Document Type : Original Article
Authors
1 PhD Student , Department of Curriculum Planning, Faculty of Psychology and Education, Kharazmi University, Tehran, Iran
2 Assistant Prof. Department of Curriculum Planning, Faculty of Psychology and Education, Kharazmi University, Tehran, Iran
3 Assistant Prof. Department of Visual Communication, Faculty of Architectural and Urban Engineering, Shahid Rajaee University, Tehran, Iran
Abstract
Highlights
-
Keywords
Main Subjects
Article Title [Persian]
Authors [Persian]
هدف این مطالعه بررسی مقایسه ای برنامه های درسی آموزش هنرهای تجسمی در استرالیا ، کانادا ، ایران و ایرلند بود. روش تحقیق مقایسه ای کیفی و واحد مشاهده و تحلیل در سطح کلان است. جامعه مورد مطالعه شامل همه کشورهای جهان و استراتژی های انتخاب کشورها استراتژی "نظام های مشابه ، برون داد آموزشی مشابه" (استرالیا ، کانادا ، ایرلند) و "نظام های متفاوت ، برون داد آموزشی متفاوت" (ایران) بود. یافته ها بر اساس رویکرد جورج بردی ارائه شد. یافته ها نشان داد که در ایران آموزش هنرهای تجسمی از سایر دروس مدرسه اهمیت کمتری دارد. همچنین ، محدودیت زمانی برای تدریس و کمبود فضای مخصوص برای برنامه درسی هنرهای تجسمی وجود دارد. با توجه به مولفه هدف ، یافته ها نشان می دهد که کشورهای منتخب به طور مشترک به مباحث زیبایی شناسی ، آشنایی با تاریخ و فرهنگ ، درک خلاقیت و طبیعت پرداخته اند. با توجه به مولفه محتوا ، همه کشورها به اهمیت خلاقیت و زیبایی شناسی اشاره کرده اند. همچنین استرالیا و کانادا در مقایسه با ایران و ایرلند در شناخت و استفاده از هنرهای بومی در آموزش هنرهای تجسمی موفق تر بوده اند. در مولفه استراتژی های تدریس ، همه کشورهای منتخب به نقش تسهیل گری معلم در آموزش هنر اشاره می کنند. نظام آموزشی کانادا در به کار گیری هنرمندان در جوار معلمان بر استرالیا ، ایران و ایرلند برتری دارد. از نظر مواد آموزشی و منابع ، هر چهار کشور بر اساس برنامه درسی ملی و راهنمای معلم منابع و محتوی آموزش را تعیین کرده اند. در مورد فعالیتهای آموزشی و یادگیری ، کانادا و استرالیا تمرکز ویژه ای بر آموزش هنرهای تجسمی مبتنی بر هنر مردم بومی دارند و در اجرای برنامه هنری نسبت به ایران و ایرلند انعطاف بیشتری از خود نشان داده اند. از نظر فضای آموزشی ، ایران در مقایسه با سه کشور دیگر در سطح پایین تری قرار دارد ، در حالی که ایرلند پیشرو است. از جنبه زمانی ، ایران زمان کمتری را در مقایسه با سایر کشورها به برنامه درسی هنر اختصاص داده است. با استفاده از مولفه ارزشیابی ، یافته ها نشان می دهد که استفاده از روشهای تشریحی- توصیفی و نمونه کار در همه کشورهای منتخب معمول است ، اگرچه در ایران هیچ برنامه رسمی برای ارزشیابی وجود ندارد. با توجه به یافته ها و به منظور توسعه جایگاه برنامه درسی هنرهای تجسمی در نظام آموزش و پرورش ایران ، توصیه می شود که آموزش هنر و مولفه های آن مورد توجه جدی سیاست گزاران آموزشی قرار گیرد.
