Implementation methods and teaching strategies of cross-field aesthetic courses
Project co-host Associate Professor Li Qichang, Institute of Arts and Humanities Teaching, National Taiwan University of Arts
1. Preface
After the core strategy for the development of cross-field aesthetic courses is formulated, its implementation methods can be roughly divided into five stages: dialogue, empowerment, shared learning, research and promotion. Among them, the teaching strategy takes the art field as the core and implements a cross-field aesthetic teaching model. Then for each subject, supplemented by the "T" form of teaching extension, first apply artistic concepts and aesthetic elements and other media or resources horizontally to increase the breadth and interest of learning, and then vertically explore and collaboratively discuss the knowledge content of the subject. To increase the depth and content of learning this subject. This section briefly outlines the direction of the cross-field aesthetic course plan for course implementation and teaching strategies, and hopes to help readers read the teaching cases in the following practical chapters. The implementation method of the cross-field aesthetic experimental course is based on two new policies of the Ministry of Education: One is the first five-year plan (103 to 107 years) of the medium and long-term aesthetic education plan announced in August 2013 [Taiwan] ‧Good Beauty: The sense of beauty starts from childhood and the power of beauty is learned throughout life>; the other is the "Twelve-year National Basic Education Curriculum: General Outline" published in November 2014. The former (Ministry of Education, 2013: 14-15) clearly states that "aesthetic literacy must be cultivated over a long period of time", "art education is the core of aesthetic education" and "aesthetic education relies on the promotion of various subject areas"; among them, it especially talks about the implementation of aesthetic education Education and the related enhancement of various subject areas within schools are the most specific. The text mentions:
Aesthetic education can be carried out through education in art or other disciplines, formal or informal education. Whether through the practice of art or other disciplines, the common foundation is "aesthetic experience". Through the learning of the form and connotation of aesthetic experience, the ability to recognize and apply aesthetics and its related habits are strengthened. (Ministry of Education, 2013: 15)
In addition to the practice of aesthetic education in subjects, among the implementation points of the "Twelve-year National Basic Education Curriculum: General Outline" (hereinafter referred to as the "General Outline"), the first item under "Curriculum Design and Development" states that It is stipulated that "the development of school curriculum should pay attention to the integration of different fields/groups/study courses/subjects, as well as the vertical connection between various educational stages" (Ministry of Education, 2014a: 31). In other words, there is no longer just the study of a single subject in the subject. The integration of subjects within the field and the cross-field integration between fields are the focus of the 12-year national education announcement.
Since the integration of fields is the main feature of the nine-year curriculum, the seven major fields at that time were designed to replace subject-specific courses, with students as the main body, learning the knowledge, experience, society and teaching content integrated among the subjects in the fields. (Liao Chunwen, 2001: 37). Nowadays, we have taken a step further and promoted the integration of cross-field subjects (such as science and art) in the new 12-year national education curriculum. Compared with teachers who are familiar with the nine-year consistent curriculum, it should take some time to adapt. What's more, they hope to add aesthetic literacy, so they need to formulate detailed plans to experiment with cross-field aesthetic courses in counties and cities in the north, central, south, east, and outer islands, and integrate local characteristics into trial teaching to facilitate future promotion.
The trial teaching of experimental courses will inevitably involve teachers’ teaching methods, which depend on the professional development of teachers. However, as mentioned before, most of the current teacher development communities within schools are biased towards a single field. Since the 12-year national education has been launched, the cross-field teaching method is bound to incorporate more new teaching techniques, such as cross-field teaching cooperation between Chinese language and visual arts, music or performing arts. Moreover, the focus of the curriculum is primarily on the art field and other subjects. Research on teaching strategies among students. At this time, under the guidance of the Ministry of Education, a group of university professors with teacher training experience actually led secondary teachers, and with the assistance of administrative staff such as school principals and academic directors, it was like forming a "teacher seminar" to encourage different Improvement of collaborative teaching between field teachers and teaching materials.
After explaining the above background and national policies, this article will discuss the implementation methods of this case to let readers understand the process of experimental courses and promotion, and then propose recommended teaching strategies for your reference.
