessment criteria and procedures in Visual Arts Education.

The main objective of the course is the initial teacher training in the field of Visual Arts in Elementary Education. This course is the only compulsory training in Art Education that future teachers are expected to attend. The course tries to provide conceptual, procedural and attitudinal knowledge for the students’ basic training as Elementary Education Teachers. Specifically, the course deals with the artistic training from the fundamental contents of the Visual Arts discipline.

The desirable objectives of the teaching/learning process are:

• To critically value the different theories around Art Education throughout history.
• To know the psycho pedagogical and methodological principles and rules in Visual Arts in Elementary Education.
• To know the different teaching models in Visual Arts and learn to value them as complementary pedagogical methods as well as to be able to implement them for different objectives.
• To comprehend and to use artistic languages as unique forms of knowledge and expression, understanding that art is a way of knowledge of the world and our stance on it.
• To learn classical artistic techniques and materials such as drawing, painting, sculpturing, photography, engraving, puppetry, etc. and to develop from them projects of artistic creation, both individually and in groups.
• To learn about contemporary art techniques and materials such as video, digital photography, installation, happening, performance, land art, TV, mobile phones, etc., and to develop from them projects of artistic creation, both individually and in groups.
• To develop general knowledge related to Visual/Artistic Expression. To know the fundamentals of art and visual expression as well as the didactics related, so that they are used as learning tools.
• To be sensitive to the aesthetic and visual messages and enjoy, appreciate and critique art-works and artistic images in general, paying special attention to contemporary creations.
• To use visual languages in order to teach, document, describe, build stories and narratives that help us to reveal and understand in depth the complexity of life and visual expressions. Likewise, to use different procedures and various expressive means of representation and communication (as well as designing and using teaching and learning tools based on the images).
• To awaken an interest in Visual Arts and acquire personal skills to be used as pedagogical tools in the classroom in order to promote the integral development of students in elementary education.
• To develop the models proposed by the current legislation so that they might be effectively adapted to the possible educational situations.
• To strengthen the skills for critical analysis and planning in order to integrate and interrelate the visual content to other subjects in the speciality, and thus developing the ability to work in an interdisciplinary team.
• To reflect on and to verbalize the problems of art and the solutions provided by different cultures.
• To appreciate the observation of the environment as a stimulating means of representation and artistic creation.
• To draw up creative didactic units which develop content, objectives, methods and assessment in the Teaching and Learning of Visual Arts.
• To launch initiatives that relates the contemporary art and its social actors to the prevailing educational world.

An outline of 15 topics is proposed, organized into 5 blocks of theoretical and practical contents:

1. THEORIES, HISTORY, FUNDAMENTALS AND CRITICAL PERSPECTIVES IN ART EDUCATION

1.1. Concepts, definitions, theories and critical perspectives on the teaching and learning of visual arts: Art Education, Aesthetic Education, Artistic Learning, Creativity, Visual Perception, Cultural Heritage, Museums and Art Institutions, Artistic Creation.

1.2. Educational theories and models in Art Education during compulsory education throughout history: copy of art-prints, education for the art, creative self expression, visual literacy and communication, disciplinary models, post modernity, visual culture, material culture and multiculturalism. Contemporary controversies.

1.3. Development process in perception, creation, aesthetic thinking, comprehension and critical thinking around the images and forms of visual creation in contemporary societies in school-aged children: description, interpretation and research perspectives.

2. THE CONSTRUCTION OF VISUAL SYMBOLS

2.1. Classical disciplines: drawing, painting, ceramics, sculpture, textiles, engraving and printing, puppetry, design and architecture.

2.2. Contemporary models of creation and channels of diffusion of visual images: digital photography, video, installation, happening, performance, land art, cinema, television, mobile phones and the Internet: limitations of the message and its communication.

2.3. Sharing and transforming the visual on the web: representation, reproduction, virtuality, communication, simultaneity and digitalization in the new forms of communication.

3. ARTISTIC LANGUAGES IN VISUAL ARTS

3.1. Light and colour in Visual Arts: the look of things.

3.2. Concepts, techniques, and procedures of artistic creation in three dimensions: texture, volume and space.

3.3. The symbols and the meanings of visual images. Visual poetics and artistic creation. The assessment and critical understanding of the production of collective significations. Mediations and translations of contemporary art.

