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Studio Curricula
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3: Australian
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This chapter looks at schools where Drawing and Studio programs are available. It examines adaptations made to Drawing and Studio components of Fine Arts courses in response to the enrolment of Asian students. A comparative study is made of responses by lecturers and students to issues of internationalisation. There is also evidence which reveals the attitudes of participants towards the inclusion of Asian material.
The chapter will show that while many art schools are addressing the challenges of an increasingly diverse range of issues which need consideration when internationalising curricula, there is ample scope for further development. Looking at what schools are doing would be a useful starting point to any curriculum initiatives in this area. Persuasive evidence of appreciation of non-Western and Asian material can be found among the comments of students who have already enjoyed the benefits of such material.
The data for this chapter were collected in two stages (refer to ‘Methodology’ in the Introduction):
Results of Art School Survey—Staff (Questionnaire 1)
Of the 27 schools which responded to the survey, 25 said they include Drawing units in their courses. One school explained that Drawing is not taught as a discrete unit, but incorporated into relevant Studio areas. At that institution the Painting Studio agreed to respond to the student Drawing questionnaire.
Number of Art Schools with Internationalised Drawing Curricula
The following data have been taken from the section relating to Drawing in Questionnaire 1, which was sent to Heads of Schools at these institutions.
Q3 Have you reconsidered or changed the curriculum content due to the enrolment of Asian students in Drawing?
Out of the 25 schools that answered this question, seven schools (28%) indicated that they had altered their curriculum content in Drawing due to the enrolment of Asian students. Eighteen schools (72%) answered ‘no’. However, as one of the latter schools mentioned a long-standing incorporation of Asian art reference, slide, technical and background philosophical information in the curriculum, only 17 schools (68%) have no non-Western content in their Drawing programs.
Among the negative responses, two schools explained that the negotiable aspects of the course allowed for acknowledgment of cultural differences. However, the comments imply that these options are only available to non-Western students.
Figure 3.1: Art Schools which have Changed their Drawing Curriculum Content
Number of Art Schools about to Change or Expressing a Wish to Change their Drawing Curricula
Of the 25 schools answered Question 3 in Questionnaire 1, two (8%) mentioned in the comments section that they would make further modifications to their curricula in specific instances if and where the need arose.
Number of Art Schools with Studio Programs
Of the 27 schools which returned questionnaires, 25 said they include Studio units in their courses.
The following data have been taken from the section relating to Studio in Questionnaire 1.
Number of Art Schools with Internationalised Studio Curricula
Q3 [contd] Have you reconsidered or changed the curriculum content due to the enrolment of Asian students in Studio?
Of the 24 schools answering this question, 12 schools (50%) answered ‘yes’, 11 (44%) said ‘no’, and one school answered ‘yes and no’. The ambivalent respondent makes it clear in the accompanying comments that adaptations to the curriculum are only made for students of a non-Western background.
Figure 3.2: Art Schools which have Changed their Studio Curriculum Content
Number of Art Schools about to Change or Expressing a Wish to Change their Studio Curricula
Of the 24 schools answering the Studio question, none mentioned in the comments section that it would make further modifications to its curricula. This suggests a general belief that either the issue of internationalisation has already been adequately addressed or that such curriculum development is unwarranted.
Implications and Issues Identified (Drawing and Studio)
An examination of the issues identified in the accompanying comments made by the respondents to this section of the questionnaire reveal a variety of interpretations of what is meant by non-Western or Asian content. For example, one respondent mentions offering a comparative culture/religion element and placing work in a historical context. Another sets projects in a way which facilitates exchange of ideas in relation to cultural difference. Yet another respondent mentions that discussion of culturally related conceptual strategies are encouraged.
Certain schools demonstrate a commitment to expanding their curricula for the benefit of all students, for example one school claims to have long included reference to Asian art in the form of Drawing method, media and technique, while others are clearly offering special consideration to particular groups. One respondent notes that special units have been developed for Aboriginal students for cultural reasons and that similar arrangements would be made for Asian students if the need arose.
The comments reveal three significant rationales for modifying curricula and four distinct strategies for implementation of changes are identified. Resourcing also emerges as a significant issue.
The strategies employed for the implementation of changes are pedagogical in character and will be examined in depth in Chapter 4 of this report.
Three types of rationale are observable in the accompanying comments to Question 3:
The viability of any curriculum change is dependent on the availability of appropriate resources. In referring to resources several issues are drawn out.
No respondent refers to the spectrum of these issues, or the range of potential approaches which the survey reveals, yet each merits some degree of further consideration. All of the following issues would be worthy of inclusion in the process of a curriculum review.
Recommendation 7:
That cultural awareness training be made available to teaching staff to develop sensitivity to the cultural differences of students from diverse backgrounds.
Recommendation 8:
That schools initiate and continually develop visual and other resources that include Asian and non-Western material.
