Teaching practice and prospects of performing arts courses in cross-field aesthetic education
Associate Professor Zhang Lianqiang, Department of Drama, National Taiwan University of Arts
Art is the foundation of a complete education. W. Eisner (1972) believes that the essence of artistic experience enables individuals to pay attention to the correlation of things through artistic experience and realize the ability of different individuals to relate to each other. Huang Zhengjie (1991) once mentioned that after human society entered the 20th century, science and technology moved toward specialization, and education gradually moved toward refined development. In order to establish a professional knowledge structure, various academic fields were divided into many different disciplines. However, the boundaries and divisions between subject knowledge may not necessarily help individuals learn the integration abilities needed for life. Chen Yinong (2011) believes that the mainstream trend in the international curriculum tends towards the concept of integration, which has led to the gradual blurring of the interdisciplinary boundaries between art education and other fields. Even though the art discipline can not only affect the knowledge system of other fields, It also helps to expand the horizons in the field of art education. Therefore, as the educational stage improves, the cultivation of art learning not only includes the knowledge, skills and affection of the art subject itself, but also clearly covers the diverse cross-domain learning connotations that can interact with different disciplines, society and culture (National Institute of Education, 2015).
I. Introduction
Looking at the development of social culture throughout the history, many parts of human beings' power to change themselves are closely related to the aesthetic experience in life, and "aesthetic literacy" (Aesthetic Literacy) has become one of the core citizen abilities of contemporary civilized developed countries. Countries around the world They all agree that the country’s competitiveness will be built on the rich aesthetic-related creativity of the new generation of learners. The Ministry of Education began to promote the "Medium and Long-term Plan for Aesthetic Education" in 2014, emphasizing that "aesthetic education is an education that refines individual aesthetic cognition and strengthens the integration of sensibility and rationality. It must start from life." At the same time, in the ever-changing context of globalization, cross-field capabilities have become an important concept in the educational reform of various countries (Hong Yongshan, 2016).
In view of this, the currently implemented 12-year national basic education has "spontaneity, interaction, and mutual benefit" as its primary core goals. In order 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" can lead to "mutual benefit" learning results. Performing arts teaching not only has its own development process, characteristics and values, but also plays an extremely important role in various fields of society and human life. When performing arts teachers begin to try to integrate cross-disciplinary aesthetic courses, through the concept of forming a learning community, jointly preparing and discussing lessons, the process not only prompts teachers to further examine the connotation of their own subjects, but also helps teachers improve their professional knowledge. growth.
Through mutual observation, revision and evaluation of implementation results among teachers from different disciplines, the best benefits of cross-field aesthetic integration can be achieved, and students in the classroom can be guided to construct their own integrated knowledge structure, and ultimately achieve integration with society. and develop innovative thinking and problem-solving skills. Based on the learning experience of the concept of "cross-field aesthetic education", I believe that the talents created will definitely make great contributions and influences on human life in the future. This article hopes to explore the teaching principles, application strategies and future development of the performing arts teaching practice process from the concept of cross-field aesthetic education, and provide different perspectives to understand the value and significance of cross-field aesthetic education.
2. Teaching principles of performing arts courses in cross-field aesthetic education
Fu Dawei (2006) believes that a successful leap is a "bilingual" who can use two languages fluently, has the ability to communicate with different cultures, and can live in two different worlds at the same time. Chen Huishan (2012) used the meaning of the word "cross" in English to analyze the different levels of cross-field communication. For example, each field does not give up the subjectivity and position of the original field and helps each other and re-translates itself through integration with other fields. The value is to develop or improve independently first, and then cooperate with each other in a way that complements each other's strengths. Try to put down your ego and stir up and integrate with other fields. In addition, Joseph J. Kockelmans (1979) classified interdisciplinary work into three categories: 1. Multidisciplinary work, which means that the fields may not necessarily be connected to each other and are independent; 2. Interdisciplinary work. , refers to the combination of all fields into a new field; 3. Cross-disciplinary work, where the boundaries between different fields are still close and equal during the communication process. To sum up, cross-field means that different fields are interconnected and connected with each other through different communication methods and levels of communication, trying to open up new horizons and thinking in a model that can help each other and benefit each other, and then produce more novel results. . The following describes the teaching principles of performing arts courses in cross-disciplinary aesthetic education from four aspects.