2. Implementation method
As mentioned before, the implementation method is divided into five stages: dialogue, empowerment, mutual learning, research and promotion. Although it starts with dialogue and ends with promotion, in fact, each stage is mutually reinforcing and is the basis for implementing the goals of aesthetic education. Without the dialogue between the professor team and the partner school administration and teachers, and the dialogue between art teachers and teachers from other subjects, partner schools cannot be established, and cross-field aesthetic experimental lesson plans cannot be implemented; without empowerment training workshops, cross-field aesthetic teaching knowledge cannot be development; if there is no common learning culture of "learning community", cross-field aesthetic collaborative teaching cannot be promoted; if school teachers do not have diversified research literacy, cross-field aesthetic experimental work cannot be carried out; if the results of experimental courses do not have partner teachers in counties and cities , national or even teaching platform demonstrations on the website, cross-field promotion efforts cannot be successful.
1. Dialogue
Start by talking to partner schools. The selection of partner schools is based on the five districts of North, Central, South, East and Outer Islands. Each district selects two partner schools (one junior high school and one high school), and selects "zero duplication in counties and cities" and "school representatives". "Under the criteria of "collaborative and joint experiments", we have gained the trust of ten schools and are willing to form a partnership with us for experimental courses. Of course, in the past two years of promotion, some schools have temporarily withdrawn due to administrative or teacher overload. Our team continues to coordinate with the schools in a friendly manner on what assistance is needed. After repeated confirmation, we have Ask the professors in the area to recommend and change the list; for example, a school in the outer island withdrew because teachers were unable to handle too many research projects. With the recommendation of the professors in the outer island area, we obtained the approval of the National Pingtung High School and conducted discussions with the principal and The partnership was confirmed only after a dialogue between teachers; Taichung Municipal Changyi High School in the center and National Beimen High School in the south are also newly replaced partner schools; this shows the importance of dialogue with partner schools.
After establishing partner schools, the next step is to explore appropriate cross-field curriculum models with art as the core through dialogue with a group of cross-field experimental teachers. Through in-depth dialogue between art teachers and teachers from other subjects, we develop a common design of innovative teaching activities for exploration, awareness, and in-depth research, and an art-centered cross-field curriculum model that can be implemented in junior high schools and high schools, laying the foundation for curriculum development and design in China. new milestone. The dialogue model with teachers in the school is:
(1) Convene joint meetings and consultation meetings
During the meeting, professor teams from each district and administrative teams from partner schools were arranged to meet at the National Taiwan Normal University, so that partner schools could understand the connotation of cross-fields, and allow the professor team to listen to the implementation issues of partner schools. Finally, the direction of the teaching draft was initially drawn up and planned. Appropriate timetable for visiting partner schools.
(2) Visit the school to discuss lesson plans and share experiences
The date of the seminar will be at a time that is convenient for the partner school. The subject content of the experimental course will also be based on the teaching team of the partner school. After the schedule and teaching discipline are confirmed, local art education-related professors and disciplines will be invited. teachers and visit partner schools with a host or co-host. For example, after confirming that the experimental curriculum of Hualien County Guofeng Junior High School is based on cross-disciplinary collaborative teaching of visual arts, Chinese language and social studies, we immediately invited Professor Luo Meilan, who specializes in visual arts education, and Professor Huang Wenjuan, who specializes in social studies, from the local National Donghua University. Professor Pan Lizhu, who specializes in Chinese language at National Taiwan Normal University, visited the school’s conference room to share teaching experience.
It is very important to meet with partner teachers during their free time, and to try to invite local art and other subject professors according to the content of the lesson plans they develop. In addition to showing our research team's respect for the teachers in the partner schools, it can also prevent problems or problems in the partner schools. When care is needed, nearby consultation and class observation are extremely helpful for the depth and breadth of the teaching plan.
2. Energizing
In addition to the local professor team being able to provide consultation and counseling nearby, through empowerment training, the teacher team’s knowledge of aesthetic curriculum development and action research can also be expanded. Since the development of cross-field aesthetic courses is extremely professional, it involves the teacher team's understanding of social expectations, understanding of school education goals, and analysis of subject specific characteristics. When the team visits the school, in addition to mutual discussions on the experimental courses, when partner teachers in the new course put forward their needs for enhancement or consulting professors make counseling suggestions, the host can make suggestions and arrange systematic and practical suggestions. Enhancing learning expands the knowledge and abilities of teacher team members in aspects such as curriculum development and action research, which is beneficial to the development of cross-field courses with art as the core, as well as the implementation and adjustment of experimental courses.
