師徒制運用在排灣族珠繡設計教學實施之研究-以肩帶琉璃珠繡設計班為例

摘要學號:M10670016 總頁數:161 論文題目: 師徒制運用在排灣族珠繡設計教學實施之研究-以肩帶琉璃珠繡設計班為例學校名稱:國立屏東科技大學系(所)別:技術及職業教育研究所畢業時間及摘要別:107學年度第二學期碩士學位論文摘要研究生: 陳宜婕指導教授: 羅希哲博士論文摘要: 本研究以美婕時尚工作室自編肩帶琉璃珠繡設計的課程，藉由師徒制運用在肩帶琉璃珠繡設計班實施教學成效之探討，本研究採用質性研究法為主，研究工具包含教學觀察記錄、教師省思札記、學生課程回饋單、專家評鑑表、課堂影像及照片紀錄等，資料加以分析歸納，深入探討師徒制運用在肩帶琉璃珠繡設計班之教學實施、教學歷程與實施成效，研究對象為五名排灣族女性，本研究實施九堂的教學歷程之師徒制定義分為七個教學步驟，第一為建立師徒關係；第二為模範作品示範；第三為師傅親自示範技能分解教學，並說明注意事項；第四為徒弟練習，師傅則一一個別指導；第五為師傅解答徒弟困惑及鼓勵關懷徒弟；第六為徒弟完成作品，師徒相互給予回饋；第七為師傅教學省思。實施為期九週共九堂課的教學內容，其研究主要發現如下: 一、師傅了解徒弟心理層面的問題而適時給予支持與關懷，師傅亦師亦友的提供完整的職場經驗、學習經驗分享與傳授珠繡知識技能。二、一對一師徒制教學融入排灣族工藝文化及習俗課程中，學習者皆持正向反應與回饋。三、師傅透過建立信心與激勵性談話、相互扶持，進而產生互信互賴與支持的師徒關係。四、師傅藉由一對一師徒制教學能因應徒弟的個別差異，提供指導、修正、支持、接納、與溝通交談，能增加徒弟的信心與學習成長。五、數位化師徒制融入教學課程具有可行性，對學習成效有所助益六、師傅透過教學省思中發現問題，並從中立即修正解決，能促使師傅自我專業的成長，精進教學方法。關鍵字:師徒制、排灣族珠繡

關鍵字

師徒制；排灣族珠繡

並列摘要

Abstract Student ID : M10670016 The Title of the Thesis : Applying Apprenticeship on the Paiwan Beading Design Education: A Case Study on Shoulder Strap Glass Beading Design Class Total Pages : 157 Departmment/Graduate Institute:National Pingtung University of Science and Technology , Graduate Institute of Technological and Vocational Education Date of Graduation : May,2019 Degree Conferred : Master Name of Student : Yi- Jie Chen Advisor : Dr. Shi-Jer Lou Abstract: This study focuses on the course on should strap beading design offered by Meijie Modern Design Workshop. The aim is to analyze the success of the system of apprenticeship to use shoulder-strap glass beading design class. This research takes a qualitative approach, using research tools including teaching observation, instructor self-evaluation, student course feedback, expert evaluation, classroom recording, and photos for analysis and inductive reasoning. The result is an in-depth discussion on the application of apprenticeship about the educational implementation, process of instruction and implementation achievements of the shoulder-strap glass beading design course. The research targets five females of Paiwan ethnicity, and document nine instruction sessions, separated into seven instruction steps based on the definition of an apprenticeship. The first is to establish an apprenticeship between master and apprentice. The second is to demonstrate a model product. The third is the master's analytical demonstration of the techniques and making remarks on essential reminders. The fourth is to have the apprentices practice, guided by the master. The fifth is to have the master respond to the apprentices' questions, and provide encouragement and care. The sixth is to have the apprentices complete their work, with the master giving feedback. The seventh is to have the master conduct a self-evaluation of the educational process. The observations and documentation of the nine sessions in nine days generated the following results. 1. The master understands the conceptual and mental issues of the apprentices and provides appropriate support and care. The master is a friendly but authoritative figure that gives the apprentices a full experience of the profession and the learning process as they attain the necessary skills to beading. 2. The one-on-one apprenticeship model incorporated the Paiwan craft and ethnic customs and received positive responses from the apprentices. 3. The master established confidence and encouraging words to mutually support the apprentice, attaining a high degree of mutual trust and support between master and apprentice. 4. The master uses one-on-one apprenticeship to manage the individual differences between apprentices, and provide instruction, correction, support, acceptance, and communication that could increase the confidence level of the apprentice and help them grow. 5. The incorporation of the digitized apprenticeship approach in the curriculum has a positive effect on learning performance. 6. The master can identify problems during the self-evaluation process and make corrections immediately. The process leads to the master’s own professional growth and improvement in educational methods. Keywords: apprenticeship, Paiwan beading art