(1) Encourage performance teachers to participate in cross-disciplinary aesthetic course projects
When performing arts and different disciplines in schools develop cross-field aesthetic courses, it will promote collaboration among teachers at the teaching site, and then through joint planning and curriculum implementation, cross-domain, expansion, integration, and output will occur between disciplines. The new courses can show richer content and appearance. Not only students benefit from this process, teachers themselves also benefit a lot from the implementation of the curriculum. As G. Legrady (2006) put forward, cross-field education is a challenging vision that challenges teachers’ own professional fields. However, this difficult cross-field aesthetic teaching process will bring teachers and students a broader perspective and Define novel angles on the problem. If the school principal and administrative units can encourage teachers to participate as much as possible, they can plan diversified or cross-field courses with school-based characteristics.
(2) Retain the original artistic characteristics of performing arts
According to Krug, D., & Cohen-Evron, N. (2000), students can learn to ask questions and solve real-life problems through cross-disciplinary curriculum integration, allowing students to learn from different knowledge Structure and multi-cultural perspectives understand different aspects of knowledge and construct an interdisciplinary curriculum with "artistic connotation as the core". Since the characteristics of the performing arts themselves include diverse forms of expression and issues, when thinking about the development strategy of cross-field courses, we can think from the characteristics of the art field. In terms of performing arts, it includes body language such as voice, body, expression, etc., combined with visual and auditory elements, creative expression through imitation of movements and relationship interaction, immersive practice of art education, and improvement through appreciation activities. its aesthetic taste (Ministry of Education, 2014).
(3) Interdisciplinary approaches to performing arts and other disciplines
The performing arts curriculum has an open nature. Among all subject attributes in the educational field, it is the most inclusive of diverse teaching objectives in different subject areas. Therefore, cross-disciplinary aesthetic courses should be designed with the characteristics of the performing arts field as the core, which can not only highlight the individuality and differentiation of each discipline, but also bring out their commonality and diversity. Drake, S., & Burns, R. (2004) believe that the interdisciplinary and integrated curriculum approach is a cross-examination of the common knowledge base or related skills between disciplines. There are still divisions in subject areas, but they are not clear or important to interdisciplinarity. Learning of domain concepts, knowledge and skills, etc. The design method can be that teachers integrate cross-field concepts into the original courses, rather than deleting the original courses or adding new courses in order to use cross-field knowledge concepts.
(4) Constructing common teaching goals
Krug and Evron (2000) believe that art can be used as resources for other disciplines (Using the Arts as Resources for Other Disciplines). When art courses are combined with other disciplines across fields, it is not only possible to construct common teaching goals with each discipline. Increase the richness of subject resources so that students can experience abstract academic theories from practical feelings. Chen Qionghua also believes that through the combination of different disciplines, art can be used as a medium to connect knowledge, enhance the depth, breadth and completeness of learning, and ultimately connect with students' experience, life and society, using multiple perspectives and innovative thinking to care Various issues in the overall life environment (Chen Qionghua, 2001).
Since the performing arts curriculum has great room for inclusiveness and flexibility, when it collides with different disciplines, it will make the appearance and structure of the cross-disciplinary aesthetic curriculum full of diverse possibilities. Due to the organic and changeable process of cross-disciplinary aesthetic teaching, Marshall, J. (2010) once mentioned that contemporary art blurs the boundaries of disciplines in terms of expression and content, and attaches great importance to the interaction with other disciplines, so that its integrated characteristics can be applied to cross-disciplinary The key to integrating domain aesthetic courses. Since the development of the performing arts field, a rich and diverse art media and resources have been accumulated. Through appropriate integration and application, they will have complementary and added-value effects on the teaching of various disciplines. However, when planning cross-disciplinary aesthetic courses, a very important concept is that each discipline should first consider the learning connotation of its teaching unit, then understand the artistic concepts and aesthetic element characteristics of the performing arts it collaborates with, and think about ways to integrate each other. We must avoid the situation of "integrating for the sake of integrating".
3. Teaching strategies of performing arts courses in cross-field aesthetic education
The teaching strategies of performing arts courses in cross-field aesthetic education refer to teachers applying corresponding teaching strategies at appropriate timings during the implementation process when designing cross-field aesthetic courses to achieve teaching goals.