For example, in the cross-field aesthetic experimental course taught by Ni Yaping, a Chinese liberal arts teacher at National Pingtung High School, and Huang Jinlan, a music teacher from the music department, the two teachers respectively hope that Professor Yu Zhaowen, who specializes in Chinese language at National Pingtung University, will teach "Image and Chinese Language Teaching" and Professor Chen Yiyuan, who specializes in music education, will teach " "Cross-disciplinary Music Teaching", the day's study was also open to teachers from the school. After the event, partner teachers were also asked to write a "Workshop Implementation Record Form", which was published on the website together with the highlight video of the workshop.
3. Study together
Interdisciplinary teachers can build a learning culture of "learning community" between teachers and students in schools and subjects. In the continuous interaction of cross-field teachers, through in-depth dialogue, brainstorming and problem solving, teachers will be inspired to have multiple aesthetic perceptions and understand the specialized connotations of the subject. It will also bring the concept and practice of a shared learning culture to campuses and classes. , embodying the spirit of learning together as a learning community.
Manabu Sato proposed the term "collegiality" to explain the relationship that promotes mutual teaching and learning among teachers. He also advocated a "learning community" in the book "Quiet Revolution" and stated in the preface:
The "quiet revolution" in school education that is currently underway sprouts from every classroom. It is a democratic revolution rooted in the grassroots, based on schools and communities, and supports every student. The revolution of diversified personalities is a revolution that promotes teachers’ autonomy and creativity. (Sato Manabu, 2003: 8)
Manabu Sato (2012), based on his understanding of Japanese education, took the initiative to introduce "learning communities" into schools. Currently, more than 3,000 schools across Japan have implemented his ideals. Educational reform must slowly encourage teachers in an immersive manner. Implementation, and this is also the reform model that our team follows the example of Sato Manabu. We first use ten partner schools as seed schools. We do not seek appearance or efficiency. Instead, we use a cooperative partnership with colleagues to gain the trust of teachers and learn from each other. "utility".
4. Research
In addition to studying together, according to the recommendations of the report "Taiwan‧ Beautiful: Aesthetic Sense from Childhood and Lifelong Learning" (2013: 15), teachers can integrate artists and researchers to promote aesthetic education:
In order to promote aesthetic education, the teacher empowerment theory of three-in-one or trinity (a/r/tography) of artists, educators, and researchers can be adopted. Teachers are also artists and researchers, and teaching work is about continuous exploration and creation. The reflective act of aesthetic knowledge.
Therefore, the host and consulting professors combined with partner teachers to form a research team to develop a multi-faceted, multi-stage aesthetic education curriculum with art as the core. This is because the existing art-centered aesthetic education curriculum in China is limited and diverse (involving different field) and two stages (junior high school and high school study stage) of cross-field aesthetic experimental courses are even rarer. Through the research and development of two experimental course teaching plans in one academic year by the professor team and the junior high school partner schools, a total of 20 cases have been accumulated for Reference can be helpful whether it is for curriculum development, teaching implementation or teaching evaluation.
5. Promotion
Utilize the matching of curriculum development groups to promote teachers to become aesthetic curriculum developers and promoters. Although curriculum, teaching and assessment systems are in a mutually reinforcing relationship, in the past, due to the limitation of the admission system, some middle school and high school art teachers even self-identified as minor subjects in the school curriculum, and there was no channel to improve the positioning of the curriculum. This project uses the matching of curriculum development groups to achieve the goal of teachers as curriculum developers. It regards curriculum design as a work of art, which requires the continuous thinking and innovation of the teacher team to establish the foundation of aesthetic education; and can integrate curriculum design into Share your experiences and reflections in seminars, seminars and other mechanisms to become a course promoter.
Course promotion is divided into three platforms:
(1) Partner schools as the center
In the 103 school year, two teaching observation sessions were held in 10 schools in 5 districts from November to December 2014 and April to May 2015, and a total of 20 local promotion activities were carried out to allow partner schools to become "seeds" Or a "endorsement" model school, whose teaching is not only persuasive, but also allows its teaching to flourish, making it convenient for teachers from surrounding schools or interested people to come and observe its results.
(2) National Publication Conference
In addition to localized teaching demonstrations, in order to accommodate diverse ideas and enable more teachers to understand the significance of cross-field aesthetic courses, the National Taiwan Normal University held two classes on October 22 (junior high school group) and 23 (high school group) on October 22, 2015. The "National Results Presentation and Symposium" was held on a daily basis, allowing 10 partner schools to conduct special discussions on the process of cross-field aesthetic teaching and administrative support in addition to teaching sharing, thereby promoting the subsequent promotion and extended development of cross-field aesthetic education. It will lay the foundation for the implementation of the 12-year national basic education.
