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Development of a praxiological curriculum model for art education

University of British Columbia

This study presents the development of a curriculum model for art education predicated on the concept of praxis. Two salient characteristics of art curricula are noted: 1) the exclusion of the critically reflective paradigm of knowing, 2) the separation of creating and appreciating art in curricular activities. An examination of the traditional bases of curriculum reveals that each fails to provide sufficient criteria for establishing curriculum. The preceding suggested locating art curriculum in the critically reflective paradigm as a way of ameliorating the separation between theory and practice in art curricula. Proceeding from this, the author attempts to develop a model of curriculum grounded in an alternative base that might join the practical and theoretical in a relationship essential to human knowing. The model is grounded in key concepts selected from the thought of Paulo Freire. His work offers a powerful concept of man within a fully developed humanistic philosophy that assumes that man's "ontological vocation" is to become "fully" human. Freire's philosophy developed from his practice as an eduactor, and because of this it is integral to the methodology his work provides for the development of critical consciousness. The study explicates those concepts of Freire's considered central to developing the model. This part of the study includes: 1) an explanation of Freire's view of men as beings in-a-situation, always in relation to the world, 2) an explanation of man's ability to objectify self and the world, to be both separate from and involved in the world, and thus capable of perceiving the world critically; 3) a presentation of the concept of problem-posing education, through which men come to examine critically their relationship to the world, developing an awareness of the influences of the present, as well as of those of the past in forming a vision of future. In problem- posing education Freire says men gradually come to be able to perceive concrete reality and recognize themselves as capable of intervention in reality. For Freire, critical consciousness is developed in communication with others. In exchanging, altering, and expanding perceptions, individuals create and re-create through the human process of praxis. The third part of the study consists of the presentation and development of the model. First, the parts of the model are delineated. Next, the two major "categories" of the model, reflection and action, are elucidated. This is followed by an explanation of the "segments" of both categories of the model. Finally, a consideration of thematic investigation, and suggestions for developing and decoding themes are given. The development of the model synthesizes key ideas of Freire's and the idea of praxiological art. Art is asserted to be a human construct, shaped by a humanly constructed reality and having certain consequences, consequences that can be altered by human intervention. Art education involves dialogical action in which teacher and students as co-investigators probe the dialectic between man and world and art and world, making possible the revelation of new understandings and action on the basis of these understandings. The intent of art education as praxis is the development of critical consciousness through the continual praxis of human beings. Among the conclusions drawn from the study, the author finds that the model is not limited to art education. This suggests that further investigation of the critically reflective paradigm in application to curriculum may open new possibilities for the integration of subject areas within the school curriculum. Curricular research concerned with other paradigms of knowing and other critical theories is encouraged, especially in light of what this author considers critical contemporary educational concerns.

Text

2010-03-09

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http://hdl.handle.net/2429/21692

Art Education

University of British Columbia

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