[지역 취재보도 부문_제167회 이달의 방송기자상] 수십조 원 사업이 ‘동네 구멍가게’처럼 진행되고 있다! : <수조 원대 그린 스마트 미래학교불공정 의혹 연속보도> 2022년 8월 30일~9월 2일 보도 KBS대구 안혜리, 신상응 기자

안혜리 (사)방송기자연합회 2022 방송기자 Vol.69 No.-

건강도시를 만들기 위한 공동체 중심 미술교육

안혜리 한국조형교육학회 2016 한국조형교육학회 학술대회지 Vol.2016 No.-

공동체의 필요와 유익을 위해 미술을 활용한다는 개념은 인류가 지구상에 거주하는 동 안 지속적으로 존재해온 개념이다. 멀리는 선사시대 동굴벽화부터, 가깝게는 사회적 행동 주의 미술(social activist art)까지 공동체와 미술을 연계하고자 한 구체적인 시도들은 일일 이 열거하기 어려울 만큼 많고, 그 유형도 다양하다. 최근 미술교육 분야에서도 공동체를 기반으로 하여 공동체의 삶의 질을 향상하고 사회 변혁을 창출하는 것을 목표로 하는 미 술교육에 대한 논의가 활발하게 전개되고 있다.

미국의 최근 사례로 본 인터넷을 활용한 미술교육

안혜리 한국조형교육학회 2002 造形敎育 Vol.0 No.20

We live in an era at a society of information where knowledge and information are constantly being generated, exchanged, and shared among users through the medium of electronic technology. In particular, the fast and broad communication through the Internet and World Wide Web has been expanded with the development of multimedia technology. The common use of the Internet has brought many potential benefits in our contemporary society including the field of art education. Art and art education-related Web sites have dramatically increased since the mid 19908. It has greatly affected art educators and art teachers' interest in the Internet and its role in art education. Art teachers around the world have actively incorporated the Internet into art curricula. Korea is no exception. Under a new vision of "information-oriented education" for the 21st century, Korean art teachers have been showing their interest in adapting the Internet to their art lessons. Using the Internet, art teachers attempt to retrieve art information, publish Web pages for displaying their student art works and exchange lesson plans and ideas. Under such environment, it is timely to do research and discuss important issues related to the use of the Internet as a tool for art education. This study will examine the Internet-based art education in the United States because the country has actively attempted to build a positive environment for educational technology and it can give us a new perspective on the Internet-based art education. The purposes of this paper are as follows: 1) to examine the rationale for the use of the Internet in art education; 2) to discuss the role of the Internet in art education and 3) to present the current situation of Internet use in art education. The rationale for the Internet in art education can be found in social and cultural changes brought by our society that has been changing from industrial society to information society. In this changing society, it is impo

예비교사의 ‘미술 멘토링’ 경험에 관한 질적 연구: 멘토의 인식을 중심으로

안혜리,정윤희 한국조형교육학회 2013 造形敎育 Vol.0 No.46

Recently, mentoring programs have been flourishing in various fields such as industry management, social welfare, and education in Korea. Mentoring refers to what an experienced and trusted adviser advises or trains a younger colleague. Mentoring also has been actively used in teacher education system. Howerever,there has been no study on the connection of art mentoring to Korean teacher education. This study has examined art mentoring experiences of perservice art teachers focusing on mentors' perceptions. The purpose of the study is to find implications for future teacher education program by connecting preservice art teachers' educational service activities and art mentoring program. We interviewed seven preservice art teachers who are enrolled in a graduate program in art education, and participated in art mentoring program in an elementray school in Seoul. Using a qualitative research method such as open coding, we obtained the following results: Firstly, the preservice art teachers who participated in educational service acitivities as art mentor perceived that there has been differerence between art mentoring and art classes in terms of mentor-mentee relationship; Secondly, the preservice art teachers perceived that art mentoring enhance perservice art teachers’teaching aptitude and abilities including empathy and patience towards students,acceptance of student-centered art education. Thirdly, the preservice art teachers perceived that art mentoring can increase art mentors' self-effecacy and art mentees' self-esteem. The results has implication for integrating art mentoring into teacher education program for preservice art teachers.