(3) Using the Internet as a platform
Establish an online sharing platform for the "Interdisciplinary Aesthetic Education Teaching Experiment Project for Secondary Schools" (http://www.multi-aes.com.tw/art), integrating the curriculum content of the empowerment workshop and the design of cross-disciplinary teaching activities for development , domestic and foreign relevant documents and cases, cross-field talent pools, etc. are put into the cloud database and shared for free to enhance its promotion function.
The implementation method has five stages from "dialogue" to "promotion". The experimental core team holds at least one internal group meeting every month. Once the partner school raises a problem, we will continuously revise and adjust the implementation content back and forth during the meeting. Because the core team systematically planned the experimental course plan and cooperated with the ten partner schools with an attitude of respect and care, it not only had full centripetal force, but also helped the experimental plan to steadily take shape and bear fruit today.
Participation and teaching strategies
In addition to the implementation process of the aesthetic experiment course plan, another focus introduced in this article is "teaching strategies." The teaching strategy is actually based on the core competency connotation model of "Three Aspects and Nine Points" in the "General Outline" to conduct teaching experiments and promote results. It will be divided into "Implementing and promoting the cross-field teaching strategies of the "General Outline", "Cross-field teaching and learning for 'T'-shaped innovators", "Dewey's cross-field teaching suggestions", "Wang Shouren's cross-field teaching strategies", "Strategies for using art tools in cross-field teaching", "Timing of use of cross-field aesthetic education experimental courses", "Teaching strategies for cross-field aesthetic education experimental courses", etc. are summarized in seven points:
1. Implement and promote the cross-field teaching strategies of the "General Outline"
The so-called three aspects are: autonomous action, communication and interaction, and social participation; the so-called nine aspects are: physical and mental quality and self-improvement, systematic thinking and problem solving, planning and execution and innovative adaptation, symbol use and communication expression, scientific and technological information and media literacy, Artistic cultivation and aesthetic literacy, moral practice and citizenship, interpersonal relationships and teamwork, multiculturalism and international understanding (Ministry of Education, 2014a: 3); among them, the "artistic cultivation and aesthetic literacy" project is classified under the aspect of "communication and interaction" , that is to say, through "art and beauty", it can not only help teachers in all fields "communicate" with students to activate the curriculum, but also enhance the dialogue relationship between teachers and students through the emphasis on "interaction" in art, so as to achieve the goal of learning. Effect.
As mentioned above, although the cross-field teaching strategies of the "General Outline" are cutting-edge, they lack actual teaching activity cases. This project completed the "perfect and perfect" produced by ten counties and cities and ten cross-field aesthetic experimental schools. "The lesson plan, thanks to the collaborative cooperation between the professor team and current teachers in elementary and high schools, I believe that the promotion of new policies will become more local and persuasive.
2. Cross-disciplinary teaching and learning for “T”-shaped innovators: You Yuyi
"Taking artistic connotation as the core" is just like the gist summarized by the host Zhao Huiling in the previous section. Based on this gist to assist the teaching content (subject), it is expected that the construction of aesthetics can inspire learners to improve themselves inwardly and outwardly. Expand social participation and become a true “lifelong learner” (Ministry of Education, 2014a: 3). Therefore, the experimental teaching conducted in this project is to apply artistic concepts and aesthetic elements, similar to the concept of "you" in "you in art" in "The Analects of Confucius" (Confucius, 2016), as mentioned above The horizontal axis of the "T" shape (see Figure 3): the subject swims lively like a fish in the artistic cultivation and aesthetic literacy (the two dotted lines in Figure 3 symbolize swimming back and forth), increasing the breadth of students' knowledge and interest in learning After that, further in-depth exploration of special topics and collaborative discussion among peers on cross-domain knowledge content can help the course achieve its goal of perfection.
The cultivation of the above-mentioned "T-shaped Innovators" (Demirkan & Spohrer, 2015) is extremely important in the new era where information is easy to obtain and problems are complex, because society and business environments increasingly require the ability to cross fields. After summarizing the focus of work partners, specializing in subject knowledge is no longer the only criterion for judging the value of talents. Individuals with aesthetic creativity are the key factors to enhance national competitiveness (Wu Kejiu, Su Yulun, Cao Xiaoyue, 2013: 20 ; Yu Huirong, Zhao Huiling, Lin Xiaoyu, Li Qichang, 2015).