4. VISUAL IMAGE CREATION AND CULTURE CREATION THROUGH VISUAL AND MATERIAL MEDIA

4.1. Visual descriptions, visual explanations and visual demonstrations: geometry, objective systems of representation of space, photography and cinema as documentation tools, and illustrations in textbooks.

4.2. Visual stories, narratives, ideals and beliefs: representations and renderings of human societies in popular culture. Urban, institutional, public and private spaces. Cultural parks, attractions and consumption. Tales, comics and magazines. Crafts, festivals and popular folklore.

4.3. Education, recreation and aesthetic joy: moral and aesthetic categories in visual productions aimed at children: games, sweets, cartoons, music videos, videogames, television and advertisements for children.

5. CRITICAL ANALYSIS AND ASSESSMENT OF THE CURRICULAR DESIGN AND CURRICULAR MATERIAL IN ART EDUCATION FOR PRIMARY EDUCATION

5.1. Curricular theories and curriculum models for Art Education in primary education in the international context nowadays. The Curriculum of Junta de Andalucía: orientations for primary education.

5.2. Didactic resources and materials for Art Education in Primary Education. Critical assessment of: a) Officially approved textbooks for students in Spain and in other European countries. b) Specific computer resources for visual arts and artistic learning. c) Educative art museum projects and other art educative programs in cultural institutions.

5.3. Curriculum structure in Art Education and curricular design in Primary Education: objectives, contents, methodologies and assessment.

• Álvarez Rodríguez, D., Marfil-Carmona, R. y Báez-García, C. (2019). Impact Research on Training in Mediation and Education in Museums: Analysis of the Web of Science. REIFOP. Revista Electrónica interuniversitaria de Formación del Profesorado, 22(1), 121-144.
• Arhheim, R. (1991). Thoughts on Art Education. Getty Center for Education in Arts.
• Caja, J. (2006). La educación visual y plástica hoy. Pearson.
• Dewey, J. (2005-1934). Art as experience. Berkley.
• Dondis, A. (2003). La sintaxis de la imagen. Introducción al alfabeto visual. Gustavo Gili.
• Edwards, B. (1989). Drawing on the right side of the brain. Tarcher.
• Eisner, E. (1997). Educating Artistic Vision. National Art Education Association.
• Fontal Merillas, O., Marín Cepeda, S. y García Ceballos, S. (2015). Artes visuales y plásticas en Educación Primaria. Paraninfo.
• Hickman, R. (ed.) (2019). The International Encyclopedia of Art and Design Education. Hoboken, NJ: John Wiley & Sons. https://bibliotecaugr.libguides.com/encyclopedia_art_design [Para acceder a la Enciclopedia hay que estar conectado a alguna red de la UGR o hacerlo a través de una VPN].
• Lancaster (1991). Las artes en la Educación Primaria. Morata.
• López Fernández-Cao, M. (2015). Para qué el arte: reflexiones en torno al arte y su educación en tiempos de crisis. Fundamentos.
• Lowenfeld, V. (1957). Creative and mental growth. MacMillan.
• Marfil-Carmona, R. (2018). The post-digital era in visual arts education. Educational transformation and proposals for discussion. Saber & Educar, (24), 1-13.
• Marín Viadel, R. (coord.) (2003). Didáctica de la Educación Artística para Primaria. Pearson.
• Marín Viadel, R. y Roldán, J. (Eds). (2017). Ideas visuales. Investigación Basada en Artes e investigación artística. Universidad de Granada.
• Marín Viadel, R., Roldán, J. y Caeiro Rodríguez, M. (Eds.) (2020). Aprendiendo a enseñar artes visuales: un enfoque A/R/Tográfico. Tirant Lo Blanch.
• Mesías Lema, J. M. (2019). Educación artística sensible. Cartografía contemporánea para arteducadores. Graó.
• Moreno Gómez, F.M. (2018). Arte para maestros del siglo XXI. Torres Editores.
• Perez-Martin, F. (2019). Social Justice in Art Education: an Example from Africa´s Last Colony. En Hickman, R. (ed.), The International Encyclopedia of Art and Design Education. John Wiley & Sons. [Artículo completo disponible desde cualquier lugar: https://onlinelibrary.wiley.com/doi/full/10.1002/9781118978061.ead103 ]
• Pérez Valverde, C y Perez-Martin, F. (2020). "There is no `us and them'": Engaging with Migration and Border Crossing Narratives through Shadow Puppetry in Ghosts of the River. Critical Arts, 1-14. [Resumen del artículo: https://www.tandfonline.com/doi/abs/10.1080/02560046.2020.1721548 ]
• Read, H. (1982). Educación por el arte. Barcelona.
• Roldán, J. y Marín Viadel, R. (2012). Metodologías artísticas de investigación en educación. Aljibe.
• Tappolet, U. (1982). Las marionetas en la educación. Editorial Científico-Médica.