The current twelve-year national basic education has "spontaneity, interaction, and mutual benefit" as its primary core goals. In order 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" in order to achieve this goal. The effectiveness of learning from "sharing the good". When planning the "Experimental Curriculum Development Plan for Interdisciplinary Aesthetic Education in Secondary Schools", it was suggested that feasible teaching strategies for cross-disciplinary aesthetic courses should include: problem-based teaching using art materials, situational teaching in virtual reality, and online resources. Eight items include experiential learning teaching, inquiry-based teaching, cooperative learning teaching, topic discussion teaching, collaborative teaching, and creative thinking teaching of applied art digital collection resources (Gao Zhenfeng, 2013; Ministry of Education, 2014). These eight suggestions can provide the transformation and use of cross-field aesthetic teaching strategies in performing arts teaching, and are briefly described below.
(1) Problem-based teaching using performing arts materials
In teaching activities, the concepts of performing arts and elements of life are used as media or resources and as problem-guided teaching strategies. When teaching, teachers use artistic concepts and life 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 of constructing reality
In teaching activities, real-life resources based on performing arts concepts and life elements are used to experience teaching strategies in real situations. When teaching, teachers use virtual reality resources of performing arts and life 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 and teaching of online resources
In teaching activities, use online resources as a teaching strategy for experiential learning. When teaching, teachers use online resources that include performing arts concepts and life elements to conduct experiential learning based on teaching needs, thereby repeating and strengthening the learning of important concepts.
(4) Inquiry-based teaching of applied performing arts digital collection resources
In teaching activities, the teaching strategy of using digital collection resources of performing arts to carry out thematic exploration is used. When teaching, teachers select performing arts digital collection resources based on teaching needs to guide students to explore the course themes.
(5) Cooperative learning teaching
In teaching activities, the topics of cross-disciplinary aesthetic artistic concepts and life elements are the main focus. When teaching, teachers, based on teaching needs, use interdependence among students and group interaction skills to achieve mutual feedback among peers and exchange of learning experiences among students from different backgrounds.
(6) Special topic discussion teaching
In teaching activities, the cross-disciplinary concepts of performing arts and issues of life 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
Participate in collaborations with more than two teachers, including performing arts and interdisciplinary subjects, and utilize the expertise of individual teachers to collaborate in the classroom. When teaching, teachers use special teaching media, equipment and equipment for performing arts and cross-field aesthetic education respectively according to teaching needs to guide students' learning through different methods.
(8) Creative thinking teaching
When conducting teaching activities of performing arts courses in cross-field aesthetic education, teachers inspire students to explore things and truth, and develop students' fluency, flexibility, originality, precision and other abilities. When teaching, teachers and students should promote mutual feedback and respect based on teaching needs and through creative thinking teaching models, such as ATDE (Asking, Thinking, Doing, Evaluation) strategies such as asking, thinking, doing, and evaluating.
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. Be sure to avoid confounding the effect with the cause. Choose the teaching strategy (teaching method) first, and then consider what content to teach ( Teaching materials); teaching materials and teaching methods are the appropriate teaching logic sequence, and cross-field aesthetic courses should also be based on this. Only with a sound learning foundation in the field can we implement teaching strategies.
4. Future prospects of performing arts courses in cross-field aesthetic education
In 2004, the "Arts and Lifestyle" course was listed as an emerging subject in the "Interim Curriculum of Ordinary Senior Secondary Schools", and performing arts is also an important component of this subject. The development of this course syllabus highlights the following features , and these characteristics also point out the important future prospects and visions of performing arts courses in cross-field aesthetic education.
(1) Should respond to international trends
The teaching activities of the performing arts course in cross-field aesthetic education echo the world's education trends. In future implementation, it can enhance students' abilities of self-experience, reflection and practice, and enhance their personal creation, aesthetic and life application abilities. This is in line with the United States The art curriculum standards of the "Education Act", the British "Education Reform Act" using art applications as a medium, and the lifelong learning concept extended by Japan's "Guidelines for Learning Guidance for Primary and Secondary Schools" are consistent, and can echo international trends and world trends.
(2) The connection between life, society and culture should be emphasized
The curriculum design of performing arts courses in cross-field aesthetic teaching should start from personal life experience, diversify the possibilities of students' lives, stimulate potential and creativity, and promote individual development, and then extend to group cooperation, cultivating mutual assistance, cooperation and self-cultivation. The team spirit of being gregarious promotes the harmonious development of individuality and group nature, and finally extends to technology media, society or communities. It reflects the passion and knowledge of art, feels the impact of art on oneself, society and the living environment, and can appropriately Use creativity to enhance the interest of life and cultivate everyone's hobbies.