3. Dewey’s cross-disciplinary teaching suggestions: use visual arts and performing arts to be concrete
How to use teaching strategies in subjects so that students not only have the learning ability in "multiple" fields, but also increase the breadth of teachers' classes and enhance students' learning interest.
As Dewey (2013: 120) said:
Abstract ideas are difficult to understand, so children are never completely sure they really understand them. Allow him to act out the thought and it will become real to the child, or at the end it will be revealed what he lacked understanding of. Action is the test of understanding. There is another simple way to put it: "Learning by doing is better than learning by listening." The dramatic difference comes from the fact that the previous operational narration is in the context of what the child is learning. thing.
In other words, what lessons teachers want to teach students can use the concrete characteristics of visual arts and performing arts to put them into action; just as Aristotle (2004) gave an example of the importance of images: If the word "nose collapse" does not have a face It is embodied in the image of a hollow nose, and people's souls cannot understand the meaning of "collapsed nose". In other words, Dewey allows students to act or perform their thoughts. He can use drawing as an example to visualize their thoughts, and then further uses the experiential characteristics of drama performances to let children play out the hypothetical operational process. Real experience can be learned. Dewey explains here that "doing" is more effective than "listening" in teaching strategies. In fact, Xunzi (2015) already explained it very clearly in the "Confucian Effects Chapter" in the third century BC:
If you don't hear it, it's not as good as hearing it; if you hear it, it's not as good as seeing it; if you see it, it's not as good as knowing it; if you know it, it's not as good as doing it; if you learn it, you'll stop doing it. If you do it, it will be clear!
On the other hand, hearing is better than never hearing, watching is better than hearing, understanding is better than seeing; practice is better than understanding; learning does not stop until you can practice it yourself. Only by practicing can we understand the truth! In the field of art, the images of visual arts can assist reading comprehension, the rhythm of music can assist rap memory, and the performance of performing arts can encourage students to practice application. Through such step-by-step learning, students can "understand the truth."
4. Wang Shouren’s cross-field teaching strategy: using music and dance elements
In addition to the implementation of Dewey's drama, Wang Shouren's (2015) "Four Parts Series" "Wang Wen's Complete Book of Success" also used music and dance to teach Chinese courses. He said:
The ancient teachers taught about human ethics; in later generations, the practice of memorizing and reciting poems and chapters began, but the teachings of the previous kings died. Today, when teaching young children, they should only take filial piety, loyalty, propriety, justice, integrity and shame as their main task. The method of cultivating and cultivating them is to induce them to sing poems to express their will; to guide them to practice etiquette to restrain their dignity; and to satirize them to read books to open their consciousness. Today's people often regard singing poems and practicing rituals as irrelevant things. These are all vulgar and vulgar, and they are not enough to understand the ancients' intention in establishing religion!
Most of the time, the emotions of a child are happy to play but fearful of being detained, just like the beginning of a plant's sprouting. If it is relaxed, it will become well-organized, and if it is scratched, it will become weak. Today, when teaching children, their interests must be inspired and their hearts must be filled with joy, so that they will be unable to make progress. For example, when the spring breeze blows from time to time, the plants and trees will all sprout and grow, and they will naturally change with the passing of the day and the moon. If the frost peels off, business will be bleak and the sun will wither! Therefore, those who are tempted to sing poems not only express their will and intention, but also vent their skipping trumpets and howls in the chants, and announce their restraints and knots that are stuck in the syllables.
If those who are immature are trained in modern times, the supervisor will only read and imitate the lessons every day, charge them with discipline but don't know how to guide them with etiquette, ask them to be smart but don't know how to cultivate them well, flog them and tie them with ropes, just like holding them in prison. He regards the school building as a prison and refuses to enter, regards the teachers as enemies and does not want to see them, peeks and hides to allow him to play, sets up deceptions to indulge his stubbornness, steals and is mediocre, and becomes more and more obscene. This is to drive away evil and ask it to do good. How can it be achieved?
The meaning of everything I teach is exactly this. I am afraid that the current customs will not pay attention to it, and I will think it is short-circuited, and I will be leaving soon, so I will tell you here. (Quotation fonts are bold and highlighted by the researcher)
Mr. Wang Shouren understood that children like to have fun and dislike restraint, so he used the method of singing to guide students to read poems and express their inner thoughts. In contrast, the teachers at that time were ambiguous and one-way in the Chinese class. Teaching treats students like prisoners. No wonder students treat teachers as enemies and schools as prisons. How can such learning be effective? What’s interesting is that Wang Shouren’s cross-field aesthetic teaching method about five hundred years ago was still worried about being criticized as pedantic or unrealistic after class, so he specifically urged his juniors not to misunderstand it, and then implemented it to achieve the unity of knowledge and action.
