DOCSLIB.ORG

Reassessing What Is Core Content in Visual Arts in the New South Wales Curriculum

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Reassessing What Is Core Content in Visual Arts in the New South Wales Curriculum Curriculum Perspectives (2021) 41:175–185 https://doi.org/10.1007/s41297-021-00136-6 RESEARCH ARTICLE Ahead of its time? Reassessing what is core content in Visual Arts in the New South Wales Curriculum Karen Maras1 Received: 23 August 2020 /Revised: 13 January 2021 /Accepted: 19 March 2021 /Published online: 14 April 2021 # Australian Curriculum Studies Association 2021 Abstract The purpose of this article is to evaluate the extent to which Visual Arts syllabus content currently known as the ‘Conceptual Framework’ represents core concepts and principles for learning in Visual Arts K-12 in New South Wales (NSW), Australia. Set within the context of the NSW Curriculum Review, Nurturing wonder and igniting passion: designs for a new school curriculum (NESA, 2020), and in the absence of regular cyclic curriculum evaluation or reform of the Visual Arts syllabuses for over 21 years, this investigation evaluates the fit between existing curriculum content and requirements for new syllabuses in the revised curriculum. Drawing on theoretical and empirical research in Visual Arts education, this article examines how the conceptual framework and the principles underlying its function provide the conceptual foundations of understanding in art making and art interpretation as primary forms of practice in K-12. Discussion then examines how the framework meets the requirements for new syllabuses in the NSW Curriculum Review. It is argued that the conceptual framework (1) represents core concepts and principles for learning, (2) supports the development of praxis-oriented learning, and (3) sustains stable content over years of schooling which supports students to develop deep understandings of practice in art. The article concludes that the conceptual framework should be retained in the revised Visual Arts curriculum as it represents a conceptual core and principles for learning that are essential to teaching and learning in Visual Arts K-12 in NSW. Keywords Conceptual framework . Core concepts . NSW Curriculum Review . Principles for learning . Visual Arts K-12 Introduction curriculum content on essential concepts and principles for learning which sustain the integration of knowledge and skills This article investigates the question of how core concepts and in K-12 syllabuses. This article examines how well a concep- principles for learning should be represented in Visual Arts K- tual framework that represents core content in the current con- 12 in the revised curriculum in the state of New South Wales tinuum of learning in Visual Arts syllabuses in NSW provides (NSW), Australia. This question arises as a key focus in the a foundation for meeting these requirements in the revised reform of the NSW standards-based curriculum, a project im- curriculum due for implementation in 2024. plemented in 2020 by the New South Wales Educational The reason for this investigation is related to my long- Standards Authority (NESA), on behalf of the NSW standing involvement in curriculum development projects Government. This review represents a response to concerns and advocacy in Visual Arts at state and national levels in about an overcrowded curriculum and the degree to which Australia. This experience, complemented by teaching in cur- existing syllabuses support deep learning and conceptual rig- riculum and art education, and conducting research on the our that will equip students to meet that challenges of contrib- theoretical and ontological bases of understanding in Visual uting to and succeeding within the twenty-first century world. Arts, frames my ongoing commitment to ensuring that pro- The key strategy for addressing this issue is to re-focus posals for curriculum change for Visual Arts are grounded in research that sustains the intellectual value of learning in the subject. Recent involvement in discussions about the current * Karen Maras reform agenda and changes to syllabus development process- [email protected] es in NSW have highlighted for me tensions and potential 1 oversights in the enactment of this fast-paced curriculum School of Education, Faculty of Arts, Design and Architecture, change that may impact Visual Arts in a detrimental way. Of UNSW Sydney, Sydney, New South Wales, Australia 176 Curric Perspect (2021) 41:175–185 particular concern is the apparent lack of opportunity for Australian Government in 2008 for the purposes of devel- revisiting and updating the theoretical and empirical grounds oping and implementing the Australian Curriculum on which core concepts and principles for learning are identi- (Commonwealth Government Department of Education, fied in the subject. This discussion addresses this gap by Skills and Employment, 2020)(Savage&O’Connor, highlighting the contribution the existing conceptual frame- 2015). This K-10 curriculum comprises content in subjects work makes to understanding the ontological constraints that arranged in eight key learning areas that supports the in- are essential to learning in Visual Arts. Furthermore, this eval- tegration of three cross-curriculum priorities and seven uation seeks to confirm that the conceptual framework con- general capabilities. It was expected that all jurisdictions tinues to provide a foundation for a praxis-oriented approach would implement the Australian Curriculum in all key to understanding art in which the integration of knowledge learning areas. and skills supports deep learning. Despite several attempts to achieve a national curricu- lum in Australia, NSW has largely maintained indepen- dence from national reforms. NSW maintains a Aim and structure of this article standards-referenced curriculum comprising six stages of learning K-12 and eight key learning areas. Since the I will argue that the conceptual framework in