High school art teaching paper: How to make high school art appreciation classes "alive" under the new curriculum reform

I remember that in the process of studying, I experienced many teachers' lectures to the whole class. Although the teacher was talking alone on the podium and was very excited, the students were all drowsy and seemed to be listening but not listening. After joining the work, I performed one-man shows for the students intentionally or unintentionally. The whole feeling was that the students had no expressions and I had no passion... Looking back, the main reason for these boring classes was that the teachers followed the script, the classroom atmosphere was boring, and there was no In the midst of laughter and laughter, the teacher just wants to impart every bit of knowledge from the book to the students, without taking into account the students' interest and enthusiasm for learning. The students' thinking and abilities are also slowly "dying" in their sleep. After the promulgation of the new curriculum standards, the teaching objectives of the trinity of knowledge and skills, processes and methods, emotions and attitudes and values ??were established. In order to better implement the new curriculum, promote quality education, and promote the all-round development of students, I have been working hard to make the art classroom come alive in high school art appreciation teaching. Through continuous exploration and bold reform practice, I have achieved certain results. Effect. The specific methods are: 1. Make the teaching materials come alive; in traditional classroom teaching, teachers often regard teaching materials as the only content for students to learn. Teachers lead students by the nose to learn the teaching materials, "drill" into the teaching materials, and even memorize the teaching materials. It is deified and absolute, and teaching becomes teaching. Taking the art appreciation book in the new high school curriculum as an example, the most time that can attract students' attention is before the end of the first art class. After the curiosity and novelty fade away, in the eyes of students, those outdated traditional paintings, ancient buildings with broken bricks and walls, ancient craftsmanship with broken bottles and jars, ancient sculptures with heads and arms missing, etc., are no longer attractive at all. Can't catch their eyeballs. If you only follow the textbook content, you can imagine the students' interest and the classroom effect will be self-evident. Therefore, I no longer interpret textbooks as a "Bible", nor am I a passive interpreter of textbook knowledge and a faithful executor of textbook content. In teaching, I broke the original structure of the teaching materials and tried to reorganize the teaching materials. They no longer followed the original age of the art works, classification of painting types, ancient and modern Chinese and foreign items, but the order of "thematic and comparative" items. Arrange teaching content in principle. Allow students to gain relevant knowledge through collaborative discussions with teachers on a certain topic and comparisons of various art works. For example, when teaching the lesson "Extracts from Ancient Chinese Paintings", I compiled the teaching content "The Most Expensive Chinese Painting": First of all, does anyone know which painting is the most expensive Chinese painting auctioned today? How much is it worth? Then I searched for this "Du Fu's Poetic Landscape Album" on the Internet. Through the research and discussion of these paintings, students can master the artistic traditional characteristics of Chinese landscape painting point by point, and take advantage of the situation to introduce the other two themes of Chinese painting, "Chinese Figure Painting" and "Chinese Flower and Bird Painting" and their characteristics; through the organization of " "Comparison of Chinese and Western Figure Painting" to teach European Renaissance painting; and "Crazy Painter - Van Gogh" to explain Western modern art, allowing students to understand the West by understanding Van Gogh's troubled life and his persistent pursuit of art. The origin, development and achievements of modern art. 2. Enliven students. (1) Pay attention to the diversity of teaching forms and innovation of means; in art classroom teaching, it is necessary to have certain teaching strategies, create rich teaching situations, stimulate students' learning motivation, cultivate students' interest in learning, and stand more on the students' side. angle to provide students with various conveniences. Dare to break the shackles of various thoughts and establish a relaxed and harmonious classroom atmosphere. For example, in the pre-class video for each class, I selected some interesting animations that students care about for students to enjoy, to satisfy students' appetites, and to let students understand the charm of this modern media art. You can also show some stories about painters, videos of paintings by famous artists, and clip-by-sequence movies about art, etc. to focus their interest and attention first. In the process of transferring knowledge, various forms of teaching methods must be creatively adopted. Such as auctions, lectures, simple painting competitions, etc. For example, when appreciating Western modern art works, I found the ten most expensive paintings in the world from the Internet, simulated an auction, and asked students in a certain row of seats to bid for the designated works one by one. During the process, the work and similar works were analyzed and appreciated, and finally the students whose bids were farthest from the actual auction prices were "punished" by performing on stage. In this way, students learn knowledge and the class atmosphere is relaxed and enjoyable. (2) Pay attention to stimulating students' original thinking ability and imagination; in art appreciation classes, I create a personalized space for students, do not teach one answer to all students, and do not cultivate different students Become the same student; rather, we value students’ individual characteristics and respect their unique inner feelings and spiritual world. I made it clear to the students that there is no single standard answer to every question in art class, and every work can be understood differently; do not imitate others or repeat other people's opinions, so that every student has the opportunity to express his opinions. His own unique voice proves his existence. For example: When appreciating modern Western abstract art works, in order to strengthen students' understanding of abstract art, I drew a circle on the blackboard and asked each student to tell what object he saw. Some students said it was the sun, some said it was the moon, some said it was a wheel, some said it was a bottle cap, some said it was a watermelon, some said it was a mooncake... The students' original thinking and imagination were fully developed. of play.

Students gradually realized that different people can have different personal understandings and feelings about works of art. In addition, when cultivating students' original thinking ability, I don't pay much attention to the correctness of students' thinking. Instead, I focus on originality and strive to protect students' enthusiasm for thinking. After all, students are still in the learning stage, with limited knowledge, lack of social practice experience and rich life experience. If too much emphasis is placed on the correctness of thinking, it will inevitably constrain the development of students' original thinking. Therefore, even if the student's thinking has obvious errors, as long as there is originality, I will encourage and even affirm it. For example, when I was appreciating the work "The Last Supper" with my classmates, I asked the students to design a sentence for each person based on their movements and expressions in the picture. This question arouses great interest among students, and everyone's design is different. One of the students said this: "Jesus spread his hands and said: 'Disciples, there will be no more bread in the future dinners.' Thadius asked the disciples: 'Does the master no longer want us?' Thomas stretched out his hand A finger said: 'Master, give me a piece of bread', and Philip said: 'Without bread, we will starve to death...'.

This dialogue design caused the whole class to burst into laughter. Although it was obviously inconsistent with the theme of the picture, every sentence was very consistent with the image on the picture.