臺灣國民教育之藝術教育實踐評估
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2012
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臺灣刻正施行中的國民教育之一般藝術教育現況，若思考還有什麼值得改善之處，應該以何種視角找出關鍵性因素，並尋求具體可行且符合教育目標規準之改進方法與策略，是本研究所關注焦點。
教育部1998年公布「國民教育九年一貫課程總綱綱要」，將音樂、視覺藝術、表演藝術三科目融合為「藝術與人文」領域，多數學者認為這是國民教育發展的重要里程碑，也是教學演變成另一種形態的轉捩點，更是一次教育根本價值和意義上的「派典轉移」（paradigm shift）。
研究者在此一關鍵時刻，正巧服務於教育部所屬國立臺灣藝術教育館，經歷各界對這重大轉變之討論，以及其施行結果之研究；期間並親身參與2002年國立花蓮教育大學對國民中小學藝術教育的普查、2005年全國藝術教育會議地區公聽會和總檢討會，和2009－2012年教育部藝術政策專家學者諮詢會議的「藝術教育會」。彙總過程中有關國民教育之一般藝術教育值得探究改善議題，廣泛包括法規、制度、行政組織層面、師資、課程、教材、設備資源等問題，甚至提出重新討論藝術教育目標之意見。
基於實用性原則與目的，本研究參採行政院研究發展考核委員會《2010台灣》書中有關政策管理概念結構圖之各項要素，作為評估和檢視上述藝教實務議題的考量重點，並當作提供對策主要參考架構，兼顧理論與實務可行性。
在論文中，將部份重心聚焦於國民教育之藝術教育目標上，並大篇幅引用理論論述審美活動，強調審美經驗與國民教育課綱基本理念之陶冶生活情趣、啟發創造潛能、健全人格發展的目的息息相關；因為真正的審美活動有歷程，感受因人而有深淺，受內在、外在諸多因素交互影響，它是如此豐富、精彩多變化，其結果：
一、不僅產生美感愉悅，陶冶生活情趣；
二、更涉及對世界的想像，啟發創造潛能；
三、最終紮紮實實影響生命，因為審美是完整人格的表現。
審美，除符合英國教育哲學家R S.Peters所提出「合價值性」(worthwhileness)、「合認知性」(cognitiveness)及「合自願性」(voluntariness) 之教育三規準外，並能達到國民教育課綱基本理念健全人格發展的最終目的。據此，最後分別針對直接影響藝術教育落實的相關法規與改進策略提出建議。
If we consider which areas may be improved in general art education in the current model for compulsory education in Taiwan, it is crucial to find appropriate areas from which we can begin to look for the key elements of improvement and from which will we find improvement strategies that are concrete, actionable, and that reach educational objectives. The objective of this study is aimed at this very problem. In 1998, the Ministry of Education (MoE) published the “General Guidelines of Grade 1-9 Curriculum of Elementary and Junior High School Education”, which integrated music, visual arts, and performance arts into one academic area—“Arts and Humanities.” Many scholars believed that this new set of guidelines was an important milestone in the development of compulsory education in Taiwan. It was also a crucial point where Taiwan’s compulsory education took on a new form. Furthermore, it was a paradigm shift in the core value and meaning of education. I just happened to be serving at the MoE affiliated National Taiwan Arts Education Center at this crucial point in time, where there was much discussion and research over a range of fields concerning the results of the important changes to the educational system. During this period I participated in the 2002 study on compulsory education in the arts for grades 1 to 9 performed by the National Hualien University of Education, regional public hearings and reviews at the 2005 National Arts Education Conference, and the MoE art-policy specialist advisory conferences held at the “Taiwan Art Education Association” from 2009 to 2012. In the process of these meetings, there were several topics worth discussing and researching in regard to Taiwan’s general art education model, to list a few of them generally: regulations, systems, administrative-level issues, educators, curriculum, and educational facilities and resources. There were even suggestions to begin new discussions of the objectives to be set in art education. Based in a practicable framework and set of objectives, this research paper will sift through each important element concerning policy management blueprints from the Research, Development, and Evaluation Commission’s “Taiwan 2010”; I will use these elements as an important point of reference while surveying and assessing the issues I raised above. I will also provide important reference structures, comparative theories, and feasible theories for counter strategies. Some of the focal areas of this thesis will be centered on the objectives set for national art education, and much of my argument will use theories describing arts appreciation events. I will especially stress the close relationship between aesthetic experiences and the basic concepts in the compulsory education curriculum in shaping the artistic interests of the public, realizing their creative potential, and fostering individual growth. Arts appreciation events have a specific history, are meaningful because of the people participating in them, and have internal and external elements that influence each other, thus they are rich cultural experiences and are full of variety, in turn these events: I. Sculpt an interest in the arts in addition to immediate aesthetic pleasure; II. Reach deep into the thoughts of the entire world and bring out creative potential; III. Influence life in a very real way since art appreciation is a representation of the entire character of the individual. Art appreciation not only satisfies the three educational standards as according to the British philosopher R.S. Peters—“worthwhileness,” “cognitiveness,” and “voluntariness,” it can also reach the ultimate objective of the basic concepts of the compulsory education curriculum, namely the full development of the individual. From this basis, I will then look at each influential regulation and improvement strategy in art education practice and raise my own suggestions.