Recommendation 9:
That consideration of rationales for curriculum development should include the issues of cultural sensitivity, conservation of cultural diversity, and intercultural understanding.
Two discrete groups of students, Asian students (who responded to Questionnaire 4) and Australian students (who responded to Questionnaire 5) were surveyed to discern their perception of the degree of non-Western and Asian content in their Drawing units. An additional group, Australian students from an Asian background was identified by several schools. These students responded to Questionnaire 5, Australian Students—Drawing, identifying themselves as being from an Asian background. Each group was also questioned about its attitude to Asian content, as part of its curricula.
Australian Students
Students were asked about the non-Western content of their Drawing program:
Q1 Does the Drawing part of your study include non-Western content?
Of the 152 Australian students, only three did not complete this question. Fifty-three students (35%) answered ‘yes’, and 96 (63%) said ‘no’.
Given the very high response rate, the 63 per cent negative response suggests that there is a very large group of Australian art students with low awareness of contemporary trends in art which happen to be non-Eurocentric.
Students were then asked the following questions:
If so, please estimate what percentage is non-Western content.
If so, please estimate what percentage is Asian content.
Of the 53 students who said that there was non-Western content, 40 (76%) estimated the this content at below 25 per cent of the program. Fifty-two students (98%) indicated that the Asian content was also below 25 per cent.
The high not completed rate to this section of Question 1 may be because of the difficulty of making such an estimate or that, if non-Western content is being included in their courses, it is being done in a way which is making little impression.
Question 2 asked students if Asian content should be included in the Drawing program in Australian art schools:
Q2 Do you think Drawing units with Asian content should be included in an Australian art school?
Of the 152 students who completed this questionnaire, 113 (74%) said ‘yes’, 13 per cent said ‘no’, 7 per cent were unsure, and 6 per cent did not complete the question.
The high level of positive responses would suggest that curriculum initiatives to include more Asian content in the curriculum would see only a low level of resistance from students. The additional comments made to this question confirm this very positive response. Sixty-nine respondents make specific reference to the benefits of intercultural communication through the arts.
Q3 Would you like to have more Asian content in your Drawing units?
In answer to this question, 74 students (49%) said ‘yes’ and 37 per cent said ‘no’.
There is a deviation from the previous response here. However, some of the additional comments suggest this might be a reflection of anxiety that inclusion of Asian material would be in addition to existing content.
Question 3 goes on to ask:
What Asian topics would you like included in your Drawing units?
The responses fall into a number of categories, for example:
Interestingly, only one respondent mentions a desire for knowledge about contemporary cultural issues. This is in contrast with expressed interest by both Australian and Asian students in Contemporary Art History and Theory.
Issues Identified by Australian and Asian Students in their Perceptions of Drawing Units
A comparison between the claims of lecturers including Asian and non-Western material in course units and those of students’ awareness of this material shows a strong correlation. Evidently 28 per cent of schools now include this material in Drawing units, a fact which 35 per cent of students acknowledge. The additional comments reveal that the rationales for including such material, the manner of delivery, its content and particular students targeted for this information varies from school to school.
However, a clear trend towards the inclusion of non-Western and Asian material in curricula material can be discerned. It is also apparent that this trend is appreciated by students, 74 per cent of whom say they believe that Asian material should be included in an Australian art school.
Examples of some of these positive comments include the following:
However, the question of defining an Asian identity arises often. This issue has been raised at almost every stage of this study and probably would be a useful a starting point to the development of any curriculum development which addresses Asia.
The data suggest a positive correlation between attitudes to non-Western and Asian contact and previous exposure. Non-Western and Asian material in the curricula appears to have whetted the appetite for more information. Negative and indifferent responses to the questions regarding the necessity to include more non-Western and Asian material are more often observable where both students and lecturers report low exposure to this material.
Recommendation 10:
That the question of defining an Asian identity be used as a starting point to curriculum development which addresses Asia.
Recommendation 11:
That schools recognise the benefits which accrue from intercultural communication and develop appropriate material for their inclusion in their Drawing programs.
Recommendation 12:
That where schools already include such material, they should adopt a policy of regular revision of that material.
Recommendation 13:
That in pursuing the above recommendation care should be taken not to overload existing programs with new material.
Australian Students from an Asian Background
The total number of respondents in this student category was only four, but their response rate to the questions was reasonable.
Two students said that their Drawing course did include non-Western content, but that this content occupied less than 25 per cent of the program.
Three students agreed that Asian content should be included in an Australian art school Drawing program and said that they would like to have more Asian content. The remaining student said ‘no’ to both questions.
This group generally considers Asian and other non-Western material worthy of inclusion in their courses. They observe a low percentage of this material in their current course and would like more.
Asian Students
A total of 21 students completed Questionnaire 4 (Asian Students: Drawing).
The design of this questionnaire is different from Questionnaire 5, in that it seeks evidence of prior participation in formal Drawing classes in their home country and asks respondents to draw comparisons between their current and previous learning experiences. It asked whether they noticed their Asian heritage influencing their learning and if they had observed changes being made to their Drawing courses in order to accommodate their specific needs.