Keywords [Persian]
Today, many educators consider art education to be important in strengthening individual and social skills; so that its role in the process of education is undeniable. Also, many proponents of open educational systems believe that art more than any human knowledge can contribute to indirect education of students (Children of World Research Institute, 2015). Art enhances students' progress by providing different ways of learning (Aprill, 2001). Cooper-Solomon's research (as cited in Richard, 2003: 20) found that if a school devoted 25 percent of its curriculum time to teaching art, students would find extraordinary scientific abilities. In fact, the word "art" has had various meanings over time. Visual art, which is one of the main branches of art, is referring to making and shaping materials. In other words, the "embodiment" of the artist's beliefs, imaginations, ideas and feelings by visible materials is main process of forming a visual work. For this reason, visual arts from the beginning affect human’s sense of sight (Gholizadeh et al., 2012). Before the nineteenth century, visual arts specifically referred to painting, design, sculpture, architecture and graphics, decorative arts and some handicrafts. Later, animation and illustration were added to it with invention of photography and cinema and development of graphic industry (Hosseini Rad, 2017).
Recent research shows important position of art curriculum in educational system of all countries. Fallah Tafti, Jafari Harandi & Tabatabai (2020) comparatively examined objectives of art curriculum in primary schools of Iran, Brazil, Greece and South Korea analyzing national upstream documents of education. Findings showed the most important difference among countries is in students’ participation in artistic experimentation, and special perspective about visual arts and the most important difference is considering art as a tool for intercultural exchange. Khosravi Mashizi, Soltani, & Alinejad (2019) through a comparative study of primary art curriculum in Iran and Canada, noticed the attention of both educational systems to indigenous culture and also found differences in matters such as content and employing art professionals with teachers in Canada. Relating to the assessment component, in Canada the emphasis is on improving learning and in Iran on ability of learner.
Firoozi, Seifi, Hosseini Mehr & Faghihi (2017) tried to identify and extract the gap between theory and practice in art education of first year of middle schools based on elements of Klein theory. Findings show that the first reason of gap can be explained through analysis of national and international resources. Kian and Mehr Mohammadi (2013) identified neglected dimensions of primary school art curriculum by analytical comparison between desired and actual model of art curriculum. Results indicated that optimal model of art curriculum is based on principles of formal and public education system’s upstream documents in Iran, but time devoted to teaching art and calligraphy in the school curriculum was neglected by teachers and principals.
A brief look at history of art education in Iran shows lack of support from educational policy makers in the field of art education so that from 1937 to 1994, the average hours of art lessons in different grades of primary school decreased to 3.9 and from this year to 2004 to 1.7. At present in Iranian primary schools, in Grades 1 and 2, art classes are 2 hours per week, and in Grade 3 it is common with science and in Grades 4 and 5 (jointly with social studies), on average, 5 1 hour and in Grade 6, one hour per week, which shows a significant decline in art education position in school curricula. In addition, until 1994, for the fourth and fifth grades, a special book was published for art lessons, the content of which included items such as painting, handicrafts and calligraphy, but from 1995, this textbook was removed from the curriculum. In the resolution of the 647 session of Supreme Council of Education in 2000, a program was developed to revive art lessons in schools, the result of which was production of "Art Curriculum Guide". The objectives of this program included emphasizing the increase of students' knowledge, attitude and artistic skills and its content included items such as handicrafts, paintings, stories, plays, familiarity with artistic disciplines, and familiarity with cultural heritage (Saberi, 2016). In this study, the Klein model is used to examine primary school curriculum for teaching visual arts (Klein, 1986). The main purpose of research is comparative study of primary school curriculum in Ireland, Australia, Canada and Iran and questions are:
2. Research Method
The method of present study is qualitative comparative, the unit of observation is macro and the sampling method is informed and purposeful. The strategies of "similar systems, same results" (including Ireland, Australia, Canada), and "different systems, different results" (Iran) were used by researchers to select countries. Data collection method was documentary by studying valid library and electronic written and printed documents available in reputable scientific sites, research reports, organization homepages, and official homepages of the Ministry of Education in selected countries. The research tools included notes from 60 official sources of visual arts curriculum related to Ireland, Canada and Australia from 1999 to 2019 and 40 Persian documents from 2008 to 2020. Adequate notes preparations were made for description stage. In the interpretation stage, collected information was checked and analyzed. Then, in the juxtaposition stage, information prepared in previous stages was classified in order to create a coherent framework. This classification was based on nine elements of Francis Klein's curriculum model. In the final step, the data were presented in comparative tables. In order to determine reliability, stability and consistency of data, the opinions of comparativists at Kharazmi University, Tehran were used.
