쟁점중심 미술과 교육과정에 대한 개념화
Conceptualization of Issue-based Art Curriculum
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초록
본 논문은 현대 사회의 다양한 쟁점에 대한 비평적 탐구를 목표로 하는 쟁점중심 미술과 교육과정에 대해 논의한다. 특히 학생들의 “삶”의 맥락성 안에서 이러한 쟁점 사항에 대한 탐색을 활성화시키는 교육적 전략으로서 미술 교육의 필요성과 효율성을 제기하는 데 이 논문의 중요한 목표가 있다. 따라서 쟁점중심 미술과 교육과정 구성과 운영의 근간을 이루는 이론적 토대를 개괄적으로 살펴본다. 그리고 쟁점중심 미술과 교육과정의 실제에 대한 이해를 돕기 위해 구체적인 미술 프로그램과 학생들의 미술 작품도 함께 예시적으로 탐색해 본다. 마지막으로 최근의 미술교육 논문에 소개되고 있는 다양한 쟁점중심 미술교육 접근법들도 함께 논의된다. 궁극적으로 이 논문은 쟁점중심 미술과 교육과정에 대한 보다 학문적이고 실제적인 향후 논의의 장을 열기 위함이다. 그리고 이러한 논의는 현대 사회에서 시각 이미지의 역할과 영향력에 대한 사회적 인식을 반영하는 최근의 교육과정 개발 움직임에 새로운 논의를 더할 수 있으리라 기대된다. 특히 본 연구는 쟁점중심 미술과 교육과정이 어떻게 기존의 한국 미술 교육과정이나 미술 교육을 향한 인식과 패러다임에 효과적으로 적용될 수 있을지 등에 대한 보다 이론적이고 구체적인 실제 적용 연구를 촉구한다.
Abstract
The intention of this article is to introduce and conceptualize issue-based art curriculum development that focuses on the social role and function of art education to investigate critically various social issues in our society. One of the purposesof this paper is to address the needs and effectiveness of art education as an educational strategy to explore these issues within the context of student life. For this purpose, the theoretical foundation that surrounds this curriculum approach is examined in the contexts of critical social theory, visual culture art education, and social reconstructionism. Practical examples of issue-based art curriculum are also introduced to develop the conceptualization further and enhance the understanding of this approach. The students' works of art shared in this paper reveal the outcome of utilizing the art curriculum in practice. More examples of art programs found in recent scholarly research focused on issue-based approaches in art education are also reviewed to obtain a better practical understanding of this approach in both theory and practice. Ultimately, this article attempts to open a discussion regarding this new approach. The horizon of our perspective, which isto develop art curriculum that represents the value and impact of visual images in contemporary society, will be expanded. The implications of this challenge vary and are valuable in stimulating the development of an art curriculum that is both individually differentiated and socially appropriate. The consideration for how to adapt this new approach to the paradigm and framework of the current Korean art curriculum is an area reserved for further investigation. The way to adapt this new approach in theory and practice requires more academic discourse and practical implementation.
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