Visual Arts 1990s, this curriculum has been subject to successive re- already meets the core curriculum review requirements and views, most of which have resulted in the maintenance of provides a strong basis on which to review, refine and enhance the existing structure (Hughes, 2019). As Hughes (2019) the academic rigour and quality of Visual Arts education in describes, with the ratification of the National Education NSW. In doing so, I will, firstly, contextualise this investiga- Agreement, all states and territories approved the imple- tion in the curriculum context in Australia. Second, a brief mentation of the national curriculum in 2009. There was outline of the conceptual framework as currently defined in increased pressure on NSW to comply with the mandate to Visual Arts will be provided. Third, the current situation of the implement the national curriculum although this was an NSW Curriculum Review and its requirements will be de- uneasy settlement (Reid & Price, 2018). Reluctance to scribed (NESA, 2020). Fourth, I will provide a theoretical implement the Australian Curriculum in NSW was account that examines the social ontology of art as a knowl- grounded in serious concerns about the quality and rigour edge domain. Fifth, a brief overview of research on children’s of the national proposals, especially the lack of an over- art understanding during early to late childhood reveals how arching framework, and coherence, consistency and se- core art concepts are implicated in conceptual advance in quencing in subjects (BOS, 2010). In 2014, the Board of Visual Arts. After defining principles for learning in Visual Studies, Teaching and Educational Standards NSW Arts, I then discuss how the conceptual framework meets the (BOSTES) (which became NESA in 2017) commenced requirements of the NSW Curriculum Review. An analytical an ‘adopt and adapt’ process in which Australian discussion of the significance of the framework to learning Curriculum content was incorporated in NSW syllabuses and teaching content then follows. The article concludes with (BOSTES, 2014a, 2014b). Between 2014 and 2018, a sys- the proposition that the conceptual framework should be tematic programme of curriculum renewal in all subjects retained in the NSW Visual Arts syllabuses as it satisfies the K-10 and those that extend to years 11 and 12 then en- key priorities of the NSW Curriculum Review. sued. The Creative Arts key learning area, which includes the subjects of Visual Arts, Music, Dance and Drama, was exempt from this process. The decision not to adopt or Curriculum context in Australia adapt the Australian Curriculum: The Arts (ACARA, 2015) in NSW was grounded in concerns about the lack Responsibility for school education, policy and curriculum of quality and coherence in the national curriculum provi- in Australia is distributed among the federal government sion in The Arts, and low levels of comparability with and six state and two territory governments. The existing NSW curriculum and syllabi raised by stake- Australian Federal Government has traditionally had re- holders during consultation on the Australian sponsibility for policy oversight and the distribution of Curriculum: The Arts (Board of Studies NSW, 2011; education funding to states and territories. Responsibility BOSTES, 2014c). However, despite regular cyclic evalu- for the enactment, reform and evaluation of curriculum ation and renewal in all other learning areas, the Creative falls to state and territory authorities, each with different Arts subjects have not been evaluated or updated for over priorities and curriculum histories. After several attempts 21 years. The last comprehensive revision of the suite of to achieve national consistency in Australian education Creative Arts syllabuses
Load more

Recommended publications
  • Theoretical Issues and Conceptual Framework for Physical Facilities Design in Hospital Buildings
    Journal of Architectural Environment & Structural Engineering Research | Volume 04 | Issue 01 | January 2021 Journal of Architectural Environment & Structural Engineering Research https://ojs.bilpublishing.com/index.php/jaeser ARTICLE Theoretical Issues and Conceptual Framework for Physical Facilities Design in Hospital Buildings Akinluyi Muyiwa L.1* Fadamiro Joseph A.2 Ayoola Hezekiah A.2 ALADE Morakinyo J.3 1. Department of Architecture, Afe Babalola University, Ado-Ekiti (ABUAD), Nigeria 2. Department of Architecture, Federal University of Technology (FUTA) , Akure, Ondo- State, Nigeria 3. Directorate of Physical Planning and Development (DPPD) Living Faith Church Canaan land ARTICLE INFO ABSTRACT Article history This study reviewed the theoretical issues relating to morphological and Received: 29 July 2020 psychological design issues in hospital building design evaluation. The study of morphological configurations design issues, concentrates on the el- Accepted: 30 October 2020 ements of building, shape/form, the structure of the environment, the struc- Published Online: 31 January 2021 tural efficiency and the architectural appearance of the hospital building forms. The psychological design issues focused on the essential issues re- Keywords: lating to Proximity, Privacy and Wayfindings. Through the literature review Theories of previous models such as, Khan (2012) Operational Efficiency Model, Haron, Hamid and Talib Usability Framework, (2012), Zhao, Mourshed & Framework Wright (2009) Model, Alalouch, Aspinall & Smith Model (2016) and Hill Physical facilities & Kitchen (2009). A conceptual framework for physical facilities design Hospital building evaluation and satisfaction in hospital buildings was developed. The study, however, provides useful information for the development of a design framework that can inform policy on hospital buildings. 1. Introduction policy strategies for renovation and construction of new hospital buildings and environmental facilities to im- 1.1 Background to the Study prove the current healthcare situation.