왈슈의 모델에 기초한 비서구 미술비평에 대한 고찰

안혜리 한국조형교육학회 1998 造形敎育 Vol.0 No.14

The purpose of this paper is to examine pedagogical methods of art criticism for non-Western art by exploring the historical development and current status of teaching art criticism in the United States. In this paper several pedagogical art criticism formats are reviewed: Feldman(1973), Broudy(1988), Mittler(1980), Hamblen(1984), Lankford(1984), Anderson(1993), and Fehr(1994), Because current methods of art criticism focus more on pluralistic or multicultural approaches, external cues such as historic and contextual information is broadly emphasized and evaluated in this paper. Walsh’s ten-step DBAE model is used for art criticism of non-Western art. This model encourages students to study non-Western art by searching both internal and external cues. This paper also shows how each step of Waish’s model can be applied to Korean folk paintings, hwacho (Bird and Flowers) screens.

미술교육과 봉사학습의 연계 가능성

안혜리 한국조형교육학회 2011 造形敎育 Vol.0 No.41

This paper examines the possibility of connecting art education to service-learning from the perspective of community-based art education. The advantage of service-learning is that it allows students to apply curriculum content to real-life problems and subjects in a specific context of their community. The service-learning also allows students to experience service activities in a systematic curriculum framework. The service-learning is distinguished from other service activities for it has two essential components: one is self-reflection and the other is reciprocity. Self-reflection makes our service activities more meaningful. Reciprocity enhances the interaction between the service-givers and service-receivers. By combining service-learning with art content, students can connect theory to practice, while expanding their personal interest towards social issues. The combination of service-learning and art education will be attuned to community-based art education, whose purpose is to support art education as social engagement and to increase civic consciousness and citizenship skills. The study also has examined several service-learning cases in the U.S. and Korea. Most American arts-based service-learning can be found in art education courses in higher education. They are usually based on the partnership between the universities and public schools, museums, galleries, or service organizations in the community. However, its Korean counterpart is currently at the beginning stage. To develop service-learning in art education, we need to develop the partnership mentioned above, to find the needs of the community as well as service-receivers.

