Variable models of designing the content of higher art education in China

Yui Vei PhD in Art History Postgraduate student; Institute of Fine Arts; Moscow State Pedagogical University 119991, Russia, Moscow, Malaya Pirogovskaya str., 1, building 1 yuwei101@rambler.ru

Introduction

The relevance of the problem under study. The modernization of all spheres of Chinese society has necessitated changes in the education system, starting from preschool and ending with higher education. One of the key ways of such transformations has become the principle of variability, which provides a variety of types and types of educational services, programs and technologies, and forms of work. It is also important for the "permanent modernization" ^[1] of Russian education, which, according to the Federal Law "On Education in the Russian Federation", approves an individual approach to students based on the development of variability. In Russia, this principle is understood as "an ordered variety of pedagogical systems of different scales" ^{[2, p. 94]}. In modern conditions, due to the need to create an independent education system, there is a discussion in pedagogical circles about the most optimal models, forms and content of higher education, including art, for Russia.

China is also on the path of gaining national identity. As shown by Russian-language studies in recent years, in particular L. Qing ^[3], V. Qiheng ^[4], Yu. Wang ^[5], T. L. Guruleva ^[6] and others, the Chinese experience is much less lasting than that of the "northern neighbor", but dynamic in terms of integrating the most effective achievements and national traditions. In China, there is also a problem similar to Russian education – the lack of a "single space for ensuring the quality of teacher training" ^{[7, p. 197]}. L. Chuanhan ^[8], D. Cao ^[9], E. M. Glinternik and Ts were also interested in issues of modern higher art education in China. Xu ^[10], Ts. Yin and I. N. Miklushevskaya ^[11], as well as a number of other researchers. As a rule, scholars focus on Chinese art education in the context of the waves of modernization, especially in the middle and end of the last century, as well as at the present stage. They study his dependence on the Russian-Soviet art school, which partly determined the development of new models, including contributing to the spread of academic teaching methods. Meanwhile, their works speak of a growing desire to gain independence, national identity and establish links with the art market, including the international one. All this, according to the authors, led to a new stage of reform through the search for new learning models, including those based on variability.

There are universities and universities in the country that mainly provide artistic training. However, if in the former it is put at the forefront, then in the latter it is implemented according to the residual principle. Moreover, different approaches are observed in the training of artists, musicians and artists. Thus, the Central Academy of Drama, the Central Academy of Arts and the Chinese Music Conservatory, as well as a number of regional institutions, are higher educational institutions that largely determine the development of the educational process, but offer different models for its implementation. Of course, this affects the level and degree of search for concepts and technologies for the implementation of such education. It turns out that many educational institutions are not fully involved in the processes of updating art education. The proximity of the situation and existing restrictions to Russian realities determines the importance of studying China's experience in the field of art education reform in the context of an individual approach and variable learning models, which are considered as guarantees of quality, accessibility and competitiveness.

This article is devoted to the analysis of the activities of a number of Chinese higher educational institutions of various types in order to determine the features of educational models in universities that train artists, musicians, artists and other representatives of creative professions, as an image of the educational process, its functions, structure, organization, forms, technologies and results in accordance with this field. Among the methods and methods that allow the research to be carried out is the study of the current state of the educational process, contributing to the creation of new knowledge, their management and dissemination, access to them and control over them, in terms of training artistic personnel, programs and curricula of individual universities belonging to the "double first class" for the 2022-2023 academic year as well as the analysis of information about the educational process presented on the websites of educational institutions. The scientific novelty is due to the fact that the study presents materials not previously introduced into the circulation of Russian science related to studying at Chinese universities of various profiles at the present stage. Moreover, the specific features of the methods of designing the content of art education in these educational institutions at the level of a variable model are revealed. Based on the conclusions made, recommendations are proposed for the design of the content of art education at the University in the form of a synthesis of invariant and variable disciplines and forms of work with students.

Models of development of art and pedagogical education in China

Since the public's attention to the development of culture and art in China is only growing, large universities are taking concrete measures to build art disciplines for both artists and art teachers, as well as representatives of other artistic and creative disciplines. This article focuses on the work of individual educational institutions for the 2022-2023 academic year through the prism of strategies in the field of art education, accumulated experience in training artistic and pedagogical personnel and studying the design features of the educational process. Among the Chinese higher educational institutions of the "double first class" of the artistic sense, the key position of the scientific and methodological center is occupied by the Central Academy of Drama, which implements the "Chinese drama system" within the framework of the concept of "Chinese style" in the preparation of bachelors. According to the president of the academy, Hao Rong, the university in such conditions "emphasizes the study of the rich expressiveness of traditional dramatic art and the absorption of its cultural and philosophical meanings. Based on the priority of "harmony of form" in creativity and performance, more attention should be paid to "harmony of meaning", integrity and innovation, and to improve the path of dramatic art with Chinese specifics" ^[12].