    [Show full text]
  • Conceptual Framework
    Conceptual Framework for the Purpose of Measurement of Cooperatives and its Operationalization Conceptual Framework on Measurement of Cooperatives and its Operationalization Report discussed at the COPAC Technical Working Group on Cooperative Statistics Meeting Geneva, May 2017 International Labour Office • Geneva Copyright © International Labour Organization 2017 First published 2017 Publications of the International Labour Office enjoy copyright under Protocol 2 of the Universal Copyright Convention. Nevertheless, short excerpts from them may be reproduced without authorization, on condition that the source is indicated. For rights of reproduction or translation, application should be made to ILO Publications (Rights and Licensing), International Labour Office, CH-1211 Geneva 22, Switzerland, or by email: [email protected]. The International Labour Office welcomes such applications. Libraries, institutions and other users registered with a reproduction rights organization may make copies in accordance with the licences issued to them for this purpose. Visit www.ifrro.org to find the reproduction rights organization in your country. Conceptual Framework for the Purpose of Measurement of Cooperatives and its Operationalization / International Labour Office – Geneva: ILO, 2017. ISBN: 978-92-2-129954-7 (web pdf) The designations employed in ILO publications, which are in conformity with United Nations practice, and the presentation of material therein do not imply the expression of any opinion whatsoever on the part of the International Labour Office concerning the legal status of any country, area or territory or of its authorities, or concerning the delimitation of its frontiers. The responsibility for opinions expressed in signed articles, studies and other contributions rests solely with their authors, and publication does not constitute an endorsement by the International Labour Office.
    [Show full text]
  • A Critical Theory and Postmodernist Approach to the Teaching of Accounting Theory
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by University of Southern Queensland ePrints A Critical Theory and Postmodernist Approach to the teaching of Accounting Theory by Kieran James* Charles Sturt University Acknowledgements The author gratefully acknowledges the helpful comments of David Ardagh, Jenny Kent, Graeme Rose, seminar participants at Charles Sturt University, two anonymous reviewers, the editor (Tony Tinker), and especially the encouraging words of Mary Kaidonis, on earlier versions of this manuscript. Grateful thanks are also extended to Jenny Leung for typing up the interview transcripts, to Jenny Leung and Simon Yong for interpreting one of the interviews where the interviewee chose to receive and answer questions in Chinese Mandarin, and to Setsuo Otsuka for introducing me to the fascinating sociology of education literature. * Lecturer in Commerce, School of Commerce, Charles Sturt University, Locked Bag 588, Wagga Wagga NSW 2678, Australia. Tel: +61 2 69332518. E-mail address: [email protected] (K. James). 1 A Critical Theory and Postmodernist Approach to the teaching of Accounting Theory Abstract This paper outlines my teaching philosophy for the Accounting Theory subject. A Critical Theory and Postmodernist approach is recommended, which makes full use of non-accounting “tangential” material (Boyce, 2004) and material from popular culture (Kell, 2004; Nilan, 2004). The paper discusses some classroom interactive activities, as well as interview results from interviews conducted with eleven international students and one Australian student at Charles Sturt University. The teaching approach proposed in this paper is to conduct classroom interactive activities which study theories and research results from a range of disciplines in order to illustrate key points that apply equally as much to accounting theories and the accounting research process, e.g.