(3) We should focus on being pragmatic and forward-looking
The teaching connotation of performing arts courses in cross-field aesthetic education, from goals, core competencies, content outlines to general implementation principles, adheres to pragmatic and forward-looking principles, allowing schools to display their creativity and characteristics and present more independent arrangements. Among them, time allocation and assessment methods are compatible with diversity, and schools should provide space for flexible class scheduling and assessment.
(4) Coherence and integration should be strengthened
In cross-field aesthetic education and teaching, performing arts courses need to connect concepts from other subjects and humanities fields to strengthen the vertical coherence and horizontal integration of the curriculum.
(5) Characteristics should be diversified and developed
Performing arts courses include individual, group, social, cultural, traditional and modern characteristics in cross-field aesthetic education and teaching. The content of activities is developed based on regional, community and school characteristics to create or develop regional or regional-based courses where the school is located. situation.
(6) The number of course sessions should be guaranteed
The cross-field aesthetic education and teaching of performing arts courses should be one of the school curricula, and schools should not misappropriate this course for other purposes.
(7) Integrated courses should be planned
Performing arts courses should focus on the integration of courses in cross-field aesthetic education and teaching, integrate various educational policies, overall plan the activities and resources of each department, and master the principles of staged and systematic. The teaching essentials emphasize that the planning and selection of activities should not only be integrated with various courses, but also be autonomous and integrated, and appropriately integrate into career development, life education, gender equality education, rule of law education, human rights education, ocean education, The connotation of issues such as environmental education, sustainable development, multiculturalism and consumer protection education. In addition, the school should overall plan the activities and resources of the Academic Affairs Office, Academic Affairs Office, General Affairs Office, Counseling Office, etc., in order to implement the curriculum in a step-by-step, phased and systematic manner.
(8) Professional autonomy should be given
Performing arts courses require specialized teachers to teach in cross-field aesthetic education. When designing cross-disciplinary courses, each subject and major in the performing arts field are different. Therefore, teachers teaching courses must be trained and certified by professional teachers before they can teach.
(9) Teaching evaluation should be implemented
In cross-field aesthetic education and teaching, performing arts courses should use student learning assessment, teaching effectiveness assessment and teaching evaluation results to examine the actual effectiveness of teaching. Student evaluation should take into account individual differences among students and focus on students' daily performance and participation. The analysis of evaluation results should be used as a reference for teachers to improve teaching, strengthen and remediate teaching.
(10) Attention should be paid to the inheritance of experience
In the course design, implementation and evaluation of performing arts courses in cross-field aesthetic education and teaching, in order to make the courses more perfect, more experienced teachers and scholars and experts should be consulted.
To sum up, with the development of performing arts teaching in cross-field aesthetic education, it will be possible to start from life and respond to the rapid changes in the international world through multi-field teaching and communication, thereby bringing students more diversity and Macroscopic and integrated affection and knowledge. Through the teaching of performing arts in cross-field aesthetic education, students can gradually become aware of, appreciate and understand the vast field of knowledge, and finally summarize and become familiar with the connotation of knowledge.
5. Conclusion
The study of performing arts courses in cross-field aesthetic education is not only to cultivate students' artistic knowledge, encourage them to actively participate in art and cultural activities, improve their art appreciation ability, and cultivate their interest in life, but also aims to inspire artistic potential and healthy personality development. The ultimate goal of studying this course is not to make everyone become an artist, but to cultivate and enhance "beauty" in humanistic qualities. If everyone has the ability to appreciate or appreciate beauty, and then apply it in daily life, then things in life will also have beauty.
From the above summary, we can understand that the current twelve-year national basic education emphasizes the coherence, integration and development of curriculum and learning based on core competencies. The curriculum content of performing arts in cross-field aesthetic education has great space and flexibility, and can connect various fields in a timely manner to demonstrate basic aesthetic literacy and social and cultural concerns. Overall, through the accumulation of diverse artistic learning and aesthetic experience in this course, student-centered sensory perception, aesthetic thinking and creative expression abilities will be cultivated. Through the process of happy learning, artistic cultivation and aesthetic literacy will be enriched.
It is hoped that the implementation of performing arts courses in cross-field aesthetic education in the future will not only guide students to improve their humanistic qualities in all aspects of life, but school teachers can also develop unique courses based on school characteristics. Allowing students to construct a personal meaning structure through the design of cross-field aesthetic courses not only helps to comprehensively integrate knowledge, but also allows students to use their experience in learning performing arts to splice trivial learning processes into a complete learning process. significance.
