Professional Postures And Gestures In The Training Of Teachers : A Didactic Articulation Between Theoretical Frames And Their Practice Analyzing Dispositives.

Author(s):

Francisco Marquez Cuesta(presenting / submitting)Clara Báez Merino(presenting)

Conference:

ECER 2013

Network:

27. Didactics - Learning and Teaching

Format:

Paper

Session Information

27 SES 07 B, Didactics and Teacher Training Issues

Paper Session

Time:

2013-09-11

17:15-18:45

Room:

A-206

Chair:

Anatoli Rakhkochkine

Contribution

Curricular comparison (Geneva, Switzerland, and Badajoz, Spain), from a didactic point of view, concerning the artistic teaching: what are the teacher´s strategies and processes to satisfy and legitimize the artistic learning at school? How do they legitimize it with, or in spite of, the curriculums?

The problematic concerning the definition of the artistic contents in the school area becomes, sometimes, a re-writing of the artistic curriculum. In Spain, there is the temptation to evolve towards a new main idea which tries to consider the cultural visual perspective. Lately in the French-speaker part of Switzerland, the necessity to introduce a new curricular main idea concerning a “culture” has been emerged. In both cases we are facing a necessity to understand that the artistic practice in the school should satisfy a social demand and contribute to a perception of the artistic and patrimonial register as an example to induce the “adult in process” cultural education. But, in spite of this change of direction, equally persist the impossibility to define and evaluate the artistic knowledge beyond approximations. What can be the didactic resources which would allow to observe and analyze the practices in the training of teachers, and identify the professional competences?

Under an inter-institutional and intra-didactic comparison, our study reveals the “return effects” produced in the field of disciplinary knowledge (Chervel) in visual and plastic arts, through varied legitimation in institutional fields.

Our observation faces widespread tradition of school forms of work also related to process of disciplining. The return effects are the contents (didactic transposition phenomena) and what is at stake (activities proposed to pupils).

The “triplet of the genesis” (Chevallard) is the conceptual tool used in the study, and it primarily brings up the problematical relationship between the objects and practices of reference and the objects and school practices. Then, the co-construction of contents, that depends on the conceptions of art ... but re-touched by the crystallization of disciplinary scholar work forms.

Knowing that“the objects and tools of didactic environment are not transparent to the practices that make them work culturally” (Johsua), our hypothesis is thatthese scholar forms attest of certain conception and representation of the operation way of the referential objects and practices.

What activities are proposed to pupils? What is the distance between the dynamics of the didactic environment and the referential practices? Can the practice model be useful for the pupils at their task?

The synoptic reduction of our observations, crossing the canvas proposed by the teacher with our cut (pupils activities and development of didactical environments), allows the location of topo-genetic and meso-genetic signs regarding to the scholar form of work.

Method

Two teaching sequences that contain art works as carrying objects of “knowledge to be taught” with a resource to the “project- form” in the pupils’ work. Two observations of Video: 1: practice of a training teacher acting in the compulsory school 8th grade (13-14 years). The aim is to implement a project of creation based on the René Magritte´s work "The false mirror" (1935). The pupils must change the reflection of the eye mediating a personal production. 2: two experimented teachers, at 1st year class professional training for decorators (15-16 years). They run a setup project (model) on "Nature & Artifice" through creative procedures (Munari) illustrated by works of art, architecture and advertising, including "The Empire of Lights" by René Magritte (1954).

Expected Outcomes

This search is integrated into the teachers training and allows the students to become aware and determine how they become affected by certain representations we link, without hitting on what they prevent us from acting according to the spread didactic resources in the professional training. We can easily distinguish both the phases of creativity and creation. This demonstrate that these two phases must be articulated in art school teaching and not confused in a single phase, because creativity and creation are not similar processes nor even synonymous. It is possible to find out that our student understands that we don´t expect a creativity purpose from her/his teaching, but to bring their pupils into a creative process as a learning phase, so they can get themselves a creative phase. According to the representations, it is assumed that creativity is not transferable and only technical learning is possible. We observed that teachers handle a didactic environment where the creative process is often an integral part of a learning process where creativity can transmit, through technical experiments, the consciousness of students toward creative goals, which allow them to achieve unprecedented and original artistic school productions that contrast with the usual productions.

References

• AGUIRRE, I.; FONTAL, O.; DARRAS, B. & RICKENMANN, R. (2008), El acceso al patrimonio cultural, retos y debates. Pamplona: Universidad de Navarra. • BROUSSEAU, G. (2004). Site internet :http://perso.wanadoo.fr/daest/guy-brousseau/textes/Glossaire_Brousseau.pdf, Glossaire de quelques concepts de la théorie des situations didactiques en mathématiques. • BRUNER, J. (2000). Culture et modes de pensée. Paris : Editions Retz. • CHERVEL, A. (1998), La culture scolaire. Une approche historique. Paris: Belin. • CHEVALLARD, Y. (1985/1991). La transposition didactique. Du savoir savant au savoir enseigné. Grenoble: La pensée sauvage. • DEWEY, J.,(2005), L’art comme expérience. Paris: Ed. Gallimard. • GAILLOT, B.- A. (2006), Arts plastiques, Eléments d'une didactique critique. Paris : PUF l'Educateur. • JOHSUA, S. (1996), Le concept de transposition didactique n'est-il propre qu'aux mathématiques ?, in C. Raiski. ; M. Caillot, (Ed) Au-delà des didactiques, le didactique, (Coll. Perspectives en éducation). Paris, Bruxelles : De Boeck Université, pp. 61-73. • MILI, I. & RICKENMANN, R. (2005). La réception des œuvres d’art : une nouvelle perspective didactique. Revue suisse des sciences de l’éducation, 3, 2005, 431-452. • RICKENMANN DEL CASTILLO, R.; ANGULO DELGADO, F. & SOTO LOMBANA, C. A. (2012), El museo como medio didáctico. Antioquia: Editorial Universidad de Antioquia. • SCHUBAUER-LEONI, M.L. & LEUTENEGGER, F. (2002), Expliquer et comprendre dans une approche clinique/expérimentale du didactique ordinaire, in F. Leutenegger et M. Saada-Robert (Ed), Expliquer et comprendre en sciences de l'éducation, (Coll. Raisons Educatives). Paris, Bruxelles : De Boeck Université, pp. 227-251. • SENSEVY, G. & MERCIER, A. (2007). Agir ensemble. L’action didactique conjointe du professeur et des élèves. Rennes : Presses Universitaires de Rennes. • SHUSTERMAN, R. (2002), Estética pragmatista, viviendo la belleza, repensando el arte. Barcelona: Idea Books.

Author Information

Francisco Marquez Cuesta (presenting / submitting)

University of Geneva

IUFE / Forensec

Geneva

Clara Báez Merino (presenting)

University of Extremadrua, Spain

Didactics of Visual Arts

Badajoz

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