Uygulamalı sanat eğitimi derslerinde kuramsal çalışmaların yeri ve önemi

Abstract

VI ÖZET: Bu yüzyılın insanı, endüstrileşmenin ve aydınlanmanın getirdiği çağdaş yaşam tarzıyla bireyselliğini üst düzeyde oluşturmuş ; fakat doğadan uzaklaşmış, insanla doğa arasındaki ve doğanın kendi içindeki çok yönlü ilişkileri tanımada yetersiz, `yığın insanı` olarak da `özgür insana` yabancı bir varlıktır. Özgür insan düşünen, yaratan, kendisiyle barışık bir varlıktır. Özgür insanı yetiştirmenin yolu, onu yalnızca akıl ve irade varlığı olarak değil, aynı zamanda duygu varlığı olarak da geliştirmektir. Bu nedenden dolayı sanat eğitimi düzencesi eğitim programlarındaki yerini almıştır. `İnsanın Ben' liginin ve yaratıcı karakterinin oluşturulmasında, eğitiminde en etkili araç olan sanat eğitimine çağımızda daha fazla ihtiyaç vardır.` Sanat eğitimi herkes tarafından bilinen fakat içeriğinin ne olduğu, ne olması gerektiği, eğitim sistemi içinde sanat ağırlıklı olarak veya eğitim ağırlıklı olarak bireyin eğitiminde nasıl uygulanacağı tam anlaşılamayan, kendisine pek çok amaç yüklenmiş bir alandır. Bu paradoks sanat eğitimi anlayışlarım meydana getirmiştir. Her anlayışın sanatsal veya eğitimsel kaygılan bir diğerine göre daha farklı olmuştur. Bugün, sanat eğitiminin başat ilkesinin yaratıcılık olduğu göz ardı edilmektedir. Bunun nedeni, kavramla ilgili araştırmaların 1950'lerden sonra yapılmaya başlanması ve bu çalışmaların sanat eğitimine geç yansımasıdır. Sanatsal yaratma, bir düşünme süreci olmakla birlikte duyu, duyum ve duyguların yetenekle birleşmesi sonucu oluşan bilişsel bir edimdir ; bilinmeyen `ilahi` bir güç olmadığı gibi eğitimle geliştirilmesi şarttır. Uygulamalı sanat eğitimi derslerinde ; öznel olarak insanın ele alınması, çocukluktan itibaren geçirdiği evrelerin ve özelliklerinin bilinmesi, bu özelliklere (evrelere) göre sanat eğitimi programlarının konu, amaç, teknik, davranışlar gibi başlıklardan oluşturulması gerekir. Bu programlar oluşturulurken gerekli ilkelerin göz ardı edilmemesi ve öğretim yöntemlerinin belirlenmesi yaratıcılığı geliştirici olarak üç boyutlu çalışmalara, malzeme ve tekniklere daha fazla yer verilmesi gerekir. Bu tekniklerin, çocuğun yaş ve gelişim basamakları, yaratıcı tipler ve kişilik oluşumu göz önüne alınarak seçilmesi, düzeylere göre sanat eğitimi derslerinin sadece kılgısal alanla sınırlı kalmayıp, Müze Eğitimi, Sanat Eserleri İnceleme, Estetik, Sanat Felsefesi, Sanat Tarihi, Çağdaş Sanat Yorumu, Çağdaş Türk Resmi gibi kuramsal alanların da bir ders olarak veya uygulama içinde teorik sunum halinde işlenmesi gerekir.VII ABSTRACT: Mankind of this century has achieved an utmost level of individualism with the contemporary life style which was basically the result of industrialization and enlightenment however, us an isolated being that is separated from nature, he is incapable of identifying and defining the multi-dimensional relations between the human beings and nature and within nature itself. Thus, this notion of `mass mankind` is somewhat distant to the notion of `free mankind`. Free man can be defined as the person who is able to think, to produce and who is at peace with himself. In order to bring up free men, it is considerably important to deem them not only as beings of reason and will, but also as beings of emotions and feelings. For this reason, education of art was included in educational programs. Today, education of art is felt necessary more than ever in developing the creative personality and the very essence of human beings. Educations of art is a multi-purpose field that is heard of by everyone but its content has never been completely understood nor has it been clearly determined what it should be about. Moreover, the application of the education of art has never been determined to be mainly artistic or educational in the education of the individuals within the educational system. This paradox has eventually resulted in various approaches to the education of art. Each approach differs from one another with respect to their concerns in art and education. Today, the fact that creativity is the starting point of art remains unnoticed and it is being avoided. Perhaps, one reason for this is that the theoretical studies related to the education of art has started only after 1950's and thus it has reflected on the applicational area a little too late. Although artistic creativity is a process of thinking and pondering it is also a communicational action that results from a combination of senses, sensations and feelings. Since it is not an unknown divine power, it is compulsory to develop it through education. Individuals have to be taken in to consideration subjectively and their characteristics and the main phases that they have been going through since early childhood have to be analysed and determined during the applicational education of art. Furthermore, such educational programs should be divided into a wide range of topics such as subject, target, techniques, behaviours and so forth in accordance with these characteristics (and the phases). While developing such programs it is essential

VII ABSTRACT: Mankind of this century has achieved an utmost level of individualism with the contemporary life style which was basically the result of industrialization and enlightenment however, us an isolated being that is separated from nature, he is incapable of identifying and defining the multi-dimensional relations between the human beings and nature and within nature itself. Thus, this notion of `mass mankind` is somewhat distant to the notion of `free mankind`. Free man can be defined as the person who is able to think, to produce and who is at peace with himself. In order to bring up free men, it is considerably important to deem them not only as beings of reason and will, but also as beings of emotions and feelings. For this reason, education of art was included in educational programs. Today, education of art is felt necessary more than ever in developing the creative personality and the very essence of human beings. Educations of art is a multi-purpose field that is heard of by everyone but its content has never been completely understood nor has it been clearly determined what it should be about. Moreover, the application of the education of art has never been determined to be mainly artistic or educational in the education of the individuals within the educational system. This paradox has eventually resulted in various approaches to the education of art. Each approach differs from one another with respect to their concerns in art and education. Today, the fact that creativity is the starting point of art remains unnoticed and it is being avoided. Perhaps, one reason for this is that the theoretical studies related to the education of art has started only after 1950's and thus it has reflected on the applicational area a little too late. Although artistic creativity is a process of thinking and pondering it is also a communicational action that results from a combination of senses, sensations and feelings. Since it is not an unknown divine power, it is compulsory to develop it through education. Individuals have to be taken in to consideration subjectively and their characteristics and the main phases that they have been going through since early childhood have to be analysed and determined during the applicational education of art. Furthermore, such educational programs should be divided into a wide range of topics such as subject, target, techniques, behaviours and so forth in accordance with these characteristics (and the phases). While developing such programs it is essentialVIII to keep in mind certain principles, to determine the training and teaching methods properly and to focus on three-dimensional studies, materials and techniques that will promote creativity. These techniques should be chosen in accordance with the ages and development phases of the children involved and also with respect to the development of creative personalities. Education of art should not only be restricted to the applicational area and it should also include theoretical subjects such as Museum Training, Observation of the Works of Art, Aesthetics, Philosophy of Art, History of Art, Contemporary Interpretation of Art and Contemporary Painting in Turkey. Thus, the theoretical frame should also be presented within the applicational area.