텔레비전 프로그램을 통한 미술 대중화: 국내 사례를 중심으로

안혜리 미술사학연구회 2016 美術史學報 Vol.- No.47

In Western modern history, art education in public schools and art museums was the driving force of the popularization of art, and the development of photo technology that allowed image duplication greatly contributed to the popularization of art through art education. In contrast, interest in the popularization of art in Korea was expressed by artists in relation to the Proletarian Arts Movement, but these artists also emphasized the development of art knowledge and art appreciation. In both Korean and Western cases, the relationship between art popularization has been inseparable from art education with a focus on the educational aspect. In a similar context, the study has examined potentialities of television broadcasting as today’s educational medium for popularization of art. It has also reviewed the schedule and duration, the contents and forms of domestic television art programs. Finally, the study analysed the problems of television art programs and suggested three tasks in terms of popularization of art. Firstly, more television art programs should be scheduled and quality programs should be allotted to the prime time in order to increase people’s right of choice and accessibility. Secondly, the roles of television as an art teaching medium should be revisited. The television art programs with unilateral information delivery should be abandoned, while the programs with reflective thinking for visual culture environment should be developed. Thirdly, television art programs should include topics to embrace audience with diverse background or multitude. 서구 근대사에 있어서 미술 대중화의 견인차 역할을 했던 것은 공립학교와 미술관에서의 미술교육이었고, 이미지 복제를 가능케 한 사진영상 기술은 미술교육을 통한 미술 대중화에 큰 기여를 하였다. 반면, 국내에서의 미술 대중화에 대한 관심은 프롤레타리아 예술운동과의 관련성 속에서 미술가들에 의해 표출되었으며, 이들도 미술지식과 감상안 육성을 강조하였다. 국내외 사례 모두 교육적 측면을 강조하였다는 점에서 미술 대중화와 미술교육은 불가분의 관계였다. 그와 비슷한 맥락에서 본 연구는 오늘날 미술 대중화를 위한 교육매체로서 텔레비전 방송의 잠재력을 확인하였고, 국내 텔레비전 미술 프로그램 사례의 편성 시간과 기간, 내용 구성과 형식을 분석하였다. 이를 통해 미술 대중화의 관점에서 텔레비전 미술 프로그램의 문제점을 분석해보고, 미술 대중화를 위해 다음과 같은 세 가지 과제를 제안하였다. 첫째, 프로그램의 편성 수를 늘리고 양질의 프로그램을 주시청시간대에 편성하도록 노력함으로써 미술 프로그램에 대한 대중의 선택권과 접근성을 높여야 한다. 둘째, 일방향의 정보 전달 방식에서 벗어나 미술교육 매체로서의 텔레비전의 역할에 대해 재고해야 하며, 시각문화 환경에 대한 반성적 사고를 키워주는 텔레비전 프로그램을 개발해야 한다. 셋째, ‘다중’으로서의 시청자의 다양한 특성과 배경을 고려하여 미술 프로그램의 주제를 발굴해야 한다.

생활 속의 미술로서 시각문화에 기초한 미술교육과정 및 수업모형에 관한 연구

안혜리 한국조형교육학회 2005 造形敎育 Vol.0 No.25

This study examines curriculum framework and lesson models for visual culture art education (VCAE) as art in life. First, this study examines various developing concepts of visual culture and VCAE as a new paradigm of 21st century art education. Also, this study presents characteristics and framework of VCAE curriculum based upon Freedman (2003)'s recent work. Finally, this study suggests a VCAE lesson model focusing on our personal, cultural identity shaped by visual culture such as objects in a memory house. Visual culture art education is a contemporary trend of art education in Western postmodern societies, where visual culture is currently a hot issue for academic exploration in various disciplines. Although visual culture is a global phenomenon for its great influences upon our daily life, part of art education world in Korea has expressed their concern about and fear of implementing VCAE. It appears that this is due to their misunderstanding or narrow interpretations of VCAE. Therefore, this paper provides answers of the following questions: 1) What is the concept of visual culture and what is relationship between art and visual culture from the perspective of postmodern art education? 2) What is rationale of VCAE? What are the aims and pedagogy of visual culture? What are different approaches to VCAE? 3) What are characteristics and framework of VCAE curriculum? 4) What is a model for art lessons based on VCAE? After examining these questions thoroughly, we should have richer understanding in embracing and adopting VCAE.

성장장애 한의표준임상진료지침 개발을 위한 한의사 인식조사

안혜리,심수보,이혜림,Ahn, Hye Ri,Sim, Soo bo,Lee, Hye Lim 대한한방소아과학회 2021 대한한방소아과학회지 Vol.35 No.4

Objectives The purpose of this study is to provide data for development of the korean medicine (KM) clinical practice guidelines (CPG) for growth disorder (GD) by identifying the awareness and knowledge needs of KM doctors (KMD) through online survey. Methods Survey questionnaire was produced by referring to the previous recognition survey studies for clinical KMDs. The survey questionnaire was composed 18 questions regarding the current status of clinical care for GD, clinician's knowledge level about GD, and other details that clinicians use during practice. The survey was conducted from January 2021 to March 2021. An online survey was conducted on 101 KMDs from the association of pediatrics of KM. Results According to the survey, 96 respondents (40.3%) said the causation of GD without growth hormone deficiency needs to be included in CPG. 96 (23.5%) of the respondents wishes to utilize percentile in diagnosis and evaluation of the growth assessment. 24.7% of the clinicians were using the herbal medicine treatment. Currently, when treating with KM for GD, herbal medicine (100%) is the most widely used, followed by acupuncture (77.6%), and moxibustion (36.7%). In terms of a complex treatment, growth therapy efficacy (26.8%) is shown to be the most important factor to consider and needed to be included in CPG for the complex treatment, and diet (22.3%) is also considered to be important in GD. Conclusions In this study, we were able to understand the clinical KMDs' perception of GD, knowledge level, and the requirements in the CPG. The results of this study will provide the basic data for development of CPG for GD.

