Wenxiao Zhang

Rural school aesthetic education cannot be improved sustainably by adding isolated performances, displays, or short-term visiting lessons. It requires a practical system that helps students perceive, interpret, create with, and care for the places in which they live. This article develops a place-identity-driven pathway for sustained aesthetic-education immersion. The proposed system contains seven connected actions: conduct ethical inquiry into local cultural and ecological resources; convert selected resources into coherent arts curricula; establish recurring learning across school time and space; use inquiry, embodiment, dialogue, creation, and public sharing; develop teachers through situated co-learning; establish school-family-community co-governance; and evaluate learning, identity, equity, and continuity. Digital materials are managed through provenance records, separate permissions, access levels, and offline alternatives. Implementation proceeds from preparation and a limited pilot to institutionalization, allowing schools with different capacities to begin with a manageable unit and expand only after teaching time, cultural consent, teacher support, and equitable participation are secured. The pathway is designed for adaptation across diverse rural school contexts. Its transferable value lies in the working procedures rather than in copying a fixed set of local cultural symbols.

Place identity; Rural schools; Aesthetic education; China

[1] General Office of the CPC Central Committee,&General Office of the State Council.(2020,October 15).Opinions on comprehensively strengthening and improving school aesthetic education in the new era.https://www.gov.cn/zhengce/2020-10/15/content_5551609.htm. [2] Gruenewald,D.A.(2003).The best of both worlds:A critical pedagogy of place.Educational Researcher,32(4),3–12. [3] Ministry of Education of the People's Republic of China.(2022,March 25).Compulsory education curriculum plan and curriculum standards(2022 edition).https://www.moe.gov.cn/srcsite/A26/s8001/202204/t20220420_619921.html. [4] Ministry of Education of the People's Republic of China.(2023,December 22).Notice on comprehensively implementing the school aesthetic education immersion action(Jiao Ti Yi[2023]No.5).https://www.moe.gov.cn/srcsite/A17/moe_794/moe_628/202401/t20240102_1097467.html. [5] Peppler,K.,Davis-Soylu,H.J.,&Dahn,M.(2023).Artifact-oriented learning:A theoretical review of the impact of the arts on learning.Arts Education Policy Review,124(1),61–77. [6] Proshansky,H.M.,Fabian,A.K.,&Kaminoff,R.(1983).Place-identity:Physical world socialization of the self.Journal of Environmental Psychology,3(1),57–83. [7] Scannell,L.,&Gifford,R.(2010).Defining place attachment:A tripartite organizing framework.Journal of Environmental Psychology,30(1),1–10. [8] Schneider,V.,&Rohmann,A.(2021).Arts in education:A systematic review of competency outcomes in quasi-experimental and experimental studies.Frontiers in Psychology,12,Article 623935. [9] Sobel,D.(2013).Place-based education:Connecting classrooms and communities(2nd ed.).Orion Society.ISBN 978-1-935713-05-0. [10] UNESCO.(2024).UNESCO framework for culture and arts education.https://www.unesco.org/sites/default/files/medias/fichiers/2024/02/WCCAE_UNESCO%20Framework_EN_0.pdf.

点击下载PDF