Wang Shouren encouraged teachers to use the rhythm of songs and poems to arouse students' learning ambition and spirit, and denounced those who underestimated music education as "vulgar and vulgar". In other words, using the cross-disciplinary combination of music and literature in songs and poems is in line with current affairs. Innovative teaching methods; in the performing arts, scripts also belong to literature. Combining the rhythm of music with the lines of the script can also increase the audience's preference for the performance.
5. Strategies for using art tools in cross-field teaching
The above summary cites cases of cross-disciplinary teaching in the East and West, which is in line with the emphasis in the General Outline (Ministry of Education, 2014a: 4):
Learners should be able to use a wide range of tools to interact effectively with others and the environment. These tools include material tools and social and cultural tools. The former such as artificial objects (teaching aids, learning tools, stationery, toys, vehicles, etc.), technology (including assistive technology) and information, etc., and the latter such as language (spoken language, sign language), writing and mathematical symbols, etc. Tools are not passive media, but channels for positive interaction between people, myself and the environment. In addition, art is also an important communication tool. Citizens should have artistic literacy and a sense of beauty in life, and make good use of these tools.
Because art draws its materials from life, it can of course effectively interact with others and the environment. In terms of aesthetic experience, Zhu Guangqian (1984) believes that it "is our psychological activity when appreciating natural beauty or artistic beauty"; for example, it was mentioned in the social field course In the Song Dynasty, cross-disciplinary teaching strategies were used to integrate visual arts. Through the appreciation of "Along the River During the Qingming Festival", not only can today's students better understand the geography, history and culture of Bianliang in the Northern Song Dynasty (12th century), but also if students are asked to pick up musical instruments. Imitating the appearance of the wedding procession playing music in the painting, or following the performance of the drama performers, students can also gain aesthetic experience and understand the cultural heritage of the Song Dynasty. A similar example also occurred in the lesson plan design of Changhua County Hequn Middle School. It used visual arts to arouse students' interest in geography courses. They not only actively searched for thematic information from various parts of Taiwan, but also sang "Come and Go to Changhua" was made into an MTV performance. Therefore, art education is not only a required field of study, but also a good teaching system and medium.
The art fields in schools: visual arts, music and performing arts, how to help subject teachers grasp "art media" in the palm of their hands, and let teachers use it in the classroom according to the needs of the subject (Heathcote, 1984: 83), in terms of "cross-disciplinary beauty" Description of the teaching strategies of "Art Media" in the "Educational Experimental Course":
In terms of visual art, it includes visual vocabulary such as points, lines, surfaces, spaces, compositions, textures, and colors, as well as aesthetic formal principles such as repetition, contrast, balance, and unity, which can be created through painting, digitality, and three-dimensionality. Practice activities and experience them through appreciation activities. In terms of music, it includes musical elements such as rhythm, melody, timbre, intensity, texture, and musical form, as well as formal principles such as repetition, contrast, balance, and unity. The practice can be experienced through activities such as practice, appreciation, and creation. . In terms of performing arts, it includes body language such as voice, body movements, expressions, etc., combined with visual and auditory elements, creative expression through imitation of movements and relationship interaction, and immersive art education (virtual reality), and through Enhance their aesthetic taste through appreciation activities. (Ministry of Education, 2014b)
In other words, as long as the subject includes the "visual vocabulary" of visual arts, the "auditory elements" of music, and the "immersiveness" of performing arts, you can work with teachers in the art field to teach, or apply art works, images and Audio and video materials, etc. For example, the "Golden Ratio·Golden Deduction" lesson plan of New Taipei City Zhuwei High School uses the mathematical model to deeply analyze the contrasting beauty of visual art and music, as well as the stage aesthetics of performing arts; Kaohsiung Municipal Qianfeng Junior High School's "Fengzhong Holiday" "Magic Theater" lesson plan, whose English class is based on Easter, combines visual arts with Easter egg drawing and costume making, and performing arts with story performances to increase understanding of Western culture and English conversation skills; National Pingtung High School's ""Peach Blossom Spring" The Chinese language course mainly combines music appreciation to allow students to actually experience the beauty of Peach Blossom Land through symphonies and concertos, and enhance their sensitivity to words. Therefore, the teaching effect of cross-field courses is to hope that students can not only improve their artistic concepts and aesthetic literacy, but also improve the core literacy of the subject.