3. Findings
Data analysis was categorized based on the content of each country's national curriculum regulations and the nine elements of Francis Klein. In response to the first question of the research, the current status of the elementary school curriculum in each country is presented separately and in two stages:
A) Description and Interpretation
- Australia
In Australia, schools are generally divided into public and private. All public and private primary schools have a common curriculum (ACARA, 2013). The goals of Australian Visual Arts Curriculum include a codified program that seeks to nurture creative ideas, boost self-confidence, arouse curiosity, familiarize students with visual aids, and strengthen critical thinking and respect for historical traditions (Lemon & Graves, 2013). The content of the Canadian Visual Arts Curriculum is designed to help students learn how to express and demonstrate their ideas, experiences, observations, and imagination by creating a visual product. In the visual arts curriculum, perceptual and conceptual ideas and representations through design and research processes create critical and creative thinking, build self-confidence, curiosity, imagination and aesthetic development, and develop critical thinking in learners. It also makes it possible for learners to interact with the environment and become familiar with different cultures through interaction with the visual arts. In terms of learner participation, Canadian students typically share their artwork with their peers and try to experience the concept of visual arts as an audience (Queensland Visual Arts Curriculum, 2007). In teaching approaches, Canadian teachers emphasize social concepts and skills to make pupils familiar with history and culture so that each student's different needs can be met by creating art works (Russell-Bowie, 2011). Teaching-learning activities in the visual arts curriculum are done by making two-dimensional and three-dimensional works, as well as visiting workshops, exhibitions and historical centers. In teaching-learning activities, learners are introduced to a wide range of visual works of art, as well as Australian works of art - including Indigenous and Torres Strait art. Educational materials and resources are based on two-dimensional drawing through pencils, acrylics and watercolors, pastels on paper and cardboard, and in three-dimensional drawing through sculpture with soil and mud, and handicrafts with cardboard and disposable materials. Students are encouraged to visit historical cultural heritage centers, exhibitions, and workshops to discover ideas, experiences, and observations of the art-making process (Wittber, 2017). Education in Australia starts at preschool or kindergarten (for children of 3.5 or 4 years old) and preparatory period (before first grade of primary school) for five-year-olds. Primary education includes Grades 1 to 6 and provides sufficient time for instruction and classroom activities, and learning is not limited to class schedule. The educational space is designed in accordance with students’ activities and classroom is an exhibition of students' works with the help and participation of teachers. The assessment process involves work-folder processing and a set of tasks such as experimenting, exploring and refining a wide range of visual art projects (ACARA, 2013).
