|Martín, Maria Elena
|B.518 | Wednesday, 18 July 2007, 11:00 - 11:00, Room B1 |
|Considerations for designing a year-long artistic education programme for primary
|The intention of this paper is to analyze the developmental process undertaken in the design of the programme DAP (Didactica del Arte y del Patrimonio, -Art and Education-) whose main goal is to introduce an artistic appreciation syllabus in the classroom.
Taking into consideration the objectives of primary school education and the art work as reference, a year round programme was designed in order to favour the intellectual and social development of pupils of ages 9-12. Understanding that the materials were to be used by elementary school teachers as the core of the programme is essential for the analysis of how they were created. DAP is a programme based on the Visual Thinking Methodology, and we attempt to show here how this method influences not only its application in the classroom, but must also be taken into consideration throughout the processes of design, artwork selection, documentation and writing.
The analysis describes the first stages of conception of the programme, in which the main objectives were defined, and how they were introduced in each lesson in order to allow a suitable selection of works of art that would emphasize those goals. The type of works selected and how they are sequenced in each lesson are key factors that condition the development of each lesson and allow for an easy transition towards the following lessons both in the classroom and in the museum.
Following these two initial stages, during which all the premises of the programme are established, more specific aspects are considered, for example the documentation and writing processes. It is during this phase of creation that the interaction between the different factors, methodology, teaching-learning objectives, selected artworks and lesson themes becomes more complex, since it is the actual selection of information and its presentation for the teachers that gives the programme consistency, coherence and continuity. We discuss the microstructure of each lesson in order to demonstrate how each part of its content is relevant for the teacher’s preparation of the lesson and how it is transferred to the classroom and into conversations with the students.
Finally, we discuss the expectations that were previously held about the use of the materials, and how they were actually received by the teachers. The entire analysis is illustrated with the aid of schemes of teaching-learning objectives, examples of images of the selected artworks, as well as the “Teachers guide”, all of which highlight the way in which the contents are articulated.