Opanasyk, Oksana;Popova, Yana;Matiiv, Ihor;Radenko, Yuliia;Mozharovska, Hanna
International Journal of Computer Science & Network Security
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v.22
no.3
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pp.245-251
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2022
In the context of the pandemic, educational institutions had to ensure an instant transition to remote technological models of communication within the new conditions of the educational environment. The purpose of the academic paper lies in determining the role of the communicative model of educational transformations in the realities of (post) modernity. The research methodology is based on a survey of 120 students from 10 higher educational institutions (HEIs) of Ukraine through an online form regarding the importance of live communication during a pandemic. Results. The communicative model changed significantly during the pandemic - the interaction was mainly due to technologies. The research has identified four communication models of educational transformations under the conditions of the pandemic, depending on learning models. The first traditional model of distance learning involves distance learning; the second model involves contact remote training using remote educational technologies; the third model is blended learning, which combines remote and traditional learning formats, synchronous and asynchronous modes of interaction; the fourth model is traditional contact training. The empirical study of the effectiveness of communication models proves that live communication remains extremely important for learning and understanding of educational materials by students, and technology has provided support for such communication. Along with this, seminars and video lectures with presentations combining live communication and communication technologies are as important as digital learning tools. The most effective teaching method for mastering and memorizing educational material was a live dialogue with a teacher at seminars in ZOOM, followed by individual written assignments on the studied topic.
This research empirically investigated halo effect in evaluating culture and art performance program. We diagnosed halo effect by using correlation analysis, factor analysis, and regression model on results and scores of fifteen evaluation indicators within three categories for the 107 Local Representative Performance Art Festivals in 2014 and 2015. The results indicates strong possibility of halo effect in culture and art performance evaluation. The correlation coefficients between evaluation indicators is higher than 0.5 and factor structure does not match with evaluation categories in both years. Scores in categories and standard deviations also are also significantly correlated with each other. The results implies that more sophisticated standard, diversification of evaluator, education, and meta-anlysis are need to control halo effect.
It has been frequently pointed out that the established art history with the stylistic and iconographic interpretations and monographic analysis is fallen behind the currency of modern art. Among those who claimed the crisis in the discipline of art history, there is a suggestion that the art historical study should be fostered by other factors in the fields of the humanities. The so called New Art History or 'visual Culture Studies' insists that art history has to be restructured to integrate the broader study of culture and society, and by now, such an opinion is not a novelty at all. One of the most significant yet overlooked elements that induced the new currency of art history is properties of contemporary art that conflict the traditional claim of art historians. Although the idea that art is not purely aesthetic but that it has many other functions has been brought up by the art historians, it was the artists that provoked such a perception. When Arthur C. Danto and Hans Belting proclaimed the End of Art and Art History in the 1980s, the concept of art has been changed radically through the avant-garde tendency of Modernism and a new pluralism of Postmodernism. One dominant concern that strikes art historians is to find a new approach to art, since the traditional method and goal of analysis for past art and past art history seem unavailable. The perplexity arising from the situation is intensified in the field of teaching art, especially for those who teach art history in art school. Basically art history is a pursuit of learning of art in history, and its purpose is to reconcile the present with the past and the future as well. Since Modernism, as it is confusing sometimes because it implies the present state, somehow art became considered 'tradition-less'. It does not mean that a work of art stands aloof from the past attainments, hut modern art imposed itself on a task seeking after the new for its own sake, turning its back on the tradition. And now in the era of Postmodernism, an historians face the requirement to revaluate the whole history of art including modernism. The necessity of art history in art education is indisputable, but methods and contents in the academic courses should he reexamined now. Because artists' concept of history and past art has been altered, and art history as a humanistic discipline can only maintain its identity through incorporation with art itself. Academics teaching art history, or, strictly speaking, past works of art and history, to the student in art school, confront with the need to rethink the object of art history and its meaning to the artists.