To implement such an attitude, in the early 2020s, the Drama Academy conducted a series of studies on the possibilities of designing a learning model in the context of the new "Chinese drama system". As a result, the university established a specialization in the genre of Chinese poetry performed to music (quyi), which represents a variable teaching model in the "drama – opera – quyi" system, that is, "three in one". The laboratory of the "intellectual space of dramatic art" was also created there, as well as the Department of digital drama to study innovative forms of this art. In 2023, seminars such as the "Quyi Educational Summit" and "Heritage and Development of Traditional Dramatic Art" were held at the academy's venues, as well as a seminar on the development of Xi Jinping's cultural strategy and traditional Chinese dramatic art. The educational institution is a model for building training within the framework of the "Chinese drama system".

The Central Academy of Arts, which focuses on classical fine arts, is working on continuing the development of the concept of "one specialty and several abilities", which was developed back in 1979. The concept is focused on the acquisition of professional skills by students and on the versatility of teaching. The first involves studying, in addition to the main specialty, two or more additional professional skills related to the future profession. This model focuses on the ongoing support of the most talented students. Within the framework of this model, emphasis is placed on the principle of "four links", which includes the integration of different disciplines, communication between production and academia, as well as international communication. It should be noted that any institution working in the field of art education in China necessarily starts from these four starting points in its teaching practice. They represent the view of Confucianism on the improvement of people through a combination of different principles, including national and foreign, past and future. The purpose of the training is to grade knowledge into groups: spiritual and intellectual learning; technical and theoretical learning; ancient and modern learning; foreign and Chinese learning. It is not difficult to find that the "four links" is a kind of "horizontal" classification based on the separation of types of knowledge, which solves the problem of which specialists to cultivate in the end ^[13]. The training of artistic personnel is invariably implemented in a specific process of knowledge transfer and practical experience, therefore, in addition to integration between horizontal types of knowledge, there is also a need for another "vertical" organization of this process.

The basis of the vertical "four links" in the academy is the curriculum – the smallest unit in the system of classification of knowledge and all learning. In the process of developing and implementing any such program, teachers are given more opportunities to freely combine internal elements and content. The direction is the primary combination of courses, which is the result of differentiation of knowledge and is of a developmental nature, since the boundaries between knowledge and artistic skills are very mobile, although they retain a narrow orientation in general. The direction is also an important link on the way to in–depth research. The core in the implementation of the vertical movement of the "four links" is specialization, that is, a stable cluster of knowledge reflecting the interaction between education and production.

The purpose of the vertical "four links" is "general discipline", which means a large–scale combination of professional clusters. Their integration is the highest stage of knowledge synthesis, which is based on a long and active accumulation of information and experience in order to form the basis for building interdisciplinary connections. To ensure the "circulation" of knowledge between different levels of the curriculum, directions, specialties and disciplines, the university uses a system of "credits" and credits, a combination of basic training and elective courses, that is, it is provided through specific institutional mechanisms. The promotion of this combination takes place at the expense of a personalized educational route, which is based on the "right of choice" of students.

The Chinese Music Conservatory is building an education system based on the "Chinese style". In 2021, a seminar was held at the Beijing Conservatory Conference Center to discuss the strategy for building the educational system "Chinese Music School 8+1, ideology and Politics +X", which was introduced back in 2019. The meeting was attended by more than two hundred experts and scientists from all over the country. After that, the conservatory's curricula began to be divided into eight main professional basic courses, one of which refers to courses that include practice, "ideological and political" blocks, as well as "X" – a comprehensive humanitarian course. The emergence of such a model was due to the fact that for a long time the university paid attention to the training of mainly the most gifted students. However, later it became obvious that at the undergraduate level it was necessary to lay a solid foundation for all students. Realizing this, the developers of the new learning structure proposed a system of subjects that draws on Chinese and Western experience in the field of art education. As a result, courses in both theory and history of music, including national music, have become diversified and integrated, as well as interconnected in content and methodically ^[14].