    [Show full text]
  • Figure 1. Jianguo Village
    Art Practice as Research: A Global Perspective Judith A. Briggs Illinois State University Nicole DeLosa Hornsby Girls’ High School ABSTRACT This case study explored how seven New South Wales (NSW) tenth grade students, following their art teacher’s prompts, engaged in art practice as research. They analyzed their creative process, researched artists’ forms and concepts, and conceptualized ideas to make critical interdisciplinary connections. They linked this research to their own knowledge and experiences to create and reflect upon artworks that had personal meaning and led to personal discoveries. Students used visual arts process diaries as research texts to record and communicate in both written and visual forms, revisit and plan ideas, reflect, and come to new conclusions. Students employed NSW Syllabi language as a metacognitive tool to recognize their approaches to research and art making. Students made metaphorical and symbolic connections, engaged in social critique, asked questions, and told their stories in this learning process. KEYWORDS: art practice as research; visual arts process diaries; metacognition AUTHOR NOTE: Nicole DeLosa is now in the Art Department of Pymble Ladies’ College. This research was supported in part by an Illinois State University Mills Grant. Correspondence concerning this article should be addressed to Judith Briggs, School of Art, Illinois State University, Normal, IL 61790-5620 E-mail: [email protected] While there is no consensus theorizing art practice, art practice as research (APR) can be a site for knowledge construction and meaning making, situated in global systems, communities, and cultures. These global systems are not homogenous but represent diverse and sometimes conflicting viewpoints that reflect the experiences of people from various regions and backgrounds who have different degrees of access to opportunities and privileges (Manifold, Willis, & Zimmerman, 2016).
    [Show full text]
  • Artworks from the Coventry Exhibition
    Artworks from the Coventry Exhibition Primary + Secondary Education Resource Contents • Teacher Notes, page 3 + 4 • Introduction, page 5 • Resources, page 6 • Abstract Expressionism, page 7 + 8 • Hard Edge Abstraction, page 9 + 10 • Colour Field Painting, page 11 + 12 • Public Art + Kaldor Public Projects #1, page 13 + 14 • Performance Art + Kaldor Public Projects #5, page 15 + 16 • Figuration and Portraiture, page 17, 18 + 19 • Sculpture, page 20 • Collage, page 21 Front Page Features: Tim Lewis Ernst Ludwig Kirchner, 1974 Oil on Canvas 92 x 92.5cm Gift of Chandler Coventry 1979 2 Teachers Notes • The Coventry education resource invites students to This resource is designed for: This resource includes the following learning activities: engage with influential modern and contemporary art • Primary and Secondary students and can be movements through responding and making. adapted for Early Learning or Tertiary students. Discuss: Talking points and research questions are • By participating in artmaking and art theory students • It is aimed at Visual Arts students provided to stimulate contemplation, investigation and will learn how different visual representations of art with relevance to English, Philosophy, understanding. Offering opportunities for students to can communicate meaning. Science and Humanities, engage with art theory, such as the critical and and Social Sciences students. historical aspects in art through collaborative and • Both Primary and Secondary aged students are This resource may be used: independent inquiry. catered for in a range of sequenced activities: Teachers • To complement an experience of the Coventry Observe: Analysis of different aspects in creative Discussion, Observation and Make. exhibition through activities and ideas to assist artmaking, such as techniques, processes and visuals • This resource is directly linked to the NSW curriculum with preparation for the gallery visit.
    [Show full text]
  • THE ROLE of ARTS and CULTURE in MODERN CITIES: Making Art Work in Toronto and New York by Shoshanah Barbara Diane Goldberg Abstr
    THE ROLE OF ARTS AND CULTURE IN MODERN CITIES: Making Art Work in Toronto and New York by Shoshanah Barbara Diane Goldberg Abstract Cities throughout the world currently are exploring ways that arts and culture can serve as an economic engine, build name recognition and become a source of civic pride through a mix of policy, branding, and economic development. I examine the relationship between cultural policy and the increased presence of arts and culture on the economic development agenda in Toronto and New York during the decade of the 2000s. I hypothesize that New York is more driven by economic motivations, and that Toronto’s interest lies in the brand building aspect of arts and culture in city building. This dissertation is a comparative case study that investigates the increased presence of arts and culture in the economic development toolkits of Toronto and New York over the decade. Archival and historical data, in addition to interviews with elite actors provide a rich cache with which to answer the thesis question. Through the use of agenda setting theory, I find ways that arts and culture have been integrated into policy- making and urban planning for economic development in each city. I observe that Toronto and New York are building and facilitating cultural districts, attracting and retaining creative workers, and articulating economic arguments for arts and culture in order to generate revenues and secure government and private support. Each city underwent a shock during the early part of the decade. For Toronto, it was the endogenous shock of amalgamation, and for New York the exogenous shock of 9/11.
