In the course study on August 14, the students systematically studied the methods of developing digital course resources, designing courseware, and the strategies of micro-course teaching design and production from the specific operational level. The course on August 15 mainly discusses the development of excellent traditional cultural curriculum resources under the background of core literacy from a theoretical perspective, the Xiangmei art textbook and digital curriculum resource system, and the design of core literacy curriculum micro-classes.
1.The Development of Excellent Traditional Cultural Curriculum Resources under the Background of Core Literacy (Yin Shaochun)
Profile of the Speeker:
Yin Shaochun is professor of fine arts at Capital Normal University, doctoral supervisor, and director of the Asian Art Education Research and Development Center of Capital Normal University. He is leader of the research team for the basic education curriculum reform of the Ministry of Education, reviewer of the fine arts textbooks for elementary and middle schools of the Ministry of Education, director of the Children's Art Committee of the Chinese Artists Association, director of the Chinese Art Education Professional Committee, and member of the International Association of Art Education. His mainly research is on art education theory and practice, and art theory.
Introduction of the Lecture:
How does education move from history to the future? Mr. Yin Shaochun’s lectures were organized around five topics: core literacy, subject core literacy, culture and traditional culture, understanding-based curriculum and teaching, and project-based learning of traditional art. It focused on art courses and teaching in a complex and diversified educational background.
Topic 1: Core literacy-education should follow the pace of social development.
Through the comparison of various countries, Mr. Yin introduced the characteristics of contemporary society: globalization, complexity, comprehensiveness, and uncertainty in a simple and profound way. Although countries and individuals have different understandings of core literacy, there is a "greatest common divisor" in the understanding, that is, core literacy is not equal to knowledge and skills, it includes knowledge and skills; core literacy is a kind of ability to mobilize psychosocial resources to meet complex needs.
Core literacy can be described as the comprehensive ability to discover, ask, analyze, mobilize and use personal and social resources to solve problems in real life situations. Then, Mr. Yin analyzed the value of core literacy from five aspects: the feeling of the problem, the nature and type of the problem, personal factors, social resources, and the procedures and methods for solving the problem.Core literacy helps us to integrate the "three-dimensional" course goals and practical problems, plan process courses, and fit courses and learning activities.
Topic 2: Disciplinary core literacy-the label of China.
Discipline is the most basic unit that is relatively complete, logically self-consistent and maintains a connection with the outside world. As far as the value of the core literacy of the discipline is concerned, Mr. Yin focused on explaining the art performance and cultural understanding of the five core literacy of the art discipline based on the official definition.
Art expression is the ability to visualize ideas and knowledge, not simple art creation. And the purpose of cultural understanding is cultural inheritance and development. We can observe from different angles so that discipline education could be achieved in exploration.
Topic 3: Culture and traditional culture--know yourself and your opponents, never end in battle.
Culture is a lifestyle of a certain human group with values as its core. It corresponds to culture and human beings, while traditional culture corresponds to contemporary culture and foreign culture. It has spatial and philosophical characteristics. As far as China’s traditional art culture is concerned, it can be divided into upper-level culture and lower-level culture, including: painting, sculpture, handicraft, architecture, clothing, paper-cutting, etc. Whether it is culture, traditional culture or traditional art culture, they are all products of specific time and space and are closely related to life. Inheritance and development are two unavoidable themes facing human society. After experiencing a progress from cultural anxiety, cultural self-confidence, to culturally conscious thinking and behavior, we need to explore the culture that people are pursuing together, and be familiar with Western culture and ourselves. The way of thinking is to tap the modern value of traditional culture.
Topic 4: Curriculum and teaching based on understanding--mountains and rivers are different, the wind and the moon are in the same sky.
In this topic, Mr. Yin conducted a detailed analysis of the six aspects of “understanding” from Ubd (instructional design pursuing understanding) and KUD (knowing, understanding, and being able to do), and discussed the relationship between lasting understanding, big ideas and basic problems.He believes: the thinking and learning behavior triggered by basic problems lead to big ideas (lasting understanding). Then, using "Embroidered Robe Cloth" as an example, Mr. Yin explained the importance of theory to the curriculum and the significance of migration to concepts.