If we consider which areas may be improved in general art education in the current model for compulsory education in Taiwan, it is crucial to find appropriate areas from which we can begin to look for the key elements of improvement and from which will we find improvement strategies that are concrete, actionable, and that reach educational objectives. The objective of this study is aimed at this very problem. In 1998, the Ministry of Education (MoE) published the “General Guidelines of Grade 1-9 Curriculum of Elementary and Junior High School Education”, which integrated music, visual arts, and performance arts into one academic area—“Arts and Humanities.” Many scholars believed that this new set of guidelines was an important milestone in the development of compulsory education in Taiwan. It was also a crucial point where Taiwan’s compulsory education took on a new form. Furthermore, it was a paradigm shift in the core value and meaning of education. I just happened to be serving at the MoE affiliated National Taiwan Arts Education Center at this crucial point in time, where there was much discussion and research over a range of fields concerning the results of the important changes to the educational system. During this period I participated in the 2002 study on compulsory education in the arts for grades 1 to 9 performed by the National Hualien University of Education, regional public hearings and reviews at the 2005 National Arts Education Conference, and the MoE art-policy specialist advisory conferences held at the “Taiwan Art Education Association” from 2009 to 2012. In the process of these meetings, there were several topics worth discussing and researching in regard to Taiwan’s general art education model, to list a few of them generally: regulations, systems, administrative-level issues, educators, curriculum, and educational facilities and resources. There were even suggestions to begin new discussions of the objectives to be set in art education. Based in a practicable framework and set of objectives, this research paper will sift through each important element concerning policy management blueprints from the Research, Development, and Evaluation Commission’s “Taiwan 2010”; I will use these elements as an important point of reference while surveying and assessing the issues I raised above. I will also provide important reference structures, comparative theories, and feasible theories for counter strategies. Some of the focal areas of this thesis will be centered on the objectives set for national art education, and much of my argument will use theories describing arts appreciation events. I will especially stress the close relationship between aesthetic experiences and the basic concepts in the compulsory education curriculum in shaping the artistic interests of the public, realizing their creative potential, and fostering individual growth. Arts appreciation events have a specific history, are meaningful because of the people participating in them, and have internal and external elements that influence each other, thus they are rich cultural experiences and are full of variety, in turn these events: I. Sculpt an interest in the arts in addition to immediate aesthetic pleasure; II. Reach deep into the thoughts of the entire world and bring out creative potential; III. Influence life in a very real way since art appreciation is a representation of the entire character of the individual. Art appreciation not only satisfies the three educational standards as according to the British philosopher R.S. Peters—“worthwhileness,” “cognitiveness,” and “voluntariness,” it can also reach the ultimate objective of the basic concepts of the compulsory education curriculum, namely the full development of the individual. From this basis, I will then look at each influential regulation and improvement strategy in art education practice and raise my own suggestions.
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Keywords
國民教育, 藝術教育, Compulsory Education, Art Educatio