- Canada
Primary education students in Canada typically deal with one teacher during the school year and in a single class. Primary education in Canada is compulsory for all children and usually starts at the age of 6 or 7. The curriculum includes a number of subject areas such as mathematics, reading, language (usually English and French in Quebec), social studies, history, geography, science, music, art and physical education. The school year usually starts in September and lasts until June of the following year (Iwai, 2003). The objectives of visual arts curriculum include elements such as line, shape and form, space, color, texture and quantity. The principles of contrast, repetition and rhythm, diversity, emphasis, proportion, balance, unity and harmony, movement and familiarity with the history, culture and art of the natives are included. The content of curriculum includes a wide range of forms, genres and styles, traditional arts drawing, painting, sculpture, printing, architecture, photography, commercial art, handicrafts and traditional and fine arts, performing arts and media and electronics arts (Ontario Curriculum, 2009). In terms of learning activities, Canadian students participate in production of meaningful and open artwork. The visual arts curriculum helps students to develop individual creativity and connect with world around them through practice and cognition while expressing personal feelings and ideas (Nova Scotia Department of Education, 2000). From teaching strategies aspect, different teaching approaches with the help of experts and artists alongside teachers help pupils in classroom. Students also express their personal feelings and ideas by emphasizing thematic concepts. From dimension of learners’ groups, teachers are expected to introduce a wide range of high quality art products to students. As a result, students will have high-quality tools and materials to observe and learn how to work in a team. They use imagination, observation and construction of volumes and shapes with various tools and recycled materials to produce and develop visual ideas that lead to creation of works of art (Visual Arts Primer, 2000). Schooling time for Canadian children start from ages of three, and primary school starts at age six. The primary school curriculum in various Canadian states includes rhythmic movements, music, drama, visual arts, and there is ample time for them. A special educational space has been provided for art education in schools and access to art facilities has led to growth of students' talents. These separate spaces provide an opportunity for students to present works. Students’ assessment is done qualitatively and they are taught to comment on their work and that of their classmates to present different ideas. Children learn to understand and analyze the inner meaning of each art work (Prince Edward Island Art Curriculum, 2011).
- Iran
Iran’s education programs were formed in primary schools from 1927 and in the secondary schools from 1307, and extensive efforts were made to produce uniform textbooks for all schools. These efforts led to establishment of the Research and Curriculum Office (1945) and then the Iran School Textbook Organization (1962). In 1964, the two Ministries of Education and Higher Education were separated. Also in this year, a new three-year secondary education system was approved after a five-year primary education. Until 1977, the powers of educational planners in all elements of curriculum increased and provided the ground for limiting teacher and his role in school curriculum. After the victory of the Revolution in 1978, the "Council for Fundamental Change of Education System" was formed with the aim of changing content of textbooks and curricula. Also in 1989, the "General Plan of Education System of Islamic Republic of Iran" was approved by Supreme Council of the Cultural Revolution. In 1992, the specialization approach led to change of old system and formation of a new educational system. Finally, in 2008, the "Education Vision Document" was approved, which strengthened the curriculum (Musapour, 2008). In this regard, important indicators, especially in elements of visual arts curriculum can be expressed as follows:
Objectives: The curriculum is based on aesthetics and familiarity with source of creation, familiarity with history of Iranian art, production of creative artwork and art criticism (Higher Education Council, 2012). Also, the content of program is based on shared learning, multiplicity of resources and methods, learning opportunities and visual cognition capabilities with the help of effective tools that can be effective in learning (Radpour et al., 2012a). Regarding teaching strategies, the teacher acts as a facilitator and her/his teaching strategies are production process, use participatory education, attention to Islamic and Iranian culture, and familiarity with handicrafts. Teaching and learning activities include possibility of developing individual creativity and group collaboration. Educational materials and resources include attention to effective tools such as hand printing, calligraphy, using recycled materials, and visiting historical, artistic and cultural sightseeing. Learners' participation includes encouraging to form learning groups with cooperation of teachers (Radpour et al., 2012b). The time of school entrance for primary school in Iran is 6 years and the time allocated to art education is varied from 1.5 to 2 hours per week - depend on educational level. The content of activities includes the form of painting, printing, handicrafts, and calligraphy. In terms of educational space, teaching is usually done by a teacher in the classroom and there is no separate space for teaching art. The assessment methods are descriptive-qualitative, formative evaluation and work-folder (Radpour et al., 2012a).