These art universities attach great importance to the formation of a teaching staff, the effective use of various resources, and the improvement of professional qualities and capabilities of students. Thus, the Central Academy of Drama selects outstanding teachers to study abroad, hires experienced professors and experts to give lectures, conduct practical classes, and master classes in the performing arts. The Central Conservatory strives for teachers to develop a sense of responsibility for students, so they are actively involved in mentoring and curation. Moreover, this happens from the moment of recruitment of students to the employment of the latter. The Central Academy of Arts encourages author programs of interdisciplinary and interdepartmental professional elective courses. Other universities also encourage the active participation of their staff in the design of the educational process. For example, the Chinese Music Conservatory initiates the joint participation of teachers and students in pedagogical competitions. The Shanghai Conservatory allows new teachers to participate in teaching practice on the job.

In Chinese art universities, regardless of their profile, students become the main subjects of education and direct beneficiaries of the quality of training. Enthusiasm, initiative and creativity are mobilized in them by a variety of means. Thus, the Academies of Arts pay attention to the quality of selection among applicants. The Shanghai Conservatory strictly controls the level of its students through creative competitions, tightening the mechanisms for selecting talents. At the same time, educational institutions faced a significant problem related to how to improve the level of professional development of students. Each of them has their own solution. The Central Conservatory conducts school-wide open competitions among people specializing in performance and conducts their pre-professional training to maximize the professional potential of future students. It also provides assistance to graduates. The most talented art students at the academy, thanks to the educational institution's connections with industries, museums, galleries and other institutions, offers advanced training courses, internships, flexible schedules, etc. From the moment of admission, students are already encouraged to make career plans, and students with academic goals are helped to form a solid professional foundation.

Features of the construction of courses and training materials in art universities in China

Improving the quality of artistic training requires universities to develop training materials and appropriate platforms. Classroom learning remains the main channel for designing courses and programs. Within the work programs of the disciplines, developers focus on improving skills in the field of their chosen specialty and strengthening the foundations, that is, on the mentioned horizontal expansion and vertical connections. The Central Academy of Arts pays special attention to strengthening professional core courses. The Chinese Academy of Arts has formed a curriculum system consisting of five main areas to develop the talents of the "four links". The Chinese Conservatory is developing the program "Chinese Music School 8+1, Ideology and Politics +X", which primarily refers to general courses. The University strengthens the connection between the curriculum systems of primary and secondary schools, undergraduate, graduate and doctoral students, and also provides vertical management of relations and their comprehensive training. The Central Academy of Drama tries to overcome barriers between faculties and creates professional general courses to achieve cross-integration of various specialties (areas), for example, within the same discipline.

Since the modern system of higher art education in China began to take shape relatively recently, a paradoxical situation has developed. The latter lies in the fact that education is guided by "Chinese specifics", and universities still do not have their own original and educational material that takes into account it. To solve this problem, the Central Academy of Arts has created a "Department of educational materials. The Golden Courses of the Central Academy of Fine Arts", within the framework of which the project "Four Rays and Eight Pillars" is being implemented by almost three hundred teachers. The department plays the role of an educational, methodological and scientific-methodical center, and the educational materials it develops serve as models for other institutions related to art education. The Academy is engaged in tracking and researching the use of educational materials, and manages the integration of its developments into practice. An important point in the implementation of this project is that textbooks, guidelines, albums, etc., are developed at the request of teachers, teachers and educators. Another way is offered by the Central Academy of Drama, which attracts specialists and scientists with high professional achievements and rich pedagogical experience to participate in the compilation of materials and the initiation of various projects, and the commission selects the latter on a competitive basis.

The role of practice and cooperation in the design of variable learning models in Chinese art universities

Teaching in the field of art follows the general patterns of artistic heritage, and also reflects national traditions and peculiarities. In China, the system of transferring creative experience from teacher to student has long been based on practical artistic and creative activity. To this day, the role of direct creativity in the development of talents remains the main one, since a significant part of the time is devoted to students' work in workshops, concerts, filming, independent exercises, assignments, etc.

The Central Academy of Drama has developed and continues to improve the integration of the practical principle into the training system, which dominates theory. Moreover, the educational institution expands the practical platform of "co-education" and resources outside the campus, indirectly including students in the process of employment and entrepreneurship.

The Central Academy of Arts attaches great importance to the joint creative activity of teachers and students, creating conditions for the implementation of common projects. The university also promotes the open exchange of courses with other educational institutions and is working on creating a platform for the exchange of resources, which in the future will enrich the channels of interaction between universities and students. The Chinese Academy of Arts deepens the integration of social practice by involving students and teachers in socially significant programs and projects.