Journal of the Korea Academia-Industrial cooperation Society
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v.14
no.10
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pp.4791-4798
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2013
This study focused on "tolerlance" to provide direction for the development as a city of culture and art in Jeju. In the field of culture and art, the survey was conducted to measure the acceptance degree of the diversity of in Jeju residents. Analysis of Jeju residents, the degree of tolerance for acceptance has been confirmed that there is a difference of degree, depending on whether the gender (sex) and age, education, and cultural activities. As a result, analysis of the acceptance degree of the tolerlance of Jeju residents, it has been confirmed that there are some difference of more or less according to the difference in gender (sex), age, education level, and the degree of cultural activities. To emphasize the social benefits of culture and arts have the potential to improve social exclusion. Therefore, there will be a space for anyone to recognize and respect the diversity of individuals and social integration. Composition of the city of culture and art with a focus on the social value of generosity and, if you promote regional development, the residents quality of life will improve.
The items currently used in museum service evaluations fail to offer satisfactory suggestions that could aid in the improvement of museum services. This study aims to identify and develop items that take into consideration the unique nature of art museum services. This study also identifies factors that determine visitor satisfaction and decisions to revisit with the end of offering methods to improve art museum service. The research conducted was based on an on-site survey of visitors of the Gwangju Art Museum. 223 questionnaires were collected, 211 of which were used in the data analysis. Factor analysis was applied to identify service factors to be considered at art museums. Regression analysis was then applied to estimate the influence of each factor in visitor satisfaction and revisit intention. This study first identifies five service quality factors of art museums: display method, employers, content, facilities, and supplemental programs. Results of the regression analysis showed that content is the most important factor in raising customer satisfaction and revisit intention. Supplemental programs were also significant in raising young and family customer satisfaction. The results also showed that various supplemental services such as education and experiential programs were necessary. Service facilities were also statistically significant factors in customer satisfaction and revisit intention. This study contributes in identifying five factors that could better measure art museum service quality. It also suggests a method to improve museum service quality based on the results of empirical investigations. This information could be of great help to art museum operators and other researchers.
Uigue(儀軌) is the report of court events, and its contents are very detailed and crucial as it is even called as the flower of written culture. Thus, many research theses about Uigue have been accumulated in academic circles so far, and easy books about Uigue targeting ordinary people have also been published. However, Uigue has not been used actively in educational circles yet. From now on, we should develop and induce ways to use Uigue actively in educational spots in order to let students who will lead our future have pride in our culture and know about the superiority of our court music culture. Especially when court music culture is taught in the sector of Korean traditional music education, it is beneficial to use Uigue. Since most of the court music repertory is slow and magnificent, if court music itself is exposed beforehand, it might give them an impression that it is "unexciting and boring". Therefore, this study gropes for teaching methods to 'show' court music culture first through various visual aids contained in Uigue. In other words, it examines how the instrument images, band images, dance images, or concert stages contained in Uigue can be used as teaching materials. Except for the materials selected in this article, there are plenty of teaching materials for court music culture in Uigue. Furthermore, it would be even better if not just Uigue but Oryeseo (五禮書), Akseo(樂書), Dobyeong(圖屛), and Gwanchan Akbo(樂譜) can be added to widen its range for more multilateral court music culture education. And if at the educational spots, showing classic court music culture is accompanied with listening to court music through various materials of court music and dance, we can expect even better educational effects from it.
This study describes the impact of early childhood teacher's artistic competence on art education pedagogy and improved curriculum design. Furthermore, the effect of drama as a way of improving early childhood teacher's artistic competence is explained. Many researchers have mentioned that early childhood is a period of sensitivity and potential. Therefore, it will be helpful if children meet a teacher who understands them and inspires their innate artistic sense at a level of their eyes. It explained which aspect of artistic competence should be focused for the teacher training education. There are many approaches to develop early childhood teachers' artistic competence. Adopting drama is one of them. The strong points of drama to improve their artistic competence are as follows. Firstly, human's movement and voice are the main artistic channel in drama. What we are doing in daily life is found are drama world. It means if early childhood teachers experience drama activity, they will feel more comfortable and intimate with it. In addition, early childhood teachers tend to be familiar with dramatic play, so they can more easily access to drama world. Secondly, drama will be helpful to understand different feelings and to broaden and deepen understandings of others' standpoints. For early childhood teachers, drama activity will be helpful to understand how dramatic art form works and to lead children's play in diversified and sincere way. In addition, drama activity will be useful to build horizontal and democratic relationships between children and the teacher. It is one of the main emphases of 2019 revised Nori national curriculum. To sum up, drama will be a excellent method to develop artistic competence for early childhood teachers. Thus, it is expected that They have more opportunities to experience drama as an art form.