Questions which address curriculum issues are dealt with in this chapter.
Q1 Have you attended art school in your own country before coming to Australia?
Eight students (38%) answered ‘yes’ to this question, the remainder answering ‘no’.
Q2 Have you ever attended regular Drawing classes in Australia?
Once again, eight students (38%) answered ‘yes’ to this question, and the remainder said ‘no’22.
Questions 1 and 2 are intended to inform the following questions which have elicited responses which can be categorised as either pedagogical or curriculum issues. The curriculum related responses are examined here.
The students were then asked to list the positive aspects of the Drawing classes they have attended in Australia. Three clear themes emerge from their responses:
The last two comments indicate that the curriculum is perceived as flexible and negotiable.
The responses to the next question, which asked students to list the negative aspects of their Australian Drawing classes, all pertain to pedagogical issues and these will be examined in Chapter 4.
The very high ‘not completed’ rate for this part of the questionnaire means that inferences drawn from the data must be inconclusive23. The additional comments, although sparse, are a richer source of information.
Q3 Are the Drawing classes you attend in Australia different from those you attended in Asia?
Of the 10 students who completed this question, eight (80%) answered ‘yes’. Two students (20%) said ‘no’.
The additional comments indicate that Australian schools are compared favourably with those in Asia. The reported Australian experiences are of open-ended classes in which students are allowed more personal choice and more freedom. One student mentioned that in Asia students are expected to follow their teachers’ ideas.
Q4 Do you observe different artistic values being used in the teaching and assessment of Drawing in Australia?
Of the eight students who completed this question, opinion was evenly divided, with four students (50%) answering ‘yes’ and the same number for ‘no’.
One student commented that the very high student-to-teacher ratio at his/her Asian school meant that only very superficial feedback was given. A former Singaporean student noted the emphasis on skill acquisition and traditional mastery of media at his/her previous school, while another noted the relative freedom of Australian Drawing classes.
Q7 Can you identify elements in your own work that you consider to be distinctly Asian?
Ten students answered this question, of whom four (40%) said ‘yes’ and six (60%) said ‘no’. Very few respondents attempted to describe Asian elements. Two mentioned their conceptual processes and another mentioned a preference for traditional Asian Drawing media.
Q13 Have you observed any changes being made to your Drawing course in its content or its structure in response to your needs or those of other Asian students?
Of the eleven students completing this question, seven (64%) said ‘yes’ and four (36%) said ‘no’.
The comments here suggest that this question may have been misunderstood. Two imply that they are given more freedom than their Australian peers and another that his/her teacher shows preference for his/her style. However, the brevity of the replies leave them too open to interpretation to draw a reliable conclusion.
Implications and Recommendations Identified (Asian Students)
The additional comments to this questionnaire reveal that, overall, participation in Drawing classes in Australia is a positive experience. The liberal approach to technique and viewpoint or style is commented on as well as the individualised teaching methods of Australian Drawing teachers. Several students mentioned the
availability of life drawing in a positive light. Generally Drawing classes in Australia are seen as open ended and non-prescriptive while experiences mentioned of Asian schools suggest a lack of feedback and an emphasis on skill acquisition.
Given the generally poor image of Drawing classes in Asia conveyed by these students these schools may have little to recommend to Australian schools. However, the paucity of information generated by this particular questionnaire makes it difficult to formulate arguments or recommendations which can be substantiated by empirical evidence.
Conclusions and Recommendations
The results from Questionnaire 1 indicate that 17 (68%) out of 25 Australian art schools have not included Asian material in their Drawing programs and, furthermore, only eight per cent mentioned in their comments section that they would make further modifications to their curricula. This indicates a general belief that either the issue of internationalisation has already been adequately addressed or that such curriculum development is unwarranted.
Where students have attempted to estimate the percentage of non-Western and Asian content in their curricula, the data suggest that there is a very large group of Australian art students with low awareness of contemporary trends in art which happen to be non-Eurocentric. Alternatively, where non-Western and Asian content is being included in courses it is being done in a way which is making little impression.
On the other hand, the quality of responses to questions relating to whether students would like Asian and non-Western material included in their Drawing curricula suggest that curriculum development in this area would be widely appreciated.
The survey reveals a range of potential approaches to the development of an internationalised curriculum and it is clear that the viability of any curriculum change is dependent on the availability of appropriate resources.
The additional comments reveal that the rationales for including non-Western material, the manner of delivery, its content and particular students targeted for this information varies from school to school.
However, a clear trend towards the inclusion of such material in curricula can be discerned. It is also apparent that this trend is appreciated by students, many of whom would like to see an expansion of this development.
The question of defining an Asian identity arises often. This issue has been raised at almost every stage of this study and probably would be a useful starting point to the development of any curriculum initiatives which address Asia.