• Acaso, M. y Megias, C. (2018). Art Thinking. Cómo el arte puede transformar la educación. Paidós
• Aguirre, I. (2000). Teorías y Prácticas en Educación Artística. Servicio de publicaciones de la Universidad Pública de Navarra.
• Beljon, J. (1993). Gramática del Arte. Ed. Celeste.
• Efland, A. (1990). A history of art education: Intellectual and social currents in teaching the Visual Arts. Teachers College Press.
• Efland, A. Freedman, K y Stuhr, P. (1996). Postmodern art education an approach to curriculum. National Art Education Association.
• Gardner, H. (2008). Art Education and Human Development. The Getty Education Institute for the Arts.
• Guerra, R., Gulin, O. y Teklak. (2020). Indicadores de evaluación de programas de educación artística y cultural para la transformación social. Unesco Etxea.
• Rodulfo. M. (1998). El niño del dibujo. Paidós
• Wenam, M. (2011). Entender el arte: una guía para el profesorado. Graó.

Art Education institutions, museums and resources:

• Acción Cultural Española: https://www.accioncultural.es/
• Arte para Aprender: https://www.arteparaaprender.org/
• Education Resources Information Center (ERIC): http://www.eric.ed.gov/
• ICOM (International Council of Museums): https://icom.museum/en/
• INSEA (International Society for Education through Art) International Society for Education through Art: https://www.insea.org/
• National Art Education Association: http://www.arteducators.org
• Project and lesson plans submitted by teachers: http://www.artsonia.com
• The Arts Education Partnership: https://www.aep-arts.org/
• The J. Paul Getty Museum Education Resources: http://www.getty.edu/education/

Children’s Art:

• Children’s Museum of The Arts (NY): https://www.cmany.org/
• Kinder Art: Art Lessons and Children Art Work Samples: http://www.kinderart.com
• Museum of Children’s Art (CA): http://mocha.org
• Museo pedagógico de Arte Infantil (MUPAI): http://www.ucm.es/info/mupai

Puppetry:

• World Encyclopedia of Puppetry Arts: https://wepa.unima.org/en/
• UNIMA - Union Internacionale de la Marionnette: https://www.unima.org/en/
• Institut Internacional de la marionnette (France): https://marionnette.com/en
• Centro Internacional del Títere de Tolosa (Spain): www.topictolosa.com
• Center for Puppetry Arts (USA): www.puppet.org
• World Puppetry Festival - Charleville-Mézières (France): https://festival-marionnette.com/
• Compañía "Títeres etc" (Granada) and other companies and links: http://titeresetcetera.com/enlaces
• Titerenet (resources): https://www.titerenet.com/
• Revista Titeresante: http://www.titeresante.es/

Photography:

• Exactitudes Project: http://www.exactitudes.com

Cultural mediation and interculturality in art, dialogue through the arts and culture:

• Cultural Mediation Website (Canada): https://www.culturepourtous.ca/professionnels-de-la-culture/mediation-culturelle/
• IFACCA (International Federation of Arts Councils and Culture Agencies): https://ifacca.org/es/
• Intercultural Cities. Governance and policies for diverse communities: https://bit.ly/2subUrk
• International Arts Movement: http://www.internationalartsmovement.org

• MD01. Aprendizaje cooperativo. Desarrollar aprendizajes activos y significativos de forma cooperativa. 
• MD02. Aprendizaje por proyectos. Realización de proyectos para la resolución de un problema, aplicando habilidades y conocimientos adquiridos. 
• MD03. Estudio de casos. Adquisición de aprendizajes mediante el análisis de casos reales o simulados. 
• MD04. Aprendizaje basado en problemas. Desarrollar aprendizajes activos a través de la resolución de problemas. 