Topic 5: Project-based learning of traditional fine arts-complete and progress together.
Traditional project-based learning may include some steps, such as: collecting information, formulating plans, practical production, inspection guidance, evaluation and reflection, etc. There are three relevant implementation strategies for core literacy courses. One is to lead students to understand the culture behind the objects and to explore the meaning of transcending images contained in art; the second is to use local cultural resources and pay special attention to the intangible cultural heritage recognized by the government; the third is to flexibly design display methods with the resources of experts and folk artists.
The course of this section came to an end under the discussion of Mr. Yin and his classmates. Finally, Mr. Yin called on: the development of traditional culture curriculum resources is the mission entrusted to us by the times. We need to keep our original intentions in mind, deeply understand traditional culture, turn theoretical discussion to practical reflection, and continue to think about the significance of traditional culture to art courses in the context of core literacy.
2.Xiangmei Art Textbook and Digital Course Resource System (Peng Yong)
Profile of the Speeker:
Peng Yong, Ph.D. in aesthetics, director of the editorial department of fine arts education of Hunan Fine Arts Publishing House, deputy editor of "Chinese Painting and Calligraphy" of Xiangmei high School version, engaged in research and publication of aesthetics and fine arts education.
Introduction of the Lecture:
In the context of globalization, how are core literacy courses compiled? How to use digital media resources? This summer school is based on the Xiangmei version of the high school art textbook as the main content of the curriculum development. In combining his own work experience and in-depth research on Xiangmei textbooks, Director Peng discussed the design ideas and key elements of excellent art coursesfrom the three aspects of ordinary high school textbooks, compulsory education textbooks and digital resource systems in order to help students understand the structure of textbooks.
Art education is the main focus, and folk art and contemporary art are "two wings".Director Peng first introduced the development and composition characteristics of Xiangmei Publishing House. The Xiangmei Publishing House has initially formed a reasonable framework for promoting the publication of fine arts education with scientific research and services. The composition of folk art and contemporary art is the "two wings" of the art curriculum. It is necessary for us to actively pay attention to the exploration of Chinese excellent traditional cultural resources such as folk art. At the same time, it pays attention to the contemporary development of art, creatively utilizes and transforms overseas resources, and promotes the inheritance of Chinese traditional culture.
Wherever you live, you face the problems, and where there are problems, there is art. As a contemporary artist, how does Xu Bing creatively use and transform traditional resources? Director Peng used the case of Mr. Xu Bing, the editor-in-chief of the art textbook of the Hunan Fine Arts Publishing House, to arouse everyone's thinking on this issue. Mr. Xu Bing once said: “Where you live, you face the problems, and where there are problems, there is art. Your situation and your problems are actually the source of your artistic creation.” Art is a process, art education It is also a process of discovering and solving problems, and the quality and level of people that education ultimately solves. Tradition is actually in the bones of Chinese people. For traditional culture, we must be "informed", "understanding", "knowing how to use" ", cultivate one's own advanced thinking ability.
Director Peng compared the old version of high school art textbooks by Xiangmei Publishing House with the newly compiled version, and interpreted the organizational structure and core qualities of the newly compiled version. The last one considers more on the nature of the curriculum from the perspective of cultural context and artistic themes, and naturally combines cultural context, subject knowledge and appreciation methods. The purpose is to improve the basic cultural literacy of students through art. It is suitable for high school students.
The sub-section courses are led by the visual language of art. Director Peng also introduced the content structure, arrangement sequence, learning clue organization, writing style, and characteristics of the compulsory education art textbooks of Xiangmei Publishing House.