    [Show full text]
  • Teresa Burga, Trailblazing Peruvian Conceptualist Artist, Has Died, Aged 86
    Teresa Burga, trailblazing Peruvian conceptualist artist, has died, aged 86 Although overlooked by art institutions until only recently, she continued to create work about artificial systems and bureaucracies during a 30-year career in Lima's customs office WALLACE LUDEL 12th February 2021 22:32 GMT Teresa Burga in 2019 Photo: Ross Collab Teresa Burga, a trailblazer in Latin American Conceptualism, has died, aged 86. The Ministry of Culture of Peru, where she lived and worked for most of her life, announced her death on Twitter on Thursday, and it has been confirmed by her New York gallery Alexander Gray Associates as well as her Berlin gallery, Galerie Barbara Thumm. Burga was born in 1935 in the port city of Iquitos, but moved as a child to Lima with her parents. After initially training as an architect, in 1966 she became one of six Lima-based artists who formed Grupo Arte Nuevo, a collective that wanted to propel the contemporary movements of Pop, Minimalism, Op Art, and happenings in Peru. In 1968, she travelled to the US on a Fulbright scholarship where she studied at the Art Institute of Chicago for two years, receiving her MFA in 1970. Throughout this time, Burga further pushed the conceptual elements of her work and questioned conventional notions of artistic authorship by creating objects that could be replicated by anyone through detailed schematics that she made. In 1971, she returned to Peru, which was then under the authoritarian rule of Juan Velasco Alvarado. Living under a regime unfavorable to conceptual art, Burga procured a job designing solutions to enhance administrative efficiency in digital information systems for Peru’s General Customs Office, a position she held for 30 years, and during which her artistic career drifted into obscurity.
    [Show full text]
  • Chicago Critical Citizenship in Visual Culture Conceptual Framework for Teacher Preparation Programs
    The School of the Art Institute of Chicago Critical Citizenship in Visual Culture Conceptual Framework for Teacher Preparation Programs last update: July 31, 2008 The School of the Art Institute of Chicago, Institution Department of Art Education, Unit The School of the Art Institute of Chicago Critical Citizenship in Visual Culture Conceptual Framework for Teacher Preparation Programs Critical Citizenship in Visual Culture Conceptual Framework for Teacher Preparation Programs The School of the Art Institute of Chicago OUTLINE Preamble ...........................................................................................................3 I. Vision and Mission of the Institution and Unit: A. Development of Conceptual Framework.........................................5 B. A Brief History of the Institution ..................................................... 6 C. Institution’s Mission and Vision: 1. Mission.................................................................................... 8 2. Vision ...................................................................................... 8 D. Unit’s Mission and Vision: 1. Mission.................................................................................... 8 2. Vision ...................................................................................... 9 II. The Unit’s Philosophy, Purposes and Goals: A. Development of Conceptual Framework: Teaching and Learning ...........................................................................................10 B. Philosophy.......................................................................................10
    [Show full text]
  • Serving the Public Interest : a New Conceptual Framework for Auditor Independence (Draft)
    University of Mississippi eGrove American Institute of Certified Public Association Sections, Divisions, Boards, Teams Accountants (AICPA) Historical Collection 1997 Serving the public interest : a new conceptual framework for auditor independence (draft) American Institute of Certified Public Accountants Independence Standards Board Follow this and additional works at: https://egrove.olemiss.edu/aicpa_assoc Part of the Accounting Commons, and the Taxation Commons Serving The Public In ter est: A N ew Conceptual Fram ew ork F or A uditor Independence October 2 0 , 1997 TABLE OF CONTENTS PAGE I. Introduction and Executive Summary.............................................................................................1 II. Historical and Institutional Framework.......................................................................................... 13 A...........................................................................................................................................Overview 13 B.......................................................................Early Development of the Concept of Independence 17 C...................................................................... The Concept of Independence in the Securities Laws 20 D....................................................................................................Self-Regulation by the Profession 25 1 ........................................................................................................Early Development: 1880-1945 26 2 ................................................................................................The