ASSESSMENT CRITERIA:

• EV-C1 Verification of the mastery of the contents, both theoretical and practical, and their critical elaboration.
• EV-C2 Assessment of the work carried out, individually or in teams, taking into account the presentation, writing and clarity of ideas, structure and scientific level, creativity, justification of what is argued, capacity and richness of the criticism made, and updating of the bibliography consulted.
• EV-C3 Degree of involvement and attitude of the students expressed in their participation in the consultations, presentations and debates; as well as in the elaboration of the works, individually or in teams, and in the sharing sessions.
• EV-C4 Attendance at classes, seminars, conferences, tutorials, group sessions.

ASSESSMENT TOOLS:

• EV-I1 Written assignments: essay, short answer, objective, cases or assumptions, problem solving.
• EV-I2 Oral assignments: presentation of work (individual or in groups), interviews, discussions.
• EV-I3 Observation scales.
• EV-I4 Portfolio, diary, reports.

ASSESSMENT PERCENTAGES:

Theoretical contents: 40%

Practical contents: 60%

Regulations for the evaluation and qualification of students at the University of Granada (BOUGR No. 112, November 9, 2016. (Normativa de evaluación y de calificación de los estudiantes de la Universidad de Granada (BOUGR núm. 112, de 9 de noviembre de 2016)

- Article 9. Evaluation by incidents (Evaluación por incidencias). Students who cannot attend the ordinary or extraordinary assessment test on the date assigned by the Faculty may request the Director of the Department to carry out an incidental assessment, in the cases established in Article 9 of the Regulations for the Assessment and Qualification of Students at the University of Granada. These cases must be properly accredited when the application is submitted to the Director.

For the extraordinary call, the criteria and percentages will be the same as the ordinary call. In any case, it is strongly recommended to contact in advance the lecturer in charge.

Article 8. Final single call (Evaluación única). In order to benefit from the final single evaluation, the student, in the first two weeks of the course, or in the two weeks following his/her enrolment if it has taken place after the beginning of the course, will request it, through the electronic procedure, to the Director of the Department or to the Coordinator of the Master's Degree, alleging and accrediting the reasons for not being able to follow the system of continuous evaluation.

A) THEORETICAL TOPICS TASK:

They will deal with the topics of the course programme and will be carried out in written form:

1. Theories, history, fundamentals and critical perspectives in art education.

2. The construction of visual symbols.

3. Artistic languages in visual arts.

4. Visual image creation and culture creation through visual and material media.

5. Critical analysis and assessment of the curricular design and curricular material in art education for primary education.

B) PRACTICAL TOPICS TASK:

1. Classical disciplines: drawing, painting, ceramics, sculpture, textiles, engraving and printing, puppetry, design and architecture.

2. Light and colour in visual arts.

3. Concepts, techniques, and procedures of artistic creation in three dimensions: texture, volume and space.

4. The symbols and the meanings of visual images. Visual poetics and artistic creation.

MATERIAL TO DEVELOP THE PRACTICAL PART OF THE TASK-EXAM:

It will be determined in advance, informing each group, preferably by Prado II or email by the teacher in charge.

The examination shall consist of a theoretical and a practical task.

The evaluation of the theoretical task is 60%.

The evaluation of the practical task is 40%

In the subjects that have different groups and teachers, it will be very important to pay attention to the specificity of the means of teaching, exercises and tasks/tests to be carried out, etc., when adjusting to the correct development of the subject.

In those evaluation tasks/exam that require or have foreseen the use of audio and/or video during its development, this use will be made according to the guidelines established in the instructions and recommendations for the application of the data protection, personal or home privacy regulations marked by the General Secretary or competent body of the UGR.