The Future of Education

In this article we explore the main principles of art education and how art educators perceive and apply them into science-art teaching & learning setting. The research subject the Global Science Opera (GSO), characterized by a global community of students, artists, scientists, and educators co-creating a science-inspired opera. Relying on an existing theoretical basis to how art education principles may be contextualized within the contemporary education we develop these principals and objectives seeking to capture the similarities and distinctions when art meet science in the GSO. The main 5 art principles are described and presented in the light of Eisner`s ideas, STEAM education, and the GSO approach. 5 art educators (those participated in the GSO during 2016-2021) were interviewed. Their opinion and experience towards art role in science learning were collected and presented. We use a qualitative method (interview) because we are not willing to compare or/and distribute their perception, we are seeking to immerse deeper into theirs` opinion in order to create a picture of art education in science teaching. The research findings suggest that some principles of art education are closer linked to science teaching - communicative function and building cooperation and relationships. Perhaps the most moved away aspects in science teaching from art perspective are aesthetic&beauty function and development of students` artistic abilities and skills. The overarching question of implementation science-art education, how to do this best keeping art and science in a good balance and remembering that education is life learning process.

Keywords: Art education principles, art educators, science-art education, STEAM education, GSO.

References:

• Courtney, R. (1990). Drama and Intelligence. A Cognitive theory. McGill-Queen`s University Press. ISBN 0-7735-0766-3.
• Drama as Social Intervention. Edited by Michael Balfour and John Somers. Captus university Publications. 2006. // Pedagogy of the Spectator: on teaching and learning through performance. Monika Prendergast, pp 241-254.
• Eisner, E. W. (2001). What Does It Mean to Say a School Is Doing Well? The Phi Delta Kappan, 82, no 5 (January 2001):369.
• Eisner, E. W. (2002). The Arts and the Creation of Mind. Yale University press/New Haven &London. ISBN 0-300-09523-6 (cloth: alk. paper).
• Gadamer, H. G. (1996). Truth and Method. New York: Continuum.
• Gadsden, V. L. (2008). The arts and education: Knowledge generation, pedagogy, and the discourse of learning. Review of Research in Education, 32, 29–61. doi:10.3102/0091732X07309691
• Gardner, H. (1984). Frames of mind. New York: Basics Books.
• Noy, P. & D. Noy-Sharav (2013). Art and Emotions. International Journal of Applied Psychoanalytic Studies. 
• The dramatic Arts and Cultural Studies   Acting against the Grain. By Kathleen S. Berry with an introduction by Dorothy Heathcote. Palmer Press a member of the Taylor &Francis Group. New York and London, 2000