미술대학의 미술사 교육에서 이론과 제작의 통합에 관한 탐색

안혜리 한국조형교육학회 2014 造形敎育 Vol.0 No.51

This study has examined the art history education at art college in terms of integrating theories and production. The researcher has implemented ‘art history research projects’ in ‘Theories of Modern Art I & II’ Courses for art majored students during four semesters from 2011 through 2014 at a university in Seoul, Korea. The research has begun with the following questions: Can art college students present their knowledge of art movements and artists using their familiar mode of expression such as visual art forms? To answer to the question, the researcher have developed a series of Art History Research Projects which integrate theories and productions, and had her art college students participate in them. The art college students have researched certain art isms and movements with a focus of specific artists, and have collaboratively produced their own art works reflecting what they have learned from the art history courses. The open-ended questionnaire collected from art college students, students’ project reports, and their collaborative artworks were analyzed. This project has following educational outcomes: Firstly, the project has strengthened students’ interest in art history courses and given new experiences of them. Secondly, the project has provided insight of the possibilities of integrating theories and production in art history courses. Thirdly, the project enable students to learn deeper knowledge of art historical theories through the integration. Fourthly, the project has encouraged communications among art college students and understanding of characteristics of different majors. The outcomes of the research gives implications in developing art history courses in art colleges in terms of maintaining both student interests and deeper learning. 본 연구는 미대생을 대상으로 한 미술사 교육에서 미술사조와 작가들에 대한 지식을 미대생들에게 익숙한 표현 방법인 미술제작 활동을 통해 제시하게 할 수는 없을까라는 질문에서 출발하였다. 이러한 질문에 대한 답을 찾아보기 위해 연구자는 본인이 담당한 미술사 강의의수강생들을 대상으로 이론과 제작(실기)을 통합해보는 ‘미술사 연구 프로젝트’를 개발하고 실행하였다. 즉 ‘미술사 연구 프로젝트’를 중심으로 미술이론과 미술제작의 통합 가능성을 탐색하고, 그런 통합의 관점에서 각 프로젝트의 내용과 과정을 분석함으로써 그 교육적 성과와그것이 미술대학의 기존 미술사교육에 주는 시사점을 찾아보고자 하였다. 이 프로젝트의 교육적 성과는 다음과 같다. 첫째, 미술사 수업에 대한 흥미를 증진하고, 새로운 경험을 제공하였다. 둘째, 미술이론과 미술제작의 통합 가능성에 대한 새로운 인식을 제공하였다. 셋째, 미술제작과의 통합을 통해 미술이론에 대한 심화된 학습을 제공하였다. 넷째, 미술사 수업에서소그룹의 협업을 통해 미대생들 간의 소통이 활성화되고 타전공에 대한 이해도가 향상되었다. 이 프로젝트가 기존 미술사 수업에 주는 시사점은 다음과 같다. 미술대학에서 전공생을대상으로 한 미술사 교육은 제작(실기) 중심의 교육을 받는 학생들이 흥미를 느낄 수 있으면서도 미술이론에 대한 심도 있는 학습이 가능해야 해야 하며, 학습에 대한 평가에서도 미대생들에게 익숙한 학습 유형인 제작을 포함함으로써 학생 스스로 의미를 구성하고 성과를 인식할 수 있어야 한다.