- Ireland
In the European country of Ireland, the legal age for entering primary school is 6 and the length of study is also 6 years. Under the current Irish Primary Education Act - which has been in force since 1971 - the Art Curriculum was published in the 1990s and has been mandatory in schools since 1999. This program includes six branches of design, dyeing, clay, fabric and fibers, printing and manufacturing (NCCA, 1999). Implementing a visual arts curriculum helps children connect naturally with the environment and real life. Murphy's research (2018) showed that in the field of "construction", children's sense of responsibility, resilience, independence, joy of success and awareness of their surroundings increases. The goals of Irish Visual Arts Curriculum are to create exercises to empower pupils to realize their artistic and academic abilities with a focus on developing visual features, development of ability to produce critical thinking and familiarity with tools of visual arts and visual arts disciplines (Department of Education and Science and the Arts Council, 2018). The content of these programs plays an important role to increase student's creative thinking and in formation of critical thinking and analytical skills - based on problem solving. Also, art education is very effective in cultivating students' ability to communicate with environment (Hickey, 2005). Teaching strategies in the Irish educational system include attention to activities and teaching different artistic skills and techniques, getting acquainted with different materials and tools for design, emphasizing different teaching approaches, visiting workshops and art and historical exhibitions. Educational materials, tools and resources and everything a student needs to learn the visual arts are widely available. Teaching and learning activities include inquiry activities, emphasis on concepts, and development of independence (NCCA, 1999). Learners' participation in individual and group practices encourages active learning - which leads to self-esteem, academic achievement, self-direction, participatory learning, attention to indigenous cultural contexts, and production of artistic activity. The relevance of learners' developmental characteristics to the content of the curriculum has been considered by the authors of school textbooks (NCCA, 1999). In terms of time of schooling, Irish pupils from the age of three to six are educated in kindergartens and pre-schools. The primary education starts from age of six and more time is allocated to art education during the week - in accordance with educational grades and level. The educational space of classrooms is designed in accordance with pupils' activities such as doing art on the floor of classroom, and installing paintings on the wall. In addition to the official curriculum time, students are given more time for doing art works. Assessment of learners' activities is considered qualitative based on work-folder processing and attention to increasing visual skills and handicrafts (NCCA, 1999).
B) Juxtaposition
This section provides a more detailed analysis of the characteristics of the elements of the visual arts curriculum of the four countries:
Table 1. Juxtaposition of Art Curriculum Goals
Goals |
Country |
|
Australia |
|
Canada |
|
Ireland |
|
Iran |
Table 2. Juxtaposition of Art Curriculum Contents
Contents |
Country |
|
Australia |
|
Canada |
|
Ireland |
|
Iran
|
Table 3. Juxtaposition of Art curriculum Teaching strategies
Teaching strategies |
Country |
|
Australia |
|
Canada |
|
Iran |
|
Ireland |
Table 4. Juxtaposition of Art Curriculum Materials and Resources
Materials and resources |
Country |
|
Australia |
|
Canada |
|
Iran |
|
Ireland |
Table 5. Juxtaposition of Art Curriculum Teaching and Learning Activities
Teaching and learning activities |
Country |
|
Australia |
|
Canada |
|
Iran |
|
Ireland |
Table 6. Juxtaposition of Art Curriculum Learners' Participation
Learners' participation |
Country |
|
Australia |
|
Canada |
|
Iran |
|
Ireland |
Table 7. Juxtaposition of Art Curriculum, Time for Teaching
Time for teaching |
Country |
|
Australia |
|
Canada |
|
Iran |
|
Ireland |
Table 8. Juxtaposition of Art Curriculum, Space for Teaching
Space for Teaching |
Country |
|
Australia |
|
Canada |
|
Iran |
|
Ireland |
Table 9. Juxtaposition of Art Curriculum, Method of Assessment
