新作坊

新作坊 Humanity Innovation and Social Practice

在美術課教設計:教育部《美感與設計課程創新計畫》的〈美感體驗〉課程實踐
Teaching Design in the Art Curriculum: Implementation of the “Aesthetic Experience” Courses within the Ministry of Education’s “Agenda for Art and Design Education”

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摘要

教育部推動的《中長期美感教育第二期五年計畫(108 - 112年)》,包含「支持體系」、「課程與活動」、「人才培育」、「學習環境」等四大策略,其中子計畫《美感與設計課程創新計畫》屬於「課程與活動」領域,與學校師生課程最有直接關係。在五年的執行期間,此計畫研發推動一系列〈美感體驗〉課程,累積了中小學三百餘班,六千名以上學生的教學成果,啟動學生的感知觀察與詮釋表達。本文首先簡介《中長期美感教育第二期五年計畫(108 - 112 年)》與《美感與設計課程創新計畫》兩支計畫的核心理念與整體架構,其次描述〈美感體驗〉課程之開發過程與內容。接著,本文記錄此系列課程在全國推廣實施的方法與成果,包括教學活動的安排、課程內容的發展、以及學生作品呈現。
藉由這些具體紀錄,本文最後分析課程的教學特色與推廣挑戰,探討啟發創意的開放型設計課程,如何在典型架構的藝術領域課堂中有效實踐。透過此研究紀要,我們期望為教育體制內的創新與實踐,提供有價值的參考,同時深化對美感教育的理解,推動藝術領域中的多元設計教學。

Abstract

This paper examines the organization and results of the “Agenda for Art and Design Education”, which was part of the framework of the “Second Five-Year Plan for Aesthetic Education (2019 - 2023)” initiated by the Ministry of Education in Taiwan. The plan encompasses four major strategies, including “support systems,” “curriculum and activities,” “talent cultivation,” and “learning environments.” The “Agenda for Art and Design Education” falls under the “Curriculum and Activities” domain, and directly impacting curriculum development for school teachers and students. Over the fiveyear period, the program has developed and promoted a series of “Aesthetic Experience” courses, which were taught in nearly three hundred primary and secondary school classes with over six thousand students, fostering students' perceptual observation and interpretative expression.

This paper begins by introducing the core principles and overall framework of both the Ministry of Education’s Aesthetic Education project and the “Agenda for Art and Design Education.” Subsequently, it describes the course development and implementation of the “Aesthetic Experience” program. The paper then documents the nationwide promotion and implementation of this series of courses, including the arrangement of teaching activities, curriculum content development, and the presentation of student projects. Through these specific records, the paper analyzes the courses’ instructional features and the challenges faced in dissemination, exploring how open-ended design courses that inspire creativity can be effectively implemented in conventionally-structured art classrooms. In conclusion, this study aims to provide insights for innovation and practice within the education system, deepen the understanding of aesthetic education, and how to promote diverse teaching design in the field of arts.