Drama and Theatre Education
教育戲劇和劇場


Art and Education
藝術、教育

After the one-year postgraduate program, I stayed in Britain and continued to do my research, for the purpose of acquiring more theories on art education and conducting art practice, enabling me to better understand the values underlying art and its relationship with education.

In the recent century, the very concept of art was challenged through the practice of, two significant artists, Marcel Duchamp and Joseph Beuys. The former took a lead to demolish the technical threshold of art in the artistic palace; the latter simply attempted to abolish the distinction between art and life and waved the flag of ‘everyone is an artist’, arguing that art does not need specific material results like exhibitions or performances and emphasising that what counts more is conversation about the world in which we all live.

In that context, then, art does not merely function as an object, nor take beautiful, sacred or abstract forms presented in galleries and museums for a handful of people to appreciate; art’s core value lies in being an accessible platform for people to engage with. It does not mean that everyone should be an artist or the people working in art industry. Dancing is not necessarily for becoming a dancer and drawing is not necessarily for becoming a professional painter either. Art creates various means for people to observe, experience and explore the world and to enrich their understanding of their life, just as Beuys said, “everyone is an artist”.

In terms of education, logic, dialectics, and some scientific principles are supposed to be mastered, yet these subjects are far from enough. In formal education, introspection and observation are often overlooked; these can be reconstructed through artistic education. Young children who are just learning about the world surrounding them are necessarily helped by an artistic approach. The role of teachers, in the mean time, needs to be reconsidered. Teachers need to break free from the stereotype of being top-down information in order to develop more creative pedagogical practices and welcome new academic possibilities.

Art, therefore, should not only serve as a discipline or a ‘game for the minority’, but also be more actively integrated into teaching activities and as a means to acquire and expand knowledge. Art should work as the basis of human life and education.

經過一年的碩士課程學習,畢業以後,我留在英國繼續研究課題,學習更多的藝術教育理論以及進行藝術實踐,這個過程使我愈發認識到藝術所包含的價值以及藝術和教育之間的關係。

藝術存在至今已有三萬多年,而其發生最大的轉變卻是在這近一百年。這一百年裡有兩位重要的藝術家,一位是杜尚(Marcel Duchamp),另一位是博伊斯(Joseph Beuys),其中一個帶了個頭,將藝術的技術門檻從藝術“聖殿”中生生拆走,另一個幹脆直接試圖取消藝術與生活的區別,舉起“人人都是藝術家”的大旗,宣揚藝術並非需要有具體的物質結果進行展覽或演出,而強調人對社會生活的參與,與之產生直接的對話和聯繫更為重要。

在這種背景之下,藝術的價值便不再僅僅作為客體對象,以美的、神聖的或是抽象看不懂的形式呈現在畫廊、博物館裡供少數人所觀賞,它的價值更在於作為一種日常容易接近的途徑讓更多人參與進來。這並不是說每個人都要成為藝術家或藝術工作者,跳舞不是一定要變成專業舞者,畫畫也不是一定要變成職業畫家,跳舞和畫畫只是作為一種途徑,去觀察、體驗、感悟,去豐富自己對世界的理解與感受。這也就是博伊斯所說“人人都是藝術家”的意思。

而對於教育,邏輯、辯證、一些科學原理是必須要學會的,然而那並不是全部,在學校教育中喪失的那些重要的、微妙的有關如何看待世界、認識自己都可以通過藝術得以重建。對於那些尚未成熟的孩子,他們還處於靠聲音、圖形、圖像、交互活動等來了解這個世界的階段,更需要用藝術的方法去進行學習。老師,同樣也需要進行重建,不再是僅僅對信息進行傳遞,更要不斷地變得更具創造性。

藝術因此,不應只作為一門學科或“少數人的遊戲”,它更應融入到教學活動中成為一種途徑和方法來獲取和擴張知識,藝術應是生活和教育的基礎。


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