Folkert Haanstra

• Amsterdam University of the Arts

Designing Creative Programmes Wicked Arts Education helps you to design exciting arts educational programmes from scratch. These arts programmes make a meaningful connection between the culture of the student, the arts, and society. We have tested our arts educational design strategies around the world and found that they challenge arts educators...

Periodic national assessments are meant to inform the public and policymakers about the changes in what education offers and the changes in educational learning outcomes which have occurred through the years. We describe the design and outcomes of the Dutch assessments since the 1990s. The Netherlands does not have a mandatory national curriculum a...

Onder regie van de Inspectie van het Onderwijs worden periodieke onderzoeken uitgevoerd naar de inhoud, kwaliteit en het niveau van een bepaald leergebied. Deze onderwijspeilingen richten zich op groep 8 van het primair onderwijs (po). Het gaat daarbij om twee vragen: welke kennis en vaardigheden hebben leerlingen op het onderzochte gebied en hoe z...

A tool for self assessment in secondary art education was developed and tested. The tool includes rubrics for assessing production and reception activities in art education and consists of visual and text rubrics. The criteria in the rubrics are based on the Common European Framework of Reference for Visual Literacy which was developed by The Europ...

The European Network for Visual Literacy (ENViL) developed the idea of a common framework for visual competencies based on the Common European Framework of Reference for Languages, and has created a prototype of such a framework. This framework acts as a model that systematizes and structures competencies for dealing with images, objects, and signs...

What competences in visual literacy should students and European citizens in general master to be able to participate in contemporary society? This central question was addressed by the European Network of Visual Literacy (ENViL). This international community of experts developed a structure of sixteen subcompetences: the Common European Framework...

This paper presents the results of a review study on assessment instruments and assessment criteria in arts education (dance, visual art, music and theater) for primary and secondary education. The research question is: What assessment instruments for arts education in primary and secondary education are described in the literature between 2000 and...

Teachers in primary education with different levels of art expertise (general teachers and artist teachers) judged a collection of drawings produced by people from different age and expertise groups (5, 8, 11 and 14-year-old children, and adult artists and non-artists). Five assessment criteria were used, namely expression, technical quality, pleas...

Student groups with different levels of art expertise (art students and psychology students) judged a collection of drawings produced by people from different age and expertise groups (5-, 8-, 11-, and 14-year-old children, and adult artists and non-artists). Three assessment criteria were used, namely “interestingness,” “pleasingness,” and “overal...

The U-curve model of graphic development posits a decline in aesthetic production in middle childhood. This theoretical model has been criticized for having an underlying western and modernist bias and a number of empirical studies have tried to confirm or disprove its assumptions. This study is a partial replication of previous research that was d...

The U-curve model of graphic development posits a decline in aesthetic production in middle childhood. This theoretical model has been criticized for having an underlying western and modernist bias, and a number of empirical studies have tried to confirm or disprove its assumptions. This study is a partial replication of previous research that was...

The U-curve model of graphic development posits a decline in aesthetic production in middle childhood. This model has been criticized as reflecting a preference for the modernist style in Western art, and a number of studies have tried to confirm or disprove its assumptions. This study is a partial replication of previous research in this field. To...

This article deals with the forms and contents of self-initiated art works: the kind of learning that takes place in the production of self-initiated art works as well as the relationships with school art. We interviewed 52 Dutch students (aged between 10 and 14) from different schools of primary and secondary education, and their art teachers. The...

In 1999, the arts course CKV1 (in Dutch) was introduced at middle and higher levels of secondary education in the Netherlands. CKV1, which can be translated as ‘Cultural and Artistic Education’, aims to encourage cultural participation among adolescents by compelling them to attend theatre performances, concerts, museums, exhibitions, etc. This art...

What makes a good art lesson and what does it take to teach art well? These were the central questions we posed to art teachers and students in secondary schools in Amsterdam. The three main areas of competency the literature about teacherstudent interaction has identified are subject-matter knowledge, didactics and pedagogy. The teachers we interv...

Through audience surveys much is known about visitors’ characteristics, but still little is known about how visitors perceive and experience the museum and how this influences their learning. This chapter presents the results of two empirical studies on personal learning experiences of museum visitors. Quantitative and qualitative instruments are u...

This paper reports on the effects of art education in secondary schools on the cultural participation of Dutch students 10–20 years after leaving school. We draw our conclusion from a sample survey among 1034 students from 31 schools, half of whom took art as a subject of examination. Art examination subjects were more often chosen by students who...

In The Netherlands a new compulsory programme, Arts and Cultural Education, has been implemented since 1998 in order to stimulate the cultural interest and the cultural activities of young people. Attending cultural activities is at the core of this programme and these activities should be of ‘generally accepted quality’. A research project by Utre...

Dans les Pays-bas, l'éducation primaire et secondaire utiliser depuis longtemps des projets artistiques en complément des programmes ordinaires. Ces projets comprennent habituellement une visite au musée, au théâtre ou un concert ainsi que des leçons préparatoires àl'école, généralement enseignées par des enseignants non spécialistes. Dans les proj...

In The Netherlands discussions of the role of arts education in relation to academic achievement take place on all school levels. In elementary education the effectiveness of special arts programs such as the extended school day is questioned. In secondary education the question has been raised whether choosing arts as an examination subject is det...

The philosophy behind the creativity centers in The Netherlands has been shifting between a focus on the intrinsic values of art itself and the instrumental use of art for developmental and social purposes.

Perceptual learning has long been an important goal of art education. Empirical findings on this issue are distributed over individual studies and narrative reviews. This review uses statistical procedures (so-called meta-analyses) to integrate the research on the effects of art education on both visual-spatial ability and aesthetic perception. A l...

Art education in The Netherlands, which had been dominated by an expressive approach that emphasized creative self-expression, has recently changed its emphasis to reflect a discipline-based approach and the wish for more accountability in art instruction. Final examinations have been produced for secondary art classes, with the testing of art prod...

The research question can be formulated as follows: To what extent have effects of art education on visual-spatial ability and on aesthetic perception been empirically demonstrated?

Kunstzinnige vorming (een verzamelterm voor beeldende vakken, muzoek, dramatische vorming, dans, etc.) is in de loop der jaren op zeer uiteenlopende manieren gelegitimeerd. Hierbij kan onderscheid gemaakt worden tussen legitimering op grond van buiten de kunsten gelegen, instrumentele doelen van de kanstzinnige vorming (bijvoorbeeld het bevorderen...

Joint conference of the ESA Research Network for the Sociology of Culture & the Culture Policy Research Centre �Re-Creatief Vlaanderen�

International InSEA Congress �Interdisciplinary Dialogues in Arts Education�

21st Century UNESCO World Conference on Arts � Building Creative Capacities for the Education'