The compulsory education textbooks of Xiangmei Publishing House focuses on inheritance and development. Under the guidance of the visual language of art, the courses present knowledge points in different sections, and form an organic three-dimensional structure in integrating "art and self, society", "art and nature, environment" and four learning areas. Through understanding and appreciating, creating works, feeling the charm of art activities, and realizing self-worth, the explicit structure of textbooks is formed. At the same time, the textbooks intervene in students’ life situations with the context of the art subject, attach equal importance to the characteristics of the art subject and humanity, and integrate the knowledge system into the "thinking and training" system with a structured and unstructured cross combination so as to strengthen the art subject skills learning process and methods, while excavatting its implicit structure and emboding the essence of the visual culture era.
On subject of digital resource system, Director Peng introduced the digital resource system being designed and constructed by Xiangmei Publishing House. Through a series of micro-class cases, we can see the process of combining paper textbooks with online course resources, and the construction of a resource platform integrating teaching evaluation and specific methods to develop and utilize art education resources. In the context of globalization, it is very unlikely that problems can be solved by relying only on a certain aspect of knowledge or using the skills of a certain discipline. Although the layout and content of textbooks are limited, the development and utilization of educational resources are limitless. We can develop curriculum resources with the belief and mentality of lifelong learning, and contribute to the creative conversion of traditional excellent cultural resources.
3.Micro-course Design of Core Literacy Courses (Qin Hua)
Profile of the Speeker:
Qin Hua, director of the Fine Arts Education Department of the School of Fine Arts, Nanjing Normal University, PhD., associate professor and master tutor. He has won the first prize of the Basic Skills Show Almighty of the Ministry of Education, and the first prize of the Jiangsu Public Art Micro-Class Competition. He has presided over and participated in a number of projects such as the Humanities and Social Sciences Fund Project of the Ministry of Education and the Excellent Resource Sharing Course. He serves as the executive editor of the book "Chinese Calligraphy" and "Painting" for the teacher's book "Chinese Calligraphy" and "Painting" in the revised version of the curriculum standard of Hunan Fine Arts Publishing House, and the deputy editor of the high school textbook "Chinese Calligraphy and Painting" of the People's Fine Arts Publishing House.
Introduction of the Lecture:
How do we understand traditional culture when today may become the history of tomorrow? How to design core literacy courses? Mr. Qin Hua used a wealth of teaching cases to carefully analyze the production requirements and methods of the core literacy curriculum micro-courses with traditional culture as the theme.
1.Traditional culture is about acceptance and rejection.
Mr. Qin took the story of Yin Yutang’s rebirth on the other world as an example, and pointed out that we need to look at traditional culture with globlal minds. Although most intangible cultural heritage exists in a static form, everything in it is closely related to our lives. Moreover, compared to understanding traditional culture through exhibits in museums, integrating traditional culture into the overall cultural context can help us understand systematically and deeply.
2.In-depth lesson preparation is the top priority.
In-depth lesson preparation includes multiple dimensions such as course format, course content, and course design decomposition. Mr. Qin suggested that the depth of lesson preparation should be wide and then deep, prepare ten and then use one. There should be no blind spots in the content, and the materials should be restored as much as possible.
The ways of expressing core literacy courses vary widely, but the preparation process is similar. Mr. Qin introduced several cases of cooperative curriculum development between Nanjing Normal University students and primary and secondary schools, such as "Bridge to See the Future", "Landscape Construction", "Neon Clothespin Shadow Exploring the Red Mansions", and clarified several steps in the development and design of core literacy courses, namely document preparation , field trips, curriculum design, teaching aid production, classroom practice and micro-class design, etc. When developing the curriculum, we must not only see the technical level, but also pay attention to its underlying logic. Using knowledge and skills to solve the problems of life and learning is the characteristic of the art core literacy curriculum.
In addition, Mr. Qin pointed out that detailed lesson preparation is also very important. In the process of recording micro-classes, we must also consider the acceptance of the subject, the lighting of the venue, the setting, the atmosphere, the dress and posture of the class, etc.
Contrary to the traditional society’s focus on static viewing, the visual literacy of today’s society is dominated by dynamic visual literacy, and people are gradually losing the ability to transform static visual literacy into dynamic visual literacy. Therefore, teachers should make flat works three-dimensional through curriculum design and make static works move, thereby extending their educational value and realizing interdisciplinary learning.