6. Timing of using cross-field aesthetic education experimental courses
In the "Application Strategies" section of the cross-field aesthetic education experimental course, it is defined as "strategies developed and used in the teaching of other subjects by integrating artistic concepts and aesthetic elements" (Ministry of Education, 2014b). When Gao Zhenfeng (2013) proposed the theory and model of integrating digital collections into art teaching, he proposed the timing and teaching strategies for integrating digital collections into art teaching. The following explains their connotations one by one. In the "timing of use" part of the cross-disciplinary aesthetic course, since artistic concepts and aesthetic elements are teaching materials used in teaching activities, the "timing" of their involvement in the overall teaching activities has important teaching significance.
Gao Zhenfeng (2013) pointed out that when planning teaching activities, they generally follow the framework of "motivating", "development activities", and "comprehensive activities". At the same time, "pre-class preview" and "after-class review" are also emphasized. It is of great significance to students' learning outcomes. Therefore, when analyzing the "time of use" of cross-field aesthetic courses, the time points at which artistic concepts and aesthetic elements are integrated into the courses will also be divided into the following five categories:
(1) "Pre-class preview" means that students browse relevant learning resources in the art learning field in advance to have a preliminary understanding of the course content.
(2) "Arousing motivation" means that when teaching, teachers use artistic media and resources, such as artworks, images, games and audio-visual materials, to arouse students' learning motivation to introduce main teaching activities.
(3) "Development activities" means that when teaching, when teachers guide the main teaching activities, they assist in the presentation of subject knowledge or concepts by incorporating artistic concepts and aesthetic elements, or guide classroom discussions, presentations and sharing, etc.
(4) "Comprehensive activities" means that when teaching, teachers incorporate artistic concepts and aesthetic elements to guide students to review and become familiar with the course content, integrate the key points of the class to conduct integrated activities, or complete worksheets, etc.
(5) "After-class review" means that students browse relevant learning resources in the art learning field after class to deepen and broaden their independent learning.
The timing of the use of the above five stages is based on normalized teaching of subject equivalence, encouraging learners to practice in advance before class, and then teachers can timely use the characteristics of "communication and interaction" in the art field to arouse students' Their learning motivation is integrated with the pre-class preview, and then assisted in the development of teaching activities during the class to integrate into the teaching of various subjects. At the end of the class, teachers and students jointly give feedback and discuss the learning process in comprehensive activities; as soon as the class is over , students can learn independently and systematically.
7. Teaching strategies for cross-field aesthetic education experimental courses
How to stimulate students' autonomous learning is the primary core goal of the 12-year National Basic Education of "spontaneity, interaction, and mutual benefit." To achieve this goal, in addition to mastering the timing of teaching, it is also necessary to rely on appropriate teaching strategies to stimulate "interaction." Only in this way can we achieve the learning results of "sharing the good". Therefore, at the beginning of the planning of this project, it was stated that the "teaching strategies" part of the cross-field aesthetics course must avoid "integration for the sake of integration". Here is a list of eight applicable teaching strategies proposed by the plan. As follows (Gao Zhenfeng, 2013; Ministry of Education, 2014b):
1. Problem-based teaching using art materials: This means using media or resources such as artistic concepts and aesthetic elements in teaching activities as a teaching strategy for problem guidance and inquiry. When teaching, teachers use artistic concepts and aesthetic elements such as works of art, images and audio-visual materials as ideas to guide questions and discuss based on teaching needs.
2. Situational teaching in virtual reality: refers to the teaching strategy of using virtual reality resources built with artistic concepts and aesthetic elements to experience real situations in teaching activities. When teaching, teachers use virtual reality resources with artistic concepts and aesthetic elements to create real situations based on teaching needs, which serve as the main axis of learning and the focus of discussion.
3. Experiential learning teaching with online resources: It means using online resources as a teaching strategy for experiential learning in teaching activities. When teaching, teachers use online games that contain artistic concepts and aesthetic elements for experiential learning based on teaching needs, and use repeatable games to strengthen the learning of important concepts.
4. Inquiry-based teaching using art digital collection resources: This refers to the teaching strategy of using art digital collection resources to conduct subject inquiry in teaching activities. When teaching, teachers select art digital collection resources based on teaching needs to guide students to explore the course themes.