Method of Assessment |
Country |
|
Australia |
|
Canada |
|
Iran |
|
Ireland |
C) Comparison
In response to the question of what are similarities and differences between primary school curricula in selected countries, the nine elements of art curriculum were compared:
Table 10. Comparison of Art Curriculum Dimensions in Selected Countries
Australia |
Canada |
Ireland |
Iran |
Components |
Country/ dimensions |
* |
* |
* |
* |
Understanding concepts of aesthetics |
Goals |
* |
* |
* |
* |
Familiarity with history of art and culture |
|
* |
* |
* |
* |
Art production and development of thinking abilities |
|
* |
* |
* |
* |
Expressing personal ideas, experiences and feelings |
|
* |
* |
* |
* |
Incidence of creative and critical thinking in students |
|
* |
* |
* |
* |
Discover new ways to make things |
|
* |
- |
* |
* |
Learning and using tools in visual methods based on practice manuals |
Contents |
* |
* |
* |
* |
Learning arts based on a framework |
|
* |
* |
* |
* |
Develop ideas and curiosity about relationships and personal experiences |
|
* |
* |
* |
* |
Teacher as a guide and facilitator |
Teaching Strategies |
- |
* |
- |
= |
Employing professionals and artists alongside teachers of art |
|
* |
* |
* |
* |
Use different teaching approaches |
|
* |
* |
* |
* |
Emphasis on social concepts and skills and familiarity with history and culture |
|
* |
* |
- |
- |
Familiarity with history and culture of indigenous and use of art to produce art works of indigenous |
|
* |
* |
* |
* |
National Curriculum Guide as a main resources for learners |
Educational Sources |
* |
* |
* |
* |
Two-dimensional drawing through pencil, acrylic and watercolor, pastel on cardboard paper |
|
* |
* |
* |
* |
Three-dimensional drawing through sculpture with flowers, handicrafts with cardboard and disposable materials |
|
* |
* |
* |
* |
Visit historical and cultural heritage centers, exhibitions and workshops |
|
* |
* |
- |
- |
Using the techniques and art of indigenous tribes in making works of art |
|
* |
* |
* |
* |
Role of teacher as a facilitator in education |
Teaching/ Learning activities |
* |
* |
* |
* |
Diversity in learning environments |
|
* |
* |
* |
* |
Active role of student in art curriculum |
|
- |
- |
* |
* |
Alignment of works of art in accordance with national curriculum |
|
* |
* |
* |
* |
Using tools and raw materials to enhance students' learning |
|
* |
* |
* |
* |
Provide a group collaboration space for students to learn |
Learners Groups
|
* |
* |
* |
- |
Student participation in design and construction of joint works of art |
|
* |
* |
- |
- |
Forming indigenous and tribal arts learning groups |
|
* |
* |
* |
- |
Provide educational space for drawing walls and murals |
|
* |
* |
* |
- |
Providing workshop space for art at school |
Space |
* |
* |
* |
* |
Using cyberspace for art classes |
|
* |
* |
* |
* |
Visiting nature and organizing art classes outside the university |
|
* |
* |
* |
* |
Students enter school from the age of 6 or 7 |
Time |
* |
* |
* |
- |
2 hours per week for art lessons |
|
* |
* |
* |
- |
No time limitation for students' artistic activity at school |
|
- |
* |
* |
* |
Descriptive and qualitative cumulative evaluation based on the national program framework |
Assessment |
* |
* |
* |
* |
Using work-folder for formative evaluation |
|
* |
* |
* |
- |
Comparative evaluation of students' works |
|
* |
* |
* |
* |
Evaluation based on comparison of students' works in exhibition |
According to the data in Table 10, in this step the elements of art curriculum are compared more accurately:
1) Similarities
2) Differences
4. Conclusion
Findings of previous research indicated that in all countries there is a well-written textbook for teaching visual arts - designed by the Ministry of Education and supervised by experts. Findings of present study reveal that the purpose of the visual arts education program in these four countries is based on concepts such as aesthetics education, understanding the concepts of creativity and nature, and familiarity with art history. Findings indicate that the Canadian and Australian educational systems pay more attention to teaching traditional indigenous arts to young generation. This is consistent with the finding of Kargozar, Kabuk, & Al-Daghi (2018), Kian and Mehr Mohammadi (2013), Fallah et al. (2020) and Khosravi et al. (2019).