This paper studies how the nature of educational programs run by public art museums in South Korea have been influenced by the COVID-19 pandemic, as well as to what extent the pandemic has caused operational problems for these museums. It, in effect, unveils the new museum culture of the COVID-19 era. It finds that the number of educational programs at the eight museums in Korea selected for this study has decreased 34% since the start of the COVID-19 pandemic. The number of online educational programs, educational brochures and art kits at six of the museums has also increased by 70% compared to before the COVID-19 pandemic. Additionally, 'untact' programs thought up and created by artists have been gradually developing at certain art museums in South Korea, while VR/AR educational programs have been developing at museums in the Seoul Metropolitan Area. As such, this study reveals the changing characteristics of museum educational programs and the new museum educational culture in the COVID-19 era with the hope of opening up discussion about the future direction these programs will take.
The Musical Theatre was a popular art genre that originated from the western musical tradition represented by the European opera. In the twentieth century, it bloomed around Broadway in the United States. It is also one of the commercial arts which is popularly loved by the public in the field of performing arts all over the world at present. Due to the nature of this genre, the development of dramas and the expression of characters use music, not words or gestures, as the main medium. And the style of music reacts sensitively to the taste of the public, not to a particular class. When Japan colonized Korea, the empire strongly believed modernization equaled westernization and Japan was the one who could awaken Korean. The Japanese colonial music education was intended to bring cooperation and obedience to Japan by forcibly injecting Japanese ideology and culture into Joseon people. The music education of colonialism with the textbook of the "Songs for public education(보통교육 창가집)" compiled by the Japanese government was a sparkstone for the conversion of the Korean musical identity to Japanese and Western music. In addition to the capitalistic economical mechanism for establishing a South Korean government friendly with the United States during the Cold War after liberation, and the rush of American Pop culture represented by 'the show stage in 8th US Arm' and 'movies' which are to be the influence of invisible 'new cultural imperialism', our traditional music was confined to the meaning of 'Korean music', meaning 'past music'. In Korea, after the liberation, the musical was introduced by the influx of American popular culture. In accordance with the cultural policy of Park Jeong-hee regime, which aimed to spread the 'healthy culture' through the modernization of traditional arts, 'The Yegreen(예그린악단)' was founded. However, the plan to create a contemporary performing art based on Korean national arts showed the possibility of success in 1966 with the success of , but soon after, they have been destined to fall into an institution that has lost their ability to operate on their own due to the suspension of the sponsorship of the regime. Due to the cultural imperialist strategy of the influence of Japanese imperialism's colonial music education and influx of American popular culture after liberation, in the early days of Korean musicals, our traditional aesthetic style brought about the situation of the 1960 's, which did not become an independent ethnic art through the exchange and expansion with Western music. This is the background of the western licensed musicals led by the Korean musical market in the 21st century as well as the main cause of musical creation based on western music.
The purpose of this study is to improve the standards for the animation education in '2011 Arts and Culture Education Standards: Cartoon and Animation'. Animation Education Standards has been developed by discussion about Arts and Culture Education, and by study of documents about animation, and by investigation about experimental recognition. And the study of domestic and foreign art education standards are reflected in these standards. These standards consist of seven categories reflecting various aspects of animation and each category is classified into five stages by age. This standard has two axes: seven categories by various aspects of animation and five stages by age, and it represents achievement requirement in animation learning. This study suggests that 'Animation Education Standards' has five features as below. First, it reflects the character of Animation as an independent subject. Second, it is studied on the basis of the framework of arts and culture education. Third, it provides basic achievement requirement, and it has no limitation in learning activities. Fourth, the achievement requirements of two or more categories can be applied simultaneously in real classroom; each category is set by themes of animation education. This study presents five methods to improve existing standard. First, independent standard for animation education must be developed. Second, categories must be established distinctly. Third, each categories and achievement requirement must reflect unique characteristic of animation. Fourth, the description of achievement requires must be systemized. Fifth, to help to adapt education standard, explanation about practical teaching and learning activities must be added. '2011 Art and Culture Education Standards: Cartoon and Animation' is important in that it is the first study that systemized animation education and presented pedagogical achievement requirements by suggesting achievement requirements for animation education by two axes -ages and categories. It will be very helpful in studying the animation education as a subject, and developing education programs, and teaching and learning in an actual class.
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