5. Cooperative learning teaching: This means that in teaching activities, cross-disciplinary artistic concepts and aesthetic elements are the main focus. When teaching, teachers, based on teaching needs, use interdependence among students and interpersonal group interaction skills to achieve mutual feedback among peers and exchange of learning experiences among students from different backgrounds.
6. Thematic discussion-based teaching: This means that in teaching activities, cross-disciplinary artistic concepts and aesthetic elements are the main focus. When teaching, teachers, based on teaching needs, ask students to make special reports and stimulate discussions through data collection and integration of information.
7. Collaborative teaching: It means participating in the cooperation of two or more teachers including art fields and cross-disciplinary subjects, each using the expertise of individual teachers to collaborate in the classroom. When teaching, teachers use special teaching media, equipment and equipment in the art field and cross-field according to the teaching needs, and guide students to learn through different methods.
8. Creative thinking teaching: It means that when conducting cross-field teaching activities, teachers inspire students to explore things and truth, and develop students' fluency, flexibility, originality, precision and other abilities. When teaching, teachers use creative thinking teaching models based on teaching needs, such as ATDE (asking, thinking, doing, evaluating) strategies such as asking, thinking, doing, and evaluating, to promote mutual feedback and respect between teachers and students.
The suggestions for the eight teaching strategies mentioned above are all listed based on objective or subjective factors such as curriculum needs, students' prior knowledge, teaching needs, and school-based curriculum. Teachers can also make adjustments, additions and deletions based on their own teaching experience, because the best teaching strategies need to be coordinated with the content of the teaching materials. Never put the effect on the cause. Choose the teaching strategy (teaching method) first, and then consider the content (teaching materials). ); teaching materials and teaching methods are the appropriate teaching sequence, and the cross-field aesthetic courses are based on this. Only with a sound learning foundation in the field can we implement cross-field teaching strategies and use "art tools" as the teaching medium. Learning can only grow steadily and exponentially due to interconnectedness and integration.
4. Conclusion
The implementation of cross-field aesthetic courses is to assist in the promotion of cutting-edge curriculum concepts in the 12-year National Basic Education and the smooth implementation of the new curriculum for the 107 school year. However, it is already difficult to promote "cross-fields", let alone adding "aesthetic education" and experimenting with a new curriculum with ten secondary schools that have never cooperated before. Everything is full of unknowns and challenges. Even so, the new curriculum structure promulgated in the "General Outline" is very forward-looking, from student learning, teacher teaching, to the country's future prospects; therefore, the promotion of cross-field aesthetic courses requires everyone to work together with the Ministry of Education. So that the new courses in eight major areas that will be implemented can be implemented smoothly.
Since cross-field and aesthetic education are integrated into a new term - cross-field aesthetic courses, new teaching strategies are needed for experimental schools that are willing to join. Therefore, we first started to plan teaching strategies in accordance with the cross-disciplinary concept of the "General Outline", and then used the Confucian "Wandering in Art" characteristics of traveling around and exploring deeply to educate learners to become what the new generation needs. "T-shaped innovators"; furthermore, referring to Dewey's concrete patterns and practical theories of "learning by doing" and Wang Shouren's singing teaching method, it is explained that Eastern and Western educators have already carried out cross-field research through visual arts, music and performing arts. Aesthetic teaching activities. Therefore, art is not only an independent learning field, but can also expand its attributes of "interactive communication" and become a systematic "art tool" for various disciplines. That is, art can be used as a teaching medium at the appropriate time and combined with Teaching strategies to assist teachers in teaching effectively.
In view of this, the R&D team actively cooperates with experimental schools, adhering to the "school-centered" principle, and adjusts the top-down relationship of previous school visits to dialogue and sharing, and then to empowerment, mutual learning, research and promotion. and other stages, all of them actively plan, face it together, solve problems together, and promote cooperation, making the university and middle school a substantial research partnership. Through the cooperation of the team and partners, the twenty teaching plans of the experimental curriculum-"Perfect and Perfect" can not only serve as a reference for new experimental partner schools in the future, but also provide teaching reference for Chinese teachers.
The second phase of new partner schools has only been recruited for half a year and has grown six times. This shows that the implementation methods and teaching strategies in the past have been very effective and can be applied in the future. We hope that we can work together to continue to contribute to the field of art education, to research and develop for the revitalization of disciplines, and to work hard for students to become "life-long learners". We will swear together and work together for the best!
This article is included in "Hui Mei. Integrating Arts: Theory and Practice of Cross-Field Aesthetic Courses", Taipei: National Taiwan Normal University, Huayi Academic Publishing House, 2016