The research findings about content of art education indicated that all selected countries act on the basis of legal frameworks and upstream documents of the Ministry of Education. This finding has already been reported in research of ACARA (2013); Department of Education and Science and the Arts Council (2018); Fallah et al. (2020); Hickey (2005); Kargozar, Kabuk, & Al-Daghi (2018); Khosravi et al. (2019); Ontario Curriculum, (2009); Radpour et al. (2012a) and Visual Arts Curriculum Queensland (2007). Another finding of the study shows that in all selected countries, the teacher has a guiding and facilitating role and uses different skills and techniques for teaching. The present researchers also found that in Ireland, Australia and Canada, in addition to teachers, artists and art professionals also attend classes. This issue has been emphasized in previous researches (NCCA, 1999; Higher Education Council, 2012; Ontario Curriculum, 2009; Radpour et al., 2012a, b; Russell-Bowie, 2011; Visual Arts for Elementary School, 2000).
The findings of the comparison stage showed that in all four selected countries, visual arts education is mainly based on the formal national curriculum and teachers' guidebooks. Also, the Canadian and Australian education systems - compared to Iran and Ireland - use more indigenous art and techniques in art education. This supports the research findings of Fallah et al. (2020) and Khosravi et al. (2019). Another finding reveals that in teaching visual arts, the role of teacher as a guide and active participant has been considered in all countries although Canada and Australia have shown more flexibility in art curriculum implementation. Findings related to learners' participation indicate the active role and participation of pupils in art classes and existence of a diverse space for designing and using new tools and methods. Previous research - such as ACARA (2013); Department of Education and Science and the Arts Council (2018); Higher Education Council (2012); NCCA (1999); Ontario Curriculum (2009), Prince Edward Island Art Curriculum (2011); the Queensland Visual Arts Curriculum (2007) and Radpour et al. (2012b) - illustrate the space devoted to teaching visual arts in a variety of ways. Indeed, in national curriculum documents of selected countries use of virtual class capacities along with face-to-face classes and visiting art spaces has been emphasized. Also, the findings of this study support the research results of Fallah et al. (2020); Kargozar, Kabuk, & Al-Daghi (2018); Khosravi et al. (2019), and Mollainejad and Zakavati (2008) that there is no specific space for art curriculum in Iran’s schools. Findings related to “time for art education” showed that in the upstream and national documents of selected countries, there is no specific time for art education and there are different opinions among policy makers. However, in most of these documents, the beginning of visual arts education is considered from the age of 6 to 7 years. An important difference between Ireland, Canada, Australia and Iran is that these countries devote different time to art education - in the form of classrooms and free time; while this research supports findings of Fallah et al. (2020); Khosravi et al. (2019), and Kian and Mehr Mohammadi (2013) that revealed there is not enough time for art education in Iran’s schools. Findings related to assessment method of visual arts education showed that educational planners of selected countries have different opinions about method of assessment, but the national curriculum documents emphasize use of formative and work-folder assessment methods.
Based on research findings, it is suggested that art education planners in Iran provide appropriate content for young generation by recognizing indigenous arts. Also it is suggested to give more time and opportunity to art teacher - as a guide and facilitator - with active participation of students. Also in the extracurricular activities of primary schools in Iran, visual arts, quality improvement of methods and tools for creating works and increasing quality of art curriculum should be considered by principals and teachers. Allocating a specific space for teaching visual arts in schools along with out-of-school visits to workshops and exhibitions and online education are other suggestions of this research. The present researchers insist on developing a coherent program for participation of art professionals and masters in teaching indigenous arts and handicrafts in Iran. In addition, according to the research findings, quality improvement of art education content, increasing learning time in the form of participatory projects and learning indigenous arts in different regions of Iran is recommended to teachers. Evaluation of the visual arts curriculum in Iran - as in other countries - should be based on formative evaluation and comparative evaluation instead of emphasizing final evaluation. In this way, learners will be able to critique and analyze their own and others' works of art. Familiarity with the content of art education in other countries can provide a good opportunity for Iranian teachers to get acquainted with the valuable artistic experiences and heritage of the world and pass it on to students.