The Music Conservatory strengthens studio practice and improves students' practical abilities through "three-way interaction", namely: the Department of Composition organizes orchestra performances, and the Department of Conducting directs the performance of the work, the Department of Orchestral Music performs it. The institution promotes teaching through academic exchange, which allows students to win awards at competitions of all levels. The Chinese Music Conservatory also welcomes international exchange, providing training for its own and foreign students within the framework of the "Global Alliance for Music Education". The Shanghai Conservatory of Music focuses on "integrating teaching, creativity, performance and research", forming a new spiral learning paradigm that begins with creativity, manifests itself in practice, achieves learning success and finally turns into learning outcomes, and innovations are used to promote the learning of the most gifted students. The university also attaches great importance to the assessment of graduates by employers and conducts surveys to identify shortcomings in the training of talents.

Variable learning models in the process of ensuring and evaluating the quality of modern art education in China

Art universities in China pay attention to managing all the processes of training future artists, musicians, and artists. They are focused on mobilizing the enthusiasm, initiatives and creative potential of not only students, but also teachers. This is made possible through the creation and improvement of mechanisms, improved processes and platforms for demonstrating the results of activities.

The Central Academy of Arts annually conducts an assessment of the level of pedagogical activity, which is not only a means of reviewing and exchanging developments in the field of teaching, but also a continuation of the discussion of reform. The Chinese Academy of Arts has established a quality assurance system for art education based on winter screenings, summer exhibitions, spring research and autumn competitions, forming an exhibition-oriented and competition-oriented platform for testing and disseminating pedagogical achievements.

At the Chinese Music Conservatory, performing specialists are required to perform on stage, and composition masters are engaged in creating stage productions, musicologists conduct research, music education teachers work in classrooms. Their teaching work and student achievements are evaluated during exams, where outside experts are necessarily invited. A concert is a form of final evaluation of any creative innovation project at the Central Conservatory. The University invites academics and experts to act as judges. When building a teaching quality monitoring system, the Central Drama Academy also engages third-party specialists to dynamically monitor the talent training mechanism. At the Shanghai Conservatory of Music, the teaching and Research department monitors teachers' performance of tasks, provides timely feedback and resolution of difficulties that arise during training.

Improving the quality of talent training in art universities requires constant efforts. Chinese universities regularly analyze and assess the situation in the training of creative personnel, identify problems and look for solutions. The latter differ from them, as shown above. At the same time, they face similar problems. For example, these are quality control of student recruitment, curriculum adjustments and periodically updated quality standards.

Conclusions and recommendations

The training of specialists in the field of art is a complex process in which the university goes from the concept that defines the learning model to action, from content to method. Moreover, as the study showed, the most relevant approaches in modern China are those related to the development of creative thinking through the stimulation of enthusiasm, initiative and appropriate abilities. For this reason, the main direction in the work of higher art education in the country is not the formation of a professional, but, on the contrary, such qualities that would give an incentive and a reason to study and develop further. To do this, a certain course logic is built in each university, which determines the path of the student from the moment of admission to employment and beyond.

Since we are talking about future artists, musicians, and artists, the learning models are based on variability. However, the models themselves are variable, as each educational institution offers its own original solution, which is based on specific educational conditions and resources, experience and traditions. However, the vast majority of them choose an innovative model, within which they develop their own versions of program structures, methods, forms, etc. Meanwhile, a common feature of these varieties is the transition to active methods and forms of learning, which is natural for artistic and creative specialties, the inclusion of problem-based learning, scientific research, forms of independent activity, which makes it possible to train, for example, not talented copyists, but specialists who are able to think outside the box and creatively. Another feature of Chinese higher art education is the departure from a narrow focus on professional disciplines and knowledge and from a broad perspective through the inclusion of cycles of general natural sciences and humanities.

As the study shows, the principle of diversification in art education, using the example of the practice of Chinese universities, is the main one in structuring the system of training creative personnel, which, in general, corresponds to the processes that occur in Russian art pedagogy. It is on the basis of such planning and organization of the educational process in Russia and China that the very possibility of variability is now provided, where students and those who teach them have the right to choose from a variety of educational services and forms of work. Among the achievements of Chinese art education that can be applied in Russian universities, it should be noted, first of all, the orientation towards the vertical organization of the educational process, where the educational program is the main unit of study, within which internal elements are combined. Specialization creates a set of programs reflecting the interaction between education and production, the art market, and society.