    [Show full text]
  • Racial Ideology and Teaching Practice: a Conceptual Framework
    Taboo: The Journal of Culture and Education Volume 19 Issue 1 Volume 19 Issue 1 - Winter 2020 Article 8 January 2001 Racial Ideology and Teaching Practice: A Conceptual Framework Kelly Demers [email protected] Follow this and additional works at: https://digitalscholarship.unlv.edu/taboo Recommended Citation Demers, K. (2020). Racial Ideology and Teaching Practice: A Conceptual Framework. Taboo: The Journal of Culture and Education, 19 (1). Retrieved from https://digitalscholarship.unlv.edu/taboo/vol19/iss1/8 This Article is protected by copyright and/or related rights. It has been brought to you by Digital Scholarship@UNLV with permission from the rights-holder(s). You are free to use this Article in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/ or on the work itself. This Article has been accepted for inclusion in Taboo: The Journal of Culture and Education by an authorized administrator of Digital Scholarship@UNLV. For more information, please contact [email protected]. Taboo,Kelly WinterE. Demers 2020 109 A Conceptual Framework Racial Ideology and Teaching Practice Kelly E. Demers Abstract The purpose of this article is to describe how a qualitative researcher constructed a conceptual framework. This framework arose from a two-case, critically-oriented study. It provided the researcher with an analytic tool for interpreting how the ideo- logical assumptions of two White elementary teachers shaped their constructions of race and what these constructions meant in terms of each participant’s teaching practice.
    [Show full text]
  • Postmodernism in Western Art - Beginning and Evolution
    Postmodernism in Western Art - Beginning and Evolution Dr Reem Asem The beginning of Postmodernism arts was influenced by the successive developments and events which occurred at West since the middle of the twentieth century, specifically after the end of World War II. The war and its aftermath, followed by internal conflicts in several countries, had a great impact on Western thought, which stood helplessness in front of the Great War machine and for state of chaos caused by war. Also the apparent contradiction between the manifestations of modernity and civil, and the manifestations of destruction on the ground. This situation had left a wave of pessimism and discontent among the philosophers and critics of modernist thoughts rational and the response of artists who quickly expressed the political crisis, social and intellectual by various means. The research begins with the term postmodernism and the crisis that it has left so far in Western thought and the main critical views that accompanied it. It then reviews the features of the new cultural discourse in the writings of the critics and philosophers which preach the postmodern phase, with a clear definition of terms in the period under study, Postmodernism - and their association with the rational philosophy of the Enlightenment, then existential philosophy which was self-centered, decentralization and the globalization culture that characterized the intellectual structures of the twentieth century. The research reviews the general features of postmodern arts, such as pluralism, diversity, deconstruction, novelty, subjectivity, etc., with a focus on the artistic experiences that refer to these new contents in various types of art, with emphasis on the doctrines and artistic trends which preached this new art styles.
    [Show full text]
  • Store Atmospherics Affects Patronage Intentions - a Conceptual Framework
    STORE ATMOSPHERICS AFFECTS PATRONAGE INTENTIONS - A CONCEPTUAL FRAMEWORK Farah.S.Choudhary Assistant Professor, The Business School, University of Jammu, (India) ABSTRACT The purpose of this study is to explore the effect of store atmospherics on store image and patronage intentions and identify the relative importance of the various store atmospherics elements to consumers. The study took an extensive literature review on store atmospherics, store image and patronage intentions and try to find the relationship between them. The paper also shows the relevance of store atmospherics for customers while creating the store image. The purpose of the paper is to give a conceptual model that will show a relationship between store atmospherics, store image and patronage intentions. It also gave implications for retailers of how to use store atmospherics to attract consumers. Keywords: Store atmospherics, store image, patronage intentions. I. INTRODUCTION The Indian economy is on a growth spin and the country has appeared as the fourth largest economy in the world on a purchasing power parity basis. The business environment quality has also improved to a noticeable extent and this is apparent as India has attained 49th rank (GCI Rankings, 2009–10 [1]) in the World Economic Forum's Global Competitiveness Index. Concurrently, Indian retail industry has been graded among the top ten major retail markets in the world economy (FICCI-BISNET, 2010 [2]) and ranked at the top in Asian retail markets (A.T. Kearney GRDI, 2009 [3]). Thus, indicating the degree of competitiveness that has gripped the retail sector. This is further highlighted by the fact that Foreign Direct Investment (FDI) in retail sector has contributed to about Rs.593.41 crores of the total FDI Inflows (FDI, January 2011).
    [Show full text]